BAR project

  • BAR module 2019

    BAR module es un formato pedagógico flexible que pretende generar oportunidades de aprendizaje entorno a diversas temas y dinámicas. Es una semana intensiva de trabajo en la ciudad de Barcelona que busca generar espacios de aprendizaje a través de diferentes temáticas y dinámicas. Como parte de BAR TOOL#2 Training Program, los BAR module se abrirán a un público más amplio (investigadores, estudiantes, curadores, artistas, educadores, etc).

    BAR module 28 de enero – 1 de febrero 2019
    Con la participación de Vittoria Matarrese (IT-FR), Anna Colin (FR), Julie Boukobza (FR) & Claudia Pagès (ES) en  My studio visit. The city as studio.

    Este module traerá un coro de voces que hablan de la noche, los cuerpos, lo femenino, los movimientos, lo independiente, lo comunal o lo discordante para componer un espacio de aprendizaje compartido donde las diferentes prácticas convergen.

    “Las acciones de performance en el Palais de Tokyo: Do ​​Disturb & La Manutention” presentación de Vittoria Matarrese
    Desde hace 4 años, el festival DO DISTURB pone al Palais de Tokyo en un estado de efervescencia, de día y de noche, con más de 40 propuestas al año en la encrucijada de la danza, el espectáculo, el teatro y la música, persiguiendo la idea de invitar a compañeros culturales de Francia y del extranjero. Al mismo tiempo, en el otoño de 2017, Palais de Tokio inaugura La Manutention, un programa de residencia dedicado al arte del performance. De octubre a julio, seis artistas emergentes son invitados a formar parte de un programa de residencia, por un período de un mes. Este nuevo formato da la bienvenida y fomenta la exploración y la experimentación, brindando a los artistas la oportunidad de desarrollar sus prácticas y producir un trabajo original, convirtiendo los espacios de Palais de Tokyo en un estudio.

    Vittoria Matarrese, graduada en arquitectura en París, esdirectora del departamento de artes escénicas del Palais de Tokyo y curadora de arte performático. Su atípica carrera la llevó a liderar diversos cargos internacionales, incluido el de directora artística de Villa Medici en Roma y responsable de la comunicación internacional en el Festival de Cine de Venecia. Durante su carrera, trabajó en la intersección de diferentes disciplinas, desde cine hasta danza y teatro, colaborando desde que era muy joven con diferentes personalidades, como brillantes coreógrafos o directores. Esta polisemia se encuentra ahora en el centro de su investigación sobre las artes performativas.

    ¿Qué hace un espacio alternativo? conferencia de Anna Colin
    En su presentación, Anna Colin compartirá sus pensamientos sobre la pregunta “¿Qué hace un espacio alternativo?” -el tema de su investigación de doctorado, que se basa en proyectos curatoriales pasados, en su experiencia en Open School East, así como en una pequeña variedad de eventos históricos y contemporáneos internacionales de educación alternativa, el arte y los espacios y experimentos sociales.

    El espacio alternativo que constituye el objeto de su estudio es un centro social con raíces locales y democráticas, basado en la educación en el que conviven diferentes formas de aprendizaje, sociabilidades, públicos y usos. Su estudio se esfuerza para responder las siguientes preguntas, desde perspectivas arquitectónicas, educativas, sociológicas y económicas: ¿Qué forma espacial asumen las alternativas? ¿Qué constituye modelos de gobierno, financieros y comerciales alternativos realistas para tales espacios? ¿Qué se necesita para seguir siendo una alternativa a medida que cambian las circunstancias internas y externas? ¿Y cómo se relacionan los espacios alternativos con la producción más amplia de la sociedad de alternativas políticas, económicas y sociales?

    Anna Colin es curadora, educadora e investigadora. Cofundó y co-dirigió Open School East en Margate (Reino Unido), un espacio alternativo para el aprendizaje artístico y colaborativo. Anna también trabaja como curadora asociada en Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette en París, y es candidata a doctorado en la Escuela de Geografía de la Universidad de Nottingham. Anna fue co-curadora, con Lydia Yee, de la exposición itinerante British Art Show 8 (Leeds, Edinburgh, Norwich y Southampton) en 2015-16. Anteriormente, Anna fue directora asociada de Bétonsalon – Centro de arte e investigación, París (2011-12), curadora asociada en La Maison populaire, Montreuil (2012) y curadora en Gasworks, Londres (2007-10).

    “We own the night” de Julie Boukobza
    Julie Boukobza es curadora y crítica de arte radicada en París, está a cargo del Programa de Residencias LUMA Arles. Boukobza ha co-comisariado, con Simon Castets, una exposición colectiva en el Museo de Arte Contemporáneo de Belgrado llamada “FADE IN 2 EXT. MODERNIST HOME” en julio de 2017. En 2016 curó la exposición «Ficción pura» en la galería de Marian Goodman y una exposición individual de Peter Shire en New Galerie, ambas en París. Actualmente dirige el programa de residencia Luma Arles, así como el programa de residencia 89plus en el Laboratorio del Google Cultural Institute en París. En 2020, co-curará con Julia Morandeira Arrizabalaga una exposición en el Centro de Arte Dos de Mayo en Madrid, España.

    “My studio visit. The city as studio” con Claudia Pagès
    Para “My studio visit. The city as studio” nos encontraremos a las 8:00 en Encants Vells (Mercat Bellcaire) para encontrar diferentes rastros de cómo la extracción de la ciudad y la especulación en torno a los objetos se hace con cantos.

    Claudia Pagès vive y trabaja en Barcelona. Su práctica aborda los procesos bioeconómicos y la traducción, y se publica y se distribuye mediante presentaciones y lecturas, impresos y objetos / instalaciones para explorar usos y efectos del lenguaje. La artista ha expuesto en solitario y en dúo en instituciones como Yaby, Madrid (2018), La Capella, Barcelona (2017), Rongwrong, Amsterdam (2016), P ///// AKT, Amsterdam (2015). Sus performances más recientes se destacan en la Fundación de Arte de Sharjah, Sharjah UAE (2018), Ca2M, Madrid (2017), RAI10 / Fundación Arthena, Düsseldorf (2016), La Casa Encendida, Madrid (2016), Moderna Museet, Estocolmo (2015). Ha sido residente en LiveWorks, Centrale Fies (2017), Gasworks, Londres (2017), Ca2M y La Casa Encendida, Madrid, (2016) y ha recibido el premio Mondriaan fonds Werkbijdrage Jong Talent, Países Bajos (2016-2017).

    ***

    BAR module 18 – 22 de marzo 2019
    Con la participación de Ad Minoliti (AR), Irene Aristizábal (CO-ES-UK), Francesc Ruiz (ES) y Antonio Gagliano (AR-ES).

    Este module quiere explorar diferentes prácticas que deambulan entre teorías queer y decoloniales, feminismos, pedagogía, dibujo, pintura y diseminación perturbadora del conocimiento para generar proyectos que, involucrando a diferentes aliados en su desarrollo, afecten a diferentes niveles los procesos de cambio político y social. 

    “Posible geométrica no binaria y pintura expandida feminista” workshop de Ad Minoliti
    Como pintora multidisciplinaria argentina, la propuesta de Minoliti es una combinación de pintura, video, anime y diseño. Las instalaciones y el rendimiento exploran alternativas a los discursos tradicionales, involucrando una diversidad de temas como la teoría de Queer, los cyborgs, el feminismo, la abstracción, la ciencia ficción, la arquitectura o la decoración, la infancia y los derechos de los animales. Para Ad Minoliti, la geometría es la mejor herramienta para experimentar con una utopía no humana, donde las teorías de género se pueden aplicar al lenguaje pictórico y encontrar otras formas de investigar el mundo visual.
    Presentación audiovisual con breves cuestionarios a partir del trabajo propio y basados en el Método Diana Aisenberg.

    Ad Minoliti crea obra pictórica de una posible combinación entre geometría y teorías queer. En su cuerpo de trabajo, la geometría es la mejor herramienta para representar e imaginar una heterotopía trans-humana, dentro de la cual las teorías de género pueden ser aplicadas al lenguaje pictórico y encontrar nuevas formas de experimentar el mundo visual.
    Vive y trabaja en Buenos Aires. Sus exposiciones incluyen: Trienal de Aichi (Japón), FRAC Nantes (Francia), Bienal de Mercosur (Brasil), Front Trienal de Cleveland, Museo de Brooklyn e Independent (NY), Galerías Peres Project (Berlin), Crèvecoeur (París) y Agustina Ferreyra (México DF); y residencias en México, San Francisco y Londres, entre otras. Fue galardonada con varios Premio Adquisición como Arcos Dorados de Latinoamérica, Bienal Museo de Bahía Blanca, Salón Nacional Banco Central, Fundación Federico Klemm, Premio Igualdad Cultural y Uade.

    Irene Aristizábal es Jefa de Práctica Pública y Curatorial de BALTIC Centro de Arte Contemporáneo, Gateshead. Trabajó como Jefa de Exposiciones en Nottingham Contemporary desde 2013 hasta febrero de 2019, donde curó exposiciones y se encargó de proyectos de Pia Camil, Steffani Jemison, Otobong Nkanga, Simon Starling, Michael Beutler, Pauline Boudry / Renate Lorenz, Sun Ra, Rana Hamadeh, Danai Anesiadou, Danh Võ, Carol Rama y Asco. Las exposiciones colectivas más recientes incluyen Still I Rise: Feminisms, Gender Resistance (2018-19, co-curada con Rosie Cooper y Cédric Fauq) y States of America: Photography from the Civil Rights Movement to the Reagan Era (2017 – Co-curada con Abi Spinks).

    Irene será co-curadora del British Art Show 9, junto a Hammad Nasar, que se inaugurará en Manchester en 2020 y viajará a Wolverhampton, Aberdeen y Plymouth. Fue curadora en el FRAC Nord Pas de Calais, Dunkerque en 2010–11, y recibió la Beca Curatorial H + F (2010). Antes de eso, co-dirigió el espacio sin fines de lucro Bétonsalon en París (2005-06). También ha comisariado exposiciones en la Fundació Miró, Barcelona; Form Content, Londres y el Museo de Ciencias de la Salud, Bogotá.

    SOLICITUDES:

    Deberán enviarse a hello@barproject.net y a coordination@barproject.net en un solo mail y en un solo archivo PDF (máx 2MB) incluyendo:
    curriculum vitae
    biografía corta
    carta de motivación (hasta 500 palabras)
    Se requiere buen conocimiento de inglés

    FECHAS LÍMITE DE INSCRIPCIÓN:
    28 de enero-1 de febrero: 18 de enero, 2pm (GMT+1)
    18 – 22 de marzo: 8 de marzo, 2pm (GMT+1)

    PRECIOS:
    Precio de un BAR module: 300€
    Precio de dos BAR module: 500€

     

  • BAR module 2019

    BAR module is a flexible pedagogical format that aims to generate learning opportunities around different themes and dynamics. It is an intensive working week in the city of Barcelona which aim to create learning opportunities from different topics and dynamics. As part of BAR TOOL#2, the BAR module sessions will be opened to a larger public (researchers, students, curators, artists, educators, etc).

     

    BAR module January 28 – February 1

    With Julie Boukobza (FR), Vittoria Matarrese (IT-FR), Anna Colin (FR-UK), Claudia Pagés (ES).
    This module will bring a chorus of voices that speaks from the night, the bodies, the feminine, the movements, the independent, the communal or the discordant to compose a shared learning space where the different practices converge.

    “The performance actions at the Palais de Tokyo : Do Disturb & La Manutention” presentation by Vittoria Matarrese
    Since 4 years the festival DO DISTURB is putting Palais de Tokyo into a state of effervescence, by day and night, with each year over 40 propositions at the crossroads of dance, performance, theatre and music, pursuing the idea of inviting cultural partners from France and abroad. At the same time, in the fall 2017, Palais de Tokyo inaugurates La Manutention, a residency programme dedicated to performance art. From October to July, six emerging artists are invited to a residency program, for a period of one month each. This new format welcomes and encourages exploration and experimentation, providing artists with the opportunity to develop their practices and produce an original work, turning the spaces of Palais de Tokyo into a studio.

    Vittoria Matarrese, graduated in architecture in Paris, is now the director of performing arts department Palais de Tokyo and curator for performance art. Her atypical career led her to hold various international positions, including that of artistic director of Villa Medici in Rome and responsible for international communication at the Venice Film Festival. During her career she worked at the intersection of different disciplines, from cinema to dance to theater, collaborating since she was very young with different personalities, such as brilliant choreographers or directors. This polysemy is now at the center of her research on performance art.

    “What makes an alternative space?” lecture by Anna Colin
    In her presentation, Anna Colin will share her thoughts on the question ‘What makes an alternative space?’ – the subject of her PhD research – drawing from past curatorial projects, her experience at Open School East as well as from a small range of historical and contemporary international alternative education, art and social spaces and experiments.

    The alternative space that constitutes the object of her study is a building-based, locally-rooted and democratic cultural, educational and social centre in which different forms of learning, sociabilities, publics and uses cohabit. Her study endeavours to answer the following questions, from architectural, educational, sociological and economic perspectives: What spatial form do alternatives assume? What constitutes realistic alternative governance, financial and business models for such spaces? What does it take to remain alternative as internal and external circumstances change? And how do alternative spaces relate to the broader, society-wide production of political, economic and social alternatives?

    Anna Colin is a curator, educator and researcher. She co-founded and co-directs Open School East in Margate (UK), an alternative space for artistic and collaborative learning. Anna also works as associate curator at Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette in Paris, and is a PhD candidate in the School of Geography at the University of Nottingham. Anna was co-curator, with Lydia Yee, of the touring exhibition British Art Show 8 (Leeds, Edinburgh, Norwich and Southampton) in 2015-16. Previously, Anna was associate director of Bétonsalon – Centre for art and research, Paris (2011-12), associate curator at La Maison populaire, Montreuil (2012) and curator at Gasworks, London (2007-10).

    “We own the night” by Julie Boukobza
    Julie Boukobza is a curator and art critic based in Paris, in charge of the LUMA Arles Residency Program. Boukobza co-curated with Simon Castets a group show at the Museum of Contemporary Art in Belgrade called “FADE IN 2 EXT. MODERNIST HOME» in July 2017. In 2016 she curated the exhibition « Pure Fiction » at Marian Goodman gallery and a solo show of Peter Shire at New Galerie, both in Paris. She currently runs the Luma Arles residency program as well as the 89plus residency program at the Lab of the Google Cultural Institute in Paris. In 2020, she will co-curate with Julia Morandeira Arrizabalaga an exhibition at Centro de Arte Dos de Mayo in Madrid, Spain.  

    “My studio visit. The city as studio.” with Clàudia Pagès
    For “My studio visit. The city as studio” we will meet at 8:00 at Encants Vells (Mercat Bellcaire) to encounter different traces of how the city’s extraction and the speculation around objects are made in chants. 

    Claudia Pagès lives and works in Barcelona. Pagès’ practice deals with bio-economic processes and translation, and it is published and circulated through performances and readings, printed matter and objects/installations to explore uses and effects of language. The artist has exhibited in solo and duo in institutions such as Yaby, Madrid (2018), La Capella, Barcelona (2017), Rongwrong, Amsterdam (2016), P/////AKT, Amsterdam (2015). Recent performances include Sharjah Art Foundation, Sharjah UAE (2018), Ca2M, Madrid (2017), RAI10/Arthena Foundation, Düsseldorf (2016), La Casa Encendida, Madrid (2016), Moderna Museet, Stockholm (2015). She has been resident at LiveWorks, Centrale Fies (2017), Gasworks, London (2017), Ca2M and La Casa Encendida, Madrid, (2016) and has received the Mondriaan fonds Werkbijdrage Jong Talent, The Netherlands (2016-2017).

    ***

    BAR module March 18-22, 2019
    With Irene Aristizábal (CO-ES-UK), Ad Minoliti (AR), Francesc Ruiz (ES), Antonio Gagliano (AR-ES).
    This module wants to explore different practices that circulate among queer and decolonial theories, feminisms, pedagogy, drawing, painting, and disturbing dissemination of knowledge to generate projects that, involving different allies in their development, affect different layers of political and social change processes.

    “Possible non-binary geometry and expanded feminist painting” workshop by Ad Minoliti
    As an Argentine multidisciplinary painter, Minoliti’s proposal is a combination of painting, video, anime and design. Installations and performance explore alternatives to traditional discourses, involving a diversity of topics such as queer theory, cyborgs, feminism, abstraction, science fiction, architecture or decoration, childhood and animal rights. For Ad Minoliti, geometry is the best tool to experiment with a non-human utopia, where gender theories can be applied to pictorial language and find other ways of investigating the visual world.

    Ad Minoliti creates pictorial work of a possible combination between geometry and queer theories. In her body of work, geometry is the best tool to represent and imagine a trans-human heterotopia, within which gender theories can be applied to pictorial language and find new ways of experiencing the visual world.
    Live and work in Buenos Aires. Her exhibitions include: Aichi Triennial (Japan), FRAC Nantes (France), Mercosur Biennial (Brazil), Cleveland Front Triennial, Brooklyn Museum and Independent (NY), Peres Project Galleries (Berlin), Crèvecoeur (Paris) and Agustina Ferreyra (Mexico City); and residencies in Mexico, San Francisco and London, among others. She was awarded with several Acquisition Prizes as Arcos Dorados in Latin America, Biennial Museum of Bahía Blanca, National Central Bank Exhibition, Federico Klemm Foundation, Cultural Equality Prize and Uade.

    Irene Aristizábal is Head of Curatorial and Public Practice at BALTIC Centre for Contemporary Art, Gateshead. She worked as Head of Exhibitions at Nottingham Contemporary from 2013 until February 2019, where she curated exhibitions and commissioned projects by Pia Camil, Steffani Jemison, Otobong Nkanga, Simon Starling, Michael Beutler, Pauline Boudry/Renate Lorenz, Sun Ra, Rana Hamadeh, Danai Anesiadou, Danh Võ, Carol Rama and Asco. Recent group exhibitions include Still I Rise: Feminisms, Gender Resistance (2018-19 – co-curated with Rosie Cooper and Cédric Fauq) and States of America: Photography from the Civil Rights Movement to the Reagan Era (2017 – co-curated with Abi Spinks).

    Irene will be co-curating the British Art Show 9, alongside Hammad Nasar, which opens in Manchester in 2020 and travels to Wolverhampton, Aberdeen and Plymouth. She was curator at the FRAC Nord Pas de Calais, Dunkirk in 2010–11, and was the recipient of the H+F Curatorial Grant (2010). Prior to that she co-directed the not-for-profit space Bétonsalon in Paris (2005-06). She has also curated exhibitions at the Fundació Miró, Barcelona; Form Content, London and the Museum of Health Sciences, Bogotá.

     

    APPLICATIONS:
    They must be sent to hello@barproject.net and coordination@barproject.net in a single email and single PDF document (max 2MB) including:
    curriculum vitae
    Short bio
    Motivation letter (up to 500 words)
    Working knowledge of English is required

    DEADLINE FOR REGISTRATION:
    28th January -1st February: 18th January, 2pm (GMT+1)

    18th – 22nd March: 8th March, 2pm (GMT+1)

    PRICES:
    One BAR module: 300€
    Two BAR module: 500€

     

  • Cristina Bogdan: “Organizing space”


    KNOTS, display & public program, ODD, May 2016. Photo by Petre Fall.

    Cristina Bogdan runs ODD, an initiative in Bucharest concerned with catalyzing the local imagination via practices related to art, research, science, technology and politics. It is a space, not always with a physical correspondent, for social gatherings of all kinds.

    During her one-month residency in Barcelona, Cristina inquired into local forms of organization in the cultural field, with a specific focus on hybrid, under the radar initiatives which may camouflage as art for various reasons. She also tried to get a better grasp on the political context and the role played by the grassroots movement in recent events.

    Her public presentation with BAR will consist of an overview of the Bucharest context and the practice of ODD, in relation to her findings in Barcelona. It immediately opens to dialogue with all those who are interested in exchanging methods and ideas about modes of operating as small groups in times when solidarity is crucial.
    __________

    At 7pm there will be guided tour at Belén Zahera exhibition “A good day for palmistry” by the curator Rosa Lleó.

    Following, at 7.30pm, Cristina Bogdan will do her public presentation.

    Thanks to Nogueras Blanchard.

  • Cristina Bogdan: “Organizing space”


    KNOTS, display & public program, ODD, Mayo 2016. Foto de Petre Fall.

    Cristina Bogdan dirige ODD, una iniciativa en Bucarest dedicada a catalizar la imaginación local a través de prácticas relacionadas con el arte, la investigación, la ciencia, la tecnología y la política. Es un espacio, no siempre con un emplazamiento físico, para reuniones sociales de todo tipo.

    Durante su mes de residencia en Barcelona, Cristina indagó sobre las formas locales de organización en el campo cultural, con un enfoque específico en lo híbrido, con el radar en las iniciativas que pueden camuflarse como arte por varios motivos. También intentó comprender mejor el contexto político y el papel desempeñado por el movimiento de las bases en los acontecimientos recientes.

    Su presentación pública con BAR consistirá en una descripción general del contexto de Bucarest y la práctica de ODD, en relación con sus hallazgos en Barcelona. Se abrirá diálogo con todas las que están interesadas en intercambiar métodos e ideas sobre los modos de operar en pequeños grupos en momentos en los que la solidaridad es crucial.

    __

    A las 19h se hará una visita guiada por la comisaria Rosa Lleó a la exposición “A good day for palmistry” de Belén Zahera.

    Seguidamente, a las 19:30hs, Cristina Bogdan realizará su presentación pública.

    Agradecimientos a Nogueras Blanchard.

  • [bio] Cristina Bogdan

    1985, Bucarest

     

    En 2014, fundó ODD (oddweb.org), un espacio para encuentros y producción artística en Bucarest. Es también fundadora y editora de la Revista ARTA online (revistaarta.ro), una plataforma que mapea el arte contemporáneo en Rumania. 

  • [bio] Cristina Bogdan

    1985, Bucharest

     In 2014, she founded ODD (oddweb.org), a space for meetings and artistic production in Bucharest. She is also the founder and editor of Revista ARTA online (revistaarta.ro), a platform mapping contemporary art in Romania.

  • Isa Carrillo: “Oraculum I. The creator, the sky – Le Chaos”

    Tuesday 4th, from 5 to 8pm, APRÈS SKI*
    • Photos by Eva Carasol

    The work carried out during the residence at BAR project, had three moments.
    Moment 1.
    It corresponds to the transfer of hidden messages (Arcanum Traslatum) between books of metaphysical genre, by means of the exchange of texts and messages hidden in drawings.
    Moments 2 and 3.
    They correspond to the consultation of two oracles that were consulted and abstracted. The objects resulting from this conjuncture will be presented in the vitrine of the Vigatans 11 home, for a period of three hours.
    The first oracle consulted was the I-Chingor book of mutations. It revealed hexagram 1:
    The Creator, the sky. From this, the first objects representing the hexagram were unfolded.
    The second oracle is the Etteilla tarot, which came into my hands in special circumstances at the Encants market. Created by Jean Baptiste-Alliette, it was the first tarot to become popular for divinatory purposes at the end of the 18th century. The major arcana begin by narrating the seven days of creation, card#1 corresponds to Le Chaos. From this, the other exhibits are unfolded.
    The colours light blue and yellow symbolise the plane of the sensitive andthe plane of the intelligible, respectively.
    Combined on the geometric forms they represent the presence of these planes in the physical and material plane.
    Based on the principle that understands the human being as an intimate replica of the macrocosmic universe, this show is a small attempt that seeks to rewrite the revelation of this outer space in the inner order.

    26 – 11 – 2018
    (8 – 2 – 2)
            3

     

    With the collaboration of: 

     

    Après Ski
    Vigatans Street, 11 – 08003, Barcelona

  • Isa Carrillo: “Oraculum I. Lo creador, el cielo-Le Chaos”

    MARTES 4, de 17 a 20H, Après Ski*
    • Photos by Eva Carasol

    El trabajo efectuado durante la residencia de BAR project, tuvo tres momentos.
    Momento 1.
    Corresponde al traslado de mensajes ocultos (Arcanum Traslatum) entre libros de género metafísico, mediante el intercambio de textos y mensajes escondidos en dibujos.
    Momentos 2 y 3.
    Corresponden a la consulta de dos oráculos que se consultaron y abstrajeron. Los objetos que resultan de esta conjuntura se presentarán en la vitrina del domicilio Vigatans 11, por un lapso de tres horas.
    El primer oráculo consultado fue el I·Ching o libro de las mutaciones. Éste reveló el hexagrama 1:
    Lo Creador, el cielo. A partir de éste se desplegaron los primeros objetos que representan el hexagrama.
    El segundo oráculo es el tarot Etteilla, el cual llegó a mis manos en circunstancias especiales en el mercado dels Encants. Creado por Jean Baptiste-Alliette, fue el primer tarot en popularizarse con fines adivinatorios a finales del s. XVIII. Los arcanos mayores comienzan narrando los siete días de la creación, la carta #1 corresponde a Le Chaos. A partir de ésta se despliegan los demás objetos expuestos.
    Los colores celeste y amarillo simbolizan el plano de lo sensible y el plano de la inteligible, respectivamente. Combinados sobre las formas geométricas representan la presencia de estos planos en el plano físico y material.
    En base al principio que entiende al ser humano como una réplica íntima del universo macrocósmico, esta muestra es una pequeña tentativa que busca reescribir la revelación de este espacio exterior en el orden interior.

    26 – 11 – 2018
    (8 – 2 – 2)
            3

    Con la colaboración de:  

    Après Ski
    Carrer Vigatans, 11 – 08003, Barcelona

  • BAR MODULE

    Nico Vascellari (IT), Cecilia Bengolea (AR), Joan Morey (ES), Duen Sacchi (AR-ES)

    This module wants to challenge the idea of performance, following the current evolution of it practice and it inherent performative character. Attending to the openness and fluidity of performance, its social and political implications and its level of public understandability, the invited guests will as articulate lectures and workshops that will allow us to think performance as work space, as an instrument and cultural exercise, opened to a wide range of performative actions

    Joan Morey (Mallorca, 1972) has produced an extensive set of performances, videos, installations and sound and graphic works that, since the late nineties, explore the intersection between theater, cinema, philosophy, sexuality and subjectivity. He principally uses performance as the main production tool, and takes the standards of this language to the limit with a clear aim: “to force the machine”. This allows him to explore other possibilities of performance and the relationship with the public, as well as reformulating the methodology used in each project and at the same time solving lacks that appear regarding to the production, management or exhibition of performances in the specific context of contemporary art.
    At this moment the first part of the expanded project COLAPSO takes place at the Contemporary Art Center of Barcelona – Fabra i Coats. The second part will take place in the Art Center Tecla Sala of l’Hospitalet de Llobregat and the project will close with a site-specific performance in an emblematic building of Barcelona city.

    Nico Vascellari is born in Vittorio Veneto (TV) in 1976. He is currently living and working in Rome. Among his major solo exhibitions: Maxxi, Roma (2018); Palais De Tokyo, Paris (2017); Whitworth Art Gallery, Manchester (2016); Villa Medici, Roma (2016); Estorick Collection, London (2016); National Gallery of Arts, Tirana (2015); Museion, Bolzano (2010); Museo MAN, Nuoro (2007); Skuc, Lubljana (2006); Viafarini, Milano (2006); Spazio Lima, Milano (2005). In addition, he participated at 52a Biennale di Venezia (2007); Manifesta 7 (2008); 15° Quadriennale di Roma (2008);12a Biennale di Architettura di Venezia (2010). In 2010 he was shortlisted for the Future Generation Art Prize (Pinchuk Art Centre, Kiev), for 5×5 Prize (EACC, Castellò) and of CAS Prize (Tate Modern, London). He has been awarded with the Rome Prize (2008), the Premio per la Giovane Arte Italiana (2007), the Prize New York (2006) and Premio Internazionale della Performance (2005). His works has been exhibited within international institutions such as Beyeler Foundation, Basel; La Maison Rouge in Paris; MAK, Wien; Kunsthaus in Graz. Among the permanent collections Deutsche Bank (Milano), Museo Macro (Roma), Museo Maxxi (Roma), Museion (Bolzano), Whitworth Art Gallery (Manchester), The Coppel Foundation (Mexico), Musac (Leon), Nomas Foundation (Roma), Julia Stoschek Collection (Dusseldorf).
    In his performances Vascellari usually tries to overturn the social structures and hierarchies that the contemporary art world is imposing, pushing the boundaries of his actions towards a wider public, not necessarily related to contemporary art. Starting analyzing the possibilities of performance and how to enhance a more conscious engagement of the public about political and social issues through performative actions, Vascellari will present a selection of his recent works and a focus on his ongoing project Dream Merda. Dream Merda was launched in March 2018, and deeply deals with environmental problems, political disillusion and social integration, aiming to gain a more conscious approach to cultural and ecological possibilities.

    Cecilia Bengolea (Argentina, 1979) research is focused on anthropological and urban dance forms and its relation to the indeterminate nature, elements and figuration to create language. At Buenos Aires University, she studied Philosophy and Art History. She followed the choreographic master Ex.e.r.c.e. by Mathilde Monnier in Montpellier. Cecilia Bengolea perceives dance and performance as animated sculpture and welcomes the fact that these forms allow her to become both object and subject at the same time.
    Bengolea works on video installation and performances have been exhibited at Gwangju Biennale 2014, Biennale de Lyon 2015, Faena Art Center, Buenos Aires (2015, 2017) Fig-2 25/50 at ICA, London (2015), Dia Art Foundation (may 2017), Tokyo Spiral Hall, Tate Modern London, Biennale de Sao Paulo, 2016, Infinite Mix Hayward Gallery London 2016, Gstaad Elevation 2017, Art Night ICA London 2015, Stromboli Fiorucci Arts Trusts, Dhaka Summit Biennale 2018, TBA21 Venice 2018, DesertX 2019.
    Since 2005 she has collaborated with Françoise Chaignaud, their work Pâquerette (2005-2008) and Sylphides (2009) won the award de la critique de Paris and the Young Artist prize at Gwangju Biennale in 2014. Together they create pieces for their company as for Ballet de Lyon (2013), Ballet de Lorraine (2014), Pina Bausch Tanzteatre Wuppertal (2015).

    Duen Sacchi (Aguaray, Argentina). Trans* writer, researcher, and visual artist. Independent Research Programme (PEI, Programa de Estudios Independientes) MACBA (2014-2015), Junior Studies Programme Teacher, Matadero – Ayllu, Madrid. He directed the “Degenerate” radical politics programme for anticolonial feminist thought and art- Histeria Kolektiboa (Bilbao, 2014-2017) and collaborated on El Estado Mental (‘Mental State’), Pikara Magazine, and the Soy (‘I am’) supplement.  He has produced actions, completed residencies, and presented his work at MACBA (Barcelona), Tabakalera (Donostia), La Taller (Bilbao), La Ene (Buenos Aires), and others. She is part of the Equipo Sacchi – De Santo: The National Arts Fund Grant (2017), Iberescena Grant (2017), Nau L’Estruch (Sabadell), Matadero (Madrid), Hangar (Barcelona). She is part of the collective Ira Sudaka: MUSAC (Castile and Leon).

     

     

  • [bio] Nouha Ben Yebdri

    Independent curator and researcher based in Tangier. Since November 2016, she is the founder and artistic director of Mahal, an interdisciplinary art space for research on contemporary practices in Tangier.
    Her research is based in contemporary art studies, focalised in the artistic practices in Morocco, Algeria and Tunisia. Through History, postcolonialism and identity studies, the influence of new media in the contemporary lifestyle, and the recent political movements
    that occurred differently in this three countries, she analyses their links and the influence they have had in their artistic evolution since the 20th Century to these days, in order to create a theoretical and critical framework. Nouha Ben Yebdri is also a member of Madrassa, a curatorial collective that envisions exhibition making as a research and critical endeavour, by experimenting and investigating collective practices and transborder collaborations.

  • [bio] Nouha Ben Yebdri

    Curadora e investigadora independiente. Desde noviembre de 2016, es fundadora y directora artística de Mahal, un espacio de arte interdisciplinario para la investigación de prácticas contemporáneas en Tánger. Su investigación se basa en estudios de arte contemporáneo, focalizados en las prácticas artísticas en Marruecos, Argelia y Túnez. A través de la Historia, el postcolonialismo y los estudios de identidad, la influencia de los nuevos medios en el estilo de vida contemporáneo y los recientes movimientos políticos que ocurrieron de manera diferente en estos tres países, analiza sus vínculos y la influencia que han tenido en su evolución artística desde el siglo XX hasta nuestros días, para crear un marco teórico-crítico. Nouha Ben Yebdri también es miembro de Madrassa, un colectivo curatorial que concibe las exposiciones como investigación y esfuerzo crítico, experimentando e investigando prácticas colectivas y colaboraciones transfronterizas.

  • [bio] Marcos Benítez

    Has developed a work on the border between the academic traditions of modern Paraguayan art and contemporary and popular expressions; He has a profuse production of engraving, and some of his works dialogue with the popular art of Paraguay, combining traditional materials and techniques with new technology. He has exhibited regularly on an individual basis since 1995, and has participated in collective and biennial exhibitions. She is a member of the Ediciones de la Ura collective and has participated in the Espacio / Crítica Seminar. He is the founder and coordinator of the Cabichu’i Engraving Workshop. In 2016, he was selected as artist in residence of Genealogies: Puerto Casado, coordinated by Valentina Bonifacio as a joint project of Parsons New School, New York, Ca’Foscari University of Venice and the CAV / Asunción Mud Museum.

  • [bio] Marcos Benítez

    Ha desarrollado una obra en la frontera entre tradiciones académicas del arte moderno paraguayo y expresiones contemporáneas y populares; posee una profusa producción de grabado, y algunas de sus obras dialogan con el arte popular de Paraguay, conjugando materiales y técnicas tradicionales con nueva tecnología. Expone regularmente de manera individual desde 1995, y ha participado de exposiciones colectivas y bienales. Es integrante del colectivo Ediciones de la Ura y ha participado del Seminario Espacio/Crítica. Es fundador y coordinador del Taller de Grabado Cabichu’i. En 2016, fue seleccionado como artista en residencia de Genealogías: Puerto Casado, coordinado por Valentina Bonifacio como proyecto conjunto de Parsons New School, Nueva York, Universidad Ca’Foscari de Venecia y el CAV/Museo del Barro de Asunción.

  • [bio] Isa Carrillo

    Artistic production is profoundly influenced by mysticism notions. In her artistic work she builts new stories from collecting other people memories. Based on the exploration of graphology, palmistry, astrology, numerology, the use of the pendulum and oracles as the I-ching, which she use as tolos, is that her work proposes other way to signify experiences. She has attended workshops and seminars on Contemporary Art Theory and Philosophical studies related to this medium. Exhibited individually and collectively in Diego Rivera Anahuacalli Museum in Mexico City, Museum of Painters in Oaxaca, Zapopan Art Museum (MAZ), Museum of the City of Guadalajara, Forum for Art and Culture, Ex Convento del Carmen, Cultural Modern Art Center, Sala Juarez, TRAMA Center, Museum-Studio Clemente Orozco, among others.

  • [bio] Isa Carrillo

    (1982, Guadalajara, México)

    Egresada de Artes Visuales por parte de la Universidad de Guadalajara. Su producción se ha definido por una relectura de aspectos ocultos o enigmáticos presentes en el inconsciente colectivo, vinculando su trabajo con una visión crítica y empírica de la exploración de mancias y pseudociencias aplicadas a individuos. Ha expuesto individual y colectivamente en recintos como Museo Taller Clemente Orozco, Museo de Arte de Zapopan, Museo de la Ciudad de Guadalajara, Museo Raúl Anguiano, Centro Cultural de Arte Moderno en Guadalajara, Museo Diego Rivera Anahuacalli, Ciudad de México y Museo de Pintores en Oaxaca. En Giorgio Cini Foundation, Venecia, Italia, Galería Cuadro22, Chur, Suiza, Bass Museum of Art en Miami, Pomona College Art Museum, Claremont, Estados Unidos y Bessarabska Square, Kiev Ucrania, entre otros.

  •  Randa Maroufi: Youth, Gender and Migration

    Tuesday 23, 6pm,  Fundació Tàpies Auditorium*


    Caption: Place Houwaert, from Las intrusas serie © ADAGP – 2018

    As the conclusion of her residency, Nouha Ben Yebdri, independent curator, founder and director of Mahal Art Space, an alternative art space dedicated to contemporary art in Tangier, ofers a screening session of the most incipient films of the French-Moroccan artist Randa Maroufi.

    Randa Maroufi (1987) produces, after passing through Le Fresnoy – Studio national des arts contemporains, two films: La grande Safae and Le Park, both awarded at different international festivals, and screened in different alternative cinemas and museums. Before turning thirty, she adds to her portentous career another video, Stand-by Office, made during a residency in Amsterdam. In September 2017, she is a resident artist for one year at Casa Velázquez, in Madrid, where she continues with the research of Bab Sebta (Ceuta’s Gate), a project in which she works with video, photography, drawings and installations, around the economic system created on the border between Morocco and Ceuta.

    The film La grande Safae is a free interpretation of a character known as the great Safae. Transvestite, she spends part of her life as an employee in a house, in which she lived with constant rumors and legends about her gender.

    Le Park proposes a slow walk in an abandoned amusement park in the center of Casablanca (Morocco). The film presents the portrait of young people who frequent this place, and creates a staging of moments of their lives in it, meticulously composed and often inspired by images found on social networks.

    In Stand-by Office, a group of people is presented in an administrative building. We can observe that a series of routine gestures happen: the person in the reception attends and answer calls, another organizes documents and files, others are preparing a meeting… Little by little, unexpected situations occur, taking the viewer to an unsuspected place.

    Playing with the viewer’s perception, with subtlety and always on the borderline between fiction and reality, through her films, Maroufi opens the discussion on youth, gender and immigration, themes and contemporary questions, extrapolative to everyday life both in the Maghreb and in many European countries.

    Nouha Ben Yebdri residency is a collaboration with Aria Projects.

    *Fundació Antoni Tàpies Auditorium
    Carrer d’Aragó 255 – 08007, Barcelona

  • Randa Maroufi: Juventud, género e inmigración

    Martes 23, 18h, Auditorio de la Fundació Tàpies*


    Imagen: Place Houwaert, de la serie Las intrusas © ADAGP – 2018

    Como conclusión de su residencia en BAR project, Nouha Ben Yebdri, comisaria independiente, fundadora y directora de Mahal, un espacio alternativo dedicado al arte contemporáneo en Tánger, propone una sesión de visionado de las películas más incipientes de la artista franco-marroquí Randa Maroufi.

    Randa Maroufi (1987) realiza, tras su paso por Le Fresnoy – Studio national des arts contemporains, dos películas: La grande Safae y Le Park, premiadas en diferentes festivales internacionales, y proyectadas en diversas salas y museos. Antes de cumplir los treinta años, añade a su portentoso bagaje otro vídeo, Standby Office, realizado durante una residencia en Amsterdam. En septiembre de 2017, es artista residente durante un año en la Casa Velázquez, en Madrid, donde continúa con las investigaciones de Bab Sebta (Puerta de Ceuta), un proyecto en el que trabaja el vídeo, la fotografía, dibujos y la instalación, entorno al sistema económico creado en la frontera entre Marruecos y Ceuta.

    La película La grande Safae es una interpretación libre de un personaje conocido como la gran Safae. Travestido, pasa parte de su vida como empleada en un casa, en la que convivió con los rumores y leyendas sobre su género.

    Le Park propone una lenta deambulación en un parque de atracciones abandonado en el centro de Casablanca (Marruecos). La película presenta el retrato de jóvenes que frecuentan este lugar y crea una puesta en escena de momentos de sus vidas en él, minuciosamente compuesta y muchas veces inspirada de imágenes encontradas en redes sociales.

    En Stand-by Office se presenta a un grupo de personas en un edificio administrativo. Podemos observar que una serie de gestos rutinarios se suceden: la persona en recepción atiende y responde a llamadas, otra organiza documentos y ficheros, un grupo se prepara para una reunión… Poco a poco, situaciones inesperadas acaecen, llevando al espectador a un lugar insospechado.

    Jugando con la percepción del espectador, con sutileza y siempre en el límite entre la ficción y la realidad, a través de estas películas, Maroufi abre en canal un discurso sobre la juventud, el género y la inmigración, temas y cuestionamientos contemporáneos, extrapolables a la cotidianidad tanto en el Maghreb como en muchos de los países europeos.

    La residencia de Nouha Ben Yebdri es una colaboración con Aria Projects.

    * Auditorio de la Fundació Antoni Tàpies
    Carrer d’Aragó 255 – 08007, Barcelona

  • Fenómenos de la ausencia

    David Ortiz Juan, Elida Høeg, Rosanna del Solar y Hugo Hemmi

    curated by BAR project

    29 de junio – 22 de julio
    jueves 28 de junio
    Centre d’Art Contemporani de Barcelona-Fabra i Coats*

    “Un organismo no es el entorno que representa. Los que estamos vivos estamos en deuda con nuestros antepasados que están muertos y que no están aquí. Hacemos cosas que sabemos en virtud de metas futuras que no están presentes. Todo este tipo de fenómenos de la ausencia es muy importante.” – Eduardo Kohn

    Fenómenos de la ausencia revela cuatro metodologías –desde la arqueología hasta el periodismo, la curaduría o lo artístico– de acercarse a la carente realidad: la que constata la corporalidad del cuerpo ausente. A partir de fuentes orales, visuales y datos sobre los ancestros, de nuestros propios vecinos o de la sociedad en general, las obras y dispositivos ponen de relieve un análisis tanto físico como cognitivo y organizacional.

    David Ortiz Juan trabaja sobre la idea del fantasma como figura social en relación con la historia de España y los desaparecidos durante la Guerra Civil; Elida Høeg incide en cuestiones que tienen que ver con la pérdida de privilegios en el espacio público de las ciudades, con especial enfoque en los sonidos y el ruido; Hugo Hemmi vuelve a sus orígenes para entrevistar a su abuela, una hija de emigrados españoles a Francia, y tratar de conocer más de una historia casi siempre escondida y poco revelada; y Rosanna del Solar propone un ensayo sobre la importancia de documentar historias, en este caso poniendo en relación el contexto soviético con el contexto peruano, buscando similitudes y diferencias en la construcción histórica de ambos países en relación con el paso de la dictadura a la democracia.

    Este ensayo expositivo presenta los proyectos que David Ortiz Juan, Elida Høeg, Rosanna del Solar y Hugo Hemmi han desarrollado a lo largo del programa de formación práctica BAR TOOL #1.

    *c/ Sant Adrià, 20, 08030 Barcelona

  • Phenomena of Absence

    David Ortiz Juan, Elida Høeg, Rosanna del Solar y Hugo Hemmi

    curated by BAR project

    29 June to 22 July
    Opening Thursday 28 June

    “An organism is not the environment it represents. We who are alive are indebted to our ancestors who are dead and who are no longer here. We do things that we know, by virtue of future goals, are not present. All these sorts of phenomena of absence are very important.” — Eduardo Kohn.

    Phenomena of Absence reveals four anthropomorphic methodologies – from archaeology to journalism, curating and art – for approaching the unrealistic: that which verifies the corporeality of the absent body. Based on oral and visual sources and on data about ancestors, our own neighbours and society in general, the artworks and arrangements highlight a physical, cognitive and organizational analysis.

    David Ortiz Juan works on the idea of the phantom as a social figure in relation to the history of Spain and those who disappeared during the civil war; Elida Høeg focuses on issues that have to do with the loss of privileges in the public spaces of cities, with a special interest on sound and noise; Hugo Hemmi returns to his origins to interview his grandmother, a daughter of Spanish emigrants to France, and to try to learn more about a story almost always hidden and barely revealed; and Rosanna del Solar proposes an essay on the importance of documenting stories, in this case relating the Soviet context to the Peruvian context, looking for similarities and differences in the historical construction of both countries in relation to the transition from dictatorship to democracy.

    This exhibition study presents the projects that David Ortiz Juan, Elida Høeg, Rosanna del Solar and Hugo Hemmi have developed throughout the practical training programme BAR TOOL #1.

  • OPEN CALL BAR TOOL #2 2018-19

    Deadline for application: Friday, 20th of July, 2018

    Conceived by BAR project and developed in collaboration with Fundació Antoni Tàpies and Fabra i Coats – Creation Factory, Barcelona

    Dates: October 2nd, 2018 – June 30th, 2019

    BAR project launch the open call to participate in the second edition of the practice-based training program BAR TOOL#2, taking place in Barcelona from October 2nd, 2018 through June 30th, 2019.

    BAR TOOL#2 is a 9-month practice-based training program in which 10 fellows enrol. The program is addressed to participants from various fields of knowledge – art and non-art related practices. BAR TOOL#2 fellows will be followed up by mentors and tutors and provided with working space at Fabra i Coats and Tapies Foundation in order to facilitate and support their practices.

    The 2018-19 program consists of four primary steps:

    • Landing: During the first months, the fellows activities will focus on tutoring sessions, meetings with BAR project residents, and exploring the city through walks and visits to different projects, institutions and galleries.
    • Working with Barcelona: From November to March the program offers three weeks of intensive work open to other participants (BAR MODULE) that generate learning spaces through different themes and dynamics, bringing together local, national and international guests.
    • Public essay: during the whole year the fellows will have the possibility to “rehearse” on public presentation, showing their work at different moments, spaces and contexts.
    • Presentation: During May and June the participants will focus on the production and presentation of a final project.

    The mentors and the invited tutors will follow up on fellows’ activities during the whole program, as well as they will organize group meetings and reviews, tutorials, and studio visits. The program will explore a range of subjects this year, revolving around the interests and concerns of a number of invited artists, writers, activists, scholars, and curators. A public program, open to the participants but also the public at large, will consist of lectures, seminars, and workshops.

    BAR TOOL #0 + #1 past editions 2016-18 guests have been Carles Guerra, Angel Calvo Ulloa, Aimar Arriola, Aimar Pérez Galí, Jordi Ferreiro, Osías Yanov, Nuria Güell, Emily Pethick, Susan Gibb, Philippe Pirotte, Vivian Sky Rehberg, Inés Katzenstein, Summer Guthery, Helmut Batista, Daniel Blanga-Gubbay, Karima Boudou, Santiago Villanueva, Dorothée Dupuis, Alfredo Aracil, Eva Rowson, Leire Vergara, Gelen Jeleton, Erick Beltrán, Antoni Hervás, Equipo Palomar, Montserrat Rodríguez, Ignasi Aballí, Emma Haugh, Suza Husse, Oriol Vilanova, Valeria Graziano, Sofia Dourron, Pablo Martínez, Mario García Torres, Dora García. BAR project team tutors: Veronica Valentini, Andrea Rodriguez, Juan Canela.

    Check BAR TOOL #0 and #1 program and activities here

    BAR TOOL is a practice-based training program articulated around research, production and presentation processes. Deepening on cross-disciplinary thinking and acting, the program is addressed to participants from various fields of knowledge – art and non-art related practices. Over nine months a hosting environment is encouraged, in which the flow of knowledge will happen through conversation and action, within generational and epistemological convergence. The program focus on providing a context for an intensive professional exchange through practical discussions and theoretical workshops with local and international mentors and a tailor-made list of guests, visits and encounters according with participants interests.

    ADMISSION

    For this edition of BAR TOOL, ten fellows are selected by BAR project team through an open call for applications. Candidates are considered on merit, as well as the overall response of their applications within the mission and context of BAR TOOL. The admissions committee shortlists an initial group of candidates for Skype interviews on Tuesday 10 and Wednesday 11 July.

    ELIGIBILITY

    BAR TOOL #2 is open to participants from various fields of knowledge – art and non-art related practices, willing to deepening in knowledge and practice through visual arts. For those with no previous experience into arts, a draft for a project to be developed during the year, included in the motivation letter, would serve as a sample on how their approach to it could be pertinent enough.

    Successful applicants must:

    – Have completed an undergraduate degree or have equivalent experience.

    – Be available to commit full-time to BAR TOOL’s assigned schedule for the year, which means moving to Barcelona. Other engagements must be kept at an absolute minimum and should not interfere with the participant’s commitment to the program.

    Please note:

    – BAR TOOL is open to Spanish and international applicants.

    – Due to the international scope of BAR TOOL program, the working language is English.

    TUITION & FINANCIAL AID

    BAR TOOL scholar tuition is 2000€, to be paid upon arrival, which includes:

    – Mentoring and tutoring by local, national and international guests, together with the follow up of BAR project team.

    – Three intensive working weeks of workshops, lectures and presentations on subjects driven by relevant guest tutors.

    Moreover, every fellow admitted to the program is granted a scholarship that give the access to:

    – Working space at Fundació Antoni Tàpies and/or Fabra i Coats – Creation Factory IF NECESSARY and subject to conditions of regular use.

    – Technical equipment supported by Hangar.

    – Participation in different public presentations.

    – Production and presentation of a final project.

    Fellows are expected to cover travel, living, health insurance or visa costs and any other expenses non stated above, and are encouraged to secure sources of funding to support the latest.

    THREE GRANTS reducing tuition to 500€ will be given by BAR project, one of which for a BARCELONA BASED APPLICANT

    HOW TO APPLY

    Applications must me submitted in the same email, to the two following emails addresses: hello@barproject.net, coordination@barproject.net. It is mandatory to present the required documentation hereunder in single A4 format PDF file (max. 5 MB/10 pgs.):

    – a curriculum vitae and a short bio

    – a portfolio containing up to 5 examples of projects

    – a motivation letter (up to 500 words) explaining your interest in the program and including a draft for a project proposal

    SUBMISSION DEADLINE

    The deadline for submissions is midnight (GTM+1), Friday, the 20th of July, 2018. Applications received after this date will not be considered. You will not receive a confirmation email for your entry. Skype interviews will happen on July 23th, and acceptance to the program will be confirmed to the applicants via email by 25th July 2018 and the list of participants will be made public shortly after.

  • CONVOCATORIA BAR TOOL #2 2018-19

    Fecha límite: Viernes, 20 Julio, 2018

    Concebido por BAR project y desarrollado en colaboración con Fundació Antoni Tàpies y Fabra i Coats – Fábrica de Creación, Barcelona

    Fechas: 2 octubre 2018 – 30 junio 2019

    BAR project anuncia la convocatoria de participación en la segunda edición del programa de formación práctica BAR TOOL#2, que tendrá lugar en Barcelona del 2 de octubre de 2018 al 30 de junio de 2019.

    BAR TOOL#2 es un programa de formación práctica de 9 meses que cuenta con 10 participantes. El programa se dirige a personas de distintos ámbitos del conocimiento -relacionados o no con las prácticas artísticas. Los participantes de BAR TOOL#2 contarán con el seguimiento de mentores y tutores y se les proporcionará espacio de trabajo en Fabra i Coats y en la Fundació Tàpies con el fin de facilitar y apoyar su práctica.

    El programa 2018-19 consiste en cuatro momentos principales:

    • Aterrizaje: Los primeros meses se centrarán en tutorías, encuentros con los residentes de BAR project y la exploración de la ciudad a través de paseos y visitas a distintos proyectos, instituciones y galerías.
    • Trabajando con Barcelona: A partir de noviembre y hasta marzo, el programa ofrece tres semanas de trabajo intensivo (BAR MODULE) abierto a más participantes que generan espacios de aprendizaje a través de distintos temas y dinámicas, uniendo invitados locales, nacionales e internacionales.
    • Ensayo público: Durante todo el año los participantes tienen la posibilidad de explorar formatos de presentación pública mostrando su trabajo en distintos momentos, espacios y contextos.
    • Presentación: Durante mayo y junio los participantes se centrarán en la producción y presentación de un proyecto final.

    Los mentores y tutores invitados seguirán las actividades de los participantes durante todo el programa, así como organizaran encuentros de grupo, revisiones, tutorías y visitas de estudio. El programa explorará una gama de temas este año que girarán entorno a los intereses y preocupaciones de los artistas, escritores, activistas, investigadores y curadores invitados. Un programa público abierto a los participantes y al público general, consistirá en conferencias, seminarios, y talleres.

    Los invitados de BAR TOOL #0 + #1  2016-18 guests han sido Carles Guerra, Angel Calvo Ulloa, Aimar Arriola, Aimar Pérez Galí, Jordi Ferreiro, Osías Yanov, Nuria Güell, Emily Pethick, Susan Gibb, Philippe Pirotte, Vivian Sky Rehberg, Inés Katzenstein, Summer Guthery, Helmut Batista, Daniel Blanga-Gubbay, Karima Boudou, Santiago Villanueva, Dorothée Dupuis, Alfredo Aracil, Eva Rowson, Leire Vergara, Gelen Jeleton, Erick Beltrán, Antoni Hervás, Equipo Palomar, Montserrat Rodríguez, Ignasi Aballí, Emma Haugh, Suza Husse, Oriol Vilanova, Valeria Graziano, Sofia Dourron, Pablo Martínez, Mario García Torres, Dora García. tutores BAR project: Veronica Valentini, Andrea Rodriguez, Juan Canela.

    Consulta el programa y actividades de BAR TOOL #0 and #1 aquí

    BAR TOOL es un programa práctico articulado alrededor de la investigación, la producción y los procesos de presentación. Profundizando en pensamiento y actuación interdisciplinar, el programa se dirige a participantes de varios campos del conocimiento – con prácticas relacionadas con el arte o no. Durante nueve meses se fomentará un ambiente de hospitalidad, donde el flujo de conocimiento viene de la mano de la conversación y de la acción, en la convergencia generacional y epistemológica. El programa se centra en aportar contexto para un intenso intercambio profesional mediante debates prácticos y talleres teóricos con mentores locales e internacionales y con invitados, visitas y encuentros programados a medida según los intereses de los participantes.

    ADMISIÓN

    Para esta edición de BAR TOOL, diez participantes son seleccionados por el equipo de BAR project mediante una convocatoria abierta. Las candidaturas se estudian basándose en méritos, así como en la relevancia general de las aplicaciones respecto a la misión y el contexto de BAR TOOL. El comité de selección hace una preselección de candidatos, que podrán ser contactados para una entrevista Skype.

    ELIGIBILIDAD

    BAR TOOL #2 está abierto a participantes de distintos ámbitos del conocimiento – relacionados o no con las prácticas artísticas, dispuestos a profundizar en el conocimiento y la práctica a través de las artes visuales. Para aquellos sin experiencia previa en arte, un borrador de proyecto a desarrollar durante el año, incluído en la carta de motivación, servirá como muestra de la relevancia de su acercamiento al tema.

    Los participantes seleccionados deberán:

    • Tener un grado universitario – o experiencia equivalente.
    • Estar disponibles y comprometidos a tiempo completo para el programa anual BAR TOOL, lo cual significa instalarse en Barcelona. Las demás ocupaciones deberán reducirse al mínimo y no deberán interferir en su compromiso con el programa.

    A tener en cuenta:

    • BAR TOOL está abierto a candidatos españoles e internacionales.
    • Debido al alcance internacional del programa BAR TOOL, el idioma de trabajo es el Inglés.

    MATRÍCULA Y SUBVENCIÓN

    La matrícula del programa BAR TOOL es de 2.000€ – pago previo al inicio- e incluye:

    • Orientación y tutorización por parte de invitados locales, nacionales e internacionales junto al seguimiento del equipo de BAR project.
    • Tres semanas de trabajo intensivo con talleres, conferencias y presentaciones entorno a distintas temáticas propuestas por tutores invitados de renombre.

    Además, cada participante admitido al programa recibe una beca que le da acceso a:

    • Espacio de trabajo en la Fundació Antoni Tàpies y/o Fabra i Coats –  Fábrica de Creación SIEMPRE Y CUANDO SEA NECESARIO y sujeto a condiciones de un uso regular.
    • Equipamiento técnico por parte de Hangar.
    • Participación en diferentes presentaciones públicas.
    • Producción y presentación de un proyecto final.

    Los gastos de viaje, vida, seguro médico o visado y cualquier otro gasto no mencionado arriba estarán a cargo de los participantes, a quienes animamos a buscar otras fuentes de financiamiento para apoyar los esmentados gastos.

    TRES BECAS que reducen la matrícula del programa a 500€ serán generosamente ofrecidas por BAR project, una de ellas para un residente en Barcelona.

    COMO APLICAR
    Las aplicaciones deberán enviarse en UN único archivo PDF en formato A4 (máximo tamaño de 5MB) y en el mismo email, a las siguientes direcciones de correo: hello@barproject.net, coordination@barproject.net. Es obligatorio presentar la documentación requerida a continuación en UN único archivo PDF en formato A4 (máximo tamaño de 5MB):

    – un currículum vitae y una breve biografía
    – un portfolio con un máximo de 5 ejemplos de proyectos y/o trabajos de investigación
    – una carta de motivación (max. 500 palabras) explicando el interés por el programa e incluyendo un borrador de proposición de proyecto

    LIMITE DE PRESENTACIÓN
    La fecha límite para el envío de las aplicaciones es el viernes 20 de julio de 2018 a medianoche (GTM+1). Las aplicaciones recibidas después de esta fecha no serán consideradas. Se concertarán entrevistas por Skype el 23 de Julio, y la aceptación se confirmará a los solicitantes por email el 16 de julio 2018 y la lista de participantes admitidos se hará pública a la máxima brevedad.


    Para cualquier duda o asistencia, no dudes en contactarnos en: coordination@barproject.net

  • OPEN CALL BAR TOOL #2 2018-19

    Deadline for application: Saturday, 7th of July, 2018

    Conceived by BAR project and developed in collaboration with Fundació Antoni Tàpies and Fabra i Coats – Creation Factory, Barcelona

    Dates: October 2nd, 2018 – June 30th, 2019

    BAR project launch the open call to participate in the second edition of the practice-based training program BAR TOOL#2, taking place in Barcelona from October 2nd, 2018 through June 30th, 2019.

    BAR TOOL#2 is a 9-month practice-based training program in which 10 fellows enrol. The program is addressed to participants from various fields of knowledge – art and non-art related practices. BAR TOOL#2 fellows will be followed up by mentors and tutors and provided with working space at Fabra i Coats and Tapies Foundation in order to facilitate and support their practices.

    The 2018-19 program consists of four primary steps:

    • Landing: During the first months, the fellows activities will focus on tutoring sessions, meetings with BAR project residents, and exploring the city through walks and visits to different projects, institutions and galleries.
    • Working with Barcelona: From November to March the program offers three weeks of intensive work open to other participants (BAR MODULE) that generate learning spaces through different themes and dynamics, bringing together local, national and international guests.
    • Public essay: during the whole year the fellows will have the possibility to “rehearse” on public presentation, showing their work at different moments, spaces and contexts.
    • Presentation: During May and June the participants will focus on the production and presentation of a final project.

    The mentors and the invited tutors will follow up on fellows’ activities during the whole program, as well as they will organize group meetings and reviews, tutorials, and studio visits. The program will explore a range of subjects this year, revolving around the interests and concerns of a number of invited artists, writers, activists, scholars, and curators. A public program, open to the participants but also the public at large, will consist of lectures, seminars, and workshops.

    BAR TOOL #0 + #1 past editions 2016-18 guests have been Carles Guerra, Angel Calvo Ulloa, Aimar Arriola, Aimar Pérez Galí, Jordi Ferreiro, Osías Yanov, Nuria Güell, Emily Pethick, Susan Gibb, Philippe Pirotte, Vivian Sky Rehberg, Inés Katzenstein, Summer Guthery, Helmut Batista, Daniel Blanga-Gubbay, Karima Boudou, Santiago Villanueva, Dorothée Dupuis, Alfredo Aracil, Eva Rowson, Leire Vergara, Gelen Jeleton, Erick Beltrán, Antoni Hervás, Equipo Palomar, Montserrat Rodríguez, Ignasi Aballí, Emma Haugh, Suza Husse, Oriol Vilanova, Valeria Graziano, Sofia Dourron, Pablo Martínez, Mario García Torres, Dora García. BAR project team tutors: Veronica Valentini, Andrea Rodriguez, Juan Canela.

    Check BAR TOOL #0 and #1 program and activities here

    BAR TOOL is a practice-based training program articulated around research, production and presentation processes. Deepening on cross-disciplinary thinking and acting, the program is addressed to participants from various fields of knowledge – art and non-art related practices. Over nine months a hosting environment is encouraged, in which the flow of knowledge will happen through conversation and action, within generational and epistemological convergence. The program focus on providing a context for an intensive professional exchange through practical discussions and theoretical workshops with local and international mentors and a tailor-made list of guests, visits and encounters according with participants interests.

    ADMISSION

    For this edition of BAR TOOL, ten fellows are selected by BAR project team through an open call for applications. Candidates are considered on merit, as well as the overall response of their applications within the mission and context of BAR TOOL. The admissions committee shortlists an initial group of candidates for Skype interviews on Tuesday 10 and Wednesday 11 July.

    ELIGIBILITY

    BAR TOOL #2 is open to participants from various fields of knowledge – art and non-art related practices, willing to deepening in knowledge and practice through visual arts. For those with no previous experience into arts, a draft for a project to be developed during the year, included in the motivation letter, would serve as a sample on how their approach to it could be pertinent enough.

    Successful applicants must:

    – Have completed an undergraduate degree or have equivalent experience.

    – Be available to commit full-time to BAR TOOL’s assigned schedule for the year, which means moving to Barcelona. Other engagements must be kept at an absolute minimum and should not interfere with the participant’s commitment to the program.

    Please note:

    – BAR TOOL is open to Spanish and international applicants.

    – Due to the international scope of BAR TOOL program, the working language is English.

    TUITION & FINANCIAL AID

    BAR TOOL scholar tuition is 2000€, to be paid upon arrival, which includes:

    – Mentoring and tutoring by local, national and international guests, together with the follow up of BAR project team.

    – Three intensive working weeks of workshops, lectures and presentations on subjects driven by relevant guest tutors.

    Moreover, every fellow admitted to the program is granted a scholarship that give the access to:

    – Working space at Fundació Antoni Tàpies and/or Fabra i Coats – Creation Factory IF NECESSARY and subject to conditions of regular use.

    – Technical equipment supported by Hangar.

    – Participation in different public presentations.

    – Production and presentation of a final project.

    Fellows are expected to cover travel, living, health insurance or visa costs and any other expenses non stated above, and are encouraged to secure sources of funding to support the latest.

    THREE GRANTS reducing tuition to 500€ will be given by BAR project, one of which for a BARCELONA BASED APPLICANT

    HOW TO APPLY

    Applications must me submitted in the same email, to the two following emails addresses: hello@barproject.net, coordination@barproject.net. It is mandatory to present the required documentation hereunder in single A4 format PDF file (max. 5 MB/10 pgs.):

    – a curriculum vitae and a short bio

    – a portfolio containing up to 5 examples of projects

    – a motivation letter (up to 500 words) explaining your interest in the program and including a draft for a project proposal

    SUBMISSION DEADLINE

    The deadline for submissions is midnight (GTM+1), Sunday, the 7th of July, 2018. Applications received after this date will not be considered. You will not receive a confirmation email for your entry. Acceptance to the program will be confirmed to the applicants via email by 13th July 2018 and the list of participants will be made public shortly after.

  • Ericka Florez: Distribución de fuerzas en el espacio

    Conferencia y fiesta.

    Viernes 19 de mayo / Bar Rufián: Nou de la Rambla 123 / Puertas abiertas desde las 20:00 / Conferencia: 21:30 -22:30 / Fiesta: 22:30 – 3:00

    Se trata de ver las fuerzas en acción a través de diferentes registros: qué pasa durante la traducción entre palabra, imagen, ritmo, movimiento. Se trata de observar si este ejercicio nos permite pensar relaciones no binarias entre fragilidad y poder. Según el artista Erick Beltrán una imagen se crea a partir de la distribución de fuerzas en el espacio y por eso es ideológica. Y podríamos añadir: por eso es coreográfica. En esta conferencia muestro una o dos ideas que se formularon al analizar cuerpos en movimiento, y dos o tres ideas que surgieron de la pista de baile y con las que construí el proyecto Hegelian Dancers, una conferencia bailable que se ha convertido en una manera de pensar la curaduría: la relación entre el cuerpo y las ideas. Durante la conferencia muestro también uno o dos ejemplos de cómo intento afectar al cuerpo en los proyectos curatoriales que he desarrollado, con el fin de tratar de generar otras vías de acceso a las ideas, otros mecanismos cognitivos.

    Durante mi residencia en BAR project entrevisté al baterista Uriel Barthélémi, para ver si, en términos de ritmo y sonido, es más fácil distinguir la diferencia entre lo binario y lo no binario y lo que cada uno estos tipos de sonidos pueden producir en el cuerpo. También traté de pensar los materiales que utilizo para Hegelian Dancers con los bailarines Mar Medina y Aimar Pérez Galí y con el artista Erick Beltrán. Se trata de una pequeña colección de microhistorias en las que no se distingue muy bien quién es el fuerte y quién es el débil. A ellos les pedí que me ayudaran a identificar los vectores de fuerzas presentes en los relatos para tratar de crear diagramas y movimientos que expliciten la relación de esas fuerzas entre si: entre fuertes-débiles y débiles-fuertes.

    La fiesta iniciará con Erick Beltrán al mando y su selección de cumbias rebajadas. Y a partir de ahí, veremos.

     

  • Ericka Florez: Distributions of Forces Through the Space

    Lecture and party

    Friday, May 18 / Bar Rufián: Nou de la Rambla 123 / Doors open 10 pm / Lecture: 9:30 -10:30 pm / Party: 10:30pm – 3:00am

    It is about seeing forces in action through different registers: what happens during the translation between word, image, rhythm and movement. It is about observing if this exercise allows us to think about non-binary relationships between fragility and power. According to artist Erick Beltrán, an image is created from the distribution of forces through a given space and that is why an image is an ideological device. And we could add: that is why it is choreographic. In this conference I show one or two ideas that were formulated when analyzing bodies in movement, and two or three ideas that emerged from the dance floor and with which I built Hegelian Dancers, a danceable lecture that has become for me a way of thinking about curating: the relationship between the body and ideas. During the conference I show also one or two examples of how I try to affect the body and how the body is present in some curatorial projects that I have developed in order to try to generate other sensitive/cognitive mechanisms.

    During my residency at BAR project I interviewed drummer Uriel Barthélémi to perceive if through sensory terms the difference between binary and non-binary rythms, and how this different sounds can affect the body. I also discussed the materials I usually use for Hegelian Dancers with dancers Mar Medina and Aimar Pérez Galí and with artist Erick Beltrán. It is a small collection of stories in which one does not distinguish very well which character is the strong one and which is the weak one. I asked them to help me identify the vectors of forces present in the stories in order to create diagrams and movements that explain the relationship between a strong-weak and a weak-strong body or force.

    The party will begin with Erick Beltrán and his selection of cumbias reduced. And then, let´s see.

     

  • BAR MODULE 2018


    The Many Headed Hydra, workshop de Emma Haugh & Suza Husse, BAR module 2016

    BAR module es una semana intensiva de trabajo en la ciudad de Barcelona que busca generar espacios de aprendizaje a través de diferentes temáticas y dinámicas. Como parte de BAR TOOL#1 Training Program, los BAR module se abrirán a un público más amplio (investigadores, estudiantes, curadores, artistas, educadores, etc):

    BAR module 5-9 de Febrero: el programa contará con los seminarios de Emily Pethick (directora de The Showroom, Londres) y Susan Gibb (curadora de If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam) sobre la forma procesual y performativa de desarrollar las instituciones que dirigen; un taller sobre ética y legalidad impartido por Nuria Güell (artista, Barcelona); y el imperdible My studio visit. The city as studio con Aimar Pérez Galí (bailarín, artista e investigador, Barcelona).

    BAR module 9-13 de Abril: el programa contará con los seminarios de Philippe Pirotte (director de la escuela de Bellas Artes Städelschule y del espacio de exposición Portikus, Frankfurt) y Vivian Sky Rehberg (directora del Master de Bellas Artes del Piet Zwart Institute, Roterdam), sobre arte y activismo desarrollado en la Bienal de Jakarta y la práctica especulativa de la escritura respectivamente; un taller sobre la experiencia fenomenológica en el arte impartido por Daniel Steegmann Mangrané (artista, Río de Janeiro); y el imperdible My studio visit. The city as studio con Jordi Ferreiro (artista y educador, Barcelona).

    SOLICITUDES:
    Deberán enviarse a hello@barproject.net y a coordination@barproject.net en un solo mail y en un solo archivo PDF (máx 2MB) incluyendo:
    curriculum vitae
    biografía corta
    carta de motivación (hasta 500 palabras)
    Se requiere buen conocimiento de inglés

    FECHAS LIMITE DE INSCRIPCIÓN:
    BAR module 5-9 de Febrero: 25 de Enero, 2pm (GMT+1)
    BAR module 9-13 de Abril: 18 de Marzo, 2pm (GMT+1)

    PRECIOS:
    Precio de cada BAR module: 300€
    Precio de ambos BAR module para inscripciones hasta el 18 de enero: 500€

    BECAS:
    BAR project oferta una beca propia que cubre la inscripción de un participante nacional o internacional a cada uno de los BAR module, y una beca cubierta con el soporte de Fabra i Coats-Fábrica de Creación que cubre la inscripción de un participante basado en Barcelona a cada uno de los BAR module. Las 4 becas se asignarán según necesidad y mérito; los solicitantes de las becas deberán especificarlo en la aplicación.

    INVITADOS:

    Emily Pethick es directora de The Showroom, Londres, desde 2008. Imparte el programa Curating Positions en el Dutch Art Institute y es miembro del jurado Turner Prize 2017.

    Susan Gibb es curadora de If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam, desde 2013. Susan escribe regularmente en revistas de arte y enseña en el Dutch Art Institute y en School of New Dance Development, Amsterdam.

    Nuria Guell es artista. Parte de su trabajo flirtea con los poderes establecidos, con tácticas que se diluyen en su propia vida y que desarrolla en contextos específicos que intentan cuestionar identificaciones que se toman como asumidas y causar alteraciones en las relaciones de poder.

    Aimar Pérez Galí desarrolla su práctica artística en el campo de la danza y las artes escénicas como bailarín, coreógrafo, investigador, pedagogo y escritor, partiendo siempre del cuerpo como lugar de referencia, entendiendo la danza como una herramienta para la transformación crítica.

    Philippe Pirotte es director de la escuela de arte Frankfurt’s Städelschule y de su galería Portikus. Recientemente ha sido curador de la Bienal de Jakarta 2017 y de la Bienal de Montreal 2016.

    Vivian Sky Rehberg es directora del curso en el Master de Bellas Artes del Piet Zwart Institute en Rotterdam, Holanda, y editora de la revista frieze.

    Daniel Steegmann Mangrané es un artista de Barcelona basado en Rio de Janeiro. Su práctica abarca varios medios y oscila entre experimentaciones sutiles, poéticas y brutas que cuestionan la relación entre el mundo y el lenguaje.

    Jordi Ferreiro es un artista y educador. Su trabajo explora los procesos de recepción e interpretación de las obras de arte, tanto en el contexto educativo como artístico, a través del uso del rendimiento y la participación pública.

    CONTRIBUCIONES

    Emily Pethick presentará The Showroom, un espacio de arte contemporáneo en Londres que se enfoca en enfoques colaborativos y basados en procesos, así como en producción cultural dentro y fuera de su localidad, vinculando la práctica artística experimental con una variedad de comunidades de interés y preocupaciones políticas.

    Susan Gibb compartirá la práctica de If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, una productora curatorial con sede en Amsterdam que explora la evolución y la tipología del rendimiento y la performatividad en el arte contemporáneo . If I Can not Dance desarrolla y produce proyectos y programas temáticos con artistas, curadores e investigadores sobre la base de la colaboración a largo plazo, y los presenta a través de una red de instituciones asociadas y lugares en los Países Bajos y en el extranjero. A través de este modo de trabajo, los proyectos se desarrollan a través de su propia representación, en cada evento y en cada ubicación, a lo largo del tiempo. A partir de ejemplos de comisiones de If I Can not Dance, la charla considerará lo que significa curar a través de la producción, y considerar la “viveza” desde la perspectiva de la “actualidad”.

    Con Good intentions are not enough Nuria Guell analizará de forma crítica algunos proyectos artísticos de corte político que Nuria ha realizado durante los últimos años, abordando tanto las contradicciones inherentes de estas prácticas como sus posibilidades de incidencia y afectación en lo real; dedicando especial atención a las cuestiones éticas -no morales-, y a la delgada línea que separa la ética de las consecuencias de la ética de las intenciones.

    Philippe Pirotte expondrá la Bienal de Jakarta en el contexto de la dilatada historia del arte y del activismo en Indonesia.

    Vivian Sky Rehberg desarrollará el seminario One Must be an Owl as Regards Experience que lidiará con las teorías de la creatividad y la experiencia que surgen de los escritos de Marion Milner (1900-1988) y fomentará la especulación sobre su posible valor para pensar y escribir sobre arte contemporáneo. En el curso de su larga vida, la autora y psicoanalista británica Marion Milner, que publicó su libro A Life of One’s Own (1934) bajo el seudónimo Joanna Field, utilizó la forma del diario par desarrollar una forma particular de análisis introspectivo de sus actividades, ideas, observaciones, pensamiento e interacciones diarias. Su prosa, a la vez profundamente personal y clínicamente desapasionada, se aferra a sus procesos de pensamiento, una mezcla de ideas de libre asociación y perspicacia, casi objetivas, influenciadas por su formación en psicología.

    En su workshop Daniel Steegmann Mangrané investigará cómo el arte puede reconfigurar nuestra relación con la realidad: Desde el entrelazamiento entre espectador y obra, la importancia de la experiencia fenomenológica, el colapso de divisiones binarias y la reformulación ontológica a que este obliga, la emergencia de nuevas subjetividades o la crisis ecológica que vivimos y las interdependencias que está revelando; propondrá el análisis de algunas de las diversas posibilidades de implicación que se nos abren. Siempre recordando que lo importante no es lo que pasa dentro del museo, sino lo que nos pasa cuando nos enfrentamos de nuevo a la realidad.

     

  • BAR MODULE 2018


    The Many Headed Hydra, workshop by Emma Haugh & Suza Husse (BAR module 2017)

    BAR module is an intensive working week in the city of Barcelona which aim to create learning opportunities from different topics and dynamics. As part of BAR TOOL#1, the BAR module sessions will be opened to a larger public (researchers, students, curators, artists, educators, etc):.

    BAR module February 5th-9th: The program will consist in seminars by Emily Pethick (The Showroom director, London) and Susan Gibb (curator of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam) on the processual and performative development of the institutions the direct; as well as a workshop on ethics and legality held by Nuria Güell (artist, Barcelona); and the unmissable My studio visit. The city as studio with Aimar Pérez Galí (dancer, artist and researcher, Barcelona).

    BAR module April 9th-13th: The program will consist in seminars by Philippe Pirotte (director of Fine Arts School Städelschule and of the exhibition space Portikus, Frankfurt) and Vivian Sky Rehberg (director of the Fine Arts Master at Piet Zwart Institute, Rotterdam), respectively on art and activism at the Jakarta Biennale and speculative writing; as well as a workshop on the phenomenological experience in arts held by Daniel Steegmann Mangrané (artist, Río de Janeiro); and the unmissable My studio visit. The city as studio with Jordi Ferreiro (artist and educator, Barcelona).

    APPLICATIONS:
    They must be sent to hello@barproject.net and coordination@barproject.net in a single email and single PDF document (max 2MB) including:
    curriculum vitae
    Short bio
    Motivation letter (up to 500 words)
    Working knowledge of English is required

    DEADLINE FOR REGISTRATION:
    BAR module February 5th-9th: January 25th, 2pm (GMT+1)
    BAR module April 9th-13th: 18 de Marzo, 2pm (GMT+1)

    PRICES:
    Price of each BAR module: 300€
    Price of both BAR module for registration until January 18th: 500€

    GRANTS:
    BAR project offers a grant covering registration for a national or international participant for each of the BAR module, and a grant offered by Fabra i Coats Art Factory covering the registration for a participant based in Barcelona for each of the BAR module. The 4 grants will be awarded based on need and merit; the candidate must specify it on the application.

    GUESTS:

    Emily Pethick is director of The Showroom, London, since 2008. She’s teaching the programme Curating Positions at the Dutch Art Institute and is a jury member for the 2017 Turner Prize.

    Susan Gibb is curator at If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, Amsterdam, since 2013. Susan also writes regularly for art periodicals and teaches at the Dutch Art Institute as well as at the School of New Dance Development, Amsterdam.

    Nuria Guell is an artist. Some of her work flirt with the established powers, which tactics diluted into her own life and which are developed in specific contexts intending to question commonly-assumed identifications and cause a disruption in power relations.

    Aimar Pérez Galí develops his artistic practice in the dance and performing arts field as a dancer, choreographer, researcher, pedagogue and writer, always departing from the body as a reference place, understanding dance as a tool for critical transformation.

    Philippe Pirotte is director of Frankfurt’s Städelschule art school and its gallery Portikus. Recently, he was curator of the 2017 Jakarta Biennale and the 2016 Montréal Biennale.

    Vivian Sky Rehberg is Course Director of the Master of Fine Arts at the Piet Zwart Institute in Rotterdam, the Netherlands, and a contributing editor of frieze magazine.

    Daniel Steegmann Mangrané is an artist from Barcelona based in Rio de Janeiro. His practice covers various media and oscillates between subtle, poetic, and crude experimentations that question the relationship between the world and language.

    Jordi Ferreiro is an artist and educator. His work explores the processes of reception and interpretation of artworks – in both the educational and artistic contexts – via the use of performance and public participation.

    CONTRIBUTIONS

    Emily Pethick will present The Showroom, a contemporary art space in London that focuses on collaborative and process-based approaches, as well as on cultural production inside and outside its locality, linking experimental artistic practice with a variety of communities of interest and political concerns.

    Susan Gibb will introduce the work of If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution, a curatorial production house based in Amsterdam, The Netherlands, which explores the evolution and typology of performance and performativity in contemporary art. If I Can’t Dance develops and produces projects and thematic programmes with artists, curators, and researchers on the basis of long-term collaboration, and present these through a network of partner institutions and venues in the Netherlands and abroad. Through this mode of working, projects are developed through their very enactment, at each event, and each location, over time. Drawing on examples of If I Can’t Dance commissions, the talk will consider what it means to curate via production, and to consider ‘liveness’ from the perspective of ‘presentness’.

    With  Good intentions are not enough Nuria Guell will critically analyze some of the political projects that Nuria Güell has carried out over the last few years, addressing both the inherent contradictions of these practices and their possibilities of impacting and affecting the real; devoting special attention to ethical issues -not moral- and to the thin line that separates ethics of consequences from ethics of intentions.

    Philippe Pirotte will discuss Jakarta Biennale within the context of a long related history of art and activism in Indonesia.

    One Must be an Owl as Regards Experience by Vivian Sky Rehberg will be a seminar grapple with the theories of creativity and experience that emerge from Marion Milner (1900-1988) writings and encourage speculation around their possible value for thinking about and writing about contemporary art. Over the course of her long life, British author and psychoanalyst , who published her best known book A Life of One’s Own (1934) under the pseudonym Joanna Field, used the diary form to develop a singular method of introspective analysis of her daily activities, occurrences, observations, thoughts, and interactions. Her prose, at once deeply personal and clinically dispassionate, is cleaved to her thinking processes, a mixture of free-association and keen, quasi-objective insights influenced by her psychological training.

    In his workshop Daniel Steegmann Mangrané will investigate how art can reconfigure our relationship with reality. From the intertwining between viewer and work, the importance of the phenomenological experience, the collapse of binary divisions and the ontological reformulation that this implies, the emergence of new subjectivities or the ecological crisis that we live and the interdependencies that are revealing, he will propose to analyze some of the different possibilities of involvement that are open to us. Always remembering that the important thing is not what happens inside the museum, but what happens to us when we face reality again.

  • Eva Rowson. How to imagine una musea?

    Un programa pública experimental que intenta imaginar el museo desde una practica transfeminista

    ‘Cómo imaginar una musea?’ takes place en several momentos during November 2017 in espacios diferentes across Barcelona siguiendo una logica anti-institucional. Este proyecto quiere imaginar una institución museística como una institución femenina, basada en multiple ejes: hospitality, work, collaboration, embodied knowledges, practice, economics, and administration. Esta posibilidad de ficción will help us to feel and think different ways to work and move in cultural institutions. We will imagine a nuevo institucional and how she, la musea, operates, cares, moves, sounds, opens…La musea abre solo cuando sus habitantes pueden visitarla, está absolutamente enmarañada, intrincada con la vida de sus visitantes. She adjusts to our movements and our lives. The programme of la museatakes place in several espacios diferentes, porque musees un museo entendido como un programa público y no como un espacio físico. She moves to where we need her to be. She has a structure but she doesn’t bend to expectation. She invites you all.


    La musea: How does she keep it going

    Sunday, November 12th 11a.m – 2:00 p.m, Espai nyamnyam

    Co-hosted by Eva Rowson, nyamnyam and Priscila Clementti
    An introduction to fermentación and ‘The Second Seasonal Political Palette’, un libro de cocina and document of the Bloodroot Collective, a self-sustaining feminist restaurant (1970-present, USA). Te invitamos to ferment, cook, and read with us para compartir prácticas y estrategias for keeping the collectivity, energies and economics in our work going. With thanks to Andrea Francke and Kim Dhillon, and to Bloodroot Collective, for sharing ‘The Second Seasonal Political Palette’.

    La musea: How does she sound and feel and move?
    Thursday, November 23rd 6.30p.m – 9.00 p.m, Fundació Antoni Tàpies

    Co-hosted by Ariadna Guiteras, Eva Rowson, Jordi Ferreiro, nyamnyam, Priscila Clementti and Sonia Fernández Pan
    “You have one room in your house exclusively owned by men. The room is your own: How are you going to furnish it? How are you going to decorate it? With whom are you going to share it and upon what terms?” – Virginia Woolf, ‘Professions for Women’ (1931), quoted in Céline Condorelli, ‘The Company She Keeps’ (2014)Gathering references from Céline Condorelli, Virginia Woolf, Ursula K. Le Guin, astrology, and fermentations from la musea’s previous event, we invite you to join us to re-arrange and set the terms – and the furniture – of the museum in a collective imagining of la musea, inside il museo.


    La musea: She said ‘in a cloud of cigarette smoke, the workers are talking about love’

    Tuesday, November 28th 8:00 p.m- 11:00 p.m, Carrer del pou de la figuera 16 baixos, Barcelona

    Co-hosted by Adrian Schindler, Caterina Almirall, Eulàlia Rovira, Eva Rowson, Gianmaria Andreetta and Yvonne Carmichael
    In this space, which is still forming, we’ll discuss the structures we have the possibility to build, the hospitality we want to practice – and how to shake an espresso martini. The evening begins with a screening of ‘School Without End’ by Adriana Monti (1983), which documents the ‘150 Hours Courses’ – an educational experiment in Italy in the 1970s. The courses were not intended to improve productivity at work, but to allow for personal and collective growth. For the women attending, the course also provided an important ‘room of their own’ in which to share their experiences with work, emigration and discrimination. The film is shown with permission from Cinenova, a non-profit organisation dedicated to distributing feminist films and videos: www.cinenova.org. It is in Italian, with English subtitles

    This public programme will be mostly led in English, but we will help each other to translate and shift between English and Spanish. Events are open to everyone but places are limited so it’s important to let us know you are coming. To join in one or all of the events, please enviar un email to Eva: eva.rowson@googlemail.com

    Esta programme is organizada by BAR resident Eva Rowson, developed through exchanges with BAR project during her residency September – November 2017 and within BAR project’s philosophy and curatorial practice of using hospitality as its working method. It is written in ‘Spanglish’ as it has been developed in conversation and collaboration with Adrian Schindler, Ariadna Guiteras, Ariadna Rodriguez, Caterina Almirall, Eulàlia Rovira, Jordi Ferreiro, Priscila Clementti, Simon Asencio, and Sonia Fernández Pan. It is shaped through Eva’s encounters with many others who have swapped books, shared texts and recipes, opened their homes, cooked, been cooked for, listened, talked and danced during her past 3 months in Barcelona: Alba Vilamala, Anna Irina Russell, Adriano Wilfert Jensen, Ainara Elgoibar, Andrea Francke, Andrea Rodriguez Novoa, Ángela Palacios, Ania Nowak, Anna Pahissa, Anne Szefer Karlsen, Antoni Hervàs, Beatriz Cavia Pardo, Bethany Rowson, Pippa Rowson, Claudia Pagès Rabal, Danielle Burrows, David Ortiz Juan, Elida Hoeg, Gianmaria Andreetta, Holly Willats, Hugo Hemmi, Iñaki Alvarez, Isabel de Naverán, Jonathan Hoskins, Juan Canela, Lara Garcia Diaz, Leire Vergara, Linda Valdés, Louise Shelley, Lucy Joyce, Luke Drozd, Marc Navarro, Maria Acaso, Marlene Bonnesen, Michael Lawton, Miren Jaio, Núria Solé Bardalet, Quim Packard, Quim Pujol, Rosanna del Solar, Ross Jardine, Sara Agudo, Sinéad Spelman, Susannah Worth, Usue Arrieta, Veronica Valentini, William Luz, Yvonne Carmichael.

    As a producer and coordinator Eva Rowson ha organizado muchas actividades in institutions, pero como artista tiene una necesidad for nuevos imaginarios and posibildades de actuación related to practices of collaborative projects including FOOD (New York, 1971-74), AptArt (Russia, 1982-84) and her own experience of running parties, bars, club nights, gigs, and a project space inside her living room. The BAR project residency le permite de experimentar con lo formatos, and the contexto de Barcelona, relacionado con la situación politica que esta suciendo ahora mismo where friendship, hospitality and conversation son tan importantes. La estructura de esta institución es como preparar la mesa, Eva sets the table and invites you all, to open doors to serendipias, relationships, and ways to work together.

    Eva would also like to thank The Showroom, London, for making it possible for her to be here.

  • Eva Rowson. How to imagine una musea?

    Un programa pública experimental que intenta imaginar el museo desde una practica transfeminista

    ‘Cómo imaginar una musea?’ takes place en several momentos during November 2017 in espacios diferentes across Barcelona siguiendo una logica anti-institucional. Este proyecto quiere imaginar una institución museística como una institución femenina, basada en multiple ejes: hospitality, work, collaboration, embodied knowledges, practice, economics, and administration. Esta posibilidad de ficción will help us to feel and think different ways to work and move in cultural institutions. We will imagine a nuevo institucional and how she, la musea, operates, cares, moves, sounds, opens…La musea abre solo cuando sus habitantes pueden visitarla, está absolutamente enmarañada, intrincada con la vida de sus visitantes. She adjusts to our movements and our lives. The programme of la museatakes place in several espacios diferentes, porque musees un museo entendido como un programa público y no como un espacio físico. She moves to where we need her to be. She has a structure but she doesn’t bend to expectation. She invites you all.

    La musea: How does she keep it going
    Domingo 12 noviembre 11.00 – 14.00h, Espai nyamnyam

    Co-hosted by Eva Rowson, nyamnyam and Priscila Clementti
    An introduction to fermentación and ‘The Second Seasonal Political Palette’, un libro de cocina and document of the Bloodroot Collective, a self-sustaining feminist restaurant (1970-present, USA). Te invitamos to ferment, cook, and read with us para compartir prácticas y estrategias for keeping the collectivity, energies and economics in our work going. With thanks to Andrea Francke and Kim Dhillon, and to Bloodroot Collective, for sharing ‘The Second Seasonal Political Palette’.

    La musea: How does she sound and feel and move?
    Jueves 23 noviembre 18.30 – 21.00h, Fundació Antoni Tàpies
    Co-hosted by Ariadna Guiteras, Eva Rowson, Jordi Ferreiro, nyamnyam, Priscila Clementti and Sonia Fernández Pan
    “You have one room in your house exclusively owned by men. The room is your own: How are you going to furnish it? How are you going to decorate it? With whom are you going to share it and upon what terms?” – Virginia Woolf, ‘Professions for Women’ (1931), quoted in Céline Condorelli, ‘The Company She Keeps’ (2014)Gathering references from Céline Condorelli, Virginia Woolf, Ursula K. Le Guin, astrology, and fermentations from la musea’s previous event, we invite you to join us to re-arrange and set the terms – and the furniture – of the museum in a collective imagining of la musea, inside il museo.

    La musea: She said ‘in a cloud of cigarette smoke, the workers are talking about love’
    Martes 28 noviembre 20.00 – 23.00h, Carrer del pou de la figuera 16 baixos, Barcelona

    Co-hosted by Adrian Schindler, Caterina Almirall, Eulàlia Rovira, Eva Rowson, Gianmaria Andreetta and Yvonne Carmichael
    In this space, which is still forming, we’ll discuss the structures we have the possibility to build, the hospitality we want to practice – and how to shake an espresso martini. The evening begins with a screening of ‘School Without End’ by Adriana Monti (1983), which documents the ‘150 Hours Courses’ – an educational experiment in Italy in the 1970s. The courses were not intended to improve productivity at work, but to allow for personal and collective growth. For the women attending, the course also provided an important ‘room of their own’ in which to share their experiences with work, emigration and discrimination. The film is shown with permission from Cinenova, a non-profit organisation dedicated to distributing feminist films and videos: www.cinenova.org. It is in Italian, with English subtitles

    This public programme will be mostly led in English, but we will help each other to translate and shift between English and Spanish. Events are open to everyone but places are limited so it’s important to let us know you are coming. To join in one or all of the events, please enviar un email to Eva: eva.rowson@googlemail.com

    Esta programme is organizada by BAR resident Eva Rowson, developed through exchanges with BAR project during her residency September – November 2017 and within BAR project’s philosophy and curatorial practice of using hospitality as its working method. It is written in ‘Spanglish’ as it has been developed in conversation and collaboration with Adrian Schindler, Ariadna Guiteras, Ariadna Rodriguez, Caterina Almirall, Eulàlia Rovira, Jordi Ferreiro, Priscila Clementti, Simon Asencio, and Sonia Fernández Pan. It is shaped through Eva’s encounters with many others who have swapped books, shared texts and recipes, opened their homes, cooked, been cooked for, listened, talked and danced during her past 3 months in Barcelona: Alba Vilamala, Anna Irina Russell, Adriano Wilfert Jensen, Ainara Elgoibar, Andrea Francke, Andrea Rodriguez Novoa, Ángela Palacios, Ania Nowak, Anna Pahissa, Anne Szefer Karlsen, Antoni Hervàs, Beatriz Cavia Pardo, Bethany Rowson, Pippa Rowson, Claudia Pagès Rabal, Danielle Burrows, David Ortiz Juan, Elida Hoeg, Gianmaria Andreetta, Holly Willats, Hugo Hemmi, Iñaki Alvarez, Isabel de Naverán, Jonathan Hoskins, Juan Canela, Lara Garcia Diaz, Leire Vergara, Linda Valdés, Louise Shelley, Lucy Joyce, Luke Drozd, Marc Navarro, Maria Acaso, Marlene Bonnesen, Michael Lawton, Miren Jaio, Núria Solé Bardalet, Quim Packard, Quim Pujol, Rosanna del Solar, Ross Jardine, Sara Agudo, Sinéad Spelman, Susannah Worth, Usue Arrieta, Veronica Valentini, William Luz, Yvonne Carmichael.

    Eva would also like to thank The Showroom, London, for making it possible for her to be here.

    As a producer and coordinator Eva Rowson ha organizado muchas actividades in institutions, pero como artista tiene una necesidad for nuevos imaginarios and posibildades de actuación related to practices of collaborative projects including FOOD (New York, 1971-74), AptArt (Russia, 1982-84) and her own experience of running parties, bars, club nights, gigs, and a project space inside her living room. The BAR project residency le permite de experimentar con lo formatos, and the contexto de Barcelona, relacionado con la situación politica que esta suciendo ahora mismo where friendship, hospitality and conversation son tan importantes. La estructura de esta institución es como preparar la mesa, Eva sets the table and invites you all, to open doors to serendipias, relationships, and ways to work together.

  • OPEN BAR

    Miércoles 13 de septiembre, 19-21h Calle València 72, 4º-3ª, Barcelona

    Los nuevos residentes de BAR Simon Asencio y Eva Rowson os invitan a inaugurar The Bar.

    The Bar abrirá sus puertas con cócteles, presentaciones por parte de los amfitriones y encuentros líquidos a determinar con los huéspedes.

    Eva Rowson (1985, Reino Unido) organizadora, productora y curadora. Su trabajo se organiza en torno a preguntas sobre cómo trabajamos juntos, cómo nos acogemos unos a otros y cómo construimos organizaciones. Fue artista asociada en el año piloto de Open School East y ha trabajado en colectivos de arte como Black Dogs, Bare Plume, Wish you had here y The Caged Antelope, ha producido proyectos en grandes y pequeñas organizaciones como Art Licks, Matt’s Gallery, PEER, Tate y la Asamblea de Bergen de 2016 (Noruega). Ha dirigido el espacio 38b del salón desde 2010 con Luke Drozd y actualmente es Coordinadora del Programa en The Showroom, Londres.

    Simon Asencio (1988, Francia) es licenciado en Escultura por la HEAR-Haute École des Arts du Rhin, Estrasburgo, y se graduó en la SNDO-Escuela para el Desarrollo de la Nueva Danza de Amsterdam.
    La práctica de Simon se dirige a las coreografías invisibles, a menudo utilizando la sustitución y la aporía como medio para desarrollar, circular y presentar su obra. A Simon se le dijo una vez que era una especie de escolta de un chico nuevo. Desde el año 2014 lidera la galería inmaterial Galerie, junto con Adriano Wilfert Jensen. También es un cuerpo para los trabajos de Jessica, un funcionamiento prolongado de la actuación de la vida real y trabaja actualmente como redactor para “El Libro de Rumores”. Se unió a The Army of Love 2016.

  • Boustrophēdón

    Opening: Tuesday, 20 June, 2017 at 7pm
    Exhibition dates: 21 June – 23 July, 2017
    Fabra i Coats – Contemporary Art Centre, Barcelona
    Carrer Sant Adrià, 20, (Sant Andreu, 08030-Barcelona)

    Tuesday 20 June
    8pm Karaoke Night – Britney sings Deleuze, Tali Serruya in collaboration with Gian Spina
    Tuesday 27 June
    6.30pm The artist Cecile B. Evans introduces her most recent projects and discusses, in dialogue with the BAR TOOLests experiences, on how the work is connected with recent and historical events, as well as the audience itself – in collaboration with Fundació Joan Miró
    7.30pm Who’s the real Julia.Rosa.Angela?, performative casting by Julia Gorostidi
    8.30pm Churrasquiño – Karaoke Night, Tali Serruya in collaboration with Van Holanda

    Towards the 3rd century BC the Greeks began a particular method of writing in which the lines run from left to right and from right to left, or vice versa. Known as boustrophēdón, it literally means “the way of turning or ox turning”, referring to the movement of this animal when plowing a field. Its precise usefulness is unknown, but it seems that it take maximum advantage to the the writing surface in tablets and knobs; although it certainly also offered a different mode of reading, which broke the usual unidirectionality.

    The essay exhibition Boustrophēdón presents projects by Julia Gorostidi, Tali Serruya, Enea Palmeto, Alejandra Avilés and Ibai Hernandorena, and includes questions relating to producing and inhabiting indefinite and adjoining spaces, analysing or assaying lateral movements, creating spontaneous moments of coming together, rethinking the shape of identity in the contemporary world and pushing daily situations to the limit.

    The different projects form an open and organic framework in which the common interests are interwoven, as in the differences that have appeared during eight months of connivance, and which now take shape in an exhibition space. Boustrophēdón works as the final exercise of BAR TOOL #0, a practice-based training programme curated by BAR Project. Following a period of common work, study and practice, in a context of professional and human exchange, this moment is not a decisive end but the start of a new chapter in which the practice of each participant enters once again into dialogue with that of the others.

  • Boustrophēdón

    Inauguración: martes 20 junio a las 19h
    Fechas de exposición: 21 junio – 23 julio, 2017
    Centre d’Art Contemporani Fabra i Coats, Barcelona
    Carrer Sant Adrià, 20 (Sant Andreu, 08030 – Barcelona)

    Martes 20 de junio
    20h Karaoke Night – Britney sings Deleuze, Tali Serruya em colaboración con Gian Spina Martes 27 de junio
    18:30h
     La artista Cécile B. Evans presentará sus proyectos más recientes y hablará, en diálogo con las experiencias de los participantes de BAR TOOL #0, en como el trabajo está conectado con los sucesos recientes y históricos, así como la misma audiencia – en colaboración con la Fundació Joan Miró
    19:30h Who’s the real Julia.Rosa.Angela?, un cásting performático de Julia Gorostidi
    20:30h Churrasquiño – Karaoke Night, Tali Serruya en colaboración con Van Holanda

    Hacia el s. III a.c los griegos comenzaron un particular método de escritura que consistía en escribir alternativamente un renglón de izquierda a derecha y el siguiente de derecha a izquierda, o viceversa. Conocida como boustrophēdón, significa literalmente “a la manera de la vuelta o giro de buey”, haciendo referencia al movimiento de este animal al arar un campo. Se desconoce su utilidad precisa, pero parece que aprovechaba al máximo la superficie de escritura en tablillas y pomos; aunque sin duda también ofrecía un modo de lectura diverso, que rompía la unidireccionalidad habitual.

    El ensayo expositivo Boustrophēdón presenta los proyectos de Julia Gorostidi, Tali Serruya, Enea Palmeto, Alejandra Avilés e Ibai Hernandorena, entre los que se deslizan cuestiones que tienen que ver con ocasionar y habitar espacios indefinidos y limítrofes, analizar o ensayar desplazamientos laterales, generar momentos de encuentro y colectividad espontáneos, repensar la conformación de identidad en el mundo contemporáneo o llevar al límite situaciones cotidianas.

    Los distintos proyectos conforman una trama abierta y orgánica en la que se entrecruzan y se encuentran los intereses comunes, así como las diferencias que han ido apareciendo durante ocho meses de connivencia, y que ahora toman forma en un espacio expositivo. Boustrophēdón funciona como ejercicio final de BAR TOOL #0, un programa de formación práctica concebido por BAR project. Tras el tiempo de trabajo, estudio y ensayos en común en un contexto de intercambio profesional y humano, entendemos este momento no como un cierre conclusivo, sino como un punto y seguido en el cual la práctica de cada participante entra de nuevo en diálogo con la de los demás.

  • Ina Hagen: Round Robin Reveries (Gathering for the other magic fountain, Barcelona)

    Martes 16 de mayo, 19h, Passeig de Santa Madrona, 19


    El proyecto tendrá lugar durante una hora, alrededor de una fuente remota en el Paseo de Santa Matrona en Montjuïc. Una red virtual local se instalará en el emplazamiento, que generará una sala de chat y un archivo para documentos digitales, a las que la gente podrá acceder desde sus dispositivos móviles. Tomando como referencia el método llamado Round Robin, la sala de chat se usará para una reflexión y debate anónimo en tiempo real con la fuente como centro conceptual, histórico y físico, y dirigidos por un texto performático escrito por la artista.

    Se pide de antemano a todo el mundo no comunicarse de forma oral durante la sesión. El proyecto incluye contribuciones de otros artistas radicados en Barcelona entorno al tema Resurrección/Reunión. La sesión terminará cuando la fuente se apague a las 20hs.


    Temáticamente, los intereses de Hagen se centran en los foros culturales de internet y en las formas en que éstos afectan a otros ámbitos de nuestra existencia más allá de lo digital. La artista piensa este proyecto como una forma de subrayar detalles de la historia del lugar: la figura de la Santa Matrona, la historia política, y los patrones de comportamiento colectivo del lugar. Trata de combinar estos intereses con el tema  Resurrección/Reunión, reflejando como las historias se repiten, enfatizando la intuición, la premonición, y los conocimientos alternativos. Para Hagen, la Resurrección significa una necesidad de cambiar el estado de algo ya pasado, en este caso un reflejo del potencial digital sin interferencias colectivas/corporativas. La Reunión hace referencia evidentemente al estar juntos, llegar juntos o recopilar materiales. Juntos, por asociación, describiendo una actividad de clasificación, un ritual.

    Otro nivel de investigación in situ es la interacción social que ya existe alrededor de la fuente. Personas solas parecen estar esperando, parados silenciosamente entre los arbustos. Miran sus teléfonos, escriben algo, pasean un poco, esperan. La única conclusión que Hagen saca de esto es que quizás es un sitio de cruising1. Lo que más interesa le interesa a la artista es que en el espacio hay una interacción entre estas personas pero sin hablar, solo a través de un medio digital.

    Para hacer honor a este código de lenguaje, y para explorar como opera en nuestra interacción social, la artista propone a los participantes abstenerse de hablar mientras están en mismo e íntimo lugar, durante una hora. Su interés es el acto de estar juntos en un espacio como cuerpos y como colectivo, manteniendo al mismo tiempo la consciencia digital. Todo el mundo permanece anónimo en la sala de chat, desconectándose de la condición física individual en cierta medida. La atención o “asunto” en el lugar es la fuente en si misma, y las conversaciones y contribuciones  suceden en la sala de chat y en el archivo. Durante una hora tratamos de entablar conversación con la fuente como asunto central. ¿Como llegamos a una conclusión desde una cuestión que es un material, un movimiento y un lugar en la historia? ¿Qué tipo de conclusión sería y como se podría expresar? La artista quiere explorar como el pensamiento colectivo no es compatible con un  pensamiento que busca un resultado final, la imagen del cual es la fuente con su infinita circulación de agua sin ningún propósito claramente definido más allá de su significación. La palabra ensueño también se refiere vagamente a esto.


    Round robin es esencialmente un método de toma de decisiones y de lluvia de ideas en grupo. La gente se sienta en círculo y contribuye equitativamente al tema de debate, a menudo una pregunta o asunto concreto. Las aportaciones escritas son frecuentemente anónimas. Otros significados:

    Una historia round-robin, o simplemente un “round robin”, es un tipo de ficción colaborativa o narración en la que un numero de autores escriben capítulos de una novela o trozos de una historia, en rondas. Las novelas round robin fueron inventadas en el siglo XIX, convirtiéndose más adelante en una tradición particularmente en el ámbito de la ciencia ficción. En el uso moderno, a menudo se aplica el término a la ficción colaborativa del seguidor, sobre todo en Internet, aunque también puede referirse a amigos o familiares que cuentan historias en fiestas de pijamas, alrededor de una fogata, etc.

    Un round-robin es un documento firmado por múltiples partes en un círculo, para dificultar la determinación del orden en el que se firmó, lo que impide que se identifique un líder. [1]

    Mucho antes de que estos significados contemporaneos se conociesen, el término Round Robin fue usado para referirse a una amplia variedad de cosas. El uso más reciente fue como un apodo despreciativo, algo cercano a “(perro)ladino2” “astuto” o “caballo negro3”.

    Una red round robin, o red de malla inalámbrica (WMN) es una red de comunicaciones compuesta por nodos de radio organizados en una tipología de malla. Es también un tipo de red inalámbrica  ad hoc. [1]

    La referencia al lugar como “la otra fuente mágica” establece una relación entre la fuente del Paseo de Santa Matrona y la famosa Fuente Mágica de Montjuïc. Etiquetándola como la “otra” se crea una jerarquía en el lugar, del que no se habla pero que claramente existe. Las dos fuentes ejemplifican para Hagen esta jerarquía de significado y visibilidad. Para la artista, el gesto de clarificar esta relación a través del lenguaje insiste en la validez y el encanto de la fuente más pequeña, mientras señala puntos de vista radicalmente diferentes, puntos de la historia de Barcelona, y formas de relacionarnos con el mundo que nos rodea.

  • Ina Hagen: Round Robin Reveries (Gathering for the other magic fountain, Barcelona)

    Tuesday, May 16, 7-8pm, Passeig de Santa Madrona, 19

    The project takes place in the duration of an hour, around a remote fountain in Passeig de Santa Madrona on Montjuïc. A local network is set up on site, which has a chatroom and an archive for digital files, which people will access from their devices. Referring to the method called Round robin, the chatroom will be used for a real-time, anonymous deliberation and debate with the fountain as conceptual, historical and physical center, guided by a text performance (by me). Everyone is asked in advance not to communicate orally during the session. The project includes contributions by other, Barcelona based artists on the topic Ressurection/Gathering. Sitespecifically or otherwise. The session ends when the fountain is shut off at 8pm.

    Thematically my interest goes to (internet) forum culture and the ways it effects other spheres of our existence, beyond the digital. I think of the project as a way of channeling specifics from the history of the site: both the figure of Santa Madrona, the political history, and the patterns of collective behaviour in the space. I’ve tried to combine these interests into the theme Ressurection/Gathering, reflects on how histories repeat, with an emphasis on intuition, premonition, an alternative knowledges. Ressurection to me stands for a need for an altered state of something already passed, in this case a reflection on the potential of the digital without corporate interference. Gathering refers of course to being together, coming together or collecting materials. Together they, by association, describe an activity of sorts, a ritual.

    Another level of research on site has been the social interaction that already exist around the fountain. Single men appear to be waiting, silently standing around in the bushes. They check their phones, write something, pace a little, then wait. The only conclusion I can draw from this is that it is some kind of cruising site perhaps. What interests me immensely with this is that there is an interaction in this space between these men that exists without spoken words, but in the digital.

    To honour this code, and to explore what it does to our social interaction, I want people to refrain from speaking while still being in the same, rather intimate space, for a whole hour. My interest is in the act of being together as bodies in space and as a collective, digital consciousness at the same time. Everyone remains anonymous on the chatroom, disconnecting us from physical markers of individuality, to some extent. The focus or ‘question’ on site is the fountain itself, and the conversation and contributions happen in the chatroom and in the archive. Through the hour we try to engage with the fountain as such a ‘question’. How do we derive at a conclusion from a question that is a material, a movement and a place in history? What kind of conclusion would it be and how can it be expressed? I want to explore group thinking that is not compatible with end-result thinking, the image of which is the fountain with it’s endless circulation of water for no clearly definable purpose beyond it’s signification. The word Reveries also refer loosely to this.

    A round robin is essentially a method of decision-making and brain storming together in a group. People sit in a circle and contribute equally to the topic of discussion, often a focused center or question. Written contributions are often made anonymous. Other meanings:

    A round-robin story, or simply “round robin,” is a type of collaborative fiction or storytelling in which a number of authors write chapters of a novel or pieces of a story, in rounds. Roundrobin novels were invented in the 19th century, and later became a tradition particularly in science fiction. In modern usage, the term often applies to collaborative fan fiction, particularly on the Internet, though it can also refer to friends or family telling stories at a sleepover, around a campfire, etc.

    Round-robin is a document signed by multiple parties in a circle to make it more difficult to determine the order in which it was signed, thus preventing a ringleader from being identified.[1]

    Long before those contemporary meanings were known of, the term Round Robin had been used to refer to a variety of things. The earliest use was as a disparaging nickname, along the lines of ‘sly dog’ or ‘dark horse’.

    A round robin network, or wireless mesh network (WMN) is a communications network made up of radio nodes organized in a mesh topology. It is also a form of wireless ad hoc network.[1]

    The reference to the site as the “other magic fountain” establishes a relationship between the one at Passeig de Santa Madrona, and the famous Magic Fountain of Montjuïc. By labelling it “other” there is a hierarchy in place on this site, which is not spoken but clearly exists. The two fountains exemplifies this hierarchy of significance and visibility beautifully I think. This to me, the gesture of making this relation clear through language puts in place an insistence on the validity and charm of the smaller fountain, while pointing to radically different world views, points in the history of Barcelona, and ways of relating to the world around us.

  • Ina Hagen: Round Robin Reveries (Gathering for the other magic fountain, Barcelona)

    Tuesday 16th May, 7pm, Passeig de Santa Madrona, 19

    The project takes place in the duration of an hour, around a remote fountain in Passeig de Santa Madrona on Montjuïc. A local network is set up on site, which has a chatroom and an archive for digital files, which people will access from their devices. Referring to the method called Round robin, the chatroom will be used for a real-time, anonymous deliberation and debate with the fountain as conceptual, historical and physical center, guided by a text performance. Everyone is asked in advance not to communicate orally during the session. The project includes contributions by other, Barcelona based artists on the topic Ressurection/Gathering. Sitespecifically or otherwise. The session ends when the fountain is shut off at 8pm.


    Thematically, Hagen’s interest goes to (internet)forum culture and the ways it effects other spheres of our existence, beyond the digital. She thinks of the project as a way of channeling specifics from the history of the site: both the figure of Santa Madrona, the political history, and the patterns of collective behaviour in the space.

    Hagen has tried to combine these interests into the theme Ressurection/Gathering, reflects on how histories repeat, with an emphasis on intuition, premonition, an alternative knowledges. To her, ressurection stands for a need for an altered state of something already passed, in this case a reflection on the potential of the digital without corporate interference. Gathering refers of course to being together, coming together or collecting materials. Together they, by association, describe an activity of sorts, a ritual. 

    Another level of research on site has been the social interaction that already exist around the fountain. Single men appear to be waiting, silently standing around in the bushes. They check their phones, write something, pace a little, then wait. The only conclusion she can draw from this is that it is some kind of cruising site perhaps. What interests her immensely with this is that there is an interaction in this space between these men that exists without spoken words, but in the digital. To honour this code, and to explore what it does to our social interaction, I want people to refrain from speaking while still being in the same, rather intimate space, for a whole hour. 

    Hagen’s interest is in the act of being together as bodies in space and as a collective, digital consciousness at the same time. Everyone remains anonymous on the chatroom, disconnecting us from physical markers of individuality, to some extent. The focus or ‘question’ on site is the fountain itself, and the conversation and contributions happen in the chatroom and in the archive. Through the hour we try to engage with the fountain as such a ‘question’. How do we derive at a conclusion from a question that is a material, a movement and a place in history? What kind of conclusion would it be and how can it be expressed? I want to explore group thinking that is not compatible with end-result thinking, the image of which is the fountain with it’s endless circulation of water for no clearly definable purpose beyond it’s signification. The word Reveries also refer loosely to this.


    A round robin is essentially a method of decision-making and brain storming together in a group. People sit in a circle and contribute equally to the topic of discussion, often a focused center or question. Written contributions are often made anonymous. Other meanings: 

    A round-robin story, or simply “round robin,” is a type of collaborative fiction or storytelling in which a number of authors write chapters of a novel or pieces of a story, in rounds. Roundrobin novels were invented in the 19th century, and later became a tradition particularly in science fiction. In modern usage, the term often applies to collaborative fan fiction, particularly on the Internet, though it can also refer to friends or family telling stories at a sleepover, around a campfire, etc. 

    Round-robin is a document signed by multiple parties in a circle to make it more difficult to determine the order in which it was signed, thus preventing a ringleader from being identified.[1] 

    Long before those contemporary meanings were known of, the term Round Robin had been used to refer to a variety of things. The earliest use was as a disparaging nickname, along the lines of ‘sly dog’ or ‘dark horse’. 

    A round robin network, or wireless mesh network (WMN) is a communications network made up of radio nodes organized in a mesh topology. It is also a form of wireless ad hoc network.[1]

     The reference to the site as the “other magic fountain” establishes a relationship between the one at Passeig de Santa Madrona, and the famous Magic Fountain of Montjuïc. By labelling it “other” there is a hierarchy in place on this site, which is not spoken but clearly exists. The two fountains exemplifies this hierarchy of significance and visibility beautifully I think. This to the artist, the gesture of making this relation clear through language puts in place an insistence on the validity and charm of the smaller fountain, while pointing to radically different world views, points in the history of Barcelona, and ways of relating to the world around us.

     

  • Supersimétrica

    Chamberí Metro Station (Andén 0)
    23-25 February 2017, Madrid

     

     

    BAR project participates in Supersimétrica showing toolests proposals, the five participants of the new practice-based training program BAR TOOL #0 2016-2017, articulated around research, production and presentation processes.

    Tali Serruya y Ibai Hernandorena, “Cada vez son más los artistas que sueñan con hacerse ricos y que pueden enriquecerse. Es aquí donde la caída comienza”, 2017. 10 posteres, 70 x 100 cm.
    The work “Cada vez son más los artistas que sueñan con hacerse ricos y que pueden enriquecerse. Es aquí donde la caída comienza”  its formed by pieces of the same phrase and the declined image in a pop aesthetic of the same brick. The piece questions the relationship between quantity and quality, visibility and profitability, as the production and reproduction concept. The vertical image of the brick fixes the dizziness hanging, the moment before the fall.

    Enea Palmeto, “Hi Ricky Fitts”, 2017. Plastic bags dispenser for artists. Help yourself. – It was one of those days when it’s a minute away from snowing and there’s this electricity in the air, you can almost hear it. Right? And this bag was just dancing with me. Like a little kid begging me to play with it. For fifteen minutes. That’s the day I realized that there was this entire life behind things, and this incredibly benevolent force that wanted me to know there was no reason to be afraid, ever. Video’s a poor excuse, I know. But it helps me remember… I need to remember… Sometimes there’s so much beauty in the world, I feel like I can’t take it, and my heart is just going to cave in – Ricky Fitts – American Beauty (1999).

    Julia Gorostidi, http://rosalanara.tumblr.com/…/volver-a-escribir-madrid-mi-…

  • Curator talk: Inés Katzenstein, Dorothée Dupuis and Gelen Jeleton

    Monday 27th February, 7pm
    Aula 0, MACBA, Barcelona

     

     

    A public conversation among the director of Terremoto art magazine (MX) Dorothée Dupuis, the director of Instituto Torcuato di Tella de Buenos Aires, Inés Katzenstein and the artist Gelen Jeleton.

    Dorothée Dupuis (1980, Paris) curator and editor. Her practice focuses mainly on the intersection of the arts and politics, influenced by feminist, Marxist and postcolonial theories. Dupuis is Terremoto.mx magazine founder, based in Mexico City, where she currently works as director and editor. She is also co-director of the feminist magazine Petunia with Lili Reynaud Dewar and Valérie Chartrain.

    Inés Katzenstein Director founder of Art Department of Torcuato Di Tella University. She received a master’s degree from the Center for Curatorial Studies, Bard College, New York (2001), where she studied with an Antorchas Foundation and the National Fund for the Arts grant. She wrote extensively on contemporary art and curated exhibitions such as “Liliana Porter: Photography and Fiction” (Centro Cultural Recoleta, Buenos Aires, 2003), “David Lamelas, Foreigner, Foreigner, Ètranger, Aüslander” (Museo Rufino Tamayo, Mexico, 2005) and co-curated “Televisión, El Di Tella and an episode in the life of TV” (Espaço Telefónica, 2010), among others. She is part of the Advisory Board of Otra Parte de Artes y Letras magazine, and of the Advisory Council of Museo Malba.

    Gelen Jeleton (Murcia, 1975) developes her artistic practice with Jesús Arpal Moya in Equipo Jeleton since 1999. She studied Fine Arts in the University of Cuenca and graduated in the Department of Drawing of the Faculty of Fine Arts in Barcelona in Symbolism Renaissance and Alchemy. She moves this knowledges implementing them to her doctoral thesis project Una Archiva del DIY: self publishing and self management in a fanzinoteca feminist-queer, presented in Murcia in February 2016.

    * Jeleton is a team to operate in iconographic, literary, musical repertoires. To propose self-taught practices and the publication of provisional results for the debate. To take the authorship to inexperience situations, humor, appropriation. To disperse the results in space, time and distribution channels, making it difficult to deactivate them by the presentation context.

  • Manifestaciones Públicas de Afecto (Publication)

    Manifestaciones Públicas de Afecto is a digital publication that reclaims the importance of incorporating an affective dimension to the public sphere that psychoanalysis and feminism have historically made; investigating its possibilities to function as a space of resistance against the policies of neoliberal subjectivation. Avoiding idealizations and recognizing that affects can also have a normalizing function, the publication brings together texts and visual interventions by artists and researchers in whose practice the affective experience emerges as the basis of critical analysis: Valentina Desideri, Andrea Francke, Valeria Graziano, Gelen Jeleton, Mathew de Kersaint Giraudeau, Esther Planas and Florencia Portocarrero.

    Manifestaciones Públicas de Afecto has been edited and produced by Florencia Portocarrero in collaboration with Verónica Valentini, Juan Canela and Andrea Rodríguez Novoa (the BAR project team) as a result of The Right to Be Unhappy: on the politics of control of human behaviour and psychotropification of society; the Bar project spring residence program during 2016.

    Download PDF

  • BAR International Symposium*: “Making Public Program”

    20-24 March 2017

    With: Eva Rowson (Showroom, London), Pablo Martínez (MACBA, Barcelona), Santiago Villanueva (Mamba, Buenos Aires), Leire Vergara (Bulegoa, Bilbao), Helmut Batista (Capacete, Rio de Janeiro), Elise Lammer (SALTS, Basel), Daniel Blanga-Gubbay (Aleppo, Brussels), Karima Boudou (Appartement22, Rabat), Equipo Palomar (artists, Barcelona), Josep Maynou (artist, Berlin), Florencia Portacarrero (curator, Lima), Kroot Juurak & Alex Bailey (performers, Wien), BAR TOOLests (Julia Gorostidi, Tali Serruya, Enea Cabanes, Alejandra Avilés, Ibai Hernandorena) & BAR spring residents: Valerio Del Baglivo (curator, Rome), Daisuke Kosugi & Ina Hagen (artists & founders of Louise Dany artist run space, Oslo).

    Drinking while walking while hosting while thinking while making together is the leitmotiv of BAR project, who takes its name from the popular and social gathering place in south European culture in order to recontextualize it, and be able to work and practice (reflection-in-action) in a flexible, informal and critical way. This working condition and status goes beyond the bar extending curatorial practice into working on public realm and takes the city of Barcelona as a public project space.

    At the center of BAR project’s curatorial effort the Public Program operates as a transversal yet autonomous space responding to concerns about its own practice: delve into the public realm today; give room to gathering, discussion and reflection spaces; promote a dialogue with the immediate context and beyond it. BAR project stands for a public program to take place in spaces of diverse nature, aiming to provoke unexpected relationships and challenge audiences. In this regard, the different activities BAR project has organised to date have happened in galleries, non-profits, institutions, along with bars, car garages, libraries or the public space.

    The BAR International Symposium “Making Public Program” consists in an intensive week of working groups, roundtables, actions, My studio visit, Walking tour, performances and drinks to celebrate BAR project 2013-2017 Public Program and reflect on the past, present and future of what public programing means. A number of guest practitioners will spend a whole week in Barcelona in order to discuss and perform together on the topic; the output of that brainwork will be made public and opened to the participants of the symposium and to a larger public through the various activities building the symposium.  

    The symposium program will be articulated as follows:

    Monday to Wednesday mornings will be devoted to closed working sessions on “Making Public Program” among guest speakers and BAR team at Fabra i Coats Art Factory. In parallel to this, the registered participants will take part in The Walking Tour, comprising visits to galleries, independent spaces and institutions in and around the city of Barcelona. In the afternoon round tables lead by one of the guests will offer the participants a disclosed space for reflection and discussion. Monday evening will be liven up by the legendary BAR Welcome vermouth, offered at mitico Armando´s. Thursday morning will start with My Studio Visit. The city as studio, in which a local artist is commissioned to give a visit to a special location in Barcelona in order to speak about his/her practice through the city and out of the common studio space. On this occasion artistic collective Equipo Palomar invites us to Estruch 24-26, 3° 1ª, an action focusing on the figure of Alberto Cardin, an outstanding writer, anthropologist and LGBT activist, emphasizing his early death in 1992 due to AIDS, the relationship between the Spanish political transition and the disease, as well as the city’s tourist-urbanistic speculation. The day will continue at Tàpies Foundation. In the early afternoon Kroot Juurak & Alex Bailey will develop their Workshop for Humans (informative workshop to learn the tricks and tips of Performance for pets previously carried out in private home), later on most of the guest speakers will contribute to a fourth and final round table, open to the general public this time. The culmination of the day will come with the BAR Party, celebration of BAR project fifth birthday, held at the Tapies Foundation rooftop with a live show by Josep Maynou as guest artist.

    Along the four days, the participants of BAR TOOL#0 training program will ‘rehearse’ on public appearance in different places and afterwork moments.

    Friday will be the time to carry out studio visits with local artists.

    * (in ancient Greece, the symposium meant “to drink together”)

    SYMPOSIUM PROGRAM

    20th March
    4-6,30pmMaking Public Program” round table, Auditorium, Tàpies Foundation
    Elise Lammer (SALTS, Basel), Karima Boudou (Appartement22, Rabat), Equipo Palomar (artists, Barcelona) & Daisuke Koisugi & Ina Hagen (artist & founder of Louise Dany artist run space, Oslo) & Florencia Portacarrero (curator, Lima) will present Manifestaciones Públicas de Afecto, publication of BAR project residency 2016
    7pm onwards Intervention by Enea Cabanes (BAR TOOL#0)
    BAR Welcome vermouth

    21th March
    4-6,30pm “Making Public Program” round table, Auditorium, Tàpies Foundation
    Eva Rowson (Showroom, London), Pablo Martínez (MACBA, Barcelona), Santiago Villanueva (Mamba, Buenos Aires) & Valerio Del Baglivo (curator, Rome)
    7pm onwards Intervention by Julia Gorostidi (BAR TOOL#0)

    22th March
    4-6,30 pm “Making Public Program” round table, Auditorium, Tàpies Foundation
    Leire Vergara (Bulegoa, Bilbao), Daniel Blanga-Gubbay (Aleppo, Bruselas), Helmut Batista (Capacete, Rio de Janeiro) & Veronica Valentini, Andrea Rodriguez Novoa, Juan Canela (BAR project)
    7pm onwards Interventions by Ibai Hernandorena and Tali Serruya (BAR TOOL#0)

    23th March
    11am-1pm My Studio Visit. The city as studio:Estruch 24-26, 3° 1ª” by Equipo Palomar (artists, Barcelona)
    5-11,30pm Tàpies Foundation:
    5-6pm “Workshop for Humans” by Kroot Juurak & Alex Bailey (performers, Wien) – separate registration at kulturtier@gmail.com
    7-9pm BAR Public talk “Making Public Program”, Auditorium – open to general publicWith Santiago Villanueva (Mamba, Buenos Aires), Valerio Del Baglivo (curator, Rome), Elise Lammer (SALTS, Basel), Karima Boudou (Appartement22, Rabat), Leire Vergara (Bulegoa, Bilbao), Helmut Batista (Capacete, Rio de Janeiro), Veronica Valentini, Andrea Rodriguez Novoa, Juan Canela (BAR project) and Carles Guerra (Tapies Foundation)
    9-11,30pm BAR party, live show by Josep Maynou (artist, Barcelona), terrace – open to general public

    24th March
    Guided tour at “Ground Control” exhibition, Joan Prats Gallery, by the artist Teresa Solar
    Studio visits with local artists


    Alejandra Aviles, S everywhere

  • BAR module: Summer Guthery & Alfredo Aracil

    Thursday 12th January, 6pm
    Fundació Antoni Tàpies, Barcelona

    Visiting curators Summer Guthery (JOAN, Los Angeles) and Alfredo Aracil (Sala de Arte Joven 2017, Madrid) will talk about their curatorial practice and on-going projects.

    Summer Guthery is a curator and writer based in Los Angeles. She is the founder and director of non-for-profit exhibition space, JOAN, she was curator in LAXART and Performa Bienal 2013 and 2011 curator assistant. She’s Crysler co-founder, a serie of lectures, projections and actions in an office of Chrysler Street in New York. In 2014, was selected curator in residency in Disjecta Art Center in Portland, Oregon, programming exhibitions and acts for 9 months.She received her MA in Curatorial Studies from Bard College’s CCS. Guthery is a regular contributor to Frieze and Artforum amongst other publications.

    Alfredo Aracil is curator at Sala de Arte Joven de Madrid 2017 with the project “Apuntes para una psiquiatría destructiva (Notes for a destructive psychiatry)” which questions production mechanisms of mental disorders, as well as institutions and clinical methods involved in health management. He has collaborated with magazine Nosotros, El cuaderno, Tendencias, LUMIÈRE and now is writing for Atlántica XII and El Estado Mental.

  • BAR module: Summer Guthery y Alfredo Aracil

    Jueves 12 de enero, 18:00h
    Fundació Antoni Tàpies, Barcelona

    Los comisarios Summer Guthery (JOAN, Los Angeles) y Alfredo Aracil (Sala de Arte Joven 2017, Madrid) nos hablarán de su trabajo curatorial y sus proyectos recientes y en marcha.

    Summer Guthery es comisaria y escritora basada en Los Ángeles. Es la fundadora y directora del espacio non-for-profit JOAN. Antes de fundar JOAN, fue curadora en LAXART y asistente de curador de Performa Bienal 2013 y 2011. Junto a estas posiciones, fue cofundadora de la serie Chrysler, una serie de lecturas, proyecciones y actuaciones en una oficina del edificio Chrysler de Nueva York. En 2014, fue elegida curadora en residencia en Disjecta Art Center en Portland, Oregón programando 9 meses de exposiciones y actuaciones. Recibió su Maestría en Estudios Curatoriales de CCS de Bard College. Guthery es colaboradora regular de Frieze y Artforum entre otras publicaciones.

    Alfredo Aracil es comisario para la Sala de Arte Joven de Madrid 2017 con el proyecto Apuntes para una psiquiatría destructiva que estudia la historia y el presente de la salud mental desde posturas estéticas y políticas que desbordan el espacio habitual de la clínica. Ha colaborado con las revistas Nosotros, El cuaderno, Tendencias y LUMIÈRE y actualmente publica en Atlántica XII y El Estado Mental.

     

  • BAR module 2017

    bar_module_2015_72dpi_090

    BAR module is an intensive working week which aim to create learning opportunities from different topics and dynamics. As part of BAR TOOL#0 Training Program 2016-2017, the two BAR module sessions, that focus on the politics of control of human behaviour and public programming practice, will be opened to a larger public. Besides of lectures, cconversations and workshops, a selection of guided tours to a comercial spaces, institutionals and independents (The Walking Tour), just as meetings and studio visits with local agents in the city of Barcelona.

    BAR module 20th – 24th March

    BAR International Symposium “Making public program”
    The city of Barcelona, Fabra i Coats Art Factory and Tapies Foundation.

    The symposium (in ancient Greece, the symposium meant “to drink together”) will consist in an intensive week of working groups, roundtables, actions, my studio visit, walking tour and performance to celebrate and reflect on the past and future practice of public programming of BAR project 2013-2017 together with other invited practitioners.

    Invited guests include Eva Rowson (Showroom, Londres), Pablo Martínez (MACBA, Barcelona), Santiago Villanueva (Mamba, Buenos Aires), Leire Vergara (Bulegoa, Bilbao), Helmut Batista (capacete, Rio de Janeiro), Elise Lammer (SALTS, Basel), Daniel Blanga-Gubbay (Aleppo, Bruselas), Karima Boudou (Appartement22, Rabat), El Palomar (artistas, Barcelona), Kroot Juurak & Alex Bailey (performer, Wien), BAR spring residents: Valerio Del Baglivo (curator, Roma), Daisuke Kosugi & Ina Hagen (artists & founders of Louise Dany, Oslo).

    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    BAR module 27th February – 3rd March
    With Inés Katzenstein (AR), Dorothée Dupuis (FR), Gelen Jeleton (SP) and Antoni Hervàs (SP)
    The city of Barcelona, Fabra i Coats Fábrica de Creación & Tàpies Foundation

    “Curatorship before the curatorship in Argentina. Institutionalism and politics, professionalism and marginality, taste and concept”, workshop by Inés Katzenstein (Instituto Di Tella, Buenos Aires)
    A narrative about three capital cultural agents in Buenos Aires, from 1960 to 1995: Jorge Romero Brest (from the Di Tella Institute), Oscar Masotta (intervening critically in the artistic scene), and Jorge Gumier Maier (from the Rojas Center).
    Founding Director of the Art Department at Torcuato Di Tella University, she received a Master’s degree from the Center for Curatorial Studies, Bard College, New York (2001). Among other books, he edited Listen, Here, Now! Argentine Art of the Sixties: Writings of the Avant-Garde, The Museum of Modern Art, New York, 2004. He is part of the Advisory Board of the magazine Otra Parte de Artes y Letras, and of the Advisory Council of Museo Malba.

    “Curating from my uterus”, lecture by Dorothée Dupuis (Terremoto magazine, Mexico)
    Through examples taken from my own curatorial practice and a few others, and relying on theoretical concepts such as the notion of womb-envy by Gayatri Spivak, Walter Mignolo’s frontier thinking, or the post-human of Rosi Braidotti, I will try to prove that feminism is not reduced to an outmoded political dogmatism, it is a broad philosophy that goes further than the question of gender: a prism by which we can observe the world and understand clearly the relations of power and oppression that surrounds it.
    Dorothée Dupuis (1980, Paris) is an independent curator, writer and editor based in Mexico City. She was director of Triangle France (Marseille, 2007-2012). Is founder and editor of Terremoto and co-director of Petunia magazine.Her recent curatorial projects include a residency at PAOS Gdl, Guadalajara, Adrien Vescovi at IFAL Casa de Francia, Mexico DF, and the 30 International Art Workshops at the FRAC Pays de la Loire, Nantes, France. She has written in numerous catalogs and art publications and is a regular contributor to Spike Art Daily, Metropolis M, Mousse, Kaleidoscope, ArtReview, Flash Art and Frieze, among others.

    “Bibliographic resistance”, workshop by Gelen Jeleton (Equipo Jeleton)
    One of the pillars of the Academy is based on the transmission of knowledge, and one of the ways to do so is sharing quotes, which requires a repetition of the same, but it is also the job of the female researcher to introduce new ones. I choose to take this quotes, footnotes and bibliography to one’s reality, to verify what we can use and how we’ve been influenced by reiterating this quotes for generations, contextualizing them and when possible, re-updating them, with the intention of decolonize the quotes, footnotes and bibliographies to build and embodied theory.
    Gelen Jeleton (Murcia, 1975) develops her artistic practice with Jesús Arpal Moya in Equipo Jeleton since 1999.

    “My studio visit.The city as studio” by artist Antoni Hervàs (SP)
    My studio visit.The city as studio is a format in which a local practitioner is commissioned to give a visit in a particular location/place/venue of Barcelona linked to his/her work, in order to speak about his/her own practice through the city and out of the common working studio space.

    ~~~~~~~~~~~~~~~~~~~~~~~~~~~~

    BAR module 9th-13th January
    with Summer Guthery (USA), Alfredo Aracil (SP), Emma Haugh & Suza Husse (DE), Erick Beltran (MX-SP)

    “Notes on Schizoculture, Anti-Psychiatry and Scientology”, lecture by Summer Guthery (JOAN, Los Angeles)
    A lecture weaving together the LA-based fringe religion Scientology, the Anti-Psychiatry movement and revelations from the Schizo-Culture conference, the legendary 1975 conference on the challenges of psychiatric institutions that brought the then-unknown radical philosophies of post-’68 France to the American avant-garde.
    Summer Guthery is a curator and writer based in Los Angeles. She is the founder and director of non-for-profit exhibition space, JOAN. She received her MA in Curatorial Studies from Bard College’s CCS. Guthery is a regular contributor to Frieze and Artforum amongst other publications.

    “Notes for a destructive psychiatry”, lecture by Alfredo Aracil (Sala de Arte Joven 2017, Madrid)
    The epidemic of mental illness that we (supposedly) live, treated only with drugs and supported by biologistic visions of our psyche, compels us to review the teachings of antipsychiatry, in a twist that returns insanity to the center of public debate, to the community, where cultural production is capable of revealing the political issues that are hidden in the psychopathological.
    Alfredo Aracil is a curator at Sala de Arte Joven de Madrid 2017 with the project “Apuntes para una psiquiatría destructiva (Notes for a destructive psychiatry)” which questions production mechanisms of mental disorders, as well as institutions and clinical methods involved in health management. He has collaborated with magazine Nosotros, El cuaderno, Tendencias, LUMIÈRE and now is writing for Atlántica XII and El Estado Mental.

    “The Many Headed Hydra”, workshop by Emma Haugh & Suza Husse (District, Berlin)
    Moving through lands, cities and buildings, through intimate, forbidden and public spaces, through bodies and between lands and ever slipping from control or containment, bodies of water are linked to an imaginary of crossing, to movements of passage. Following the waters, a different cultural cartography appears – one that flows through the geography constructed by demarcations of national territories, of property and of linear histories. The Many Headed Hydra explores the waters as rhizomatic narrative space and as potential infrastructure of commons.
    Emma Haugh is a visual artist and educator based in Dublin and Berlin. Suza Husse runs since 2012 the interdisciplinary art space District Berlin with an emphasis on artistic research, collaborative practices, public space, critical education and political imagination. 

    My studio visit.The city as studio” by artist Erick Beltran (MX-SP)
    My studio visit.The city as studio is a format in which a local practitioner is commissioned to give a visit in a particular location/place/venue of Barcelona linked to his/her work, in order to speak about his/her own practice through the city and out of the common working studio space. 

  • BAR module 2017

    bar_module_2015_72dpi_090

    BAR module es una semana intensiva de trabajo que busca generar espacios de aprendizaje a través de diferentes temáticas y dinámicas. Como parte de BAR TOOL#0 Training Program 2016-2017, las tres sesiones BAR module, que exploran las políticas de control del comportamiento humano y la práctica del programa público, se abrirán a un público más amplio. Además de conferencias, conversaciones y talleres, el programa cuenta con una selección de visitas guiadas a espacios comerciales, institucionales e independientes (The Walking Tour), así como encuentros y visitas de estudio con agentes locales en la ciudad de Barcelona.

     

    BAR module 20-24 marzo 

    BAR Simposio Internacional “Hacer Progrma Publico”
    La ciudad de Barcelona, Fabra i Coats Fábrica de Creación y la Fundación Tàpies

    El simposio (en la antigua Grecia, simposio significaba “beber juntos”) consistirá en una semana intensiva de grupos de trabajo, mesas redondas, acciones, my studio visit, walking tour y performances para celebrar el Programa Público 2013-2017 de BAR project y reflexionar junto a otros profesionales sobre el pasado y futuro de esta practica.

    Los invitados confirmados incluyen Eva Rowson (Showroom, Londres), Pablo Martínez (MACBA, Barcelona), Santiago Villanueva (Mamba, Buenos Aires), Leire Vergara (Bulegoa, Bilbao), Helmut Batista (capacete, Rio de Janeiro), Elise Lammer (SALTS, Basel), Daniel Blanga-Gubbay (Aleppo, Bruselas), Karima Boudou (Appartement22, Rabat), El Palomar (artistas, Barcelona), Kroot Juurak & Alex Bailey (performer, Viena), BAR residentes de primavera: Valerio Del Baglivo (curador, Roma), Daisuke Kosugi & Ina Hagen (artistas y fundadores de Louise Dany, Oslo).


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    BAR module 27 febrero- 3 marzo
    Con Inés Katzenstein (AR), Dorothée Dupuis (FR), Gelen (ES) y Antoni Hervàs (ES)
    La ciudad de Barcelona, Fabra i Coats Fábrica de Creación y la Fundación Tapiès

    “Curaduría antes de la curaduría en Argentina. Institucionalismo y política, profesionalismo y marginalidad, gusto y concepto”, workshop de Inés Katzenstein (Instituto Di Tella, Buenos Aires).
    Un relato sobre tres agentes culturales centrales en Buenos Aires, desde 1960 hasta 1995 aproximadamente: Jorge Romero Brest (desde el Instituto Di Tella), Oscar Masotta (interviniendo críticamente en la escena artística), y Jorge Gumier Maier (desde el Centro Rojas).
    Directora fundadora del Departamento de Arte de la Universidad Torcuato Di Tella, recibió una maestría del Center for Curatorial Studies, Bard College, New York (2001). Entre otros libros, editó Listen, Here, Now! Argentine Art of the Sixties: Writings of the Avant-Garde, The Museum of Modern Art, New York, 2004. Forma parte del Consejo Asesor de la revista Otra Parte de Artes y Letras, y del Consejo Asesor de Museo Malba.

    “Curando desde mi útero”, conferencia de Dorothée Dupuis (Terremoto magazine, México)
    A través de ejemplos tomados de mi propia práctica curatorial y de algunas más, y apoyándome en conceptos teóricos como la noción de womb-envy de Gayatri Spivak, el pensamiento fronterizo de Walter Mignolo, o el post-human de Rosi Braidotti, intentaré comprobar que el feminismo no se reduce a un dogmatismo político fuera de moda, que se trata de una filosofía amplia que va mucho más allá de la cuestión de genero: un prisma a través del cual nos permite observar el mundo y entender con claridad las relaciones de poder y de opresión que lo rodean.
    Dorothée Dupuis (1980, París) es curadora independiente, escritora y editora basada en la Ciudad de México. Es fundadora y editora de Terremoto y co-directora de la revista Petunia.

    “Resistencia bibliográfica”, workshop de Gelen Jeleton (Equipo Jeleton)
    Uno de los pilares de la Academia tiene como base la transmisión de conocimiento, y una de las formas es compartiendo citas, lo cual requiere de una repetición de las mismas, pero también es labor de la investigadora ir introduciendo nuevas. Opto por llevar estas citas, notas al pie y bibliografía a la realidad de una misma, para comprobar qué nos sirve, y cómo nos ha influenciado reiterar esas citas durante generaciones, contextualizándolas, y siempre que se pueda, reactualizándolas, con la intención de descolonizar las citas, las notas al pie y las bibliografías de camino a una teoría encarnada.
    Gelen Jeleton (Murcia, 1975) realiza su práctica artística junto con Jesús Arpal Moya en el Equipo Jeleton desde 1999. 

    My studio visit.The city as studio” del artista Antoni Hervàs (ES)
    My studio visit.The city as studio es un formato en el que se encarga a un artista local una visita en una localización/lugar de Barcelona relacionado con su trabajo, para hablar de su práctica a través de la ciudad y fuera del espacio de trabajo habitual

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    BAR module 9-13 enero
    Con Summer Guthery (EEUU), Alfredo Aracil (ES), Emma Haugh & Suza Husse (DE) Erick Beltran (MX-ES)

    “Apuntes sobre Schizo-culture, Antipsiquiatría y Cienciología”, conferencia de Summer Guthery (JOAN, Los Angeles)
    Discusión que pone en relación la religión alternativa de la cienciología, con base en L.A., el movimiento de antipsiquiatría, y conclusiones de la legendaria de 1975 sobre Schizo-Culture. La conferencia puso de manifiesto los avances de las instituciones psiquiátricas, que difundieron las entonces desconocidas filosofías radicales de la Francia post-68 en la vanguardia americana.
    Summer Guthery es comisaria y escritora basada en Los Ángeles y cofundadora y directora del espacio non-for-profit JOAN. Recibió su Maestría en Estudios Curatoriales de CCS de Bard College. Guthery es colaboradora regular de Frieze y Artforum entre otras publicaciones.

    “Apuntes para una psiquiatría destructiva”, conferencia de Alfredo Aracil (Sala de Arte Joven 2017, Madrid)
    La epidemia de enfermedad mental que (supuestamente) vivimos, tratada sólo con fármacos y apoyada en visiones biologicistas de nuestra psique, nos obliga a revisar las enseñanzas de la antipsiquiatría, en un giro que devuelve la locura al centro del debate público, a la comunidad, donde la producción cultural es capaz de desvelar las cuestiones políticas que se esconden en lo psicopatológico.
    Alfredo Aracil es comisario para la Sala de Arte Joven de Madrid 2017 con el proyecto Apuntes para una psiquiatría destructiva que estudia la historia y el presente de la salud mental desde posturas estéticas y políticas que desbordan el espacio habitual de la clínica. Ha colaborado con las revistas Nosotros, El cuaderno, Tendencias y LUMIÈRE y actualmente publica en Atlántica XII y El Estado Mental.

    “The Many Headed Hydra”, workshop de Emma Haugh & Suza Husse (District, Berlin)
    Moviéndose por tierras, ciudades y edificios, a través de espacios íntimos, prohibidos y públicos, a través de cuerpos y entre tierras y siempre escapando del control o contención, los cuerpos de agua están vinculados a un imaginario de cruce, a los movimientos de paso. Siguiendo las aguas, aparece una cartografía cultural diferente, que fluye a través de la geografía construida por demarcaciones de territorios nacionales, de propiedades y de historias lineales. The Many Headed Hydra explora las aguas como un espacio narrativo rizomático y como infraestructura potencial de los comunes.
    Emma Haugh es artista visual y educadora con sede en Dublín y Berlín. Suza Husse dirige desde 2012 District, un espacio de arte interdisciplinario en Berlín con un énfasis en la investigación artística, las prácticas de colaboración, el espacio público, la educación crítica y la imaginación política.

    My studio visit.The city as studio” del artista Erick Beltran (MX-SP)
    My studio visit.The city as studio es un formato en el que se encarga a un agente local una visita en una localización/lugar de Barcelona relacionado con su trabajo, para hablar de su práctica a través de la ciudad y fuera del espacio de trabajo habitual.

     

  • We have some great news!

    Tenemos buenas noticias!

    Echad un ojo a nuestra web y disfrutad de la propuesta para homepageresidency de Jaume Ferrete

    Buen verano! Nos vemos en septiembre, ciao

    Andrea, Juan, Veronica

    newsletter48

    >> desde primavera 2016
    BAR project  proyecto residente en la Fundació Antoni Tàpies, Barcelona

    BAR TOOL #0, el nuevo programa pedagógico de BAR project, estará alojado en la Fundació Antoni Tàpies como parte de la colaboración como proyecto residente.

    >> Junio – Agosto
    Basel goes to BAR project

    BAR project colabora con el Institut Kunst de Basel acogiendo uno de sus estudiantes en verano en Barcelona. Si, el verano es la época cuando le ciudad no trabaja, pero también es cierto que en ésta época del año las energías más informales se amplian. ¿Por qué el verano? ¿No nos coceremos con el sol? Puede ser, y también tenrr la posibilida de experimentar un lugar en el momento pico de turismo, un momento especial en la vida de la ciudad. El verano, además, está lleno de oportunidades de ocio que se enredan con la producción artística. Se trata de una residencia no para hacer más, sino para permitir a los artistas transitar,  pensar,  ver,  conocer. La relajación es una parte integral del pensamiento, ¿por qué no crear la posibilidad de un verano a su alrededor? El primer estudiante en residencia es Yanik Soland (1990), artista y músico con base en Basel. Su trabajo tiene dos trazos básicos: investigación y humor. Con éstos trata de comprender el desarrollo de la sociedad, la cultura y el arte. Últimamente esta interesado en el trabajo colaborativo y el resultado potencial de perder parcialmente el control de lo estético y de los contenidos. Durante lo súltimos años ha estado girando con varios proyectos musicales y tocando en Italia, Serbia, Japón, Alemania, Austria, Suiza, Croacia, Eslovenia y Hungría.

     >> 2 Septiembre-6 Noviembre
    Fellow of the 11th Gwangju Biennale “The Eighth Climate (What Does Art Do?)

    El “Biennale Fellows” de la GB11 consiste en alrededor de cien organizaciones artísticas de pequeño y mediano tamaño o escala de todo el mundo, cuyo trabajo hace importantes aportaciones al arte de hoy, aunque queden a veces bajo el radar. En un forum de dos días, del 2 al 4 de Septiembre, Biennale Fellows, así como sus colegas, son invitados a reunirse, compartir experiencias y discutir el futuro de este tipo de trabajo, especialmente en cuestiones que tienen que ver con el valor, la continuidad y la escala.

    >>  starting on September
    New entry!!! Gloria Fernández is the new BAR project coordinator

    Gracias a una beca del proyecto Emplea Cultura de la Fundación Santander estamos encantados de anunciar que Gloria Fernandez es la nueva coordinadora de proyectos de BAR project. Gloria Fernández es educadora y coordinadora de proyectos educativos y artísticos. Estudió Bellas Artes en la Universitat de Barcelona, especializándose en educación artística, y desde entonces ha colaborado en instituciones como el MACBA, la Fundació La Caixa, el Espai Cultural Caja Madrid, el Musée Mobile (MuMo) o Liminal Gr en la realización y/o coordinación de diversos proyectos. También estudió un máster en Diseño y Dirección de proyectos expositivos (ELISAVA) y a raíz de éste trabajó en la coordinación de Arts Libris, Feria Internacional de la edición contemporánea de Barcelona. Le interesan los mecanismos de mediación y transmisión de contenidos que utiliza el arte contemporáneo, así como la interacción de las estructuras artísticas con el público usuario de éstas.

    >> Septiembre – Noviembre
    Residentes de otoño BAR residency program

    Sojung Jun / Jungju An – Cristina Ochoa – Mónica Restrepo Herrera

    Los residentes de la sesión de otoño, Sojung Jun / Jungju An (Corea),  Cristina Ochoa (Mexico – Colombia) y Mónica Restrepo Herrera (Colombia) continúan con la línea curatorial de BAR project en 2016, explorando desde distintos puntos de vista  las políticas de control del comportamiento humano.

    En colaboración con Fundación Nefkens, SOMA Mexico – AC/E,  y EMMA.

    >>Aplica hasta el 18 de Septiembre
    BAR TOOL #0

    Un programa de formación práctica de ocho meses. Período de estudio en Fundació Antoni Tàpies y Fabra i Coats – Fabrica de Creació, Barcelona de Noviembre 2016 a Junio 2017.

    >> Aplica hasta el fin de Septiembre
    Plataforma colaboradora de la edición 2017 del Future Generation Art Prize

    Aplica a Future Generation Art Prize. El Future Generation Art Prize es un premio internacional de arte contemporáneo para descubrir, reconocer y otorgar soporte a la futura generación de artistas. La última edición de 2014 recibió más de 4.000 aplicaciones de 130 paises y los 21 artistas preseleccionados participaron en una exposición en Kiev. Los ganadores fueron Nástio Mosquito (Angola) y Carlos Motta (Colombia), que se repartieron el premio de $100.000. La exposición incluyó artistas como Neïl Beloufa (France), Cally Spooner (UK), GCC (Arabian Gulf Region), Ximena Garrido-Lecca (Peru), Kudzani Chiurai (Zimbabwe), and Cécile B. Evans (USA/Belgium). Tras el gran éxito de la tercera, se lanza la cuarta edición, que terminará con una exposición en Kiev en febrero de 2017 y en Venecia coincidiendo con la  57th Venice Biennale en mayo. Artistas de todo el mundo con menos de 35 años pueden aplicar a través de la convocatoria online. Visita http://www.futuregenerationartprize.org/

  • We have some great news!

    We have some great news!

    Have a look at our webpage and enjoy the homepageresidency by Jaume Ferrete

    We wish you a sunny summer! See you on september, ciao

    Andrea, Juan, Veronica

    newsletter48

    >> from Spring 2016 onwards
    Resident project at Fundació Antoni Tàpies, Barcelona

    BAR TOOL #0, the new pedagogical program by BAR project, will be host at Fundació Antoni Tàpies as part of the collaboration as resident project.

    >> June – August
    Basel goes to BAR project: Yanik Soland  

    BAR project is collaborating with Institut Kunst HGK hosting one student a summer in the city of Barcelona. True, the summer is the time when the city does not work, but, also true in this time of the year the more informal energies allow for the most. Why summer? Are we not going to be „cooked“ by the sun? Indeed, and also gain the possibility of experiencing a place in its peak of tourist, in a very special moment of its city use. Summer, as well, is full of opportunities that entangle leisure with art production. This is a residency not to do more, but to allow the artists to transit, to think, to see, to get to know. Relaxation is an integral part of thinking, why not to create the possibility of a summer around it. First student in resident is Yanik Soland (1990), an artist and musician based in Basel. His work has two basic traits: research and humor. With those he tries to understand the development of society, culture and art. Lately he’s very interested in collaborative work and the resulting potential of partially losing control of esthetics and content. During the last years he went on tour with several music projects and played in Italy, Serbia, Japan, Germany, Austria, Switzerland, Croatia, Slovenia and Hungary.

     >> September 2 – November 6
    Fellow of the 11th Gwangju Biennale “The Eighth Climate (What Does Art Do?)

    The GB11 “Biennale Fellows” consist of roughly one hundred small-and medium-scale art organizations across the world, whose work makes important contributions to the art of today, yet remains under the radar. In a two-day forum (2-4 September), Biennale Fellows, as well as their peers and colleagues, are invited to come together, share experiences and discuss the future of this kind of work, especially with regards to questions of value, continuity and scale.

    Distinct from bigger-scale art organizations such as museums, art fairs, and biennials, organizations like us often function as the research and development department of the art world. Above all, we actively support artists to experiment and cultivate their practices and nurture contact and conflict zones around themselves. Yet the significance of our work is not fully acknowledged in a wider ecology, while our self-determined “marginal” or “minor” positions, as well as increasing precarity in the climate of austerity and various crises, are palpable. As Biennale Fellows, along with more than 100 other fellows, we place art center stage and create a platform to discuss specific values that our work embodies, as well as imagine acts that we can perform in common. The Forum will be one such concrete moment in which you all are welcome to join.

    >>  starting on September
    New entry!!! Gloria Fernández is the new BAR project coordinator

    Thanks to Employ Culture grant the initiative that creates jobs in the cultural sector by Santander Fundation we are pleased to announce that Gloria Fernández is the new BAR project coordinator. Gloria Fernández is an educator and coordinator of educational and artistic projects. She studied Fine Arts at the Universitat de Barcelona, specializing in arts education, and thenceforth she collaborated with different institutions as MACBA, Fundació La Caixa, Espai Cultural Caja Madrid, Musée Mobile (MuMo) or Liminal Gr in conducting and/or coordinating several projects. In between she studied a Master’s degree in Design and Management of Exhibition Projects (ELISAVA) and shortly afterwards she coordinated Arts Libris, the International Fair of Contemporary Edition of Barcelona. She is interested in cultural mediation and transmission of contents used by contemporary art as well as the interaction of artistic structures with the public user of these.

    >> September – November
    BAR residency program fall residents

    Sojung Jun / Jungju An – Cristina Ochoa – Mónica Restrepo Herrera

    BAR project fall session residents, Sojung Jun / Jungju An (Corea),  Cristina Ochoa (Mexico – Colombia) and Mónica Restrepo Herrera (Colombia) continue developing the curatorial program for 2016, reflecting from different perspectives the politics of control of human behavior.

    In collaboration with Fundación Nefkens, SOMA Mexico – AC/E,  y EMMA.

    >>Apply untill Seotember 18
    BAR TOOL #0

    An eight months practice-based training program. Study period at Fundació Antoni Tàpies and Fabra i Coats – Creation Factory, Barcelona from November 2016 until June 2017.

    >> Apply until the end of September
    Partner Platform for the 2017 edition of the Future Generation Art Prize

    The Future Generation Art Prize is a worldwide contemporary art prize to discover, recognize and give long-term support to a future generation of artists. The last edition of the prize in 2014 received over 4,000 applications from over 130 countries, and its 21 shortlisted artists participated in a special exhibition in Kiev. The winners were Nástio Mosquito (Angola) and Carlos Motta (Columbia), who split the $100.000 prize. The exhibition included 21 finalists, among whom were Neïl Beloufa (France), Cally Spooner (UK), GCC (Arabian Gulf Region), Ximena Garrido-Lecca (Peru), Kudzani Chiurai (Zimbabwe), and Cécile B. Evans (USA/Belgium). After the great success of the third edition, we are pleased to launch the fourth edition of the prize, which will culminate with an exhibition of the shortlisted artists in Kiev in February 2017 and in Venice, Italy, in conjunction with the 57th Venice Biennale in May 2017. Artists around the world under the age of 35 may enter the competition through an open call online application available in ten languages and open for three months online: Mid-June – September 2016. After the application period, the Selection Committee will shortlist twenty artists for an exhibition at the PinchukArtCentre in Kiev, which will be judged by an International Jury. The Jury will then award one main prize of $100,000.

  • Residents talk: Valentina Desideri, Warren Neidich and Florencia Portocarrero

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    Wednesday, April 6th, 07.30pm, Fabra i Coats*

    In the context of BAR project curatorial program, which explores during 2016 the politics of control of human behavior, artists Valentina Desideri (IT/NL) and Warren Neidich (US/D), and curator Florencia Portocarrero (PE), in residence until the end of May, will be presenting their work and introducing the projects they are developing in Barcelona. These projects and researches will be partially shown at “The Right to be Unhappy” event, taking place at French Institut and Antoni Tàpies Foundation respectively on 6th and 7th of May.

    Valentina Desideri is an Amsterdam-based artist. She trained in contemporary dance at the Laban Centre in London (2003–2006) and later on did her MA in Fine Arts at the Sandberg Institute in Amsterdam (2011–13). She does Fake Therapy and Political Therapy, she co-organises Performing Arts Forum in France, she speculates in writing with Prof. Stefano Harney, she writes biographies by reading people’s hands, she engages in Poetical Readings with Prof. Denise Ferreira da Silva.

    Warren Neidich is an artist, writer and organizer who is founding director of the Saas-Fee Summer Institute of Art. For the past twenty years he has been utilizing a variety of media from photography, video, painting, sculpture, performance and installation to investigate the emancipatory capacity of artistic expression both in the world and the brain. Recently his interests have turned to what he refers to as a neuroethics: the right of every individual on the planet earth to fully activate his or her neuroplastic potential. Neidich is currently working on two major artworks at this time. In Los Angeles he is the middle of The Hollywood Blacklist Project 2013-2018. A number of preliminary projects including Book Exchange, 2014 and Double Jeopardy, 2015 are intended to set the ground work for a major public work in 2017 called Re-imagining the Hollywood Walk of Fame.

    Florencia Portocarrero is a researcher, writer and independent curator. She obtained her BA in clinical psychology at the Pontifical Catholic University of Peru, where she also received her MA in Psychoanalytical Theory. During the 2012/2013 Portocarrero participated in de ‘Appel Curatorial Programme’ in Amsterdam and recently she completed a MA in Contemporary Art Theory at ‘Goldsmiths University’ in London, where she graduated with honors. Portocarrero regularly collaborates with the international contemporary art magazine Artishock and has contributed with her writings on art and culture in numerous catalogues and publications. In Lima Portocarrero is co-founder and co-director of the independent art space ‘Bisagra’ and works as public program curator at ‘Proyecto AMIL’.

    *Carrer de Sant Adrià, 20, 08030 Barcelona

  • BAR module: Curating the space / Space for curating

    Sofía Hernández Chong Cuy, Carles Guerra, Latitudes, Michy Marxuach y las participantes de BAR module

    Viernes 4 de diciembre 2015, 19:00 hs, Fabra i Coats – Fábrica de Creación de Barcelona

    BAR module: Curating the space / Space for curating
    A flexible pedagogical format on curating with Sofía Hernández Chong Cuy, Chus Martínez, Michy Marxuach
    30 noviembre – 6 diciembre 2015, Fabra i Coats – Fábrica de Creación de Barcelona

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    BAR curators talk, Tapies Foundation, July 2014, photo by Eva Carasol

    En el contexto de BAR module: Curating the space / Space for curating el nuevo formato pedagógico flexible de BAR project – nos complace invitarte a BAR curator talk, una conversación pública entre Sofía Hernández Chong Cuy, Carles Guerra, Latitudes, Michy Marxuach y las participantes de BAR module.

    El primer BAR module: Curating the space / Space for curating destaca la búsqueda de un territorio de expresión curatorial. El programa se centrará en proporcionar un contexto para un intercambio profesional intensivo sobre esta crucial cuestión en el trabajo curatorial hoy en día. Tratando de crear un ambiente de aprendizaje íntimo e informal, un grupo de participantes se reunirán  durante una semana con los curadores internacionales invitados para pensar, cuestionar y desarrollar ideas sobre la práctica curatorial. Siguiendo el modus operandi de BAR project, la hospitalidad estará en el núcleo del programa, generando un entorno donde la transmisión de conocimiento se produce desde la experiencia, la conversación y la acción.

    Las participantes seleccionadas son: Alejandra Avilés, Cristina Albertini, Garazi Ansa, Francesca Boenzi, Pauline Bordaneil, Alba Folgado, Gris Garcia, Valentina Lacinio y Helena Perez.
    Writer in residence: Maja Ćirić.

    El programa comienza con The walking tour, un recorrido a pie en la ciudad de Barcelona conducido por BAR project compuesto de una selección de visitas guiadas a espacios comerciales, institucionales e independientes, así como de encuentros personalizados con distintos profesionales locales. Los siguientes días del programa se llevan a cabo en  Fabra i Coats – Fábrica de Creación de Barcelona. A partir de las charlas y conversaciones diarias dirigidas por Sofía Hernández Chong Cuy (Comisaria de la Colección Patricia Phelps de Cisneros, Nueva York), Chus Martínez (Directora del Instituto de Arte FHNW, Basilea) y Michy Marxuach (Co-fundadora de Beta-Local, San Juan, Puerto Rico), todos los participantes tendrán la oportunidad de presentar sus ideas y puntos de vista sobre el tema. El último día en Fabra i Coats incluirá una charla pública entre los curadores invitados junto con Carles Guerra (director de Tàpies Foundation) y Latitudes (Max Andrews y Mariana Cánepa Luna, curadores independientes, Barcelona) y los participantes, seguido de un cóctel. El fin de semana se dedica a visitas de estudio con artistas de la ciudad.

    BAR module: Curating the space / Space for curating es generosamente acogido por Fabra i Coats – Fábrica de Creación de Barcelona.

    Fabra i Coats – Fábrica de Creación de Barcelona
    Carrer de Sant Adrià, 20
    Barcelona 08030
    http://fabraicoats.bcn.cat/

     

     

  • BAR module: Curating the space / Space for curating

    Sofía Hernández Chong Cuy, Carles Guerra, Latitudes, Michy Marxuach and BAR module participants

    Friday 4th December 2015, 07:00 pm, Fabra i Coats – Barcelona Art Factory

    BAR module: Curating the space / Space for curating
    A flexible pedagogical format on curating with Sofía Hernández Chong Cuy, Chus Martínez, Michy Marxuach
    30 November–6 December 2015, Fabra i Coats – Barcelona Art Factory

    BAR_F_TAPIES_72_038
    BAR curators talk, Tapies Foundation, July 2014, photo by Eva Carasol

    In the context of BAR module: Curating the space / Space for curating – the new flexible pedagogical format by BAR project – we are happy to invite you to the final BAR curator talk, a public conversation among Sofía Hernández Chong Cuy, Carles Guerra, Latitudes, Michy Marxuach and BAR module participants.

    The first BAR module: Curating the space / Space for curating highlights the research for a territory of curatorial expression. The program focus on providing a context for an intensive professional exchange about this very important issue on curatorial work nowadays. Seeking to create an intimate and informal learning environment, a group of participants gather international guest curators to think, question and develop ideas on curatorial practice over a period of a week. Following the modus operandi of BAR project, hospitality will be at the core of the program, generating an environment where knowledge transfer occurs from experience, conversation and action.

    The selected participants are: Alejandra Avilés, Cristina Albertini, Garazi Ansa, Francesca Boenzi, Pauline Bordaneil, Alba Folgado, Gris Garcia, Valentina Lacinio and Helena Perez.
    Writer in residence: Maja Ćirić.

    The program starts with The walking tour by BAR project in the city of Barcelona, a selection of guided visits to commercial, institutional and independent spaces, as well as meetings with local practitioners. The following days the program take place at Fabra i Coats – Barcelona Art Factory. Consisting in daily public lectures and conversations led by Chus Martínez (Head of the Institute of Art at the FHNW, Basel), Michy Marxuach (Co-founder of Beta-Local, San Juan, Puerto Rico), Sofía Hernández Chong Cuy (Curator of the Colección Patricia Phelps de Cisneros, New York), all participants have the opportunity to present their personal statements and points of view on the subject. Last day at Fabra i Coats will include a public talk among the guest curators, Carles Guerra (director Tàpies Foundation) and Latitudes (Max Andrews and Mariana Cánepa Luna, independent curators, Barcelona) together with the participants, followed by a cocktail party. The weekend will be devoted to studio visits with local artists around the city.

    The BAR module: Curating the space / Space for curating is generously hosted by Fabra i Coats – Barcelona Art Factory.

    Fabra i Coats – Barcelona Art Factory
    Carrer de Sant Adrià, 20
    Barcelona 08030
    http://fabraicoats.bcn.cat

     

  • BAR PARTY – Natalia Sorzano

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    We celebrated our second anniversary with you in a special day-time party. We danced, ate and drank. Artist and musician Natalia Sorzano (CO) – aka NIKA – presented a performance followed by a d-jay session during the afternoon on a stage in the garden.

    We would like to thank people, organizations, all the artists, agents and public for their generous support.

    Natalia Sorzano (Colombia, 1984) aka NIKA use multimedia to approach human social attachment to cultural imagery and collective faith. Exemplifying through fiction and music, she researches the relation between emotion and social and political histories.

    She graduated with degrees in Law and Fine Arts from Los Andes University in Bogotá, 2010. Currently enrolled in a Master Degree programme of Fine Arts at the Piet Zwart Institute in Rotterdam. Her most recent exhibitions were at Tale of a Tub and TENT, performing during Katarina Zdjelar´s book Launch “Toward a further word” (Rotterdam, 2014). Her work has been shown in spaces around Latin America, such as Proyectos Ultravioleta (Guatemala, 2010), Des Pecho (Costa Rica, 2011), Museo La ENE (Argentina, 2012), Salon Regional (Colombia, 2012) and La Otra Bogotá Biennial.

     

  • BAR PARTY – Natalia Sorzano

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    Celebramos nuestro segundo aniversario con una fiesta de día. Desde mediodía bailamos, comimos, escuchamos música y bebimos. La artista y música Natalia Sorzano (CO) – aka NIKA -presenta una performance seguida de una sesión de DJ y karaoke durante la tarde en un escenario construido en el jardín de Halfhouse. Comida vegana cocinada por la artista Masha Perskaya y cocteles de Absolut Vodka.

    Gracias a las personas, organizaciones, a todos los artistas, agentes y al público por su generosa ayuda

    Natalia Sorzano (1984, Colombia) aka NIKA usa distintas técnicas para indagar sobre la fe colectiva y el apego a imaginarios culturales del pasado, con sus continuas transformaciones. Ejemplifica a través de la música y la ficción, descubrimientos que atan emociones con paisajes, historias personales y realidades políticas.

    Graduada de arte y derecho en la Universidad de los Andes en Bogotá (2010), se encuentra actualmente estudiando su maestría en Bellas Artes en el Piet Zwart Institute de Rotterdam. Sus más recientes exposiciones fueron en Tale of a Tub (Rotterdam, 2014) y en TENT acompañando el lanzamiento del libro de Katarina Zdjelar (Rotterdam, 2014). Su trabajo se ha presentado en espacios de América Latina como en la Municipalidad de Miraflórez (Perú, 2009), Proyectos Ultravioleta (Guatemala, 2010), Des Pecho (Costa Rica, 2011), Museo La ENE (Argentina, 2012), Salón Regional (Colombia, 2012) o La Otra Bienal de Bogotá (Colombia, 2013). Ha colaborado con espacios independientes en Colombia, desarrollando proyectos curatoriales en el marco del Festival de Arte Internacional de Medellín MDE11 (2011) junto a Proyectos Sauna y La Otra, Arte Contemporáneo (2011).

  • Curator talk: Binna Choi, Matteo Lucchetti and Silvia Franceschini

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    Tuesday 2nd June, 7pm, Fireplace*

    Based on the different perspectives and positions of the visiting curators, this conversation will deal with their approaches to institutional and socially engaged artistic practices.

    Participants: Binna Choi is director of Casco, Office for Art, Design and Theory (Utrech, NL), Matteo Lucchetti is curator of the research and biennial award Visible project (Brussels, B) and Silvia Franceschini is independent curator and member of the curatorial team of the upcoming Kiev Biennale of Contemporary Art (Kiev, 2015).

    Event sponsored by
    absolut

    Generously hosted by
    fireplace

    *Fireplace, Carrer Taulat, 42b