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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.
Jean-Luc Moerman
27-06-09  El Turco  


Just tattoo me... all over me... yes... be myself by yourself tattoo...


Jean-Luc Moerman is leaving his signature on everything.


Hans Ulrich Obrist: a conversation with Jean-Luc Moerman

HUO: The first time we met we were in your workshop in Brussels. I would like to know your method of working is in this studio. You sometimes get together with other artists here. And sometimes, you also leave the studio altogether to go and work somewhere else, such as when you work in situ, for example, or when you infiltrate other spaces through the use of graffiti, mural paintings or stickers. How do you organise the studio and these movements outside the studio ?

JLM: The main idea is that the studio is like the nucleus of an explosion, and what we do outside the studio is the impact. Whenever I go out, I always have stickers with me, which I put in different places. These stickers are like urban tattoos. Sometimes people unstick them and put them up somewhere else, so they have a sort of autonomy of their own. Just like the idea of 'sameness' in biology (a unit of cultural transmission or a unity of imitation), a sort of infectious image which, invented by one person, is spread by others, and gets stronger and stronger. When I work outside in the street, the confrontation is fairly direct: images are imposed on people and the reaction is immediate (by contrast to art galleries, museums etc.). Like these logos which I sometimes put on signposts. This enables an infectious image to be created which can propagate almost anywhere. When I come back to the studio, I have the impression that I'm bringing back items which have acquired a life of their own.

HUO: Do the two mutually feed each other ?

JLM: Yes, permanently, the studio and the work in the street constantly feed each other. Where collaboration is concerned, I would like to go further into the idea of working together under a single logo, so that people no longer know how many we are; sometimes we work together as two, sometimes as three. The idea would be to have this logo, and to call upon different people according to the context I'm working in at the time. The logo has to be understandable in a primitive sense, which means as a human activity which has been going on since the start of time and which consists of marking out a territory. And in the same way, there's a political aspect to the logo which forces people to see humanity in all its global aspects, forming part of a same space, without there being any personal names any more.

HUO: The logo comes from your name; is it already defined as a logo ?

JLM: Yes, it's been used in my work for the past five or six projects or exhibitions, as a sticker, or painted on the wall, or on windows, on all sorts of supports. Each time, I put this logo in context. I would also like to have it tattooed on me.

HUO: It isn't a particularly simple logo. Usually a logo is a basic shape.

JLM: Yes, this is true, it is fairly complex. The idea is of three arms which move in a circular manner towards the interior. The more this logo comes back, the more impact it will have according to the context and the elements of life.

HUO: Does it change or is it always the same logo ?

JLM: It has been evolving for a year, but there is a central form which always remains. I'm always drawing in sketch books, and I use these drawings later by reworking them on the computer.

HUO: This logo is therefore the result of design activity. Could you tell me more about this design activity ? Is all the rest – stickers, graffiti – also the result of this ? You work on design every day, but do you have archive work ?

JLM: I am not a graffiti artist. I've got quite a lot of friends in this domain, with whom I even work closely. I am from the same social background and I share the same musical tastes, but I don't go on the railway to spray trains. As far as design is concerned, they are classified in files by year. I design on A5 format sheets, it's the first thing I do every morning when I get up.

HUO: Since when ?

JLM: For at least the past 7 or 8 years I have been spending an hour or two designing every morning, with a cup of coffee. Then I classify them and I re-use them to make cut outs of vectorial designs (with a view to making mirrors) or I re-use them on fabric, or on aluminium…

HUO: Are they always the same sketch books, the same format ?

JLM: it's a format which is perfectly suited to this type of design. And I rework them afterwards. At a given moment they have reached a certain state, they are heavily charged, and I stop; but I can always take them up again, they are in perpetual evolution. Right at the beginning, to design, I moved around, like you do with a movie camera. I took a detail of an object; this ended up by creating a sort of slightly hybrid organism, a mixture between what is organic and what is mechanical. That's where the forms I design come from, but they have become more complex, and have acquired their own autonomous life independent of the objects. In general terms you could say that these forms make certain invisible aspects of our reality visible.

HUO: So it's not an automatic design process, you start from existing objects and you mutate them ?

JLM: Nowadays, it has become automatic at certain times. I start to design and I sense that it's the form itself that I'm designing which is slowly taking on its own life and starts to fill it up. I try to design by starting at the centre, with sometimes a certain degree of symmetry.

HUO: A sort of organic symmetry ?

JLM: Yes, a bit like what it is that explains the relation between the infinitely small and the infinitely large, there is a sort of organisation of the organic. Because of this, I've started to work on the computer, and that has allowed me to break through different stages: I have moved from the idea of making invisible things visible, to making things much more clinical. A bit like in the news programmes today: things are defused, reformatted and re-imposed on people.

HUO: There is a very strong link between the emergence of graffiti in New York and hip-hop. You yourself rarely work without music, there's always a link. What role does music play for you ?

JLM: I spend a lot of time looking for music, it's a real source of nourishment for my work. I found a sort of basic energy in the musical universe of hip hop just recently: an authenticity, a cry of revolt, a survival energy. This energy has helped me a great deal myself. Music has the capacity to breathe immediate strength into you. You only have to see certain concerts, see what certain groups can make pass through the public instantaneously. This is the most human thing, the most direct thing, that exists in art. I need to go and find things from Afro-American music; my father used to listen to everything to do with soul music (Tamla Motown).

HUO: Your father was a musician ?

JLM: No, but he listened to a lot of music, and that got into me. I find that the energy of rap is now starting to build up bit by bit. You can sense that the people who needed to get a message over at the beginning displayed a certain sort of rage which was linked to their way of life, but for a lot of rappers now it's just business and style. I am now looking more towards hardcore American music. Certain groups were inspired by hip-hop whilst having invented their own musical identity close to the world of rock, and the skate-board culture. Groups like Linkin Park, Limp Bizkit, Korn, Deftones, Rage Against the Machine, etc.

HUO: have you turned towards this music because of the commercialisation of hip-hop ?

JLM: What is powerful in the hip-hop movement is that by contrast to the punk groups, despite their refusal of the system, they have used capitalism to their own ends. The punk movement split up of its own accord, whereas certain rappers now represent veritable empires (Snoopdog, Dre etc.) whilst still being able to connect with the world of crime etc. But the groups I admire the most are groups like NWA or RZA which really had a message.

HUO: Do you make music yourself ?

JLM: No but I have a lot of CD's. I download music from the net. My friends often come round with armfuls of CD's, we burn them and they get passed around.

HUO: Have you already worked with music groups ?

JLM: No but I've got friends who work in groups, or as crew or stagehands. And what's interesting is that there are different activities on the inside (music, graphic design, graffiti, dance, streetwear etc.) which are continually mixing together, with no bounds. A phenomenon which, for me, will soon become generalised, I hope. Yet I sense that that something is coming to an end, and there is something else about to arrive, but what…?

HUO: The area which interests you now, is this more to do with independent groups, underground – even if this term doesn't really mean anything any more ?

JLM: At the beginning of the 90's we were seeing the emergence of American groups. I could feel a movement emerging which you could compare in some ways to the punk movement in Europe in the 70's, the same energy in any case.

HUO: Is this tied in with an urban context?

JLM: Yes, it's city energy which brings about this sort of movement, carried around by young skateboarders (Ken Park, Lary Clark, for example).

HUO: In what you do there is a sort of oscillation between interior and exterior, but you remain based in Brussels. Brussels is more and more becoming a focal point for artists. A lot of artists are leaving Paris at the moment to come and live in Brussels. Can you tell me about this, about this relationship with this city?

JLM: Where collaborations are concerned, this is essentially with graffiti artists, taggers, because the artists within the world of contemporary art have difficulty in breaking out of the accepted bounds. A world which looks to the history of an art which it merely prolongs or rekindles. Brussels has changed a lot in the last three or four years, even if it remains a city which doesn't have a lot of links to the outside (it's not a fruitful city). It's a city which wasn't moving much before. But since it became capital of Europe and the TGV arrived, a lot of people came from abroad to work here. There is a much higher quality of life compared to Paris or London. This is a city where you can still find workshops which are not too expensive and which you have to renovate from scratch! There are still a lot of places to invest in. And as for working in the street, there are still plenty of open spaces, whereas Paris, for example, is over-saturated.

HUO: Suffocating and suffocated…?

JLM: Exactly, whilst Brussels still offers lots of possibilities and the people have the mentality that never believes that everything has been done. This is a sort of modesty.

HUO: In the end Brussels is a city which is very little defined. I imagine that for you, as an urban context, these gaps interest you, they are your material.

JLM: Yes, it's a sort of no man's land without any history of its own. And this emptiness can of course be seen negatively, but I prefer to use it as a source of positive energy: the energy of everything which is possible. As is now beginning to be seen, you only need one person from the urban art movement to come from Paris, London or New York to do something in Brussels, and the network starts up all on its own, suddenly there is a chain, and Brussels becomes a sort of platform.

HUO: This urban art, could it be seen as a sort of public art without anyone commissioning it ?

JLM: Exactly, no one orders it even if the urban milieu does possess its own codes and its own rules. These rules operate in a fairly crude and brutal manner, like a sort of sub-code to the official code. What is most interesting for me is the almost primitive side to the way these interventions in the street are made: there is an aspect which is not only aesthetic (to make people look) but above all which is functional (it really transmits energy). For me this is a necessary safety valve.

HUO: To get an idea of your rhythm, in the morning you start by designing with a coffee at your side. Then you extend and prolong these designs on your computer. You also create canvasses for galleries – this is another way in which your work is seen. And then you have 'self-organised' interventions in the urban spaces. How does your day go on after the coffee ?

JLM: In fact I have two spaces in Brussels. One in which I do most of the self-adhesive stickers and also paintings. Another in which I work on the computer and also design. These areas are full of past histories, of bits of stickers covering the floor.

HUO: Are self-adhesive stickers one of your principal media ?

JLM: This is a small part of my work, like a skin covering the body. The stickers are like the impact point of an explosion which takes place in the workshop. These are organic hubs, prolongations of myself. They are also perturbing signals, a new language which goes against certain accepted codes when they are placed on street signposts, for example. We learn from a very early age to adapt to certain systems of signals (language, regulations etc.) but there are a multitude of others which are yet to be invented. So in the morning I start with designs, then I paint, I sometimes design using magazine photos as a base; or else I start projects according to interventions in places which people propose to me; and in the evening or at night, I tend to do stickers. As I cut them by hand, this takes quite a lot of time. Tattooed ladies come rather more at the end of the day. This gives me a daily rhythm, like waves, like in music.

HUO: As Boetti said "everything goes on around waves, with highs and lows, intervals, pauses and silence".

JLM: This means I am always doing something, always in the waves of my work.

HUO: Do you mostly paint in the afternoon ?

JLM: At the end of the morning, after I've designed, until the end of the afternoon.

HUO: You design very quickly. How do these designs get translated into paintings ? Is it a projection from one to the other, or is it another reality ?

JLM: I scan the designs I have kept, and I re-work them in vectorised mode. I transform them using other programmes and then I print them out again in order to project them. When you project, you create a degree of distance: this gives a precise, radical aspect. The fact of projecting allows me to visualise them and to try various designs. Projection is a process which, in my view, works in the same way as a genetic code which produces a comparable identity yet always translated in a unique way. The projector is like a satellite which is both extremely far away and extremely precise.

HUO: When you project, do you copy completely ?

JLM: There are always accidents and interpretations possible at the moment when I am doing this.

HUO: This idea of a structured day is completely fascinating. Once you have designed, re-worked on the computer, then, painted, what do you do in the afternoon? Tattoos for magazines? You also have an enormous archive of this work.

JLM: I keep and file the photos of human bodies on which I have created tattoos. At the outset, they are projects for real tattoos. Projects I file. These magazine photos are in my eyes positioned at the junction of an ancestral practice – tattoos as protection or convocation of the spirits, or tribal signs, or a descendancy – and this plastic beauty in magazines, having become virtual by being re-worked on a computer. Women identify with these girls who could be described as not really existing at all in real terms. I have the impression that all these ancestral practices which we have somewhat forgotten in the west are re-emerging in other ways. Design and tattooing sometimes give me the impression of bringing together certain things, often invisible things. In the beginning I look for something, and then afterwards it looks for me. In the end, this thing becomes autonomous, charged with energy. There is also this dimension in the stickers, but this is less complex and less precise.

HUO: I have just seen a film by Jorodovsky, Santa Sangre, which has just come out on DVD. It made me think a lot about you because there is a tattoo scene. At the same time, there is this idea within him of a popular art; he created cartoons in collaboration with Moebius, for the cinema. Would you describe your tattoos as un-realised projects ?

JLM: Yes, a lot of my tattoos are at the project stage. In Belgium, tattooing large areas is less in our customs than in Zurich (where I was tattooed 4 years ago). It's more normal to have your back, or arms or legs tattooed, etc.

HUO: Let's come back to the night time session. Do you have sessions with friends, a bit like in music? Is it a sort of improvisation ?

JLM: When I'm in the workshop, there are often people dropping by, and that sometimes gives rise to a stickers session. As there is a room which is used only for this, and in which I make sure there is always material ready, this means peoples' energies can be channelled and a session can take place, just like in music !

HUO: Is this activity separate from what you do in galleries or museums ?

JLM: In a way. I sometimes come back into galleries and museums with stickers, a bit like a wild animal which accidentally goes into an area and then leaves traces. What is important is that the stickers are not for sale, they remain a free, popular art. At the moment there is a project at the Neckar Hospital where we are creating stickers with sick children, which we will then go and put up in the street. This project is still at the virtual stage – if it doesn't come about I will do it anyway, somewhere else.

HUO: Who is organising that ?

JLM: Art in the City. As the children can't go out (some of them are undergoing long treatments over several months) the idea is to place the stickers we will have created together outside, and to record the reaction of people on film. For the children, these stickers become a prolongation of themselves, which allows them to have a life, in a certain way, outside of the hospital. I have the impression that this type of practice makes my art more functional, a bit like the sorcerers in some African villages, who act as healers, using signs. It is in this way that, as I said before, art is not just aesthetic, it is also functional.

HUO: The tattoos are a sort of catalogue of un-realised projects. That brings us on to other un-realised projects, to utopian projects. Do you have other un-realised projects ?

JLM: Where utopian projects are concerned, I would like to create some designs in 3D in the form of sculptures, which could also serve as shelters, or play areas, or encampments for the homeless. This is in line with what I said earlier, about the stickers representing functional art. Of all the projects I start, there are always more than half which never get finished, for basic reasons, or because they are not accepted. But for me, from the moment when the project exists in small scale, and I develop it through to the end, it can always be brought to fruition later. This way of working allows me to evolve, whilst facing up to constraints which I didn't have before. It's a bit like the designs which don't get finished, which can be continually re-modelled. I still put them in files so that I can re-mix them later.

HUO: This idea of a social space in 3D originating from your designs is quite interesting. Are there any plans along these lines ?

JLM: Yes, I've already done some designs and models. I am looking for people who could help me create larger prototypes.

HUO: Could you tell me about some of your utopian projects ?

JLM: I went to the Venice biennial this summer for the first time, and that gave me the idea of doing floating sculptures which could also serve as a means of transport for people. The really utopian side would be to create a whole city like that. Or rather autonomous, modulable mini-villages which could be adapted to the context in question.

HUO: Little entities, in a way ?

JLM: Little modulable entities with very light frames so that they can be dismantled and rebuilt very quickly.

HUO: So they're portable ?

JLM: Portable and small; in the same sort of spirit as a caravan, where different objects can have various uses. A seat can be a storage chest, for example. I have in the past sometimes had fairly large workshops, but in general I just use a small part, compact cells, little huts which I fill up so that I can spread out.

HUO: You often go far beyond the borders of art. With stickers, you infiltrate all sorts of contexts, with your social spaces projects there is the idea of art for all – particularly for people who don't normally have access to contemporary art – not just art for art critics. You have widened the field. But at the same time, this catalogue is published by the MUDAM (Museum of Luxembourg), by the 'CriÈe de Rennes' and by the Rudolph Janssen and Alimentation GÈnÈrale galleries. You are exhibiting in the context of art, in closed spaces, in 'white cubes'. What importance do these protected spaces have for you and your work ?

JLM: You can see museums as a process which kills art, which takes the life out of the objects by taking them out of their context. But you can also have an energetic vision of a museum: in Rennes, for example, I think that the 'Criée' is a bit like the central core (the studio) from which other, exterior activities start.

HUO: So the exhibition is rather more a staging post ?

JLM: Well for example, I'm going to transform the lamp standard in front of the entrance into an urban totem. This totem will be like a sort of initial energisation, serving as a link between the people on the inside and the people on the outside. I'm going to work down there for a month, so it will be a real work base for me. I am also going to create a wall with the kids from the Maurepas district house in Rennes, which co-ordinates many social and cultural projects. But in the end, it's not very important for me, the difference between the inside and the outside. It's a bit like a wild animal, always on the lookout, even if you put it in another context. It's all about staying alive.

HUO: We have spoken about the influence of music, but we can speak about the influence of art. Do you have favourite museums ? Can you tell me about your imaginary museums, the things you like, the things which trigger things in you ?

JLM: The people I find interesting at the moment are, for example, Thomas Hirschhorn, Jason Rhoades and Jessica Stokohlder. Matthew Barney for other reasons, and Dan Graham. I am also interested by part of the 'raw art' movement, by its commitment, the fact that this art breaches a limit which many artists barely dare touch. It is mostly work in the architectural field which has impressed me. How the artists are going to get hold of the space and what ramifications will follow. I recently saw an exhibition of Wolfli in New York at the Folk Museum, which had nothing to do with Rhoades or Hirschhorn, but which will remain for me a very intense and very important moment: I already felt close to this very obsessive human activity, as Wolfli accumulates partitions, filled with designs, and creates a world where time no longer exists.

HUO: This is the idea of filling up, this obsession with filling up which can also be seen with Hirschhorn ?

JLM: Exactly, for me, there is always a need to fill up, as though to adhere to life itself. This is a hybrid way of thinking and functioning, which produces life.

HUO: Are there other influences, in cartoon work or graffiti ?

JLM: For a long time I have been consumed by American comics, etc. I have found in comics a way of laying out the space (in the way the pages are arranged) that I have rarely found in contemporary painting.

HUO: Do you have an enormous archive of comics ?

JLM: Yes, it's not the sort of cartoon that I read, but I find the images very interesting. With Frank Miller, for example. But I also read a great deal of graphic and architectural books, as well.

HUO: Can you give me some examples ?

JLM: In graphic art, I buy an enormous amount of books from the publishing house 'Die Gestalten Verlag' which has Designer Republic and Bureau District. The same goes for the publishing house 'IdN'. Japanese design studios too, which are at a crossroads, and which have invented a new visual field. As for architecture, there is Archigram, the Future System, Zaha Hadid, etc. I find that for the moment, if something's going on in art, you have to go and see it.

HUO: Yes, in Birmingham I interviewed them on this subject.

JLM: I take energy from all that.

HUO: Archigram leads us on to a utopian topic – to the idea of the social contract in art. You have already mentioned it, with this idea of encampment, for example. How can art define a social contract ? Utopia has very much been put to one side. Bloch said of Utopia that it was 'that which was missing'. Does this expression mean something to you ?

JLM: For me Utopia means the possibility of going past the limits, because in formulating a utopian project, you can allow yourself not to have a precise, defined objective. Since I was very small I realised that justice was a two-speed process, a two-speed medicine, one for the poor districts, and one for the rich districts. The interest for me would be to create areas, crossroads, which would connect people between themselves and which would constitute an opening out onto the world (internet connections, encampments with aerials, images of the rest of the world, etc.). I also find that more space should be left for the imaginary in education, instead of training the population so that it will be profitable.

HUO: Are there other important things we haven't already spoken of ?

JLM: my wife works in ethno-psychiatry. What interests me in this domain is that the therapeutists manage to solve certain problems, to build certain thoughts, where the western doctor is blocked. This whole universe of thought has been part of my life from the very beginning, and takes up more and more space in my work.

HUO: I interviewed Paul Parin a few months ago. He is a very old ethno-psychiatrist of 90 years old living in Zurich. I will send it to you, we might be able to use some elements. We could do a montage with fragments of this interview. Ethno-psychiatry is really an inspiring domain for you, then ?

JLM: I wouldn't say inspiring, but it gives me an understanding of the world and of life. Ethno-psychiatry is a psychological thought system which sees the human figure from the point of view of attachment to languages, to spirits, to cultural practices, to places, to religions, to ancestors, to ways of behaving. What interests me is this perpetual openness which allows people to think in a different way. The therapeutists in ethno-psychiatry are always obliged to question themselves when faced with their patients. What also interests me is the idea of reciprocal construction: human beings make objects, mascots, items which convoke spirits, divinities, and these same human beings are themselves constructed by these ways of acting. This is the way I look at my work: I construct a work, but I am myself a little bit constructed by it, by my practice.

HUO: In his interview, Paul Parrin speaks a lot about the notion of expedition. This is something we haven't spoken about with regard to your activities. We have spoken about this sort of urban wandering, between your workshop and the city, between the interior and the exterior. But do the notions of expedition and voyage play a role for you ?

JLM: When I think of expedition, I think of the encampments which we could take to people in places where they most need to discover how to communicate with the world. Whilst always respecting their own practices and their own way of going about things. I am fascinated by the Australian aborigines, the North American Indians, the Eskimos etc. I didn't have any money to travel before, but now it's a real project. All I have done is lived a few months in New York.

HUO: Your time in New York, what year was that ?

JLM: 92-93. There was much more energy then than there is now, more channelled, more directed.

HUO: Did you have links with the world of graffiti at that time ?

JLM: Very little at that time, my first concern was to find some money. I took a lot of photos of graffiti tags and I went to see design exhibitions, graffiti projects in alternative galleries.

HUO: The graffiti context should perhaps be integrated a little earlier into the interview. But we have only spoken a little about you, about your own interventions, your work in cities. Once you leave your workshop and go into the city, do you make graffiti yourself ?

JLM: I have used derelict areas as giant sketch-books, but I have never done real graffiti (spraying a train, for example). My intervention in the street is mostly the stickers which I put everywhere, and which move around, as I have explained.

HUO: Where do you put them ?

JLM: At first, we often put them on sign-posts (pre-coded places). But I make very large stickers which I place in derelict places, lorries, windows, it all depends on the context. The advantage of stickers, which are like munitions, is that they can be placed very quickly. All the stickers are hand made, they are all unique, which is what gives them their own energy. At the beginning I painted, and I only worked with galleries. Then I needed to go outside, I felt too hemmed in, and I came across other groups doing the same thing (mostly tags), and I discovered an authenticity in this, a real energy. I think that the whole street movement is slowing down now, it's become a bit of a cliché (a lot of people don't do it any more out of need, but as a sort of fashion), I think something else is going to arrive.

HUO: You don't know what yet ?

JLM: Now it's more the world of logos, of specific signs, which is making an impact. And what's interesting with these signs is that you can find similar ones in different parts of the globe, without the people having any communication between them. And some of these signs also resemble things which were done or practiced in the past. Without forgetting the new technologies (computer chips) and the viral character of the way in which these phenomena involving signs develop.

HUO: It's a diversion from the language of advertising. Could you say that there is a political aspect, a subversion?

JLM: There is a political aspect, but the risk is that it is embraced by a group, and once this happens, it has to disappear in order not to fall into the traditional or folkloric (demonstrations). From our youngest age we are formatted at school, we are taught to work for points, for money etc. It's a bit utopian, but the idea of diversion would be to believe that by putting new signs on the existing coded signs (road signs and others) you can make people think there are other ways of communicating which are possible.

HUO: In your stickers, a certain language has developed. Can you tell me about tis ?

JLM: I am careful to make them visible and to make sure they have a direct impact. They shouldn't be too complicated, a few colours are enough. There is something of the ballistic in the practice of preparing stickers: you are preparing t take on the world armed with munitions. I take large sheets, shaped the same as bus shelters, and I design on them. Then I varnish them and cut them out. There is very little format too them, in terms of design, so that they remain alive, so they can spread and mutate.

Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 
Creative Commons Attribution-Noncommercial-No Derivative Works 3.0

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06-07-11_ ¿Crítica institucional?
24-04-11_ Punk y arte de vanguardia
15-01-12_ The politics of the impure
13-03-11_ Gerhard Richter quotes...
18-04-11_ GUSTAVO VON HA * double crossing
02-03-11_ Spanish Pavilion at the Venice Biennale
19-04-11_ NEGADA, AbiertA y desnudA
02-03-11_ La "trampa" del arte español
18-04-11_ ¿Existe el arte español fuera de España?
02-03-11_ La Lista muy INCREIBLE [ las 20 Españolas con más poder en el Arte español ]
02-03-11_ Lista de las 20 Españolas con más poder en el mundo del Arte Contemporáneo
21-01-11_ Estas fotografías son basura
25-01-11_ EDL invita a la proyección del filme "La última cinta", basado en la obra de Samuel Beckett
24-01-11_ Coppola: 'Entramos en una nueva era y quizá el arte sea gratis'
25-01-11_ Susan Philipsz versus Ángela de la Cruz...
01-01-11_ AMANDA
21-11-10_ Golan Levin hace arte que vuelve a mirarte
26-12-10_ Featured Resources: November 2010 * Selected by Peggy Ahwesh
06-12-10_ The mathematics of music * an interview with Ryoji Ikeda
21-09-10_ ELVIS WAS HERE
31-08-10_ I'm not here, this isn't happening
02-06-10_ UBU: Featured resources * June 2010 by Rob Young
28-03-10_ Opus 4 nº2: Ostinato Frozen Inner
27-08-15_ Entrevista * José Luis Brea
07-02-10_ Canibalismo en el MUSEO del PRADO
14-03-10_  Storm de Hirsch * Peyote Queen
23-11-09_ PEP AGUT * Partes de
29-11-09_ Vexation Island * Rodney Graham
09-10-09_ Juzgar a los artistas
15-03-10_ WATER IN MILK EXISTS * metacomentario
18-10-09_ El tercer umbral * José Luis Brea
03-09-09_ Prière de toucher
02-09-09_ On Game Art, Circuit Bending and Speedrunning as Counter-Practice: 'Hard' and 'Soft' Nonexistence
02-09-09_ PIPILOTTI (again and "againts")
07-09-09_ Reflexiones sueltas: Bienal de Venecia 2009
07-09-09_ El problema Barceló
13-09-09_ Electronic Music and Films from the Middle Eastern Avant-Garde (1959-2001
27-06-09_ Jean-Luc Moerman
17-09-09_ El mapa del silencio y/o las pequeñas escaramuzas + extra plus
17-09-09_ El pabellón embarrado
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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