Sala Apolo 3 (C/Nou de la Rambla, 113 Barcelona)
En Blanc (In Blank) is a project that connects art, technology and music. It was inspired by the aim of introducing contemporary art in the legendary Sala Apolo for the first time, accessing its usual crowd and making the work interact with both the space and the people who visit it.
Monica Riki? presents apparently blank screens. Thanks to a hack and a pair of glasses, designed by Alejandra Mata and Marta Minguell, the viewer will have a unique and individual experience in which the visuals of David Galar and Gerard Mallandrich will allow him/her to listen to non-existent music, thus creating the work Sonidos ciegos, visuales sordos.
The interaction is a sine qua non condition to be able to reveal the content. Without looking, there is no artwork. Looking through the special glasses implies an individual experience. It is impossible to share it, photograph it or show it. In this sense, the individuality in front of a screen and the relationship established with it, is similar to the one that exists when playing a videogame: in which you have your own experience. This way of living a truly private moment alters the society in which we live, where everything is shared, exposed, and generates the (unreal) need to share everything that we experience with the world.
So what are the screens hiding? Onomatopoeias written, animated in such a way that they end up creating music inside the visitor’s head. Something non-existent as far as sound is concerned, but perceptible through sight. That is to say, it will be the glasses, and not the headphones, that will generate the rhythm. These onomatopoeias in dance will lead us to the humming of a song or a rhythm that will happen spontaneously when viewing the screens. Its rough style fits with the industrial ambience of Sala 3 and promotes a club climax, but formalized from contemporary art.
Thanks to the interactive nature of Sonidos ciegos, visuales sordos, it works by itself within the walls of Sala 3 and plays with the limit of the playful character that makes Apolo special. The project allows the coexistence of public and private by facilitating an individual experience in a room continually full of people. Along with the oxymoron of perceiving the musical rhythm through sight, the work brings together a series of contradictions that foster a unique and immersive experience.
At the ART.gif virtual exhibition, we have selected 90 GIFs created by artists, illustrators and designers from all over the world who have adopted this format within their practice.
The GIF (Graphics Interchange Format) is the file that links art, advertising and sense of humor. It has evolved from a decorative and advertising function on the first websites. Today, social networks have made it resurface linked to immediate and fleeting humor.
The exhibition is a reflection on their new artistic uses, often experimental. These are small animations of the new communicative paradigm that are born intrinsically of the digital culture. They are consumed with immediacy and work by themselves as micro works. Like urban art, GIF works can not be separated from free culture, made to be shared in a viral and unlimited way.
The selected GIFs are sorted according to the genres of art history such as drawing, sculpture and photography; which are transformed into animations, 3D renders and cinemagraphs once they are taken to the GIF field. This is a representative compilation of the art GIFs that are currently on the net, a selection as extensible and changeable over time as its medium.
A.L. Crego, Akif Kaynar, Ana Cuna & Luis F. Sánchez, Anna Salmi, Bill Domonkos, Carl Burton, Charlotte Smith, Chris Phillips, Christina Lu, Christina Rinaldi, Clara Luzian (Render Fruit), Clemens Reinecke, Cory Livengood, Damon Scheleur, Dan Hudson, Daniel Harper (B/±DCODEC), Daniel McFarland, Dave Whyte, David Dope, EJ Hassenfratz, Eltons Kuns (theycallmeelton), Erdal Inci, Esteban Diacono, Fabian Denter, George Redhawk, German Gonzalez, Guillaume Kurkdjian, Gustavo Torres (Kidmograph), Hayden Zezula (Zolloc), Helen Green, Ibon Mainar, Ioana Harasim, James Whatley, JeanPierre Le Roux, Jelena Kostic, Jelly London, Joe Maccarone, Jon Jacobsen, Karenina Romez, Kevin Burg & Jamie Beck, Kevin J. Weir, Kostas Agiannitis, Krishna Kumar, Kuba Matuszczak (Turbolenz), Latham Arnott, Lilli Carré, Stefan Grimm (LS5), Magoz, Maori Sakai, Marie Edwards, Marius Krivicius, Mark Pearson, Mathew Lucas, Matjaz Tancic, Matt Corbin, Matt Powell, Matthew DiVito (mr. div), Matthieu Bourel (EK Dojo), Micael-Reynaud, Mike Martin & Roger Young Jr., Mikolaj Kula, MiRon, Nancy Liang, Nicolas Ménard, Nicolas Monterrat, Oamul, Oleg Beresnev, Patakk, Rebecca Mock, Reed + Rader, Robin Davey, Romain Laurent, Rrrrrrrroll, Ryan Gordon, Sam Cannon, Sasha Katz, Sheep Films, Simon McCheung, S|PyroGif, Stefanie Schneider, Sumie Garcia, Tiago Almeida, Tilen Sepi?, Tony Babel, Typical Hope, Uno Moralez, Vincent VIRIOT, Vladimir Marchukov & Dmitry Stolz, Yukai Du, Zack Dougherty.
La Poderosa (C/ Riereta, 18 2º 08001 Barcelona)
Loop Festival 2015
Ooze presents Siroi Mura (2014), a work by Alba G. Corral represented by Alpha-ville. A work that unfolds through generative code digital images of pictorial tradition. The piece consists of two video works: in the first one images are created from the music, composed by Odil Bright; and in the second piece, the process is inverted: the sound is modified based on the images.
The artist works in Live Cinema, where sound and video act as complementary elements and immerse the viewer into a world of sensations. Image and sound merge going beyond interpretation. Siroi Mura is almost a synesthesic work that crosses the boundaries between videoart and visual entertainment. It shows how Live Cinema opens possibilities in videoart and contemporary art.
There art new ways of consuming culture that lead us into reflecting on collecting as we have understood it so far: Can we consider the commission of a piece of video as a way of collecting? In what measure can we collect a work designed for real time experimentation? Is an eficent way for the artist? Is this a new way of consuming art that can coexist with collecting?
The aim is to bring the work from its natural habitat displaying it in a performing arts place, La Poderosa, in order to observe all the possibilities it has to offer: image and sound; painting and the digital world; arts and entertainment; collecting and commission. A hybrid work that suggests contemporary art trends and the issues that it presents.
El Palomar (C/ Elkano nº43 Bis Àtic 08004 Barcelona)
Collab with El Laboratori Smith, Sala d’Art Jove and MNAC
Ismael Smith was a versatile artist who had a public accepted life and other more controversial, as many other people throughout history. In/Visible is a visual map: halfway between artistic and curatorial work, brings together some of the key works of Smith showing the wide spectrum covering his life and work.
Why Ismael Smith? On the presentation No es que s’hi estigui més bé al llit quan plou, es que a fora s’hi està pitjor we focused on breaking down the life, work and mysteries of this accursed artist of the last century, the main laboratory of the archive-lab created by El Palomar, thanks to Sala d’Art Jove and in collaboration with Museu Nacional d’Art de Catalunya. Josep Casamartina i Parassols, historian, critic and curator specialist in art and clothing of the nineteenth and twentieth centuries, shared the evening with us as an expert on Ismael Smith to talk about his research.
Ideas para nada
Ideas para nada (Ideas for nothing) is a participative art intervention. A message appears on paper napkins in quiet cafes and bars of Barcelona, recreational spaces that are both a meeting and disconnection point. The artist Enrique Lista asks in his message that people draw or write an unproductive idea at the piece of paper and then sharing it through social networks, with the aim of generating a collection of discarded ideas. Ideas that otherwise would be lost in oblivion.
Lista questions the everyday legitimated discourse in society and contemporary art, precarious and full of paradoxes. The project Ideas para nada gives rise to not legitimized and defends discarded the ideas that anyone can have. It is inspired by the current trend of valuing the ideas just from an economic and commercial perspective: an idea is good only if it produces money and is considered a transferable right. Immersed in a long crisis , it’s paradoxical this commercialization of ideas where profitability is a must even for the mental plane.
In this society the entrepreneur is an hero, generator of productive ideas. His lifestyle has a link to the artist, both work for their ideas and their business 24 hours. Interestingly, this absorbing work dedication and constant creativity has been installed in the public imagination as something romantic. This new model of worker assumes alone all the uncertainty and problems that may arise, as the artist, but with a certain glamour. In practice, we all know that this means legitimizing poor working conditions.
Ideas para nada reverses the concept of ‘giving the best of yourself’ to keep leftovers, discarded ideas, forgotten and thus considered unproductive. It reminds us of the ability that people have to imagine, beyond the context in which we are immersed and pressured or demanded to create. All the ideas are valid, without classifying them as worse or better. Betting on the ability of being carried along between thoughts and dreams, struggles for ideas that seemed great for a moment, and pays tribute to all those ideas that emerged at some point in our mind.
33/45 (Joaquín Costa, 4, 08001 Barcelona)
In Acte commemoratiu (Memorial event) Barcelona is the common denominator of the works of Federico Garcia Trujillo and MawatreS. Both show a transformation based on the destruction of spaces to make new ones. Federico and Mawa pay attention in a past within a present Barcelona. While one of them recalls the executions by firing squad in Camp de la Bota, the other one act in neighborhoods transformed under the famous slogan “Barcelona posa’t guapa” (Barcelona get pretty) and remember that not so many years ago these areas had another appearance and totally different dynamics.
Federico García Trujillo examines the Fòrum, before Camp de la Bota, where more than 1718 people were murdered during the Civil War and until 1952. He appropriates the space to write in situ all the names of those people. It is a symbolic performative action that revives the events through the effort of the artist. The Fòrum, controversial for its limited role today and its economic failure in 2004, is a witness to a city that sometimes buries his past with great architectural and urban developments. Writing in a paper the full list of those shot is an action that makes us reflect on the present and prevents the Fòrum cement from tape our memory completely.
Hide, tear down and build something new. The intervention by MawatreS also speaks to Barcelona, a city that has become the perfect showcase for tourism, destroying the essence, nuance, and spontaneity of many of its places, becoming increasingly distant to its citizens. The intervention is based on slang slippers hanging electrical wires as a sign of something. Mawa strategically places handmade ceramic slippers in intensely transformed places. Decontextualized political plans and buildings are the trace of this institutionalization which forgets what really gave fame to Barcelona: urban culture, freedom.
Both artists work politically issues affecting both the past and present of the city. The collective memory of a dying-by-success Barcelona and another one which was settled by ideology. A slipper becomes a monument of another Barcelona, now disappearing, and a monumental Fòrum commemorates nothing. Two actions in a city that wanted to modernize itself so much in so little time that claims the no institutionalization of everything spontaneous and express the emptiness of official events.