La Otra ('The Other'), ) festival of contemporary art in Bogotá emerged with the aim to encourage bold artistic approaches, responding to the demands of audiences and collectors, who are becoming more in tune with contemporary thinking and processes every day. La Otra, stands as a pioneer in Latin American art, breaking the mould of the traditional festival and reinventing it as a living space of exhibition, diffusion and support for new artistic proposals.
As a vigorous artistic movement and a new mode of collection has emerged in Latin America-one that seeks out contemporary artistic approaches-this project positions itself as a platform for circulating artistic works and encounters among diverse audiences, cultural managers, and specialists in contemporary art.
La Otra, has become an essential presence in the contemporary art scene, serving as a vital impetus for those artists and spaces that are taking on new challenges and those that are seeking to do so.
The defining characteristics of this event include:
La Otra, contemporary art festival, since the first edition in October 2007, has established itself as an exemplar in Latin American contemporary art, strengthening the capacity of the works to move away from the speculative, rigid and hermetic to inhabit new spaces and contexts.
16 - 21 October, 2008
Former headquarters of the litografía Canal Ramírez-Antares
Bosque Izquierdo / Cra 4 # 25 B – 50
Bogota, Colombia
Adriana Cuellar, Bogotá, Colombia
Andrés Matute, Bogotá, Colombia
Colectivo Expreso, Bogotá, Colombia
Fernando Sierra, Bogotá, Colombia
Fabrica, Bogotá, Colombia
Luís Carlos Tovar, Bogotá, Colombia
Jorge Salcedo, Bogotá, Colombia
Marcelo Mejia, Bogotá, Colombia
Nicolás Guzmán, Bogotá, Colombia
Sandra Bermúdez, Bogotá, Colombia
Taller de Dibujo y Color, Nicolás Paris y Camilo Villegas, Bogotá, Colombia
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Circulation, emergent markets and new geopolitics in contemporary art.
Dates: 18 - 21 october 2008
Time: 10:00 a.m. – 1:00 p.m.
Location: Centro Cultural Gabriel García Márquez
Calle 11 # 5 - 60
Barrio La Candelaria
Bogotá, Colombia
+Information: conversandoconlaotra@gmail.com
Tel.: 57 1 243 7752
New geopolitics in art: De-centering the gaze?
18 october
10:00 am – 1:00 pm
This panel will discuss, among other themes, how current geopolitical changes are displacing the gaze toward emergent artistic practices, and, in the process, generating a reconfiguration of exhibition spaces, circulation strategies and modes of collection.
Moderator: Jamie Cerón, independent curator, Bogotá, Colombia
Artistic activism: Political art or politics in art?
19 october
10:00 am – 1:00 pm
This pivotal theme will turn toward the dimension of politics and action, exploring those contemporary artistic practices that are, in diverse ways, generating models for change in the social and environmental spheres.
Moderator: Susana Wappenstein, PhD, Sociology from the University of California, Berkeley, School of Social Sciences, department of languages and socio-cultural studies.
Emergent Markets: A challenge to the hegemonic gaze?
20 october
10:00 am – 1:00 pm
Among other topics, this panel will discuss the new demands of contemporary art, and how these expressions have brought about the re-emergence of various biennials and art festivals built on platforms that are not exempt from critical discourse and reflection.
Moderator: Francisco Reyes Palma, Historian, critic and independent curator, Mexico City, Mexico
Geographies in tension and conflict: The space/place of contemporary artistic practice?
21 october
10:00 am – 1:00 pm
Among the themes that this panel will tackle will be those relating to physical and conceptual territories, their complexities and their political-aesthetic dimensions.
Moderator: Zenaida Osorio, lecturer at the National University of Colombia, Faculty of the Arts; Theories of the visual images in urban environments
Mirjam Asmal-Dik, Cape Town, South Africa
Originally from The Netherlands, Mirjam completed a Bachelors degree in International Management before obtaining her Masters in the History of Art from the University of Amsterdam, specialising in Indian contemporary art. She has worked for numerous galleries throughout Europe including the Royal Hibernian Academy Gallagher Gallery in Dublin, Ireland and Foundation for Indian Arts in Amsterdam, The Netherlands. Upon arriving in South Africa, Mirjam joined the Association for Visual Arts in Cape Town as Gallery Custodian. From 1998 - 2007 she held the position of Manager of the Pro Helvetia Liaison Office, Cape Town (Arts Council of Switzerland), organising exchange projects across all disciplines of art between Switzerland and Southern Africa. A founding member of CAPE Africa Platform, Mirjam has been managing the company since October 2006.
Guillermo Santamarina Lagunes, Mexico City, Mexico
Media analyst (Universidad Iberoamericana, 1980-84; Architecture Studies, Self-Government, UNAM,1977-79, and Anthropology, UIA, 1977-79) and self-taught curator. Since 1980, he has worked to promote the experimentation and dissemination of visual arts. Since 1981, he has helped to produce approximately 200 exhibitions, both in Mexico and abroad. He is a regular lecturer for seminars and workshops on contemporary theories and practices at universities and cultural centres. Between 1990 and 1997, he collaborated with the Unidad de Promoción Cultural y Acervo Patrimonial de la Secretaría de Hacienda y Crédito Público, organising its exhibition programs and promoting its system of tax payments using artistic works. A consultant for the Guadalajara Art Fair (1991-1996), he founded the parallel project, the International Forum on Contemporary Art Theory (FITAC), which he directed on five occasions. He was the head of exhibitions for the Cultural Affairs Office of the Foreign Ministry from 1996 to 1998. Between 1998 and 2004, he was director of Ex Teresa Arte Actual (INBA), for which he organised more than 70 exhibitions, five international Performance Art shows, and touring Audio Art festivals. As an independent curator, his most notable contributions have been to the national representations of the First Biennial of Johannesburg, the Fourth Biennial of Istanbul, and the 22nd Biennial of Sao Paulo. Other exhibitions under his direction in the international sphere include: Emerging Art from Mexico in Brasilia's Museum of Modern Art (1988), Other Mexican Art collective for the Pasadena Art Centre of Design (1992), Me and My Circumstance at the Musée d'art Contemporain de Montréal (1999), a collective for the cultural centre Art in General (New York, 1999), Assembly and the Equation of the Black Sun, exhibitions for the Mexican Cultural Institute in Paris (2001 y 2003), and Declarations 2, video art for various Norwegian museums (2004). Other notable works include: On purpose, 14 works around de Beuys (at the former convent of the Leones Desert, 1987), The Resurrection of San Martín (San Martín Building, La Condesa, Mexico City, 1997), The Beehive, third "reading" of the Colección Jumex de Arte Contemporáneo (2004); Declarations, a Mexican video art retrospective for the Queen Sofía Museum (Madrid, Spain, 2004), the video lounge at the Art Miami-Basel (Miami, 2004), Curator for the collection of art Labyrynth, Museum of Arts and Sciences in San Luis Potosí, Mexico. Member of the Latin America selection committee for the Commissions and Grants Program of the CIFO-Cisneros Fontanal Foundation. Founder, Committee member for content of the International Symposium of Contemporary Art Theory (SITAC), for which he also directed Clinics in 2008. Beginning in August 2005, he has served as Director of the Experimental Museum El Eco, a project of the UNAM.
Yona Backer, New York, USA
Yona Backer is a consultant and producer in the fields of contemporary art, film and fashion and a co-founder of Third Streaming, a web-based project where popular culture, contemporary art, film, fashion and design intersect. Third Streaming is dedicated to help promote public understanding of and support for the arts in a democratic society. Her more than 15 years of experience in the arts includes program development, curating, and support for underserved groups. Previously, she was the Senior Program Officer at the Andy Warhol Foundation, where she co-directed the grants program for nine years. In addition, she has served as the Director of Visual Arts at the Americas Society, and Gallery Director at Throckmorton Fine Art. Born in Jamaica and raised in Amsterdam, the Netherlands, Ms. Backer has been based in New York City since the early 1980s. She holds a master's degree in art history and archaeology from Columbia University and received a bachelor of arts from Hunter College.
Alejandro Meitin, La Plata, Argentina
Artist, lawyer, environmental activist and founder of the art collective Ala Plástica (1991- present) based in the city of La Plata, Argentina. Ala Plástica is a non-governmental organization led by artists, which, since 1991 has developed broad-reaching projects in critical spheres that promote alternatives to environmental development in the face of the limitations faced by many communities.
This work is carried out through: long term collaborations between regional, national, and international entities that deal with bio-regional ideas surrounding rivers, water systems, and water resources; participation in the research, design and implementation of Regeneration Projects for coastal, urban, and rural areas alongside artists, landscapists, local authorities, and experts in contamination control and ecological restoration; and the development of artistic methodologies for the recuperation and understanding of natural systems.
Adbusters, Vancouver, B.C., Canada
Adbusters Media Foundation (called Adbusters or the Media Foundation) is a not-for-profit, anti-consumerist organisation founded in 1989 by Kalle Lasn and Bill Schmalz in Vancouver, British Columbia, Canada.
"We are a global network of artists, activists, writers, pranksters, students, educators and entrepreneurs who want to advance the new social activist movement of the information age. Our aim is to topple existing power structures and forge a major shift in the way we live in the 21st century".
To this end, Adbusters Media Foundation publishes Adbusters magazine, operates its website and offers its creative services through PowerShift, our advocacy advertising agency.
Based in Vancouver, British Columbia, Canada, Adbusters is a not-for-profit, reader-supported, 120,000-circulation magazine concerned about the erosion of our physical and cultural environments by commercial forces. Our work has been embraced by organisations like Friends of the Earth and Greenpeace and has been featured in hundreds of alternative and mainstream newspapers, magazines, and television and radio shows around the world. Adbusters offers incisive philosophical articles as well as activist commentary from around the world, addressing issues ranging from genetically modified foods to media concentration. In addition, our annual social marketing campaigns like Buy Nothing Day and TV Turnoff Week have made us an important activist networking group. Ultimately, though, Adbusters is an ecological magazine, dedicated to examining the relationship between human beings and their physical and mental environment. We want a world in which the economy and ecology resonate in balance. We try to coax people from spectator to participant in this quest. We want folks to get mad about corporate disinformation, injustices in the global economy, and any industry that pollutes our physical or mental commons.
Jesús Fuenmayor, Caracas, Venezuela
Director Periférico Caracas / Arte Contemporáneo.
For 1989 to 1991, he worked as a consultant and collaborated with Sala RG. From 1991 to 1992, he took courses at the program of independent studies of the Whitney Museum of American Art in New York. Between 1992 and 1995 he worked as a consultant for the Mueso del Oeste (now the Museo Jacobo Borges, Caracas). Between 1992 and 1995, he served as curator for Espacio 204, Caracas. In 1998 he was co-curator of the Second Bienal Barro de América, Caracas. From 2001 to 2004 he served as professor at the School of Design at the Architecture Branch of the University of José María Vargas in Caracas. He was a member of the editorial board of the Mexican magazine Poliéster (1992-2000) and contributor to the magazines Art Nexus and ESTILO. In 2004, he served as curator of the Museo Alejandro Otero Caracas. Among the individual exhibitions that he has curated are: Stan Douglas, Meyer Vaisman, José Antonio Hernández-Diez, Sergio Vega, Eugenio Dittborn, Lorna Simpson, Alfred Wenemoser and Guillermo Kuitca. He was curator of collective exhibitions including: Cuarta Pared (González-Torres, Fernández, Jaar, Lamelas); Museo del Oeste, 1995; Longitude of Waves, an review of video art for the Museo Alejandro Otero, 1997; The Steel Helmet for Espacio Unión 1998; and co-curator of the Cuarto de Demostraciones / Casa ideal, a travelling exhibition for institutions in Caracas, New York, Amberes and Chicago, 2001-2002, as well as the first version of the del Salón Jóvenes Con FIA, 1998.
In 2001, he co-ordinated the Ciudad Experimental exhibit for the Seventh Biennial of La Habana. In 2002 and 2006 he organised a gathering on contemporary art, which was sponsored by the Fundación Mercantil. In 2003, he produced the exhibition Grupo Caracas/Ciudad Sensorial in the Biennial of Venice with Rafael Pereira. In 2005, he was co-curator of the itinerant exhibition "Jump Cuts. Arte Contemporáneo Venezolano. Colección mercantil", for the Americas Society in New York and the CIFO Art Space in Miami, as well as the exhibition "Uno a la vez. Dibujos en la colección Mercantil", which took place in the Museo de Arte Contemporáneo de Zulia. Since late 2005, he has served as general director of Periférico Caracas, a new space for contemporary art through which more than 30 exhibitions have taken place. The following artists were among the most important participating in these exhibitions: Roberto Obregón, Daniel Medina. Pablo Helguera, Jaime Gili, Héctor Fuenmayor, Suwon Lee, Juan José Olavarría, Mariana Bunimov, Danilo Dueñas and Eugenio Espinoza.
Tranvía Cero, Quito, Ecuador
Tranvía Cero is a collective of contemporary art from Ecuador, with an independent and autonomous approach that emerges from the necessity to react to, confront and resist an official version of culture. Toward this end, it generates, supports and executes presentations of material and visual art with an emphasis on the urban sphere, through capacity-building, consultancy and community work. In this way, the collective creates and strengthens bonds with other social actors and organisations from different disciplines.
The collective was formed in 2002 by Pablo Alameida and Carla Villaviciencio from the Art Workshop La Mancha and Samual Tituañaña from Akaros art workshop, creating links with cultural movements from across the sector and other organisations (Al sur del cielo, Cultural Centre of the South, Teatro de la Guaba). The collective's cultural and artistic production led to the First International Fine Arts Gathering of the South 2002. They later created the First Urban Art Gathering - Zurich 2003 and in 2004 the Second Gathering joined by Pablo Ayala, Luis Herrera and Nelson Ullauri, thus forming Tranvía Cero. For the Third Urban Art Gathering - Zurich 2005, the collective, including Ernesto Proaño, Sofía Soto and Omar Puebla, entered into a phase of consolidating the politics and ideology of Tranvía Cero.
The collective is part of the cultural network comprised of En.ve.lope Collective U.S., Colectivo Ojo Mecánico, Experimentos Culturales, Mal de ojo Producciones, Restaur-Arte, La Corporación, Revista Abrelatas, Revista La Pepa and Oído Salvaje
Christian Viveros-Faune
Christian Viveros-Fauné is a writer and curator who has lived in New York since 1992. A founder of Roebling Hall, Viveros-Fauné played a fundamental role in the seeding and development of the Brooklyn arts scene in the 1990s. Starting as a literary translator, he moved on to work in journalism, art criticism and, eventually, curatorial projects, which in turn decanted into a ten-year career as an art gallerist. As a writer, he has published in, among other venues, Art in America, artnet, Artnews, The Art Newspaper, El Mercurio (Chile), Frieze, Lapiz (Spain), La Tercera (Chile), The New Yorker, The New York Press (for which he was the weekly art critic between 1998-2003) and The Village Voice. Viveros-Fauné has also contributed essays to various international catalogues of contemporary art, among them "Authentic/Ex-centric: Conceptualism in Contemporary African Art, Biennale di Venezia 49"; "Symptomatic: Recent Works by Perry Hoberman", National Museum of Photography, Film and Television, Bradford, UK; and "Lisa Yuskavage", Museo Tamayo de Arte Contemporaneo, Mexico City, Mexico and Neo Rauch, David Zwirner Gallery, New York, USA.
He is currently working on the catalogue and exhibition "Yishai Jusidman: Paintworks," Museo de Arte Moderno (MAM, Mexico City and Museo Amparo, Puebla). He is presently Curatorial Advisor for international contemporary art festivals VOLTA NY and NEXT (Chicago).
Democracia, Madrid, Spain
Art collective established in Madrid by Iván López and Pablo España.
The inclination to work as a group emerges from the intention to generate forms of artistic practice based on discussion and the clashing of ideas and forms of action. The simple fact of working as a group purposefully situates the intervention in the social sphere through approaches committed to and engaged with that which is real. The projects respond to a concern with the ways in which living spaces are increasingly staged, visible not only in the increasing importance of the image, but also in the gradual emergence of simulacra in the diverse settings of everyday life, whether it be in politics, technology or culture. Democracia also works in publishing (as directors of the magazine Nolens Volens) and in commissioning exhibitions (No Future, Open Madrid 2008, Creator of Owners). They were founding members of the collective El Perro (1989-2006).
Pages, Tehran, Iran/Rotterdam,Holland
Pages was started in 2004 by artists Nasrin Tabatabai and Babak Afrassiabi as an ongoing project, examining the possibilities of interaction and reflection between various local discourses and conditions that have the potential to generate spaces of critique or instances of critical practice.
Pages' project is defined through activities, such as the publication of a bilingual Farsi/English magazine, architectural proposals, video documentations and installation works.
With a particular focus on the Iranian context, Pages emphasises those artistic practices that communicate the specific conditions under which they are produced, those socio-political circumstances against which an artistic production is inevitably read as discourse. Yet, the specificity of the Iranian situation has also triggered discussions in a broader context.
Addressing issues with regard to locally-specific conditions can bring one closer to the reality of these issues, problematising their common notions and triggering their re-articulation. Pages constantly attempts to point to those intricacies and dissonances within and among local currents that give way to alternative chains of meanings, relations and coincidences. As such, Pages' activities are taken as ongoing processes of research, which inevitably tend to undermine predefined and geographically-bound notions of subjectivity and locality. Both the projects and the bilingual magazine undergo a process of constant re-conceptualisation with regard to the social and political contexts to which they refer.
Torolab, Tijuana, Mexico
Founded in 1995 by Raul Cardenas Osuna in Tijuana, Mexico, Torolab, is a collective workshop/laboratory of contextual studies that identifies situations or phenomena of interest for research. The result of this investigation should, in some way, enhance the "quality of life" among the people involved. The projects are developed according to our own competencies and in collaboration with other artists and experts in the fields that we are studying and investigating. The themes that we have developed up to the present range from research on identity in the border region, to housing and security, to community building and survival; these areas of concern are as broad and varied as the lifestyles and environs that we are studying. The traces we leave behind with these investigations range from such things as Urban Interventions, Media Projects, Construction Systems, and Survival Units to everyday things like furniture and clothing.
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La Otra, fesitival of contemporary Art
Carrera 5 # 26-28 / La Macarena
Bogotá Colombia
Tel : + 571. 282 6975 / 2437752
laotra2008@gmail.com
www.laotraferia.com
Director
Jairo Valenzuela H.
Artistic and Symposium Director: "Conversando con La Otra"
Elisabeth Vollert
International Consultant
Ana Sokoloff
General Co-ordinator
Adriana Mejia
Co-ordinator of Exhibition Logistics
Juana Afanador
Communications and Public Relations
Antonella Capuzzo
Co-ordinator of Symposium Logistics: "Conversando con La Otra"
Angela Carrizosa
International Mounting Consultant
Naomi McLeod
Legal Consultant
Mauricio Gómez
Sponsorship / Publicity
S&M group
Stefania Salocchi y Jackie Merchán
Internship Co-ordinator
Viviana Villamil
General Mounting Co-ordinator
Ernesto Restrepo
Information and Content Co-ordination
Mauricio Sanchez
Design and Website
Felipe Castelblanco y Paola Gonzalez
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Bogotá, Colombia
Alcuadrado is a gallery whose space changes settings constantly in order to work in dialogue with the works of its artists. Each exhibition presents the artists with an opportunity to experiment with the place, both spatially and conceptually, and encourages the public to interact with different artistic contexts, thus generating new meanings of urban space and pushing the gallery to develop new ways of conceiving of and working with contemporary art. Alcuadrado has carried out 15 projects in locations as diverse as factories, theatres, abandoned hotels, colonial churches, hospitals and public spaces, such as the river Cali, which served as a projection screen. The gallery participates in Art Basel Miami Beach and ARCO en Madrid.
Directors: Juan Gallo R., Gloria Saldarriaga P.
Contact: www.alcuadrado-art.com
Participating Artist: Jaime Ávila
Jaime Ávila
"Dust"
Installation
Pyroxylin on glass
Variable Dimensions
2008
Cuidad del Cabo, Sur África
CAPE Africa Platform (CAPE) is a not-for-profit company founded in 2003 with the mission to produce ground-breaking contemporary African art events for Cape Town, South Africa and Africa. It is CAPE's mission to create ground-breaking African art events that are rooted in the local but global in impact.
For the occasion of La Otra, CAPE has joined forces with Cape Town's Bell-Roberts Gallery, established March 2000. The gallery has hosted numerous solo and group exhibitions and remains committed to providing a forum for younger, cutting-edge artists. Representing both emerging and established artists, its exhibitions cross the ambit of all forms of contemporary art practice: painting, sculpture, performance, installation, photography and new media.
Directors: Mirjam Asmal-Dik (CAPE), Brendon y Suzette Bell-Roberts (Bell-Roberts Gallery)
Contact: www.capeafrica.org / www.bell-roberts.com
Participating Artists: Cameron Platter, Tanya Poole, Lyndi Sales, Stuart Bird, Nastio Mosquito, and Chike Obeagu
Bogotá, Colombia
Casas Reigner was founded in Miami in 2001. In 2004, the gallery embarked on an ambitious project: to disseminate contemporary Colombian art not only at the local level but also internationally. With this aim, the gallery opened its doors in Bogotá in March of 2005. The gallery project is grounded in the research and selection of artists with a foundation in a clear curatorial concept: to offer artistic approaches that are material reflexive exercises as much as they are conceptual.
Director: Catalina Casas
Contact: www.casasreigner.com
AParticipating Artists: Adriana Arenas, Wilger Sotelo, Rosemberg Sandoval
Rosemberg Sandoval
VENUS.2000 - 2007
1 Photograph
50 x 74.5 cm
Single edition
Adriana Arenas
Lo grande que es perdonar (The importance of forgiving)
Canoe
Variable dimensions
Holographic Sculpture
2007
Wilger Sotelo
Intervención Urbana sobre fachadas exteriores (Urban Intervention on exterior façades)
Series of boxes in black canvas with aluminum frame and texts produced by pick-pocket painters of the city
180 x 300 mtrs
2007
Bogotá, Colombia
Christopher Paschall Arte Contemporáneo was established in 2008, stemming from the director's need to realise projects that were different from those that, up to that moment, had been exhibited in the Gallery enterArte. Although it continues to occupy the same space as enterArte, the artists and projects exhibited by CPAC focus on new trends and enable a more intimate connection to the production of contemporary art.
Participating artists: Raúl Marroquín, León Trujillo y Joel Grossman.
Santiago, Chile
Die Ecke, inaugurated in 2005 in Santiago, Chile, is an independent exhibition space whose fundamental objective is to contribute to the development, diffusion and commercialisation of contemporary artistic expression, with a special emphasis on the promotion of the new generation of Chilean artists. The gallery is directed by Paul Birke in collaboration with Ethel Klenner.
Director: Paul Birke, Ethel Klenner (Curatoría)
Contact: www.dieecke.cl
Participating artists: Alejandra Prieto, Benjamín Marambio, Catalina Bauer, Julen Birke.
Alejandra Prieto
Nike (model Marx) - 2008
Lambda print on photographic paper. 1/3
58,5 x 85 cms.
Benjamín Marambio
Mares - 2007 (Seas - 2007)
DVD Loop - 2 minutes
1/5
Catalina Bauer
Corazón - 2007 (Heart - 2007)
Raffia and woven nylon thread
53 x 43 x 4 cms.
Julen Birke
Proyecto Panal 2 - 2008 (Project Honeycomb 2 - 2008)
Mixed technique
30 x 20 cms.
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Montevideo, Uruguay
harto__espacio is a curatorial project based in Montevideo, Uruguay. Commencing its activities in 2004, it places an emphasis on the realisation of local projects and on their insertion into the international art circuit. harto_espacio currently represents artists from Mexico, Uruguay and Sweden. It has participated in festivals including MACO (Mexico City, 2007) and arteBA (Buenos Aires, 2008).
Directors: Adela Casacuberta y Antar Kuri
Contact: www.hartoespacio.com
Participating Artists: Balam Bartolomé, Dulce Chacón, Heráclito López, Mora Diez, Enrique Minjares, Jorge Sosa, Adriana Riquer, José Luis Cortes, Silvina Arismendi, Francisco Cunha, Nicolás Pupo, Ignacio Chincoya, Perdedores
Balam Bartolomé
"Pacas de a kilo" ("Kilo packages")
50 kg of grass mate and packing tape
Variable dimensions
2007
Dulce Chacón
"Tape master" (right)
"Earth, wind and fire" (left)
Watercolor and ink on paper
34.5 x 24.5 cm
2007
Perdedores (Uzi Sabah y Antar Kuri)
"Untitled"
Collage with slides
Variable dimensions
2008
Santa Cruz de la Sierra, Bolivia
Kiosko Galería is an independent space generated and directed by artists, which aims to disseminate, promote and give incentive to Contemporary Art in the region.
Kiosko has two exhibition spaces with shows throughout the year and an international residency program. Moreover, it alternatively generates projects for other spaces, indoor as well as outdoor.
Directora: Raquel Schwartz
Contact: www.kioskogaleria.com
Participating Artists: Douglas Rodrigo Rada, Roberto Valcárcel, Raquel Schwartz, Roberto Unterladstaetter, Narda Alvarado
Douglas Rodrigo Rada
Installation / ink drawing on a wall
Untitled
2006
Raquel Schwartz
Photography from the series Illusion V
"Comedor"
Digital print
2008
Roberto Valcárcel
titulo "Miedos" ("Fears")
Objects
Enamel on wood
2002
Roberto Unterladstaetter
"Soy Nadie" ("I Am Nobody")
Posters along a public highway
2005
KILLING TIME / MATANDO EL TIEMPO
Video performance with the collaboration of the Escuela de Clavado De Dolphijns (6 min.)
Amsterdam - Países Bajos, 2005 - La Paz - Bolivia 2008
Bogotá, Colombia
Modern and contemporary art in a custom-made exhibition space. Colombian masters with well-established careers and a select group of young artists.
Director: Esteban Jaramillo Florez
Contact: www.lacometagaleria.com
Participating Artists: Nadir Figueroa, Cesar del Valle
Nadir Figueroa
De la errancia entre el nadir y el cenit Diorama 13 (Of the errance between the nadir and the zenith Diorama 13)
Acrylic, wood, glass, etc
77 x 76 x 80 cm
2008
Nadir Figueroa
De la errancia entre el nadir y el cenit diorama 8 (Of the errance between the nadir and the zenith Diorama 8)
Acrylic, neon light, glass, etc
54.5 x 54.5 x 21.5 cm
2007
Cesar del Valle
Portrait III
Pencil on paper
40.5 x 29.7 cm
2008
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Bogotá, Colombia
Since 1989, the Valenzuela Klenner Gallery has developed an important approach to contemporary artistic expression. Its focus and content assume a critical commitment to generate reflections and enquiry surrounding current transformations in the field. Specialising in contemporary Latin American art, it places a special emphasis on exhibiting and promoting works that are produced in and that emerge from the Colombian context. The gallery utilises its two exhibition spaces, a project exhibition hall and an outdoor patio, to realise its annual programming.
Director: Jairo Valenzuela H.
Contact: www.vkgaleria.com
Participating Artists: Liliana Angulo, Milena Bonilla, Raimond Chaves, Wilson Díaz, Víctor Escobar, Lina González, Nicolás Paris, José Alejandro Restrepo, Nelson Vergara
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Tunja, Colombia
Members: Héctor Monsalve, Edgar Barrera, Carlos Carreño
Contact:cachm76@hotmail.com
Since 1999, La Perra Blanca has positioned itself as a sensitive space that seeks to examine itself from the perspective of the honest, everyday character of Boyacá; as semi-rural, semi-urban citizens; as the daughter of its time and space; as the product of the Tunja of the 20th Century and that which is entering into the 21st.
This is a shared proposal that seeks to generate reflection on the setting of Boyacá as a territory and a context, arising from a sense of its disappearance. This State, in spite of its wealth of natural and human resources, has been perpetually relegated in the national sphere, always discounted as a result of being Bogotá’s back patio. It is the “land of servants and security guards,” along with the rest of those taunting nicknames that have turned it into the brunt of the jokes of its own people and others, thanks to wonderful people like Don Gediondo, the Boyaco and other “luminaries” bred by this Land of Liberty.
Manuel Barón
El Hoyo de la Papa
(The Potato Hole)
Photographic Documentation
2008
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Caracas, Venezuela
Featured Artists: Alfred Wenemoser, Gerd Leufert, Jaime Gili, Héctor Fuenmayor, Juan José Olavarría, Alí González, Alessandro Balteo, Juan Carlos Rodríguez, Mariana Bunimov, Miguel Rodríguez Sepúlveda, Suwon Lee
Contact:periferico_caracas@cantr.net
Since its creation, the principal objective of Periférico Caracas / Arte Contemporáneo has been to generate a community around contemporary art, not only in the sense of capturing diverse publics, but also in terms of the spheres of artistic creation, critique and thought. Following from this premise, Periférico Caracas seeks to encourage discussion surrounding the new context of artistic production in Venezuela.
First of all, it constructs a history and a reflection on the recent memory of Venezuelan art, which takes into account different visions of artistic modernity, as well as strategies of silencing and/or the historical determination of languages of renewal. Another aspect considered as a part of Periférico Caracas’s curatorial criteria is the political context or conditions of production: Straight-on or oblique examinations of sociopolitical circumstances and events surrounding the discursive logic of the art, with a particular focus on analysing relationships of power, the market and authority. A third curatorial axis that grounds Periférico Caracas’s profile in an explicit purpose is its relationship to international art: the intertwining of perceptions, in which local dynamics come into confrontation with foreign interpretations, re-emphasising the variations and definitions of the canon.
Juan José Olavarría
Bandera quemada en Bolivia
(Burnt Flag in Bolivia)
Fabric, 90 x 30 cm
2008
Photograph by Rodrigo Benavides
View of the exhibition of Mariana Bunimov
Un mundo feliz
(A happy world)
2008
Photograph by Rodrigo Benavides
Miguel Rodríguez Sepúlveda
Emergía
(It Emerged)
Performance during the First Latin American
Encounter of Alternative Spaces
2008
Photograph by cortesía de Ignacio Pérez
Bogotá, Colombia
Featured Artist Arnulfo Herrada
Contact: www.populardelujo.com
Populardelujo is an unfinished and interminable project, empirical and mutant, that takes the city of Bogotá as the principal object of its work. Populardelujo researches and collects information surrounding the culture of Bogotá; it produces texts, conferences and exhibitions, while linking and promoting like-minded initiatives that share common concerns. In this way, Populardelujo forms a dynamic centre of information, employing diverse formats and an accessible tone to integrate multiple visions of the ordinary, everyday Bogotá.
Populardelujo uses the internet as its principal publication platform, as well as its mechanism for co-operative functioning. The project’s website www.populardelujo.com receives approximately 10,000 visits every month, and its monthly bulletins are read by more than 4,000 subscribers around the world.
The project is led by a group of individuals working in the fields of design and communication; it is enriched by the contributions of a growing number of friends and colleagues.
Mujer
(Woman)
50 x 70 cm
Enamel
Taladro
(Drill)
50 x 50 cm
Enamel
Águila
(Eagle)
70 x 50 cm
Enamel
Frutería
(Fruit Shop)
70 x 70 cm
Enamel
Quito, Ecuador
Established in 1999 by visual artist Manuela Ribadeneira and composer Nelson García, Artes No Decorativas S.A. is a legally constituted company whose stated purpose is to develop, promote and produce all forms of expression within the field of contemporary art. At the same time, it seeks to support forums and publications that work to further the development of diverse aspects of contemporary art, as well as the relationship between artists, their work and the society in which they converge.
Artes No Decorativas S.A.
Crítica Readymade
(Readymade Critique)
a service of Artes No Decorativas S.A.
briefcase, 100 stamps.
sampler of stamps on paper.
2002
Italia
"RECYCLED PINK SPACE"
Rather than a stable and rigid form, we prefer one that is open, provisional and elastic. We seek out a dynamic organisation that is diffused, delocalised and capable of taking on the permanent state of crisis in Italy as a positive element of continued transformation.
Our research is oriented toward identifying design strategies that privilege action, eco-evolutionary logic, ecology, self-reliance, self-production of food, self-construction, total recycling, reversibility, anomaly and flexible and elastic systems. We set up experimental installations and projects, workshops and actions in order to test the feasibility of different visions of architecture and nature as they apply to architecture and society.
Elastic Habitat is a project that Avatar Architettura started in 2005 for the Pneumatic Places exhibition in Vienna. The project was then selected for the Biennale Internationale Design 2006, Saint-Etienne.
RECYCLED PINK SPACE
Elastic Habitat (AVATAR ARCHITETTURA) Nicola Santini y Pier Paolo Taddei
EDIBLE EDIFICE - Biennale di Venezia 2008
Quito, Ecuador
Contact: oidosalvaje@yahoo.com
www.myspace.com/centroexperimentaloidosalvaje
The collective Centro Experimental Oído Salvaje was created in Quito in 1996 by artists coming from different media and geographies. As RAEL (Radio Artística Experimental Latinoamericana), it worked to develop laboratories, audio-forums and interventions. Between 1998 and 2000, it sustained an on-air sound art radio programme called “Navigators of the Ether”. In 2001, RAEL re-invented itself as the Centro Experimental Oído Salvaje, with permanent members including Iris Disse, Mayra Estévez and Fabiano Kueva, all of whom work simultaneously as researchers and producers of collectively generated projects and individual projects, as well as supporting like-minded artistic initiatives. The members of Oído Salvaje have received 15 international awards for their work and participated in art events at the international level.
LA OTRA en ANTENAS _INTERVENCIONES
(LA OTRA in ANTENNAS_INTERVENTIONS)
ONLINE / ON THE AIR / IN SITU Project
Concept and Co-ordination: Mayra Estévez Trujillo and Fabiano Kueva
ANTENAS_INTERVENCIONES: Is a platform of intervention – transmission – listening, executed ONLINE / ON THE AIR / IN SITU using low technology, by composers, artists, curators and researchers in the areas of sound art, electro-acoustic and electronic music and international experimental radio activism.
ANTENAS_INTERVENCIONES privileges critical practice and collective platforms for work and reflection, while taking on diverse aesthetic positions and politics.
Bogotá, Colombia
Contact: hemisferico_bog@unal.edu.co
The Hemispheric Institute of Performance and Politics gathers together institutions, artists, academics and activists who are dedicated to exploring the relationship between expressive behaviour (broadly defined as “performance”) and social and political life in the Americas. We consider “performance” to be distinct practices and events, such as dance, theatre, ritual, political protests and funerals, which include theatrical, predetermined and/or conventional behaviours. In addition to utilising textual archives, the Institute turns to “en vivo” practices and visual media (e.g. video, photography) in order to explore the manners in which these expressive behaviours contribute to the transmission of cultural knowledge and social memory.
The program is embedded in the academic discipline of “Performance
Studies,” in order to promote artistic and intellectual relationships that
transcend geographic, institutional, linguistic and academic limitations.
The 2009 Encounter of the Hemispheric Institute of Performance and
Politics, “Citizenship on stage: the performance and politics of cultural
rights,” will gather together around 400 participants in a concentrated
space of experimentation, dialogue and collaboration, including speeches,
performances, installations, roundtables, displays, exhibitions, video
screenings, working groups and practical workshops. The Encounter will
bring together academic, artistic and activist processes, generated from
Bogotá and Colombia for the benefit of the hemisphere. The approach
will give rise to the seventh encounter, co-organised by the Hemispheric
Institute of Performance and Politics with its headquarters at New York
University, with expected participation by other national and international
institutions. These encounters have served as points of contact for artists,
academics, students and activists that investigate the relationship between
performance and politics in the Americas.
Bogotá 21-30 August 2009.
Adriana Mejía
Movimiento los encuerados
(Movement of the stripped)
Photograph
México D.F.
2008
México D.F., México
Contact: www.artesonoro.net
In this composition for five channels, I attempt to explore the game of human voices narrating football games. Here, the games’ narrators are transformed into the players; it is a totally new game, which is played against others (not one-on-one but rather everyone against everyone). The interesting thing is that these announcers were chosen from distinct cultures (Brazil, Argentina, Peru, Scotland, France, Germany, India, Japan, etc). The possibilities of different languages and cultural styles of narrating are extremely distinctive, giving the work an expressive richness. The sounds of the stadium crowds and the referees’ whistles are also included in this virtual game, interacting with the multiple narrators. Finally, the work is structured like a football game: commentary before the start of the game, the first half, half-time (in which announcements and news are heard in diverse languages), and the second half.
This composition formed part of an art exhibition in the city of Colon, Germany during the 2006 World Cup.
The arrangement of the five loudspeakers is like the traditional 5.1 FL (front left), FR (front right), C (front centre), BL (back left), BR (back right).
Air Waves on the Fields
2006
Teheran, Iran / Rótterdam, Holanda
Directors: Nasrin Tabatabai, Babak Afrassiabi
Nasrin Tabatabai and Babak Afrassiabi are artists based in Rotterdam, the Netherlands. In 2004, they together initiated a long-term project called Pages. Their work with Pages includes architectural proposals, video documentation and multi-disciplinary art projects.
Through Pages, Tabatabai and Afrassiabi address art practice, urbanism, social and cultural issues. While maintaining a focus on the particularities of the Iranian context, they also examine possibilities for interaction and reflection between various local discourses. They continually search for conditions that may generate spaces of critique or instances of critical practice, and for ways to surpass predefined and geographically bound discourses of subjectivity, identity and locality.
photographer unknown
Iranian students having seized the US Embassy
in Tehran - November 4th 1979.
From ‘Letters from the Embassy’, project by
Nasrin Tabatabai & Babak Afrassiabi,
(c) Pages, 2008
Tijuana, México
Artista presente en La Otra: Raúl Cárdenas Osuna
Contact:tunna7@hotmail.com
Torolab can be understood as a workshop/laboratory collective of territorial research and contextual studies. Founded in Tijuana in 1995 by Raúl Cárdenas Osuna (Mazatlán, Sinaloa 1969), Torolab’s projects respond to politics and poetics ranging from social phenomena to urban space and artistic languages. Torolab carries out research with the aim to, at some level, improve the quality of life among the people involved. Its projects are developed in collaboration with other artists and/or experts in the fields that are being investigated.
The themes Torolab has developed up to the present take research on identity in the frontier region as their point of departure, with projects ranging from housing and security to community-building and survival. These investigations leave traces that range from urban interventions, multimedia projects, construction systems and survival units, to everyday items like furniture and clothing.
Raúl Cárdenas Osuna
video still 120 hrs
Mexican, 1969
LRPT
La Región de los Pantalones
Transfronterizos, prototipo (The Region of the
Transborder Pants, prototype), 2005-2006
Image by Raúl Cárdenas Osuna, Bernardo
Gutiérrez, Shijune Takeda
Raúl Cárdenas Osuna
Satélites
Mexican, 1969
LRPT
La Región de los Pantalones
Transfronterizos, prototipo (The Region of the
Transborder Pants, prototype) 2005
Image by Raúl Cárdenas Osuna
Quito, Ecuador
Members: Pablo Almeida, Pablo Ayala, Luis Herrera, Omar Puebla,
Ernesto Proaño, Sofía Soto, Samuel Tituaña, Paola López,
Antonio Salazar, Adrián Balseca
Contact: tranviacero@latinmail.com
zurich@hotmail.com
www.arteurbanosur.blogspot.com
Tranvía Cero is an artist collective assembled in 2002. The approach of our collective is centred on the democratisation of public space, the interrelation and articulation of public space with the community, and, additionally, a constant critique of the interpretation and “museification” of culture, bringing into question the formal record and aesthetics of visual arts. We confront exercises of institutional and academic power, artistic circuits and the citizens of these establishments, with the aim of reformulating and reflecting from the perspective of an integral vision of artistic practice. The pragmatism that characterises this work allows us to interpret the everyday, bringing together its visual languages, its spaces of communication, its diverse urban cultures – everything that generates tools and elements of political, social and aesthetic valuation and that enables us to approach the metropolis and its inhabitants with creative, transformative and integrative processes.
Tranvía Cero is a collective of contemporary art from Ecuador with an independent and autonomous approach emergine from the necessity to react to, confront and resist the official version of culture. Toward this end, it generates, supports and executes productions of material and visual art with an emphasis on the urban sphere, through capacity-building, consultancy and community work. In doing so, the collective creates and strengthens bonds with other social actors and organisations from different disciplines.
Los Siete Platos en Chicago
(The Seven Dishes in Chicago)
Intervention
Chimbacalle, Villaflora, 5 esquinas,
Pobre Diablo, Chicago Chico
2007
Tianguez Exchange
Action
Plaza San Francisco - Dentro del marco
de Arte Acción en la Plaza - Argentina
2007
Quito, Ecuador
Members: Pedro Cagigal, Dayana Rivera, Paúl Rosero,
Diego Arteaga, Valeria Andrade
Contact: www.wash-eltaller.com
WASH - lavandería de arte has served as an “unstable” collective in Quito, Ecuador since 2003; its members vary according to the needs of each project. It is characterised by its mobility. Conscious of the fact that it is in a constant state of transformation and exchange, it nourishes itself from the flow of participants, who come from fields such as graphic design, cinema, dance, publicity, the social sciences and other areas. WASH employs collective artistic practices and creative, multidisciplinary processes to reflect on human relationships. WASH studies its context in order to intervene in it, transforming apparent difficulties into opportunities and rescuing forms of work based in feeling and emotion. It operates through mechanisms of production such as community work and exchange, while inserting itself into companies and institutions in order to work with their contradictions and negotiations to re-envision modes of contemporary co-existence. It defines itself through dialogues and targeted negotiations.
To achieve these goals, parallel to its production as lavandería de arte, the collective joined forces with the collective El Taller, forming WASH+El Taller Estudio. From this platform, it dedicates itself to the production of graphic design, web programming, television commercials, VJ shows, translations of art texts and other forms of institutional and commercial camouflage. Aside from supporting the production of its independent projects in this manner, it is constantly observing and playing with the possibility of moving into distinct new areas. These negotiations and levels of exchange that involve diverse arenas are an indispensible part of WASH’s artistic practice.
Logo WASH
lavandería de arte
Otra Falla Humana
(Another Human Error)
Quito, Ecuador
Contact: www.archivoescorianuevosmediosecuador.com
name: archivo nuevos medios ecuador (new media archive ecuador)
surname: ESCORIA
etimology: ESCORIA is a term used by the Mexican singer Paquita la del
Barrio in a song called “Rata de dos Patas (“Two-Legged Rat”)
birthplace and year: Quito, 2003
nationality: Ecuadorian
commercial activity: none
other activities: curation, exhibition, diffusion, conferences, conservation,
fun and costumes
experience: everything that an emergent context, tequila and two natural
births can leave you with
availability to travel: immediate
payroll: 176 artists from Quito, Guayaquil, Cuenca, Riobamaba, and
Otavalo, as well as the immigrants that live in other parts of the world
property: an orange shelf inside the wardrobe of my room that has around
300 video pieces, a desk, a chair, a Macbook and that’s all
symbolic capital:
legal status: money and people, independent
criminal record: in progress
references: Argentina: Graciela Taquini, Gabriela Golder, Daniela Mutis.
Spain: Laura Baigorri Ballarín. Brazil: Arlindo Machado. Colombia: Martha
Lucía Vélez
telephone numbers of references: (593) 9 7799347 / (593) 2 2543040
hours of availability: you never know; you can leave a message in the
discothèque El Aguijón.
address: av. 6 de diciembre 2373 y la niña esq. departamentos Multicentro
piso 18 dpto. 18I quito-ecuador-sudamérica
person in charge: (?) maría belén moncayo
position: general director, according to the gossip
observations: god exists, but he is fed up with us and he’s completely right!
(Matt Groening)
Miguel Alvear
wïr konnen es
(wïr konnen is)
53’’
quito
2008
Osnabrück, Alemania
Contact: www.emaf.de
ALONE AMONGST FRIENDS is an entertaining compendium of current international Media Art, reflecting the highly varied strategies and approaches of its artists. Included are three award-winning films: THE DELAWARE PROJECT, which won the EMAF Award in 2007; WIE ICH EIN FREIER REI¬SEBEGLEITER WURDE (How I Became a Freelance Travel Guide), which received the German Film Critics award in 2007 at EMAF and the Jury- and Audience Award at Hamburg Films; and the film FIRST ELECTIONS, which was awarded the Dialogue-Award by the German Ministry of Foreign Affairs.
Thematically, the tour program is based on films that deal with the individual and his/her relationship to the group, family, clique or to society as a whole. Even if they present themselves as individual and autonomous people, their emotions and behaviour are influenced by the group and its processes, which are, in turn, constantly redefined by these inputs.
Bogotá, Colombia
Members: Yuly Raquel Enciso Cifuentes, William Fernando Montilla Niño y Juan Francisco Nicolás Martínez Franco
Sonata Para Electrodomésticos
(Sonata for Electrical Appliances)
The auditory consciousness of human beings has developed from their interaction with nature; we encounter rhythms, such as the beat of a heart, breathing and all of the other bodily sounds. These sounds, considered natural, come into confrontation with unnatural sounds recognised as noise, a high percentage of which are produced by machines, those that play an important role in the daily life of man. These machines create a new ‘being’ between man and technology, extending the capacity of human beings by offering the body extensions with almost unlimited capacities, captured through the simple flick of a switch or programming of a computer.
For this new human being with extensions of high technology, natural sounds become integrated with the noises produced by those machines that are within easy reach, machines called electrical appliances, transforming natural sound into constant, unstructured noise.
Colectivo Expresso poses a hybridisation between noise-sound and mantechnology, turning unstructured noises produced by electrical appliances into a structured rhythm, one that is controlled by two people by means of an unnecessary and low-quality technological platform, making evident the chaos of technology, not only as a substance but also as a rhythmic structure of sound.
Bogotá, Colombia
Encuentros Sonoros (Sound Encounters)
Edificio Imprenta Canal Ramírez Antares
The project focuses on the development of an audio tour of certain places in the Canal Ramírez Antares Printing building, through the voices of people who have inhabited it at different stages. The spectator-listener is invited to follow these speakers through the memory of the building and its affects. In addition to the research material, the experience is comprised of the physical space of the building at the moment of listening, where the stories that guide and contribute to its comprehensive meaning converge.
In order to realise this project, people connected to the building were assembled with the idea that they would revisit, remember and record their experiences in situ. The sound tour was designed using this material. Each place in the building is related to a corresponding segment of narrated experience that was created especially for the individual tours to be carried out at the exhibition.
Thus, this ‘work in progress’ establishes a resistance in the face of forgetting, rescuing unheard voices, memories and personal impressions that speak of inhabitancy as an essential human characteristic.
Adriana Cuéllar
Installation
Variable duration
Audio devices, headphones
Edificio Imprenta Canal Ramírez Antares,
Bogotá
2008
Vancouver, Canadá
Contact: www.adbusters.org
Adbusters Media Foundation (called Adbusters or the Media Foundation) is a not-for-profit, anti-consumerist organization founded in 1989 by Kalle Lasn and Bill Schmalz in Vancouver, British Columbia, Canada. “We are a global network of artists, activists, writers, pranksters, students, educators and entrepreneurs who want to advance the new social activist movement of the information age. Our aim is to topple existing power structures and forge a major shift in the way we live in the 21st century”. To this end, Adbusters Media Foundation publishes Adbusters magazine, operates a website and offers its creative services through PowerShift, our advocacy advertising agency.
Based in Vancouver, British Columbia, Canada, Adbusters is a not-forprofit, reader-supported, 120,000-circulation magazine concerned about the erosion of our physical and cultural environments by commercial forces. Our work has been embraced by organizations like Friends of the Earth and Greenpeace, has been featured in hundreds of alternative and mainstream newspapers, magazines, and television and radio shows around the world.
Adbusters offers incisive philosophical articles as well as activist commentary from around the world addressing issues ranging from genetically modified foods to media concentration. In addition, our annual social marketing campaigns like Buy Nothing Day and TV Turnoff Week have made us an important activist networking group.
Ultimately, though, Adbusters is an ecological magazine, dedicated to examining the relationship between human beings and their physical and mental environment. We want a world in which the economy and ecology resonate in balance. We try to coax people from spectator to participant in this quest. We want folks to get mad about corporate disinformation, injustices in the global economy, and any industry that pollutes our physical or mental commons.
Buenos Aires, Argentina
Contact: www.artealdia.com
Arte al Día Interational is a vehicle for the diffusion of Latin American art, with a focus on the material arts and a 28-year track-record of leadership in the market.
Arising out of his passion for art, Arte al Día was founded by Jorge Augusto Costa Peuser in 1980, thus carrying forward a long family tradition of publishing. This tradition began with Casa Peuser, which was founded in 1967 by his great-grandfather Jacobo Peuser and is recognised in both the local and international markets as a pioneer in the graphic arts industry of Argentina and South America.
Six issues are published annually, and it is distributed through museums, cultural centres, and specialised art galleries.
Lima, Peru
Contact: www.artemarcialonline.com
Arte Marcial positions itself as a terrain of encounters, of implications, explanations, arguments and judgments. At the same time, it emerges as a source of information and exchange for professionals, academics and all those interested in artistic creation.
We tolerate the intolerable. We firmly believe in the urgent need to create new spaces for discussion.
Manodura, the team that edits Arte Marcial magazine, is comprised of curators, historians and highly-experienced artists. Its mission is to fill a void in our media, aiming to encour