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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.
Chuck Close with Phong Bui
22-07-08 Sugerido por: Begoña Santa Cecilia 


The following conversation between Chuck Close and Rail Publisher Phong Bui was initially held at The Marie Walsh Sharpe Art Foundation—The Space Program in its new location at 20 Jay Street, D.U.M.B.O., Brooklyn, of whom both are members of the Artists Advisory Committee—then carried further at the painter's West Village home last Sunday.

Phong Bui (Rail): One of the things that has always concerned and fascinated me is when and how a young aspiring artist alters the direction of his or her life after seeing one particular work of art. Of course it depends on how open and receptive they are, and whether or not it challenges or goes against their natural talents. I know that as a kid you loved the illustrations of Norman Rockwell from The Saturday Evening Post, and also Boris Chaliapin's portrait of president Harry Truman for the Time magazine cover of 1945 (Christopher Finch pointed this out in his monograph—you were only 5 years old). But at the age of 11 you were confronted by a Pollock painting that shocked you. Would you tell us what led up to that confrontation with the Pollock painting, and what that meant for you at the time?

Chuck Close: I grew up poor, in small towns and cities, (Monroe, Everett and Tacoma) in the state of Washington, where most folks of my generation are still continuing to work in the same mill that their parents worked in. I don't know how the hell I managed to get out of there, but when I was 5 I asked my father for an easel and he made me an easel. Then I asked both of my parents, who were very poor, to buy me a set of genuine artist oil paints in a wooden box that I saw in a catalogue, which they did. And then when I was 8, long before I was physically disabled, I realized I had a learning disability. In the '40s and '50s nobody knew about dyslexia, they just assumed that you were dumb or lazy, so I had terrible academic problems. I couldn't memorize anything. I still literally cannot add or subtract. I don't know the multiplication tables. Despite all of that, since I was the only child, my parents thought I was the best thing that came along. They were supportive of my interest in the arts, so at the age of 8 my father found me private art instruction with a woman who had studied at the Art Student League. You can imagine that I was drawing from the nude model, which easily made me the envy of every kid in the neighborhood (laughter). I was trained very academically and worked mostly from direct observation, whether from landscape or still life. Up to that point, I'd never seen paintings in the flesh, so I'd take my grandmother's magnifying glass and I'd scan the covers of the magazines, which during that time were mostly hand-painted illustrations, to figure out how paintings got made; what different touch each of them had. I went to the Seattle Art Museum with my mother for the first time when I was 11. I saw this Jackson Pollock drip painting with aluminum paint, tar, gravel and all that stuff. I was absolutely outraged, disturbed. It was so far removed from what I thought art was. However, within 2 or 3 days, I was dripping paint all over my old paintings. In a way I've been chasing that experience ever since. That's the reason why I've been going to see shows in different galleries, and trying to look at the work of emerging artists as much as I can, in an attempt to recreate or re-live that sensation of being shocked. That's the greatest moment in an artist's life. Whatever you hold as true to art is being challenged; you sort of recoil and it gets under your skin and just keeps bothering you until you understand what the issues are. After all, painting is just colored dirt smeared on flat surfaces, on wood panels, canvases. It makes space where it doesn't exist, but you relate to it through life experience. Anyway, after Pollock it was Frank Stella's black stripes paintings, and the first time I saw Andy Warhol's Brillo boxes at Stable gallery my reaction was the same. That kind of wonderful freshness that challenges one's previous perception. I think that the art world at any given time is like a huge amoeba shape, and someone eventually comes along and operates outside of that shape. They make work that doesn't fit anywhere and nobody's quite sure whether it's art or not. And very quickly the amoeba goes out and encapsulates that isolated island outside the mainstream and sort of moves it into the body of the art world. And as a result, the art world is modified because that artist was there; they digested and brought new insight and ways of seeing art. I love the fact that there're no agreed upon standards of judgment, and no yardstick that applies to every work of art.

Rail: That's definitely true. You know, one of my favorite British poets of the 18th century, Dr. Edward Young, once said, "Why is it that we're all born originals but die as copies?" Similarly, de Kooning said, "The desire to create a style beforehand is only a mere apology of one's own anxiety." And you, at some point, put it not so differently: "Painters drop crumbs along the trail… for others to pick up if they want to."

Close: Right. Like Hansel and Gretel, you glean from the work what the issues are, and you can follow the route they took and deconstruct the painting or sculpture and understand how it happened.

Rail: So how important was it for you—the process of emulating works by other artists you admire?

Close: While I was at Yale, de Kooning's "Backdrop for Labyrinth…"

Rail: …which he made for a dance recital by Marie Marchowsky in 1946. Actually Milton Resnick assisted him in this project.

Close: Right. It was hanging in the lecture hall, and I thought it was the summation of his "Pink Angel" in a way.

Rail: That was because "Pink Angel" was painted a year before in 1945. It was a great painting but not quite measured in that huge scale. I mean it's the biggest painting he ever made.

Close: Well, you can imagine I was making all kinds of drawings after it. And here's why it was important to me: Once Guston came to give a critique at Yale. I was so eager that I brought one painting in a bit early, just leaned it against the wall, and went across the street for a beer. And when I came back, my painting was covered with other people's paintings. Anyway, Guston was just brutal with everyone. I remember thinking, "Thank God my painting is covered up." Then he said, "Get all of this stuff out of my sight," and as everyone was taking his or her work out, my painting was uncovered. As soon as he saw it, he called everyone back in the room, and he said, "There's something really happening here with this painting." I was both flattered and embarrassed. I mean, he postponed his trip back to New York in order to go to my studio and look at more of my paintings. He really loved what I was doing and gave me so much attention that it took three years to repaint everything I was doing. But what I liked about our relationship was 10 years later, when I told him, "You know, you really messed me up." He said, "Oh, I'm sorry. I know, I was always too critical but I didn't really mean it." And I said, "No, you messed me up because you liked the work so much." Needless to say it took me a long time to get him out of my studio.

Rail: Nevertheless having painted abstractly up to that point must have informed your figurative concept.

Close: Absolutely. Though I must say that I was never totally abstract. I'd extract curves from a model or still life, just so it wasn't a lazy line as in handwriting. But then the transitional work I did, while I was in Amherst teaching for two years between '65 and '67, was based on photography, which liberated me. But to follow up your question about how does one get over one's own influences: before appropriation we were just stealing. (Although I think appropriation has produced many interesting works.) My generation was hell bent to make art that didn't look like anyone else's. When I was a young painter we struggled with the notion of how do you get your heroes out of your studio so they're not looking over your shoulder. I think one of the biggest problems, not only in the art world but in our society in general, is that we're much too hung up on problem solving. And once you're solving the problem you have to know what the problem is, and at any given moment everyone knows what the problems of the moment are. Therefore everyone's solutions tend to be similar. Far more interesting than problem solving is problem creation. How do you back yourself into a corner where you ask yourself a question that no one has ever thought of before? And I think in my generation we navigated the process through a series of self-imposed limitations. Even though I loved de Kooning the best, the artist who actually influenced the way I think most was Ad Reinhardt. In his writings, he would say you can't do this, you can't do that, no more this, no more that. The whole notion of constructing limitations that guarantee you can't do what you did before will force you to do something else. And that's how you change, move forward; not necessarily progress, but how you can program change into your work.

Rail: In addition to Reinhardt's famous "25 Lines of Words on Art" statement in 1958, there were also Jasper John's notes from his sketchbook between 1963–64, which was referenced by Richard Serra with his "Verb List," 67–68…

Close: Richard was a classmate of mine at Yale, as were Nancy Graves, Brice Marden, Bob Mangold, Janet Fish, Rackstraw Downes, Newton Harrison, Jennifer Bartlett, Don Nice, Michael Craig Martin, and many, many more artists—an interesting group for sure. And when we all came to New York, Janet did something that was very compelling. She had each of us give her a slide of student work, which she then showed on a screen, and no one had the slightest idea which of us did what. We all were students and what we were making couldn't possibly have been shown in a New York gallery at the time. The idea of dealers going to scout out works from graduate student's studios at Columbia, Yale, Cal Arts, UCLA, and so on is beyond me. I can't imagine the pressure on young people when they ought to be able to make fools of themselves. I think the pressure to arrive prematurely could be fatal to one's growth.

Rail: What was it like those two years at Yale with your remarkable peers?

The painter in his studio (in the process of making a portrait of Zhang Huan). Courtesy of Chuck Close studio.

Close: We weren't the most beloved students necessarily. Many of us were considered troublemakers. But the great thing was when we all moved to New York, we became our own audience. We constantly looked at each other's work. I helped Richard Serra make all of these early lead pieces. He just needed muscle. Philip [Glass] was Richard's only paid assistant. We also got involved with this music and dance scene, people like Steve Reich, Philip Glass, Yvonne Rainer, Trisha Brown. There was this incredible mix of ideas. In addition rent was incredibly cheap. We lived near each other, so we saw a great deal of each other's works. It really happened in a natural, organic way.

Rail: It seems to me that the reductive tendency or the desire for the economy of pictorial means, all of it was just in the air.

Close: I once said about our group that we were all nurtured in the same primordial ooze and whatever was in the air at the time, which was reductiveness, severe self-imposed limitations, belief in process, and all that stuff, and then we crawled ashore and went our own way.

Rail: As much as you had reduced your "Big Nude" to black and white while adapting the monumental scale of abstract expressionist painting, did you think you were going against the grain of what was happening at the time?

Close: Yes and no. I was trying to include both minimal issues and a maximum amount of information with the most minimal means, one tablespoon of black paint on a white canvas, trying to get rid of the artist's hand and gesture. Once you got on board and followed your ideas, you had to keep up with wherever they went. I always say that inspiration is for amateurs, the rest of us just show up and get to work. Out of work comes ideas. If you sit around waiting to be struck on the head with the lightning bolt of a great art idea, you'll never get anything done. On the contrary, if you'd just start doing something and if you don't like the way it's going, you find another way. That was really true of my whole generation.

Rail: Did you know Philip Pearlstein during that time?

Close: Philip was teaching at Yale while I was there. But in those days I was making abstract paintings, so I didn't really want to study with him.

Rail: Have you read his essay "Why Figurative Paintings Today Are Not Made In Heaven?"

Close: No (laughs). But I read his other long article "Why I Paint the Way I Do," which was published in the New York Times, in 1971. There were such prejudices toward whoever was working from photographs at the time. I've actually been spit on, I've had cans of beer thrown at me for working from photographs, which is pretty inconceivable now. But in those days, working from life was considered a higher calling, closer to God, than working from photographs or out of your head. Well, out of your head you at least get credit for being imaginative, but if you worked from photographs you just cheated. (laughs)

Rail: Also, from the late '60s to the early '70s, there were many shows that were being organized as a collective attempt to advocate for representational and realist paintings. One was called Realism Now, curated by Linda Nochlin at Vassar College.

Close: I chose not to be in that show. I chose not to be in another one in Milwaukee.

Rail: You mean Aspects of Realism at Milwaukee Art Center?

Close: Yeah, I just didn't want to be associated with some of that work.

Rail: But two of your paintings, "Phil" and "Frank," were included in 22 Realists, a show at the Whitney!

Close: That's because they owned the paintings and I couldn't stop them. I just thought I had a better chance if my work were to be seen among abstract works, so they wouldn't fall into that pre-conditioned prejudice toward figuration.

Rail: I'm interested in this fact of history, firstly because of Linda's argument that while abstractions claimed to pare down visual phenomenon to their essentials, realism sought to come to terms with the relational complexity of things seen. Secondly, this concern for "Realism" goes back to Baudelaire's initial problems with Courbet's paintings, partly because of his strong attachment to Delacroix, whose paintings he felt were superior and probably more in accord with his idea of modernity than both neo-classical's emphasis on ideal form and realism's focus on the ordinary. Thirdly, since you've voiced your differences from realism endlessly, I thought you could elaborate on these past shows and then tell us whether you still feel the way you do today about the term "Realism" as you did years ago?

Close: See my problem was that I just didn't like the term realism or photorealism; I was more interested in the tension between reality and artificiality. I was as interested in the distribution of marks on flat surface as I was in what they stacked up to represent. And the emphasis that realism made iconography too important and painting not important enough didn't really appeal to me. In other words, I was always so much more interested in the process than the destination. That, I think, is where style, innovation, and personal vision is located. Like writing a novel, you can't think about the narrative line the whole time or you'd never be able to do anything, because there's never anything you're doing more than shoving one word against another, and those clusters of words are what bring thoughts and sentences and paragraphs together to make up the novel.

Rail: Were you aware of Alfred Leslie's sudden shift from his early colossal abstract paintings with broad colliding brush strokes of the late '50s to what he called "iconfrontational portraiture" by the early '60s?

Close: Absolutely. I love Alfred's work. Alfred was a real hero for me because he also made black and white paintings, as did Richard Artschwager, another painter I admire. And then Alex [Katz] along with Andy [Warhol] for me more than anyone, they kicked the door open for a progressive, forward-looking, late 20th century figuration that wasn't about shedding new light into the shop-worn 19th century notions of figuration, but a truly modernist figuration. You know there was always a big contingent of realist painters who really were against modernism, against where the art world had gone. They were all saying, "let's go back to when art really mattered," and I just rejected that idea. I thought the only interesting thing was to find a new form of figuration that would carry into post-modernism.

Rail: That brings to mind a painter whose work is quite close to yours—Gerhard Richter. Not because you both take your photograph resources as the subjects, but because you both paint with a highly selective reality of the photograph itself. But while you stack and add up your visual data incrementally, Richter blurs the whole image with his soft brushstrokes…so it makes sense that you and Richter were seen as definitive painters of post-modernism. Because you're both deconstructing painting, while at the same time, most of the post-modernist critics acknowledge Richter's work before they acknowledge your work. The only important difference is that while Richter utilizes various painterly range from monochrome, minimal color charts, hard edge to gestural abstraction, as well as his occasional use of croppings and other mechanical intervention of makings and unmakings, you have always stayed with one basic image and format. What are your insights on this matter?

Close: I didn't know about Richter until the '70s, when I got an early catalogue of his work. I remember carrying it around and showing it to friends, curators, collectors, dealers, critics, but I couldn't interest any of them. The resistance to his work was strong. What I really like about Richter is that he's built for himself a lot of elbow room, which allows him to do many different things at once. As for me, I'm not as protean. Actually, I'd like to think of myself as the figurative version of what Bob Ryman has accomplished. That is, within a narrow confinement of what I've set for myself, I could create many variations of one theme. As far as critics are concerned, you just can't predict who's going to like your work. All I know was that I got started without serious critics supporting my work. The main thing was pissing off the really bad critics. If you're getting a good review from, for instance, Hilton Kramer, you just want to put your head in the oven (laughs). It's a career buster to get a good review from him. In fact, who doesn't like your work is more important than who does like your work.

Rail: I agree. But how bad was Kramer's review?

Close: He said I was a lunatic, and the work was the "trash that washed ashore when the tide of Pop Art went out."

Rail: Wow. That's intense, and you clearly remember it very well (laughs).

Close: Of course, you only remember the bad reviews. But John Canaday, the New York Times critic before Kramer also hated my work. He trashed my work like crazy. In the mid '80s, just before he died, this weaseled old man came walking into a gallery, and he said (imitates) "Hey Mr. Close, I'm John Canaday" (laughter) "and I just wanna tell you how wrong I was." So if you live long enough, conversion can happen. Anyway, you know Richter stormed the art world along with Polke and all the Germans following the wave of the Italians: Clemente, Chia, Cucchi. We've always embraced immigrants, so they come into the art world as a phenomenon, while I was a little neglected, perhaps, at least by some critics.

Rail: Were you friendly with Leon Golub, who also worked from photographs?

Close: Yeah. Anyone who doesn't understand the cyclical nature of a career is going to be in big trouble. Because if you look from the mid '50s to the early '60s, Leon was on more magazine covers than any other artist in America. He had this tremendous following. But after the unfortunate episode of "The New Images of Man" at MoMA, then his career went off track for a while. But then he reemerged, as did Guston. In some ways I felt sorry for a lot of the artists from the '80s because they had such instant superstar status, and it never occurred to them that it wasn't going to keep going, full tilt, forever. They had raised expectations of what a career was supposed to be, whereas with our generation, we had very low expectations, which is why I think our generation is still doing some of its best work. Because we weren't superstars, we all accepted that we were products of an era of the pluralistic. No one thing dominated; therefore we didn't have to mature in the white-hot glare of the spotlight. The artists of the '60s, they had to mature in the spotlight, and so did the artists of the '80s. But we sort of sneaked in between, coming up in the late '60s, and then everybody hated the '70s. If you look at Brice, Richard, Elizabeth [Murray], Bob Mangold, and Bob Ryman—so many of them are making their best work right now.

Rail: The '80s were strange. As much as Guston and Golub were important to the emergence of neo-expressionist paintings, their work benefited from it at the same time. How was your work seen in those years?

Close: Nobody would look at my work, really. If I didn't have a powerful gallery that kept giving me shows, putting ads in magazines, which made it look like I had a career, I wouldn't know how I could have survived in those lean years. In the art world you're lucky if what you do crosses the path of what the art world wants. You don't want to get there too early, you sure don't want to get there late, but if it crosses, there is that moment when you're golden and everybody thinks you're brilliant. If you're lucky you may cross paths again and your work can be reexamined and whatever. You know I never wanted to wet my finger and stick it up in the air and try to figure out which way the wind was blowing in order to modify what I was doing according to what was going on. Because I work so slowly—sometimes I only make 1 to 3 paintings a year so it might take me ten years to do a small series of work; I was protected from the buffeting winds of change in the art world. It didn't matter. Not until '86 or '87 did things turn around for me. It makes you appreciate when you get attention again.

Rail: You've often credited Joe Zucker's Cottonballs Paintings in relation to your incremental build up of an individual through the grid; Dorothea Rockburne for her interest in typology; and Mark Greenwold for his allegorical fantasy and his sense of humor. But the other night I read this wonderful line from Sol LeWitt's "Sentences on Conceptual Art," which was mentioned in Rob Storr's catalogue essay of your retrospective at MoMA in 1998: "The artist's will is secondary to the process that he initiates from idea to completion. His willingness may only be his ego." Is that something that you can identify with?

Close: Similar to Reinhardt, Sol also had a tremendous influence on most artists of my generation. I love the fact that he could mail his art in, and have someone else do it for him whereas I sit in my studio and I put every stroke on my own. Anyway, when you have an influence it changes the way you think, not necessarily the way you work. When Joe [Zucker] and I were teaching at SVA (School of Visual Arts) in the late '60s, we were both interested in building some big complicated thing out of incremental units, and our conversations with each other were extremely important. I think he's one of the least appreciated artists.

Rail: Let's move to the subject of technology versus art, which has a great deal to do with the notion of order and randomness. It is the latter that can never be duplicated through man-made products. I am referring to Leon Harmon, a biomedical engineer who published a cover article in Scientific American (1973) called "Recognition of Faces," which I know got you a bit upset. Would you tell us why the content of that article was so contrary to your view on these differences?

Close: Partially it's because I thought, everyone will think I make my paintings with a computer, which I'm absolutely uninterested in. But I realized that what they were asking the computer to do was in many ways very similar to what I was doing. You have to place that in the larger context of scientific experiments in art and technology that were happening at the same time. For instance, there was E.A.T. (Experiments in Art and Technology), which was founded by Rauschenberg, Bob Whitman, Billy Klurer, and Fred Waldhauer. I remember attending "Nine Evenings" at the old Armory, which was really exciting. But I realized that by the early '70s, this fusion between art and technology wasn't something in which I would invest too much of my time. Even when Billy Kluver did a nude with letters (this was after I was already doing dots), I thought: I am going to come down firmly on the side of the hand-made objects without intervention of technology. It wasn't that I was against it, I just wasn't interested in labor-saving devices; I simply like to look at how a painting is made materially. How the hand or the touch is revealed on the surface.

Rail: But as far as the relationship between photography and painting is concerned, particularly in the subject of portraiture, I wonder how you feel about the German photographers who've dominated contemporary photography in the last two decades? Beginning with Bernd and Hilla Becher, then Thomas Ruff, Thomas Struth…

Close: I like their work a lot. We share some similarities. I think photography is maybe the hardest medium of all because it's the easiest medium of all in which you can be competent. Anybody with a point and shoot camera can make a competent photograph. The whole idea of an accidental masterpiece can occur with photography. You're not going to have an accidental masterpiece when you're first trying to make paintings. You're going to make a lot of really really bad paintings before you ever make a good one. I think photography is the easiest medium in which to be competent and the hardest medium in which to have a personal vision because there's no touch, there's no hand, there's no physicality, there's no interface.

Rail: This perhaps raises the question about how visceral your process is. You often say that when you begin to fill in all the squares with various combinations of red, yellow, blue, or other shades of color, you do it like a stream-of-consciousness.

Close: Yeah. The structure and the system frees up spontaneity, allows for innovation in a way you wouldn't think it would.

Rail: Yet they're painted according to the different values in respect to light and dark. In other words, if the square of red, in its tonality, is darker than the next square of blue, you're going to put lighter marks on the red, and the blue will require a darker one. Is that how it works?

Close: Well, whether it's green, red, yellow, orange, purple, whatever it is, the one thing that isn't arbitrary is the relative value. It's always going to be some other color than what is first painted in each square. For example, if one square is painted blue, it will end up with four or five or six correcting colors to be some sort of flesh-like color. But the value—that's determined from the beginning. As you said, where the dark areas are, they're going to become light, and likewise with the dark ones. Basically the value of the first coat is probably going to be very close to the finished value. Sometimes when I'm putting a blue down, I'm thinking, oh, I'm going to have to put an orange on top of that thing. So then I'll make the next square orange. So I know the blue will go on top of the orange, so one is underneath and one is on top.

Rail: Not bad for a dyslexic (laughs). You know that joke, what do you get when you cross an atheist with a dyslexic?

Close: What?

Rail: Somebody who doesn't believe in dog (laughter). Or, what do you get when you cross an atheist with a dyslexic and an insomniac?

Close: What?

Rail: Somebody who stays up all night long thinking: is there a dog?

Close: Ah (laughs). I've got one. What's the difference between ignorance and apathy?

Rail: What?

Close: I don't know and I don't care (laughter).

first on-line print at www.brooklynrail.org

Pendiente de Licencia / ... del autor o autores. 
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13-09-09_ El Mapa del Silencio (II) - Brumaria
12-07-09_ Nostalgia is no substitute for criticism
31-05-09_ Erkki Huhtamo on Paul DeMarinis' work
13-09-09_ Estado del arte: la institución como poder de las "estéticas de lo pseudo"
17-09-09_ OH, Chris [Burden]
12-07-09_ CRITICAL RUN
28-04-09_ Ramón de Soto * Reflections on Memory
17-09-09_ La SoNrIsA HeLaDa
17-09-09_ UBU 1000
29-03-09_ Andreas Gursky World 2002
28-02-09_ Marcel Duchamp y la CRISIS
13-09-09_ José Luis Brea * 2 x 1 [URS + NEA]
17-09-09_ Joseph Beuys * Transformer
13-09-09_ VALIE EXPORT * remote... remote
29-03-09_ ¿Qué tipo de artista eres?
11-01-09_ UBU * December 2008
28-03-09_ GIORGIO MORANDI * Resistence and Persistence
29-03-09_ A few things i know about pornography
25-01-09_ Pep Agut * "L'Iguana" i altres regions
02-01-09_ Francis Alÿs * The Politics of Rehearsal
05-07-09_ Tan íntimo y éfimero
29-03-09_ El gran memorial
18-09-09_ El día que me disparararon
01-12-08_ Lawrence Weiner * A bit of matter...
01-01-09_ Henri Michaux * Images du monde visionnaire
03-05-09_ Crítica Institucional
01-01-09_ GARY HILL * 9 works
24-11-08_ OTRO ESPACIO para la difusión del arte contemporáneo
01-11-08_ MARADONA... nuevo seleccionador de ARGENTINA (qué gran país)
26-10-08_ Gerhard Richter * Overpainted Photographs
28-03-09_ Vivir para ver... (on ¡! Ana Laura Aláez)
01-11-08_ William Claxton (R.I.P)
01-11-08_ Apenas
28-04-09_ Oliver Payne & Nick Relph * Mixtape (2002)
26-10-08_ La bienal de Sevilla se conecta
05-10-08_ Art Keeps On Slipping Into the Future
11-10-08_ LUZBIT * Festival de imagen fotográfica
18-09-09_ Doll Clothes (1975) * Cindy Sherman
18-09-09_ Grace Jones * Corporate Cannibal
20-09-08_ Drums, desire…2008 * Francesca Llopis
18-09-08_ Apología del error
18-09-08_ Acupuntura visual
11-10-08_ John Lennon & Yoko Ono
02-09-08_ Cheminée Anaglyphe * Marcel Duchamp (obra última ;-)
08-08-08_ If I Can't Dance, I Don't Want To Be Part Of Your Revolution
11-08-08_ Ramón de Soto *  Metal interior
31-08-08_ UBU * Recursos selectos [Agosto]
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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