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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.
Rodney Graham
10-05-08 suggested by: kikiriki  


In the work of Rodney Graham, sound — be it the abstract noise of a 1950s Italian projector, as in his latest work, Rheinmetall/Victoria, or a song presented within a film, as in How I Became a Ramblin' Man — is more than an integral part of the work. It has an equal weight to the visual components as subject matter.

By Kim Gordon (Sonic Youth)



Rodney Graham, Rheinmetall/Victoria 8, 2003, 35mm film, Cinemeccanica Victoria 8 35mm film projector and looper, 10:50 min, projected on continuous loop, silent. Courtesy of Donald Young Gallery, Chicago.

Even though Graham is not a New York-based artist, the work reminds me of the energy and interests floating around New York in the early '80s. Visual artists such as Robert Longo and Richard Prince played music alongside young composers such as Rhys Chatham and Glenn Branca. There was a lack of boundaries as to the formalism of art, or a deliberate ignoring of them. People had discussions about the context of performing in clubs as opposed to alternative spaces. While most of those artists eventually focused their careers exclusively within a visual realm, letting music influence them subliminally, Graham has always kept the question open: Am I a musician trapped in an artist's mind or an artist trapped in a musician's body? The question is really irrelevant, but it makes for a lot of interesting art.


Kim Gordon Have you seen Neil Young's current tour?

Rodney Graham No, I haven't.

KG It's pretty amazing. The Greendale shows are like supersized folk art. I guess it never occurred to him to do anything in a gallery—he just works in an arena. So he brought it all to it. It was really incredible.

RG I think the last time I saw him perform was years ago, with Crazy Horse in Vancouver, when you guys were opening for him. You guys were great back then too.

KG Thanks. Yeah, he's a pretty interesting guy. You would like his film, Greendale, the way he used film with the music. He incorporated the crew and his band. It was almost like a school play. In fact, the girl whom his daughter went to high school with, who was always in the school plays, was the main dancer. Your new show, does it have music in it?

RG No, it's just a film. It's mainly one large projection piece called Rheinmetall/Victoria 8. It's a documentary of this 1930s typewriter that I found in a junk store five or six years ago: Rheinmetall is the name of the company that made the typewriter, and Victoria 8 is the name of the projector. It's a Cinemeccanica, an Italian projector from the '50s. Rheinmetall, it turns out, was also a big arms manufacturer for the Third Reich. It was just this incredibly beautifully made, solidly designed typewriter. Not one key had ever been pressed on it. It had somehow made it over to Vancouver. I had it around for a while and then I thought I'd do something with it. I thought I'd make a slick car-commercial kind of film, using just static shots of this typewriter. I worked with a cinematographer and we made a series, like a documentary, but every shot is static. It's shot in 35 mm and projected using this vintage projector from a fairly large cinema, very beautiful, kind of overly powerful, so that when I show it in a gallery context, the film is smaller and brighter, and the light reflects back on the projector. So it's these two objects confronting one another. Two obsolete technologies facing off: the typewriter and the projector.

KG It's interesting that you mention car commercials, because I'm currently obsessed with car ads, car copy, ad copy. Mostly print ads with elaborate slogans that involve celebrity lifestyles, like you can't even tell it's an ad. A lot of times they'll just have these pictures of people—in fact I was in one of those ads a while ago, for a Lexus or something. And they just had a little blurb about me. It was really weird.

RG Like a lifestyle thing, like this is the kind of car you would drive?

KG I guess so, but it wasn't even that much of a connection. It was just the strangest thing. But you know how the cars kind of represent everything. The ad can be like, What is your desire? It will take you to your desire. I always thought they were modern-day landscapes: you see cars sitting around lakes, and driving through nature. It's right up your alley.

RG I pulled back from the car commercial idea because I would've had a lot of moving shots, super sexy shots, and I wanted to focus on static. In the end, in this particular context, it really worked, to my surprise, because if you look at the video, it's very boring—it's these very long shots, sometimes a couple of minutes, just these keys in extreme close-up. But when it's projected, the quality has a super effective sharpness, because the grain is kind of moving around. It's inherently fascinating. So I found that it worked without the movement.

KG Is there music in it?

RG No, I just wanted the sound of the projector, really obvious and loud. I just started working with 35 mm projectors in the gallery space, and I wanted it to be something of a sculptural audio presence, so I didn't want to have a sound track interfere. I want to do more with these projectors, because you can get them quite cheap now; the big cinemas are changing over to cineplexes with smaller projectors. So these things are becoming obsolete. You can buy them for a quarter of what they're worth.



Rodney Graham, How I Became a Ramblin' Man, 1999, 35mm film transferred to DVD, 9 minutes loop. Courtesy of 303 Gallery.

KG Do you do all the shooting and editing by yourself in the films or do you have a crew?

RG I have a crew. This was sort of exceptional from what I normally do. Usually I'm an actor, so I'm directed by someone else. I like that. In this case I codirected it.

KG Do you have a director you like to work with?

RG For the last few pieces I've been working with Glen Winter in Vancouver. He shot Smallville, the TV show. He was the principal. He was the cinematographer for that series, and he shot the last three things I did, including Rheinmetall. He's really good.

KG And how about the sound mixing?

RG I'm usually around for that. In this one it was pretty straightforward. I'm going to do another film where there will be a recording of me talking into a loudhailer, competing to be heard over the sound of two 35mm projectors which will be projecting the film.

KG I really like your songs.

RG Oh, I was going to bring my new record.

KG I was like, If I could score that for Thurston . . . What about the 10-inch?

RG I'll get you one. It's actually a double 12-inch, self-produced, self-released. And I just did a CD, a mix for this exhibition at the Art Gallery in Ontario that's going to LA MoCA.

KG And that has sound track stuff on it?

RG No, it's all pop songs with my band that I've been working with for a couple of years.

KG Is it your voice on the songs?

RG Yeah. The new one's different from the Bedbug one, more singer-songwriter. More Neil Young-y, a '70s guitar-rock kind of thing.

KG I was watching How I Became a Ramblin' Man, and I know this isn't your intention, but for me it's like the film is set up for the song. But it's not like a music video. At the same time, if you're looking at it outside an installation context, then it immediately becomes a music video. It looks like the Marlboro guy on a horse, that would be you, riding through a western landscape, mountains, a stream . . . you stop, get off your horse, pull out a guitar and start singing a song about being a Rambling Man, and then when it's over you get back on and ride into the distance.

RG It is a kind of music video, in a way. At the time I was totally interested in the idea of doing a music video. That was when I was trying to get my songwriting chops as a separate project, just trying to write songs. And I'd done this kind of genre costume piece, Vexation Island. I thought I'd continue with a western one, and then I was thinking about these Gene Autry musicals and Roy Rogers musicals—actually, they're not musicals, they are films that have musical elements in them. I was just going back and looking at them, and some of them are absolutely amazing, like this film Riders of the Whistling Pines: it's a propaganda film for DDT. Have you ever seen it?

KG I don't think so.

RG It was made in 1949. Gene Autry plays a forest ranger who has to spray the forest with DDT, and the local townspeople get up in arms because it's killing all the animals, but it's not really, it's this evil logging company that's killing them with another poison, and so the whole film is a justification for how great DDT is, which is kind of funny. It has little musical interludes, kind of arbitrarily located within the film. I was thinking about that genre, and I thought I would cite that, because it's kind of a prototypical music-video situation, but it doesn't really use the conventions of music in any other way. Oh, I'd love to make a video for one of my songs, but it's never happened.

KG I've always liked that Godard used musical form in his films.

RG They just spontaneously break into song, yeah.

KG I hate musicals. I mean, I don't hate them, they're just not my—

RG Yeah, I know, I tend not to like them either. What do you think of Kill Bill?

KG I haven't seen it.

RG I just bought Volume 1 on DVD. I was really impressed with the integration of the musical elements. At the beginning they use this Nancy Sinatra version of "Bang Bang (My Baby Shot Me Down)," which is really quite amazing. And there's this Japanese band the Five, Six, Seven, Eights, in this long scene—I think Tarantino's really quite brilliant at weaving popular music into his films. Also he's a narrative master. Just incredible, the whole split-screen thing.



Rodney Graham, Cover, Getting It Together in the Country, 2000. Courtesy of Donald Young Gallery.

KG There are a lot of writers now, like Jonathan Lethem and Dave Eggers, who really portray the male psyche. It's like the new Cheever. And I thought the song in your film Phonokinetoscope seems almost literary. It's totally Lee Hazlewood-ish.

RG Well, thank you—Lee Hazlewood's pretty awesome. The chorus is stolen from that Pink Floyd song "Bike": "You're the kind of girl that fits in with my world." And I wanted to cite Syd Barrett —and Albert Hofmann, of course, the bicycle-ride theme. His is quite a loud dynamic. But because there's no sync point between the song and the film, I wanted to create something that would demonstrate, in terms of music video, that it's really possible to put anything together. So long as you make the film an integral thing and the music an integral thing, the sync point is not really that important, because it can work in different ways. So you can activate the film by means of the phonograph. I was thinking too about the early experiments of sound and film where they did sync up the phonograph with the projector.

KG Have you ever thought of doing live music to film?

RG Yeah, it's funny. I just saw Lee Ranaldo and Leah Singer do that a few days ago. She was doing the projections and he was doing the solo guitar stuff. It was really good. I've tried doing that. But I can't really improvise. I know you guys are really into that.

KG But if you had a song, you could do song cycles or something.

RG I was supposed to play at No Music, that noise festival that was organized by Ben Portis just after 9/11. Did you play?

KG No, we didn't go.

RG I was here; I had a show that was supposed to open on the 12th or 13th and then I ended up going back. Ben wanted me to play, and I was kind of reluctant, because I can't really improvise. I can jam when I play with my friends, but I've never done it in public. Whereas when you guys perform live you're like completely free, unstructured.

KG Well, individually, we do that. Strangely, as a group we're not very good at improvising, in the strict sense of the word. There are certain parts in songs that are somewhat open-ended, but most of the songs are pretty much planned. There are sections that allow for more spontaneity. When we've just tried to cold improvise with someone else it's been a disaster. Although we played at the Stan Brakhage tribute at Anthology Film Archives, and that was fine—having a subject matter to shape what you're doing makes a big difference.

RG I improvised once, at a gallery, and I was sorry. It was for a piece called Softcore, where I redid the Jerry Garcia part in Antonioni's Zabriskie Point, where he plays guitar while watching the sex scene in the desert. I looped that scene in a projector and performed for the length of the film, which is 108 minutes. I played continuously, just kind of droning. I thought of it as "noodling" more than improvising. I had read in some guitar magazine that it's good to practice in front of the TV set, which I do all the time. So here I sat back in a comfy chair and watched the famous scene in that famous film. It just about sunk Antonioni, Zabriskie Point. It was a huge flop. He had all this Hollywood money that he threw at it. Jerry Garcia made enough money to buy his house from that, which was the thing that really attracted me to it. Antonioni flew him down for four hours and he just sat on a stool and improvised.

KG I have to watch that movie again. I haven't seen it in years.

RG But it's also got the great prototypical music-video scene at the very end, when the desert house, that incredible modernist house, explodes. That Pink Floyd song with the slo-mo explosion—it's really in the spirit of music video.

KG That, and the scene with the Yardbirds where they destroy all their instruments while they're playing a song at some little basement party. That's one of my favorite moments in that film.

RG Mine too. It's incredible.



Film still. Phonokinetoscope, 2001, 16mm film installation with modified turntable and 33 1/3 rpm vinyl lp. Courtesy of 303 Gallery.

KG Are there certain composers you really like?

RG Composers?

KG Yeah or just particular sound tracks from movies?

RG No, I haven't made a study of that. I wish I had studied film music a little bit more.

KG What about singers? Are there certain singers you like to listen to or get ideas from?

RG When I was working on my record I shut things out for quite a while, just because everyone sounded so good and I sounded so shitty by comparison. That's something I always go through when I'm working. It's a crisis of confidence. So I've only really started listening to other things. I tend to look back to old stuff for lyrical inspiration, Lee Hazlewood and old Dylan, and I guess it's true that the old stuff is more interesting. I think Dylan's lyrics on the new album are pretty amazing. They flow out of him. I have real trouble writing lyrics. I come up with ideas for songs minus lyrics and they just sit around for a year while I come up with some dumb line. That's the hard part for me. I only started trying to write songs with lyrics six or seven years ago. I worked with this band UJ3RK5 [pronounced you jerk] with Jeff Wall, Ian Wallace and friends in Vancouver, but I didn't have any input in the lyrics. I worked on a lot of the music.

KG I think your lyrics are great.

RG Thanks. It doesn't come easily to me, that's for sure. I admire people who make it sound easy. Stephen Malkmus makes it sound pretty easy.

KG He does, but that's a trap for him too.

RG You think so?

KG After a while, how do you really have an impact? I don't know.

RG I liked that last album.

KG Me too. He's always been such a spontaneous singer, lyricist.

RG There are some really good lyrics on Thurston's Psychic Hearts solo album.

KG I wish I had an advance of our new record. I'll bring one to your gallery. I'm very excited about it. I think Thurston's done his best vocals on that record, as well as myself.

RG I can't wait to hear it.

KG Richard Prince did the cover; we're using one of his Nurse paintings.

RG I don't know that series.

KG They're taken from pulp paperbacks, silk screened and painted over in a kind of de Kooning style. The titles are like New England Nurse or Surfing Nurse. The title of our album is Sonic Nurse. Richard and I used to hang out in the early '80s, so it's nice that we're connected. We don't spend that much time together now.

It's funny, I was reading your press kit and they had some quotes from you where you're talking about how you've gotten more and more interested in music and it pulled you in this direction and you didn't know about making art anymore.

RG Yeah. I don't remember where I said it, but it's true. I think it helped me in a bit of a rough time. I always loved music and I basically dropped it to focus on my art career. I didn't have any money at the time—this was the early '80s —and I sold my guitar. Sob story. When I had a bit of money I started thinking about music again, and at the same time I was not feeling too good about my work. So it was really nice to go back to it. I got a bunch of people together to work with, and I've been working with the same people for quite a while. John Collins is a producer and bass player I've been working with since 1998, really since I started doing music. But I've never found a way of making the music fit into my artwork other than, say, the Phonokinetoscope or the Ramblin' Man. I perform in too much of an art context, I think. I played with a band in Toronto recently in connection with an exhibit I had called A Little Thought, and there was a music review slagging the art audience. You can understand that a rock critic would do that. The context is not very rock.

KG At least you got a review.

RG Exactly.

KG Most people who go the opposite way, like musicians who make art, don't get a review. I'm actually venturing back to the other side myself, getting involved with more shows. I always liked to keep art and music separate, but now I find myself using music as a subject matter. At a show I had last year in New York I put Led Zeppelin lyrics on a wood surface in gold metal fleck. It was about growing up in L.A., architecture versus nature and teen longing. Last year I had two shows in New York, but it's hard when you're known for doing something else. I don't want to be some artist that people are interested in just because I'm Kim Gordon. But on the other hand there is a reason why I veered away from the art world, so I have to be careful about how I approach it.

RG I find the art context quite exclusive in a way and fairly open to things at the same time. I basically want to get the band out on a little tour for people who are strictly music fans. Most of the people whose opinions I tend to appreciate the most are musicians, obviously.



Film still. Phonokinetoscope, 2001, 16mm film installation with modified turntable and 33 1/3 rpm vinyl lp. Courtesy of 303 Gallery.

KG When did your new CD come out?

RG It came out a couple of weeks ago. The record I put out last September. I had a thousand made and they're in my studio and I give them to people. I've got some distribution through Scratch Records in Vancouver, which distributes across Canada. So I'm getting it out a little bit. The tour is hard to do. It's expensive to take people on the road. I've been doing solo things, but I can't stand it. It's too nerve-racking. It's terrifying to sit up there with an acoustic guitar, but it's kind of rewarding. It's the feeling of being utterly naked. The first few times I did it I made some really, really bad mistakes. My mind just went utterly blank in the middle of a song and I had to start again. Once I had to start again three times. I'm going to try to get away from the solo thing. The week before it is shot; I just sit and practice and fret.

KG I'd like to see you incorporate it more in your artwork. It's a great idea, the way you've approached it so far.

RG I've got a good band now that I really like working with. It's hard to get four people organized. You guys play regularly?

KG No.

RG You just get together when you're doing a project?

KG It's partly because we don't live here now. But just to get people to decide on anything is hard. It's much easier to get things done if you're all in a room going, Okay, let's decide. Rather than sending artwork for the cover around and everyone putting their two cents in. It drives the graphic designer crazy.

RG I saw you guys, you had Jim O'Rourke with you. You were singing without playing guitar and without playing bass and dancing instead. It was kind of nice.

KG Yeah, it was fun. He's kind of a member of Sonic Youth now, until he gets bored with it. But I think it's evolved the songwriting too. We'd kind of gone to one extreme being more abstract and open-ended with the song structure, and now we're headed back the other way. He likes to do hot licks and play double leads, this boy fun sort of thing. It can be very powerful onstage, and on this record even more so.

RG I thought it was really strong in the song department, which is my end of things.

KG Have you seen Cameron Jamie's work at all?

RG I know of it. He works with Mike Kelley?

KG He has done stuff with him, yes. But he's been living in Paris, and he did this film, sort of a documentary on backyard wrestling. And he showed that with the Melvins playing live with it. I haven't seen them do it with him, but it sounds great.

RG I can imagine, and appropriately heavy. They're an Aberdeen band.

KG Speaking of which, Aberdeen was an interesting project you did, when you went to Kurt Cobain's hometown of Aberdeen and took pictures. It's one of the most depressing-looking towns I've been in, but it's very indicative of certain parts of the West Coast, like up around Crescent City in Northern California.

RG I went into town and got out very quickly. Partly because of the weather, it was very dreary. The clouds parted and I was able to take photos for two hours. I felt a little bit like a voyeur. And all these people were looking out at me from behind their blinds. It was strange. That was about my getting into music and trying to make demos. I'd been making four-track recordings of songs at home and thinking about Cobain. It was a lo-fi presentation with slides and audiotape.

KG I love the slide show in iPhoto on the Powerbook. Have you ever seen that? It dissolves for you and has this stock music like some harpsichord loop that goes over and over again.

RG I like working with slides and audio. I was thinking of doing a project in San Remo, which is a resort on the Italian Riviera, during their annual song festival. I was thinking of going in the off season and recording and taking photographs. The idea is to mix tourism with lo-fi recording, sort of rambling and recording.

KG The thing about music that I find so interesting, not to be pompous about it, is that it's like architecture. You carry it with you; it changes your mood. It transforms whatever environment you're in, and it transforms your inner environment, your psyche. It's that quality that's so hard to describe. Nothing else is like that. I will leave stores because I can't stand the music.

RG I will also spend a lot of money shopping if the music is really good. I've done that before, if some sexy Roxy Music plays. But I've never left a store in disgust.

KG It's usually techno that drives me out.

RG Yeah, techno's not really my thing either.

KG The square sound waves. I just can't take it.

Previously released at BOMB magazine

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02-11-08_ Guy Ben-Ner * [Videos (1999-2007]
02-09-08_ Bilbao, Juan Muñoz... y la cocina de autor (3x1)
02-09-08_ Sobre la legitimación y apropiación en el arte
02-09-08_ ACASO
22-07-08_ Espejo Humano (de carne?)
22-07-08_ Chuck Close with Phong Bui
22-07-08_ Juan Muñoz * Last conversation piece
22-07-08_ Olafur Eliasson * Protocinematic visions
22-07-08_ Marcel Broodthaers * Le Corbeau et le Renard (1967)
30-06-08_ CONPARADA_01 *  Conferencia de Fernando Castro y concierto de Juan Hidalgo
02-09-08_ El crítico como "disc-jockey"
09-06-08_ Cildo, un artista cero dolar
15-06-08_ Thom Yorke *  No ser nada, no estar aquí 
06-06-08_ STAN DOUGLAS * Video works (ohjú)
22-05-08_ Superdome
25-05-08_ La vida es una exposición
25-05-08_ Biopiracy, the new colonialism
25-05-08_ John Baldessari * 3 films 3
26-06-08_ MP + MP ROSADO * entrevista aún por realizar... [actualizado 15_06_'08]
28-04-08_ Del salón recreativo a la realidad virtual
04-05-08_ Anthology of Surreal Cinema: Vol. 1
25-05-08_ UBU * April 2008
19-04-08_ ¡Viva la viscosidad!
10-05-08_ Rodney Graham
27-04-08_ Marcel Duchamp vs. Stéphane Mallarmé
23-04-08_ Nadie es inocente
18-04-08_ DIGITAL MEDIA 1.0
16-04-08_ El arte como ONG
20-04-08_ Eve Sussman & Rufus Corporation: en el filo ideológico de las formas cinematográficas de gestión productiva
20-04-08_ My kid could paint that
31-03-08_ Nuevas dimensiones
24-03-08_ Harun Farocki - Selected Works (1967-2001)
12-03-08_ Richard Serra * Hand caching lead
28-03-08_ Sam Taylor Woods * Video Works
25-03-08_ Un castillo en ruinas, la decodificación del imperio
02-04-08_ Inteligencia Colectiva y Redes Creativas
24-03-08_ La oscura vida de un pintor marginal
16-03-08_ Lamentablemente, Muñoz Molina
24-03-08_ Sueños y pesadillas en clave ética 
25-03-08_ Sobre el planteamiento de IVO MESQUITA para la 28 Bienal de Sao Paulo
27-02-08_ How To Survive as an Independent Artist
11-02-08_ The crux of the critique
24-03-08_ Candidatos al MACBA
24-03-08_ Políticas de la visualidad * EL LUGAR DEL ARTE
24-03-08_ Arkipelag TV * Hans Ulrich Öbrist
19-02-08_ Landings 6+7: sobre avestruces, Arthur Danto y el fin del arte
24-03-08_ Paul McCarthy's Low Life Slow Life: Part #1
09-02-08_ La EDAD de ORO
04-02-08_ Double Agent * ICA London
24-03-08_ Heterocronías y estratos * Nicolas Bourriaud en Murcia.
03-02-08_ Interview with Juha Huuskonen (Pixelache)
01-02-08_ Una exposición de mierda
24-03-08_ El intelectual y el administrador
08-06-08_ Shut Up and Paint * On Julian Schnabel music
26-01-08_ Cómo cobrar 12 millones por algo titulado 'La imposibilidad física de la muerte en la mente de alguien vivo'
25-01-08_ Maria Teresa Hincapié * 1954 - 2008 
25-03-08_ Siete motivos para no asociarse a VEGAP, y uno solo para pertenecer a ella.
26-03-08_ Les Grands Ensembles * Pierre Huyghe
16-01-08_ arcad[i]as y convulsiones, perro muerto en tintorería: los fuertes (II)
24-03-08_ A journey that wasn't * Pierre Huyghe
30-12-07_ Dirty Dali * A private view 
24-03-08_ MONOTO * Entrevista
27-12-07_ Interview with Mark Mothersbaugh (DEVO)
05-01-08_ Paul McCarthy at the S.M.A.K
01-01-08_ El fenómeno vvork.com
22-12-07_ Devo * Bruce Conner
04-01-08_ Courbet indomable
26-12-07_ Camuflaje artístico para la guerra
26-12-07_ El artista como "War Profiteer"
01-01-08_ Featured Resources: December 2007 Selected by Alejandra & Aeron
16-12-07_ Emotional Sytems, contemporary art between emotion and reason
25-12-07_ Feministaldia 2007: taller de GWLP sobre mujer, postporno y hardcore
19-12-07_ Arcad[i]as y convulsiones perro muerto en tintorería: los fuertes (I)
04-01-08_ ¡VIVA EL FRACASO!
16-12-07_ Jaume Plensa * Entrevista
16-12-07_ 4 Películas * Gordon Matta-Clark
12-01-08_ El aura de lo digital
25-11-07_ Portikus * Ben van Berkel & the Theatre of Immanence
25-11-07_ Siempretodavía * Everstill
21-11-07_ Más y Más Malas Artes
21-11-07_ Reina la razón en El País????
22-11-07_ Sinestesia (en la era digital)
28-11-07_ Jorge Diezma * Eso ahí queda
24-11-07_ PALERMO at Duesseldorf
12-01-08_ HÉRCULES: devaluación y plusvalía [ dossier AGUT, Pep]
18-10-10_ Martin Heidegger * La pregunta por la técnica
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
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
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
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
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_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
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_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
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
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
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_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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