PRESENTATION at Impakt Headquarters, Utrecht, 2011. Featuring: Julius von Bismarck (artist). Julius explains in simple words three of his current projects, starting with ‘Image Fulgurator’, a device that ‘changes reality’ and with which he tries ‘to destroy photography’. It looks like a photography camera but instead is a projector which just activates its image projection when someone nearby takes a picture and the time of projection is so small that the human naked eye does not perceive it. The interesting fact is when the owner of the camera go through his/her picture and discover a detail that does not belong to its memory: there was a cross in the altar where Obama stayed? Or it is true Mao portrait had a pigeon in its front? His device makes us rethink the power of photography as a visual representation… ‘Perpetual storytelling apparatus’ is a machine that translates stories into drawings, perfect for the way human tell stories. The last one ‘The space beyond me’ is a projector too, but this time trying to capture moving images around us which are usually unavailable to our eye, and resulting into a 3D image. Julius von Bismarck is trying to adapt our technology available at the market, into a more human version of it, one that will make us rethink our use of images as a valid or invalid medium to think. ENGLISH 11’13” *Punishment, 2011-2012
TALK at Serpentine Pavilion, 2012 under the title ‘Something like the memory of a monument becoming heavier because it’s memory’, London, 2012. Featuring: Hans Ulrich Obrist (curator, writer, art critic..) & Mariana Castillo Deball (artist). The talk runs around her current interest in memory and how our mind acts in memorizing the objects we encounter every day. From french philosopher Molyneux and his investigation of how blind people could memorize pure objects such as a square or a sphere to Mariana’s own investigation through her daily life exercises of drawing different objects by observing, touching, moving and last of all from memory, and to the 19th century methods in archeology discipline which includes the paper squeezes samples (like the ones by archeologist Alfred Maudslay today exhibited at the British Museum). With all these previous investigations and her post working pieces, Mariana is somehow trying to give us a glimpse of how our mind work. ENGLISH 15’15” *What we caught we threw away, what we didn’t catch we kept, 2013. Chisenhale Gallery, London.
TALK at Royal College of Art, London, 2013. Featuring: Michael Elmgreen (artist) and Ingar Dragset (artist). The pair of artists speak with an structured presentation about mainly three projects, all of them responding to the main question of ‘Why we stage spaces? Because when you see a building like this, brand new, you see the staging by the architect and the set up, an all the desires, and all the ideas he or she has….’: Their participation at the Venice Biennale in 2009 with the recreation of two collectors houses, the project ‘Celebrity. The one and the many’ with a recreation of a typical German prefabricated housing building ‘Plattenbauen’ at ZKM Museum für Neue Kunst and his current project at V&A Museum, London, for Autumn 2013 where this time the story recreated is ‘A home for a poor Architect who had so many visions and so many ideas…for housing projects that never got realized because…his heritage:his family background living in a posh Mansion and taking care of the House’; all encourage the viewer to create their own new story out of it, far from adjusting yourself to the original Architect’s desires and wishes projected in the building… ‘we just provide the platform and the voices in your head will create their own relation to this character’. *Massimo di Carlo kitchen at the Danish Pavilion, Venice Biennale, 2009. ENGLISH 56’03”
LECTURE at MCA (Museum of Contemporary Art), Australia, 2012. Featuring: Anish Kapoor (artist). Anish Kapoor gives an overview of his work and interests from his earlier works as students to his current projects. The Persian rugs and its shapes, the Japanese gardens, his interest in the scale or the architecture as well as his passion for the pigment as specially the red colour are here discussed in a friendly way, stopping somehow when he gets into too deep emotions or feels he is almost praying… It is interesting how he describes his arrival to the different objects or processes, ‘Repetition is a valid thing…is where one discovers subtilites that can lead you to the next project’, not negatin that ‘the artist often do stupid things…percieves a reality and pursue it like an idiot until its end’ always-in his case-with a strong connection to the studio as a space where to develop ‘this idiocrincy where the right moment suddenly arrives’. ENGLISH 65’02” *Model for ‘Dante’, 2001
INTERVIEW by The Collective Eye at Documenta (13), Kassel, 2012. Featuring: Norbert Jocks (writer, journalist, artcritic) & Anton Vidokle (artist and founder of e-flux). For the Documenta (13) e-flux chose to speak about a long-time project based in ‘Time bank’-a concept created by American activist Paul Glober in 1992, during the last previous financial crisis and as its response with the creation of a new currency, one not based in gold or commodities if not time. When Anton and Julieta Aranda (his usual collaborator) found about it around 1999, they started both an investigation as well as their own contemporary continuation: opening time bank branches all around the world and developing an archive, exhibited at Documenta together with a film specially made for it. Both materials try to explain us ‘why alternative economy is that necessary today’. Anton Vidokle also speaks passionately about other e-flux projects such the art-video store (now donated to Museum of Modern Art, Slovenia) or the Art Pawnshop: ‘Are you an artist in need of fast cash?’ which he describes as a really interesting experience due the common visits of policemen and how he had to explain to these not usual visitors of museums, the contemporary art out of his usual white wall or frame. ENGLISH 23’01” *Pawnshop, Thessaloniki Biennale, Greece, 2011
STUDIO VISIT and TALK by Contemporary Fine Arts, Berlin, 2011. Featuring: Thomas Kiesewetter (artist). The film shows Thomas work process of creating hundreds of individual parts in paper and cardboard to afterwards try to have them work together. He is interested in the language of curves and how they relate to our eyes as well as how his shapes, when translating them into the sheet metal material adopt new strength due its tension and material’s resistance. ‘It’s like rolling the dice…you choose to roll it but afterwards you do not control it’-this is how he describes his pieces: a total moment of coherence from a certain point of view to a fall apart of this coherence created by your mind when walking and moving around the piece. ‘It’s not about creating a finalized homogenous and coherent object…it’s about capturing the moment when the individual parts come together’. GERMAN WITH ENGLISH SUBTITLES 4’08” *Verve, 2010.
TALK at the Stedelijk Museum’s Docking Station, 2008. Featuring: Alexandra Bircken (artist). This short talk focused on the exhibition ‘Units’ could be extended to her whole art procedure. Units are 3 dimensional collages formed by the different materials ‘that I can feel I can manipulate’ collected in her private studio archive: stones, wood, fabrics or wools (which comes from her fashion background), creating a special individuality for each piece, in these cases framed as it was a piece of paper where to settle the different objects or materials in an intuitive way not settled in advance ‘I feel the tension between things…how they relate on to each other’. ENGLISH 4’01” *Stämmgaste, 2006