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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
Interview with Juha Huuskonen (Pixelache)
03-02-08 we-make-money-not-art  

 

Meet one of the Godfathers of the Finnish media art mafia...

Juha Huuskonen is an artist, curator, VJ, software designer and he is also the organizer of the Pixelache electronic art festival.

Through a series of performances, exhibitions and club events, Pixelache brings together young creators from diverse disciplines who playfully and critically experiment with media and technology. The festival also features practical workshops and seminars addressing current issues in the development of digital media.

Pixelache is held each year in Helsinki has also traveled to other destinations including Medellin (Pixelazo), New York, Montreal, Paris (Mal Au Pixel) and Stockholm (PixelVÄRK).

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Pixelache 2008 Helsinki will feature the first edition of Baltic Boxwars: Northern League

Juha is currently busy preparing the 7th edition of the festival Pixelache University, Exploring the Crossroads of Art, Science, Technology and Urban Culture, held in Helsinki on March 13 to 16.

Pixelache University will focus on education and ask questions such as Does the educational system have room for hackers, circuit benders, environmental activists and VJ artists? What would be a suitable curriculum for nurturing independent grassroot initiatives?

Furthermore, Pixelache has opened its very own educational programme with a curriculum which consists of monthly Pixelache events (presentations, workshops, concerts and parties).

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Pixelazo Bailable at Parque de las Luces. Photo Juha Huuskonen

I met Juha for the first time at Belsay Hall, in the North of England. He had commissioned 3 media artists to get some inspiration from the 17th century manor house and inhabit it with their art installations (review here and here again). Then we saw each other again in Colombia where Juha had invited me (hey! lucky me!) to participate to Pixelazo. I had him sit down in a bar for an interview. That was back in June.

Transcript of our Medellin conversation.

How could I define Juha Huuskonen?

When people ask what I do I tend to answer that I am a software engineer (because that is my official education) who is lucky enough to make a living as an artist but in fact I put most of my efforts into organising events and developing organisations.

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PLAN*B FOR ARKADIANMÄKI by Juha Huuskonen, Tuomo Tammenpää, Aura Seikkula & co (2005). Photo: Juha Huuskonen

How was Pixelache born?

The first Pixelache festival in 2002 was put together in an improvised manner, with a tiny budget of a couple of hudred euros. The purpose was to bring local active people together to discuss and present experimental work that fell between the categories - not art, not design, not research, but kind of all of these at the same time. This type of work is of course shown in all kinds of international festivals (today even more than a few years ago) but the other special thing about Pixelache has been that we've focused on showing work by young, emerging creators and taking risks by showing work that is still in the concept or prototyping stage. This is something that we are still trying to stick to, even though the festival has grown quite a bit and involves more established artists as well. Education - all kinds of seminars, workshops and presentations - has also been a very important part of Pixelache from the beginning.

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IMAchannel performance by katastro.fi, 1998 . Photo: Pirje Mykkänen

The longer history of Pixelache can be traced back to katastro.fi, a loosely organised media art collective that started in 1998. During its heydays, katastro.fi had around 50 members and worked on rather large scale projects, such as eko.katastro.fi and 2000.katastro.fi. The founders of katastro.fi were involved in demoscene, a subculture that evolved around software piracy and creative experimentation with early home computers (Commodore, Atari, etc). Katastro.fi brought together some of the most successful Finnish demo groups (Komplex, Orange, CNCD, Sonic, Virtual Dreams, etc) which had been active already since late 80s/early 90s. In the demo scene, people would get together in parties (events that nowadays can attract up to thousands of young people) and show the stuff they were working on. The way demoscene functioned as an informally organised, highly social network focused on developing new work and ideas has influenced my own practise a lot.

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'Assembly' demoscene event in Helsinki, Finland . Photo:Pekka Aakko

Where does the name Pixelache come from?

I found the word Pixelache sometime in 2001, in an article that was predicting new words that would be used in the future. The word was supposed to describe an "overdose of digital media." I knew myself how that feels, for me the feeling of overdose comes from seeing too much of the same, how all media and technologies become standardized, closed, stiff and boring systems over time. I googled for the word "pixelache" and got zero results, so it was a word waiting to be grabbed. So, we first had a nice sounding name, the concept of the event evolved afterwards. Pixelache festival actually tries to act as an antidote for 'pixelache', presenting projects that challenge the standardizations.

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Light Surgeons at Pixelache 2003, Helsinki. Photo: Antti Ahonen

How did Pixelache end up spreading to other countries?

Our international events started in 2003, when we organised Pixelache festival in New York and Montreal. Both festivals were organised on a shoestring budget, with a lot of effort and enthusiasm from both organisers and artists. We carried most of the necessary gear and artworks as luggage, organised free/very cheap accommodation and traveled on a Greyhound bus between New York and Montreal.

The events in New York and Montreal brought together a quite unusual combination of local organisations that all had a lot of influence in planning the festival program. In addition to international guests, both events featured a lot of local artists, many of whom were later invited to Helsinki. We have maintained this way of working ever since. The model is sort of opposite to ISEA: instead of a separate international jury, the local organisations are in charge of the program, they never have to present projects that they don't consider relevant for the local context. The program decisions are aided by an on-going discussion between various partners within the Pixelache network.

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Pixelache NYC on top of Gershwin Hotel, 2003. Photo: Antti Ahonen

I think the reason why organisations want to work with Pixelache, or start their own Pixelache edition, is that Pixelache takes seriously the work done by emerging authors but does it without trying to be pompous. Another thing that makes Pixelache interesting is that we work at lot with international networks and subcultures, such as VJ scene, hacker and activist communities, etc. The current active nodes in the Pixelache network are Pixelache Helsinki, Mal au Pixel Paris, Pixelvärk Stockholm and Pixelazo Medellin. Pikslaverk is about to start in Reykjavik and we've been actively collaborating with piksel.no in Bergen, RIXC in Riga (Locative Media Workshop), Plektrum in Tallinn, Mediawala festival and Doors of Perception in New Delhi, Interferenze in San Martino Valle Caudina and several other events.

What's the story of the creation of Pixelazo?

Pixelazo started with a random encounter - Vanessa Gocksch from Colombia contacted us in response to our open call for proposals, and eventually came over to Helsinki in spring 2005. Vanessa is running an organisation called Intermundos which works with marginalized communities in Colombia (for example kids from the ghettoes and indigenous Colombian tribes) and facilitates them to get involved in using media and technologies, focusing on free / cheap / DIY tools that are available to them. Vanessa and Intermundos have been a fantastic partner to work with, they are one of the rare organisations in Colombia who have the credibility to work with both grassroot organisations as well as established cultural institutions. It took two years to get to the first Pixelazo event, meanwhile we did some test runs by organising workshops with events like Salon Internacional del Autor Audiovisual in Barranquilla and Bogotrax in Bogota.

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VJ workshop for Kogi & Arhuaco tribes, 2005. Photo: Juha Huuskonen

Pixelazo has been a great source for inspiration and ideas for future Pixelache events, Colombians are not so overwhelmed with gadgets and technology as we in the Western world are, but they can take the time to develop their own DIY solutions. Colombia is also immensely rich in culture, even though much of it is hiding in the slums or deep in the jungle, not easily reachable by random tourists. In this sense the bad reputation given to Colombia in the international media has actually been a blessing, the fact that there has not been much tourism has preserved a lot of the culture that would have otherwise been commercialized and/or destroyed already a long time ago. But this seems to be rapidly changing, more and more tourists are coming to Colombia and Uribe has made the country a lot safer, but unfortunately in a building-high-walls-around-gated-communities kind of way, copied from the United States.

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Pixelazo music & VJ workshops in barrio Santa Cruz la Rosa, Summer 2007. Photo: Juha Huuskonen

The future goal of Pixelazo & Pixelache is to bring more ideas and cultural influence from the South to North. For example at the first Pixelazo event we had some guest from the Nasa tribe, the way they see their life is that they are constanly weaving a web of people and knowledge, spreading it around the mountain range where they live in. This is documented in their traditional handcraft, weaved bags that contain information that looks like digital data. When they started using radio, they used radio cicleta, radio bicycles to act as mobile transmission units. This way radio technology can be made transparent, the transmission station is always moving inside within the network of the tribe, it does not become a hidden black box, a top-down authoritative tool like we have adopted it. They have now started using web and internet tools as well, all based on open source, it will be interesting to see how this develops.

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Pixelazo music & VJ workshops in barrio Santa Cruz la Rosa, Summer 2007. Photo: Juha Huuskonen

What happens if I want to set up a Pixelache in another country? Is there a strict receipt to follow?

I guess step number one would be to get in touch with us, with Pixelache Helsinki or some of the other nodes in the network. Rest of the process has so far been informal, we've built collaborations slowly and by starting with smaller events. Right now there is a kind of pressure to make the process more formal and easier, so that more Pixelache events could be established since quite many people have contacted us about this during the past couple of years. We've been working on a Pixelache manifesto, a sort of 'constitution' for Pixelache events (not in EU style though :), something we can agree on and use a reference to develop the events in future. It's still under work, but it will probably contain at least following statements:

Multidisciplinarity: it's an event that brings together hackers, artists, architects, activists, but also people from the commercial new media / tech world.
We focus on working with emergening artists, rather than established ones.
We show prototypes, concepts, things in developments, projects which are not perfectly ready.

We try to bring together, support and try to understand how different sub-cultures can function, it's not just art, it's also hackers, community networks, VJs, etc.

There are also some themes that seem to appear in different ways in various Pixelache events: public space/locative media/borderline between physical and virtual space, do-it-yourself/hacking/missusing technologies, organisational strategies/collaboration/democracy, etc. VJ community and audiovisual performances have had a prominent role in all Pixelache events.

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Association for Experimental Electronics, Mal au Pixel 2006, Paris. Photo: Antti Ahonen

Over the years we have developed working methods that makes it easier to organise this type of events, there are some of the tricks that new Pixelache festival nodes can adopt if they want. This has mostly been about treating the organiser team and the artists as one big team that can help the event to happen, by using e-mail lists, wikis, etc. For example one little innovation, asking the artists to put info about their travels online in a wiki themselves, took away a massive travel agency type of work from the organisers (there are often around 100 international artist/contributors arriving to Pixelache). The other great effort used to be the publication, but we have managed to cut down the work effort by using a simple design template and a wiki to put it together, we also make it in A4 size so that we can print it at a photocopy place on the last minute and later on anyone can download and print it at home as well. All these methods help us to remain an independent, grassroot initiative even though the festival has been growing in scale quite a bit.

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Orgsmobile at Mal au Pixel 2006, Paris. Photo: Johan Sandsjö

When you talk about Pixelazo you usually say *we made" " we were invited", etc. Who is behind that "we"?

'We' is most often the bunch of people involved in organising Pixelache Helsinki, there is a core crew of 5-10 people who have been involved for a longer time, and a larger group of people who get involved occasionally. The larger 'we' includes the international Pixelache network and our local collaborators.

But the question 'who is we?' is actually very important for us, after all these years we are still trying to figure out what it means to be an independent, grassroot organisation. This is something we've been exploring also in previous Pixelache festivals, with the 'Dot Org Boom' theme in 2005 & 2006 and 'Architectures for Participation' seminar in 2007. With the emergence of all the 'Web 2.0' tools and networks, the role of the diy / independent / experimental / alternative media and tech organisations in changing. The revolution of 'citizen media' eventually has happened, via myspace, youtube and facebook... But in quite a different way than 'we' were expecting.

When I interviewed you, we were both in Medellin, a few days after you left the city and flew to Leticia which to me (I've never been) looks a lot like the jungle. Can you gives an overview of the Leticia chapter? How did it go? If you look back at what happened there, do you think it might have any influence on the next Pixelazo?

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Pixelazo / Selvatorium 2007, Leticia, Amazonas, Colombia. Photo: Juha Huuskonen

The purpose of the visit to Leticia (a town in Amazonia, in the border area of Colombia, Brazil and Peru) was to prepare 'Selvatorium', an artist residency and other activities out in the nature, with indigenous tribes involved. Vanessa has been working with the indians for a longer time and has documented some of their practises at Intermundos website... So we don't need to start from zero, but it's still a great challenge to figure out the 'right' way to try to bridge the gap between North and South. I don't think there is an easy solution available, with such a huge gap between the cultures. As I said before, I think we have a lot to learn from South, but we should also try to make a positive contribution to the local life, without imposing our own values and systems on them. Also it's kind of ridiculous to work on projects dealing with nature, and to burn a great amount of kerosene when people fly over the Atlantic to get there. Hopefully someone will donate us a big sailing boat soon....

Thanks Juha!

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Pixelazo / Selvatorium 2007, Leticia, Amazonas, Colombia. Photo Juha Huuskonen

Next Pixelache appointments:
Pixelache Helsinki 2008: Pixelache University, 13-16 March 2008

Mal au Pixel 2008, Paris, 17-25 May 2008



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05-11-07_ Pep Agut * HERCULES
06-11-07_ Hackers And Painters
15-10-07_ Sound is Material
01-10-07_ Who's there...
10-10-07_ Formas de institucionalización de las obras de net.art en el mundo del arte
09-10-07_ Val del Omar. FUEGO EN CASTILLA
04-10-07_ Ibon Aranberri: la memoria estancada
24-11-07_ The Aura of the Digital
27-09-07_ Arqueologías del futuro
29-09-07_ Artistas del No
23-09-07_ Lost. Aitor Lajarín
18-09-07_ La simpleza
25-09-07_Transient
23-09-07_ Passengers
10-09-07_ Un caldo indigesto
10-10-07_ The Fundamentals of Sonic Art and Sound Design
25-09-07_ Itinerario visual: abriendo ventanas (puertas)
07-09-07_ Imágenes del otro lado
27-09-07_ La reflexión de la mirada
02-09-07_ Bodypoliticx
26-08-07_ Concretismo  & Neoconcretismo
10-08-07_ Game Art
26-08-07_ La (im)posibilidad de atrapar el fantasma del deseo (José Luis Guerín)
26-08-07_ Nada se destruye, todo se transforma
25-08-07_ Reconstrucción del vacío
25-08-07_ Inland Empire: la esquizofrenia inevitable [1 & 2]
30-08-07_ A-desk: documenta en pocas palabras
01-08-07_ Los timos con más arte
24-07-07_ Las Vanguardias
09-07-07_ Cultural Institutions & Community * MAC
01-08-07_ UBU * Featured resources_ summer '07
07-07-07_ Stroom Den Hagg
03-07-07_  Formas de institucionalización textual de las obras de net.art en el mundo del arte.
31-01-08_ Andy Warhol * Life and Death (2006)
01-07-07_ Documenta sin documentos
26-06-07_ De Julia Fullerton-Batten a Seton Smith pasando por Rineke Djistra PHE07
05-07-07_ La cultura del fraude
21-06-07_ El regreso al orden *  Sobre la 52 Bienal de Venecia
28-06-07_ Neo Rauch at the MET
06-06-07_ UbuWeb Featured Resources June 2007
17-05-07_ Killing Time * Cuban Artists
17-05-07_ Access Denied
14-05-07_ Dana Schutz * Stand by Earth Man
10-05-07_ Cultura RAM * José Luis Brea
07-05-07_ CENTROS DE ARTE:  Chus Martínez y Ferran Barenblit
06-05-07_ Ireland at Venice 2007
03-05-07_ John Baldessari: Music
31-05-07_ El mundo del arte
23-04-07_ Nos Pagan por limpiar, no por hacer arte
16-04-07_ Time Based Text, the gesture in computer art
16-04-07_ Proyecto: La institucionalización del arte en españa
15-04-07_ The Abjection Collection
13-04-07_ Malota en Mad is Mad
09-04-07_ UbuWeb Featured Resources April 2007 Selected by Anthony Huberman
05-04-07_ Procesado de imagen. Silencio
02-04-07_ Imágenes congeladas
02-04-07_ El soporte sigue en la pared
29-05-07_ Beckett directs Beckett
23-03-07_ A Bit O' White * Een Neetje Wit * Un Peu de Blanc
20-03-07_ Alex Katz * The Jewish Museum
20-03-07_ Spanish Painting from el Greco to Picasso
20-03-07_ Wilhelm Sasnal 
23-07-07_ El autor como productor
10-03-07_ Kosuth: "Vivimos un saludable estado de descontrol"
08-03-07_ Christiane Löhr * Naturaleza Silenciosa
07-03-07_ Scorpio Rising * Kenneth Anger
07-03-07_ Kubelkas talks
04-03-07_ ¿Qué historia es la que nos quieren contar?
12-03-07_ La mala crítica
05-07-07_ Retrato del artista como crítico cultural
03-03-07_ Dan Flavin * La mística del material
26-02-07_ Péter Forgács - Wittgenstein Tractatus
23-02-07_ Cross sections of yesterday * Gordon Matta Clark
22-02-07_ 'Lost' y 'Desperate Housewives', de David Lachapelle
22-02-07_ ARCO: decoración (excesívamente) cara
11-07-07_ (Re)construyendo un afuera
06-11-07_ Matthew Barney: The Cremaster Cycle
19-02-07_ Francis Bacon (con un par de huevos) ejem 
12-02-07_ These are pearls that were his eyes
11-02-07_ Cardiff & Bures Miller: La metafísica del sonido
11-02-07_ LA EXPOSICIÓN INVISIBLE. Obras sonoras del siglo XX
11-02-07_ Art Fair TOKYO 2007
09-02-07_ Nuevo arte casero
11-07-07_ One11 [1992] * A film by John Cage
03-02-07_ El profeta de la nueva melancolía
02-02-07_ People Like Us & Ergo Phizmiz - Boots!
01-02-07_ Del lápiz al píxel * Fantasmagoría. Dibujo en movimiento
01-02-07_ Transforming e-waste into art
28-01-07_ Hacer cantera
07-07-07_ Art market stupidity
22-01-07_ The AD Generator
22-01-07_ The way we loop "Now"
18-01-07_Index. Coup de parole
19-07-07_ Interview with Art Orienté Objet
12-01-07_ Piece by Piece
04-01-07_ Ten Commandments for Gilbert & George (1995) 
02-01-07_ Premio Turner. La hora del cambio?
06-01-07_ Joan Morey: «El artista y su trabajo son objetos fácilmente reemplazables en este sistema»
29-12-06_ Slomo Video
28-12-06_ Audio-Visual Art and VJ Culture
04-08-08_ Popaganda: the art crimes of Ron English
19-12-06_ Se busca a la chica que va enmedio en el taxi
18-10-10_ La obra de arte en la época de su reproductibilidad técnica
15-12-06_ Keith Tyson
16-12-06_ Texte zur Kunst * Porno
13-12-09_ Drawing Restraint 9 * Matthew Barney [ updated 20_11_'07 ]
16-12-06_ Sampler * Ricardo Echevarría
11-12-06_ The projection project
09-12-06_ Bill Viola * Anthem
07-12-06_ Una mala broma
15-12-06_ Vicent Todolí * entrevista
09-12-06_ Sergio Prego * Black Monday
03-12-06_ Stan Douglas *  Viena Secession
02-12-06_ Vídeo y puertas al campo
30-11-06_ Lyon Biennial 2007 
24-11-06_ La visibilidad de un artista
23-11-06_ Sobre la idea de hablar * Pep Agut
27-11-06_ Chomsky vs Foucault. Human Nature * Justice versus Power.
15-11-06_ Soledad de unas uvas
10-11-06_ Alex Katz Paints Ada * The Jewish Museum
09-11-06_Drawing
22-11-06_ How Art Made the World
15-11-06_ Fuera de campo, con nosotros
02-11-06_Terayama Shuji - Experimental Image World
01-11-06_ Ampudia, la (in)digestión del arte
01-11-06_UbuWeb Featured Resources Nov-Dec 2006 Selected by Ingrid Schaffner
30-10-06_Prospección de un lugar * Taller Lara Almarcegui
30-10-06_Hacia la ciudad 'replicante'
01-11-06_Ritual Ov Psychick Youth
24-10-06_Robert Morris * Exchange
23-10-06_El código morse
22-10-06_David Link * Poetry Machine 1.0
26-10-06_¿Una napsterización del arte?
18-10-06_TEOR/eTica * Estrecho dudoso
18-10-06_Turning * Antony and the Johnsons with Charles Atlas
18-10-06_Dos españoles en la Bienal de Sao Paulo
01-10-07_ Jonas Mekas * 365 Shorts
09-10-06_Gary Hill * Como suenan las imágenes
16-10-06_Disinformation TV: The Complete Series
03-10-06_Unbounded Freedom
30-09-06_Muntean/Rosenblum * Memento mori
29-09-06_P2P Art
29-09-06_Intentos de escapada
28-09-06_ Bustamante, en el extremo
27-09-06_Piracy is the New Black (Again)
09-10-06_... aquí ...ahora ...nunca * josé maldonado
21-09-06_CCNOA (Center for Contemporary Non-Objective Art)
28-09-06_Pasaporte a Berlín
20-09-06_Eva hesse * Jewish Museum N.Y.C
27-09-07_ Stan Brakhage * 2 de 300 ( o más )
18-09-06_Raymond Pettibon * El copyright obstaculiza la creación
17-09-06_José Luis Brea * El tercer umbral
14-09-06_CONFLUX 2006
13-09-06_Bienal Internacional de Arte Contemporáneo de Sevilla 2
13-09-06_Yve-A. Bois: « La crítica precisa más discusión y menos poesía »
12-09-06_On collaboration
09-09-06_Illusion is a revolutionary weapon
01-06-07_AHmérica !¿ [ crónicas americanas ] vol.1 + 2 + 3
07-09-06_Abstracción cálida y guerra fría. 1946-1956
06-09-06_Done Anything Dangerous Lately?
05-09-06_The Pile
04-09-06_Lewis LaCook * The Ghosts of Colors
02-09-06_Live webcast of Burning Man
01-09-06_The art of provoking the art world
13-09-06_Bruce Nauman * Videos
20-08-06_The wonderful world of irational.org
20-08-06_Desestructurando la imagen
18-08-06_Interview * Ricardo Miranda Zúñiga
18-08-06_The Residents * The River of Crime
17-08-06_TV Party!
15-08-06_The Eighth Square * Museum Ludwig
17-08-06_Colección(ando) * CAAC
13-08-06_GLOBOS SONDA * Reinventar la modernidad
13-08-06_Détournement as Negation and Prelude
31-10-10_ Steve Roden * Soundwalk
10-08-06_Werk Ltd
10-08-06_Nothing * Nada
06-08-06_PICNIC ‘06 Cross Media Week
06-08-06_Yes Bruce Nauman
07-09-06_The Dawn of DIMI
04-08-06_Scope Miami 2006
04-08-06_Buchenwald Memorial * Esther Shalev-Gerz
31-07-06_Cybernetic Serendipity
30-07-06_Los comisarios se la juegan
06-08-06_Tacita Dean * Esquivar la ficción
26-07-06_The Best Surprise Is No Surprise
26-07-06_NO(HA)LUGAR. Balance(s) del arte español.
24-07-06_Obra de arte asesina?
24-07-06_En el país de Alicia
22-07-06_ORIGEN de Bleda y Rosa
18-07-08_ Dan Graham & The Static (Audio Arts Supplement, 1979)
20-07-06_Guy Debord - Critique de la separation
02-12-07_ Ernie Gehr * Serene Velocity
30-06-06_Matthew Barney * Drawingrestraint
30-06-06_Radio Gallery
30-06-06_Los tiempos muertos de Alicia Framis
29-06-06_Guerrilla Girls * Going ape
26-07-06_Juan Hidalgo * biografías y corbatas
28-06-06_ Damien Hirst * En descomposición
27-06-06_PhotoEspaña premia la pasión por el detalle de Hiroshi Sugimoto
26-06-06_This is America * Centraal Museum, Utrecht
30-06-06_Interview * United Visual Artists
26-06-06_La Espera * Avelino Sala
26-06-06_Switch on the power! * Ruido y políticas musicales
22-06-06_5 Days to the End of Art
26-06-06_Sonar... Sonar... Sonar...
16-06-06_Santiago Sierra * Del minimalismo al sentimiento de culpa
16-06-06_Salla Tykkä * De Appel
16-06-06_Especulaciones aun tiempo
13-06-06_Storefront for Art and Architecture
11-06-06_Yoshua Okon * Realidad y ficción no son categorías ni aisladas ni abstractas
10-06-06_Alva Noto * Fades
04-09-07_ José Luis Brea * Art.matrix
08-06-06_La ascesis de Malevich
08-06-06_D3Sombra * Emanuele Mazza
08-06-06_Técnica, ética y violencia del sentido
08-06-06_CENDEAC * Actividades Junio-Julio 2006
08-06-06_For Immediate Release
05-06-06_Michel Foucault * Of Other Spaces (1967), Heterotopias.
05-06-06_Matthew Barney versus Donkey Kong
04-06-06_Montserrat Soto * Archivo de archivos (1998-2006)...
03-06-06_Chema Alvargonzález * Bienvenidos al mercado irreal
05-06-06_Kunsthaus Graz * Inventory
01-06-06_Antoni Abad gana el Ars Electronica
05-06-06_Robert Gober
05-06-06_Project Arts Centre
24-05-06_Distrito cu4tro * Atelier van Lieshout
24-05-06_Galería Juana de Aizpuru * MACHÍN
24-05-06_Museum Ludwig, Cologne
23-05-06_ediciones originales * carles congost the congosound
05-06-06_Marcel Duchamp: The Creative Act
20-05-06_'Efecto Doppler' en la Tate Modern
05-06-06_DESTE Foundation (Athens)
06-06-06_Huis | Festival a/d Werf, Utrecht // De Appel, Amsterdam
06-06-06_Tina B — The Prague Contemporary Art Festival
07-06-06_Shock tactics
17-05-06_La historia no se repite
07-06-06_sonambiente berlin 2006
07-06-06_Netherlands Architecture Institute * Museum Boijmans Van Beuningen * Nederlands fotomuseum
04-05-06_CONVOCATORIA DE PROYECTOS MADRID ABIERTO 2007
07-06-06_Akureyri Art Museum, Iceland
07-06-06_frieze announces international art writer's prize
04-05-06_MUSAC * Globos sonda /Trials Balloons
30-04-06_Patricia Gadea, la oscura luz de una pintora
04-05-06_Joseph Beuys Sonne Statt Reagan, (1982): el vídeo.
04-05-06_Outrageous and Contagious
28-04-06_Lawrence Weiner * X Y&Z
28-04-06_Que no ondeen las banderas
28-04-06_John Martin, lux ex tenebris
28-04-06_Agirregoikoa o no ceder al deseo del amo
07-06-06_e-flux projects * Martha Rosler Library
26-04-06_Representaciones Árabes Contemporáneas. La Ecuación Iraquí
25-04-06_Las listas del Mal (en este caso pintores)
07-06-06_Tom Sachs in Milan * Fondazione Prada
23-04-06_Tecnologías y estrategias para la creación artística * Altea Mayo '06
22-04-06_Fernando Renes * Mis animales y yo
21-04-06_Daniel Buren * Les Cabanyes de ceràmica i spill
21-04-06_Serpentine Gallery and e-flux announce Agency for Unrealised Projects (AUP)
21-04-06_WHY BERLIN ! No. 6 – Exhibitions in Berlin April – August 2006 and more
20-04-06_MIRADOR 06 * O.K Centre for Contemporary Art
20-04-06_Sin.con.texto * Una nueva velocidad
02-04-08_ Instinto Básico: Trauma y Re-atrincheramiento 2000-2004
22-04-06_José Luis Brea * La crítica de arte - después de la fe en el arte
19-04-06_El ir y venir de África
19-04-06_Thomas Locher * el escenario de la ley
19-04-06_Pierre Huyghe * Lo que la verdad esconde
10-04-06_CFP: CULTURE ZONE 06—5 DAYS, 5 THEMES
08-04-06_Oportuna y chocante: Bienal de Berlín
08-04-06_Diango Hernández, el artista demediado
08-04-06_Las esculturas de luz de Christian Herdeg
08-04-06_Joana Pimentel
07-04-06_Timeless Universe * Universo Atemporal
02-04-06_The Youth of Today * Schirn Kunsthalle
01-04-06_Peter Zimmermann y la fábrica de chocolate
01-04-06_Una idea es una idea es una idea * Luis Bisbe
02-04-06_Pintura ni en pintura
30-03-06_MADRID PROCESOS 06 Convocatoria de producción para proyectos artísticos
31-03-06_Takeaway exhibition highlights
30-03-06_ARTIUM de Álava convoca su programa de BECAS '06
29-03-06_Frankfurter Kunstverein * A New Departure
27-03-06_El Retorno de J.V. Marjov a Valencia
26-03-06_Calendar of upcoming events
27-03-06_Un misterio de 38 toneladas (sigue la saga)
26-03-06_Para todos los públicos
25-03-06_Juan López, desde lo público
03-04-06_Douglas Gordon
25-03-06_Humildad y gloria * FCS
24-03-06_MUSAC | Lo Siniestro
22-03-06_Preus museum | Skate Culture
22-03-06_ARTIUM abre a la Red su Base de Datos
29-03-06_Hiato Berlines | crónica dxd
22-03-06_INTRACITY- art públic i mediació social
21-03-06_III Jornadas de Arte Contemporáneo
21-03-06_Signs of Psyche. Psychoanalytical Perspectives on Art
19-03-06_Eulàlia Valldosera | Lugares de Trabajo
18-03-06_Threshold | Faisal Abdu’Allah & Charlie Dark
17-03-06_Hardcore
17-03-06_N e t e r o t o p i a
16-03-06_Reclaim the Spectrum | Festival Zemos98 8ª Edición
16-03-06_Stefano Cagol | Galleria Civica di Arte Contemporanea
15-03-06_Subterráneos | Seminario de Manuel Delgado y Compañía
13-03-06_Guillermo Paneque
13-03-06_Guff and nonsense
12-03-06_Desde el lado trágico de la revolución conservadora
10-03-06_Young British | British art and a scent of scandal
09-03-06_Otto Dix
05-03-06_Joan Fontcuberta | Googlegrams
03-03-06_Deva Sand
01-03-06_An art that eats its own head
28-02-06_III Convocatoria de Becas / MUSAC
24-02-06_Revoluciones Por Minuto
24-02-06_Ángela de la Cruz
23-02-06_Esta casa es una ruina / MP & MP Rosado / "Desajustes
17-02-06_4º Encuentro Internacional de Performance
21-03-06_La pupila de cualquier bicho... / Entrevista con Jorge Diezma
17-02-06_International Biennial of Contemporary Art of Seville (BIACS)
17-02-06_Paul Sharitts en EACC
07-02-06_Archivo F.X.: La ciudad vacía
07-02-06_MUSAC EN ARCO
07-02-06_ENTREVISTA: Benjamin Buchloh
03-02-06_300 Words from London: Dan Flavin - All Light Now
03-02-06_Fernando Sinaga, territorio introspectivo
03-02-06_Ugo Rondinone
03-02-06_Valérie Mréjen
01-02-06_Going Out in Berlin: New Faust Opera, Beuys on Film, Forsythe
29-01-06_Curro González y Manuel Ocampo, cara a cara
29-01-06_Y de repente... Roman Signer
29-01-06_Golpes de efecto / James Rielly
26-01-06_ OVERGADEN, Copenhagen, Denmark is seeking an Artistic Director as of May 1, 2006.
25-01-06_Contra la Desgana / Jesús Palomino
27-01-06_«Bricomanía» con Jan de Cock
27-01-06_Is Damien Hirst the most powerful person in art?
23-01-06_HIRAKI SAWA
23-01-06_Entrevista a Pedro G. Romero
23-01-06_Rosemarie Trockel: Subversivamente femenina
20-01-06_Crítica: What Good Are the Arts?, by John Carey
19-01-06_Perdidas 38 toneladas de Serra... Richard
17-01-06_Dark Places
18-01-06_WHY BERLIN ! No. 5 – Exhibitions in Berlin January / April 2006
17-01-06_CENDEAC
16-01-06_Contraluz / Sergio Barrera
16-01-06_Apaga y vámonos / Light art from artificial light
16-01-06_En la brecha / Sergio Prego
16-01-06_Copyright y el brillante futuro digital de los museos
13-01-06_Lessness / Ricardo Echevarría
12-01-06_fotoencuentros '06
12-01-06_UNSEEN CINEMA
12-01-06_5e Biennal d’Art Leandre Cristòfol
13-01-06_Festival Internacional MEM
13-01-06_Sin mancharse las manos
11-01-06_Class of Wolfgang Tillmans
11-01-06_Seeing Out Loud
10-01-06_KW Institute for Contemporary Art is looking for a curator
10-01-06_BENJAMIN H.D. BUCHLOH Y GAYATRI C. SPIVAK en el MACBA
05-01-06_VENTANAS ILUMINADAS. MP & MP ROSADO
05-01-06_ARTIUM 2006
04-01-06_The most buoyant art movements of 2005
04-01-06_Minimalism & Market
04-01-06_Jorge Diezma en Luis Adelantado proximamente...
22-12-05_Mike Kelly: Day is done
18-12-05_Ignasi Aballí, la obra abierta
08-11-09_ Vanessa Beecroft: Desnudas flores de ceniza"VB53"
18-12-05_Video Art On Video IPods
18-12-05_Cuando el vecino llama a la puerta
18-12-05_LA OBRA MIDE 3,5 METROS Y PESA 2,1 TONELADAS
15-12-05_Hiroshi Sugimoto: End of Time
15-12-05_Pedro Garhel: hasta pronto¡!
19-03-06_Entrevista: Martí Anson, artista
11-12-05_The Power Plant
07-12-05_Light Art from Artificial Light
05-12-05_Fatal Frames / Marcel Pey
03-12-05_Ojos que no ven...
01-12-05_A Brief History of Invisible Art
01-12-05_Olafur Eliasson, 'Notion Motion'
30-11-05_VIB / vídeo
30-11-05_Programa de Estudios Independientes MACBA
28-11-05_Fundación Tàpies: nuevo WEB...
25-11-05_MUSAC inaugurates five new exhibitions...
24-11-05_Rubell Family Collection
30-11-05_Beat less Beat / vídeo
22-11-05_SESSIONS eKAPA 2005
22-11-05_Right about Now: Art and Theory since the 1990s
12-11-05_Little Artist Versus Big Dealer in Sidewalk Showdown
03-11-05_Damián Ortega, ‘Escarabajo'
03-11-05_Permanencias Difusas / CAB
28-11-05_Ignasi Aballí 0-24h
31-10-05_Todo y más / Cabanyal Portes Obertes
31-10-05_The New Art Dealers Alliance (NADA)
23-10-05_Skateboard Fever: 50 años de cultura Skateboarding
22-10-05_Embankment / Rachel Whiteread
05-09-06_Hand Puppet
12-10-05_KEITH HARING. Obra completa sobre papel
11-10-05_Abierto Concurso para cubrir la plaza de Dirección Técnica de Hangar
11-10-05_HIGHLIGHTS. Prudencio Irazabal
08-10-05_ VERSION MAGAZINE 0.6 - COLORING BOOK
05-10-05_Surface Charge
29-09-05_Arts & LEISURE
29-09-05_Atumn in black and white
28-09-05_Francis Alÿs / Seven Walks
27-09-05_Robert Whitman
23-09-05_e-flux video rental slumber party
22-09-05_The Mousetrap
22-09-05_Hussein Chalayan
22-09-05_IDENSITAT Calaf/ Manresa 05
22-09-05_Sesiones animadas
21-09-05_POWER PLANT gallery
21-09-05_WHY BERLIN! No. 4
21-09-05_Monika Weiss
20-09-05_Dora García / Frac Bourgogne
20-09-05_JONAS DAHLBERG – JÁN MANCUSKA
20-09-05_S.M.A.K. is recruiting a Guest Curator
20-09-05_IN CONCERT
20-09-05_OPEN SEASON
08-06-05_Ana Laura Alaez » The Black Angels Death Song
15-01-06_Robert Gober 2 » La falsa fruta verdadera o sin título

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