2008. DISCUSSION PANELS PROGRAMME
Place: La Casa Encendida (Ronda de Valencia No. 2, Madrid)Date: 7th and 8th FebruaryTime: From 17.00 to 21.00 h.
Continuing the practice established in the last editions, this year the debate tables are organised once again in collaboration with La Casa Encendida. As in previous editions, on the one hand, the debate tables will present the projects produced for Madrid Abierto and, on the other, they will introduce different initiatives developed within the sphere of art in the public space.
The round tables will include the active participation of the commission set up last year to debate the model of Madrid Abierto. The commission's co-ordinator, Rocío Gracia, and its members, Cecilia Anderson, Guillaume Désanges, Jorge Díez, Ramón Parramon, María Inés Rodríguez and Fito Rodríguez, together with this edition's organisers, the collective DEMOCRACIA.
For the artists’ presentations, the event's organisers have established three groups, although aware that the groups may be pervious and that one same project may meet several of the established premises. On the one hand, we will have the projects that make the contemporary class conflict visible, as well as a temporary suspension of the exclusions generated by this conflict, on another hand, those that employ elements or the propagandistic language of the urban scene, and lastly, those more closely associated with forms of urban culture.
The artistic experience developed in the public space faces the complex task of intervening in a saturated and hyper-aesthetized space with few fissures. The temporary and ephemeral nature of these artistic practices often places obstacles in the way of the dissemination and development possibilities of many interesting proposals that would require more time, with respect to the prior investigation and the subsequent production of the interventions as well as the desirable convergence with other projects and other social and cultural agents. In light of this, the opening of new spaces is needed to encourage other forms of production and dissemination, as well as the creation of networks of information and collaboration between this kind of artistic practices. For this reason, every year Madrid Abierto aims to give exposure to other similar experiences. In this edition, Nelson Brissac and Vit Havranek will be responsible for presenting invited projects, offering their experience in the debate on the strategies applied to the city and the territory from an artistic perspective, with more or less emphasis on experimentation, multi-discipline, the process and interaction with the public.
THURSDAY 7TH FEBRUARY
17:00-18:15 Presentation of Madrid Abierto projects
Hell is coming/World ends today. Andreas Templin
Not for sale/No se vende. Alicia Framis
Welcome On Board. Guillaume Ségur
Gran Sur. Fernando Prats
Chaired by: Cecilia Andersson; Democracia
18:15-19:30 Presentation of Madrid Abierto video projects
Arturo-Fito Rodríguez introduced by Rocío Gracia
20:00-21:00 Vít Havránek, introduced by Guillaume Désanges
FRIDAY 8TH FEBRUARY
17:00-18:15 Presentation Madrid Abierto projects
Speculator + Empty World. Todo por la praxis
Construye tu casa en una azotea. Santiago Cirugeda
Explorando Usera. La Hostia Fine Arts
Videointervenciones móviles en contextos urbanos específicos. Fernando Llanos
Moderan: María Inés Rodríguez y Democracia
18:30-19:30 Presentation Madrid Abierto projects
Estado de excepción. Noaz/Dier
Proposal Nr. 19 + Gift. Anno Dijkstra
No more no less + La hucha de los Incas. Jota Castro
La guerra es nuestra. Immi Lee/Annamarie Ho
Moderan: Ramon Parramon y Democracia
20:00-21:00 Nelsson Brissac, introduced by Jorge Díez
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Cecilia Andersson is curator and director of Werk Ltd., a curatorial agency established in Stockholm. Werk collaborates internationally in the organisation, production, promotion and publication of contemporary art.
Her recent projects include SuperSocial, social events set up in different cities; a series of conferences and seminars in collaboration with Francesco Jodice; On Cities, an exhibition organised in Stockholm’s Museum of Architecture and an itinerant programme of Chinese video.
Cecilia is an independent consultant for Disonancias, an interchange platform between artists and companies in San Sebastián and is part of the Madrid Abierto Commission.
Nelson Brissac is a philosopher whose works is related to art and urban-planning issues. Since 1994, he is organiser and curator of Arte/Cidade www.artecidade.org.br, an urban interventions project in São Paulo.
Guillaume Desange, is curator, art-critic and co-founder of Work Method, an agency based in Paris dedicated to the production of artistic projects. As member of the Trouble publishing committee, he regularly collaborates with the magazines Exit Express and Exit Book (Madrid). From 2001 to 2007 he co-ordinated the artistic projects of Laboratoires d'Aubervilliers. He organised the exhibitions Pick-Up en Public>, Paris 2004, Untouchable, The transparency Ideal in Villa Arson, Nice and the Patio Herreriano Museum, Valladolid, in 2006-2007, Jiri Kovanda Vs rest of the World in the agency gallery gb, Paris; De Appel, Asmterdam; Centre d'Art Santa Monica, Barcelona, and has worked with Thomas Hirschhorn in the projects The 24h Foucault project and Musée Précaire Albinet. In 2007-2008 he is an invited curator at Centre d'Art Contemporain La Tôlerie. He is a lecturer at Ecole des Beaux-Arts de Clermont-Ferrand and is part of the Madrid Abierto Commission.
Vit Havranek is a theorist and a producer established in Prague. Since 2002 he works as Project Manager for the contemporary art initiative tranzit /www.tranzit.org/ sponsored by the Erste Bank Group. He has worked as curator in Prague’s Municipal Gallery and National Gallery. He is a lecturer at the Prague College of Applied Arts. His most recent projects, some of which in collaboration with others, include A CDEFGHIJK MNOP STUV Z, part of Societe Anonyme, Le Plateau, Paris, 2007; tranzit – Auditorium, Stage Backstage, Frankfurter Kunstverein, Frankfurt 2006; I, series of exhibitions in three acts: Secession Vienna; Futura Prague; tranzit workshops Bratislava, 2006. He has written articles for several magazines, such as, among others, Springerin, Artist and Flash Art.
Ramon Parramon, directs and manages projects within the area of contemporary art and creation. Since 1998, he directs the art project IDENSITAT. In addition, he has organised several projects, such as Territorios Ocupados, 2000; Barcelonas, 1999 and Visiones Periféricas, 1994-97. He has given conferences and seminars at the Polytechnic University of Valencia, the Polytechnic of Milan, the University of Vigo, the University of Granada, the International University of Seville, the University of Barcelona and the Barcelona Higher College of Architecture. His work evolves with a marked interest towards interdisciplinary projects and the roles that art can play in specific socio-political contexts. He is part of the Madrid Abierto Commission.
María Inés Rodríguez is an exhibitions curator. She has organised exhibitions and research projects on the public space appropriation strategies in different contemporary art spaces which relate art, design, architecture and urban-planning. In 2004, she created Tropical paper editions to develop the editorial projects of artists. In 2007, she developed the projects Habitat/Variations, BAC Geneva, La Casa Encendida, Madrid, Bermuda Triangle, Êcole de Beaux Arts de París, and was co-curator of MDE 07 Encuentro de Medellín. She is part of the Madrid Abierto Commission.
Arturo-Fito Rodríguez,member of Fundación Rodríguez, an artistic production collective that organises and co-ordinates projects associated with contemporary culture and new media, such as Tester and Intervenciones TV. He is part of the Madrid Abierto Commission.
Rocío Gracia is an art historian, member of RMS La Asociación, an agency established in 1998 in Madrid dedicated to organising, producing, promoting and disseminating contemporary art projects, and which has recently developed such projects as MadridProcesosRedes and ON SITE TOUR/TALK. The agency will shortly present a preview of Archivo VEO within the project Old News of CGAC and is preparing the exhibition Sur le dandysme for the Centro Huarte de Arte Contemporáneo.
Jorge Díez, director of Madrid Abierto and co-director of the MBA in Cultural Management, Santillana/Salamanca University. In 2007 he has co-curated with José Roca (Colombia) Cart[ajena] public art project promoted by SEACEX, developed within the IV Congress of Spanish at Cartagena de Indias, Colombia. He has lectured in the Spain-Japon Forum at Nagasaki, Actual experience in Public Art at the 16º Arts Symposium at Porto Alegre, Brasil and, Contexts and projects in Public Art. Ephemera models of intervention, at the MARCO.
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2008. ARTISTS / INTERVENTIONS / LINKS
Alicia Framis + Michael Lin Not for sale/No se vende www.aliciaframis.com Andreas Templin Hell is coming/World ends today www.andreas-templin.blogspot.com www.worldendstoday.wordpress.com
Dier + Noaz Estado de excepción www.vdier.com www.noazmadrid.blogspot.comwww,flirck.com/photos/noazmadrid/
Anno Dijkstra Proposal Nr. 19 + Gift www.annodijkstra.nl
Fernando Llanos Videointervenciones móviles en contextos urbanos específicos www.fllanos.com
Guillaume Ségur Welcome On Board
Fernando Prats Gran Sur www.fernandoprats.cl
Jota Castro No more no less + La hucha de los Incashttp://www.jotacastro.eu/
LaHostiaFineArts (LHFA) Explorando Usera www.lahostiafinearts.es
Santiago Cirugeda Construye tu casa en una azotea www.recetasurbanas.net
Todo por la Praxis Speculator + Empty World www.todoporlapraxis.com
Santiago Sierra Bandera negra de la república españolawww.santiago-sierra.com
Annamarie Ho + Inmi Lee La guerra es nuestra www.annamariecho.comwww.inmilee.net
08prta1766
2008. Anno Dijstra. THE TROYAN HORSE PROJECT
My practise is to study and discus ‘witnessing through the camera’, the second-hand experience, by opposing these media with sculpture, with a three dimensional, analogous confrontation.I am interested in possibility that sculpture gives to discuss mass media.
THE TROYAN HORSE PROJECTThe idea is to leave sculptures behind in the public space for the citizens to find. The sculptures are reconstructions of images seen in newspapers or on television.
The sculptures are well made but unfinished, still in process, it looks as if someone works on it at home, a personal thing. It is left, for example, on top of a car, a playground, bus stop, etc..
The hand-made sculpture shows patience, craftsmanship, and are tactile, has weight. They depict the same image as the camera, yet materially stand in stark contrast to their media images counterparts.
People will find these sculptures. Maybe they take it home, or bring them to the lost and found, vandalizes them, give it to someone, or a reaction that’s beyond my imagination. This project breaks through the normal passive relation we have with media images and shows the emotional vacuum.
08aama3731
2008. Anno Dijstra. PROPOSTAL 23/ Atomic cloud, 2011
PROPOSAL 23 / Atomic cloudBuilding a scale model/reconstruction of a atomic cloud of 7000 metres high, a model of 1:350 m
With the installation/site specific work I want to turn the recollection in to a physical experience.
The audience can visit the scale model. But the scale model is 20 meters high, a model you have to climb in to see it completely. The real cloud is 350 time higher.
The sculpture will stay in the scaffolding, to make it able for the audience to see the scale model from all sides.
The scenery will have the feel of a film set, building site, still in process, a attempt to reconstruct the event.
June 2011Anno Dijkstra
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2008. Anno Dijstra. MISPLACING (theoretical data)
MISPLACING. OBLIGED SEEING
I was a witness of the famine in Ethiopia in 1984, i was 14 years of age and was watching television at home.
What is a memory of a scene I have seen on television. A image where I am not direct related too, immaterial, elusive, with out a location, floating through air. I cant go back too the place where the drama happened. The television in my living room is the location where I was witness of the scene, but the television shows already other images and in my living room is nothing that refers to the drama.
Media turns me in too a passive observer. There is no possibility to make a direct reaction to what I have see on the screen. How free is observing without engagement, in other words can a witness becomes guilty when he sees but remains passive.
The reconstructions- proposals, are a attempt to break trough the passive position of the viewer. With plasticine, a industrial clay invented to make prototypes for industrial products like cars, I am modeling images that had a great impact on me in my puberty, a moment in my live I became aware of my mortality.
The process of reconstructing process makes it able to have a direct and physical relation to a body or object from the tv image.
MISPLACEMENT
For the Madrid Abierto I want to research a new angle of the reconstruction/proposal by investigating misplacement. The misplacing media caused . In this concept a well know media icon is placed outside the original context, that is television/internet in our living room in to the public space. From the flat public space (tv) in our private place into the three dimensional public space, the place where national history is gathered through time . By the conflict erasing from the misplacing, ( I know this image but what has it got to do with this place) the new situation reveals the absurd position of the viewer, the absurd situation of being witness in the globalized media age.
In the public space a monument is placed. The monument is a reconstruction of for example the photo of a Vietnamese monk who set himself on fire or a photo taken by a soldier in Abu Ghraib on witch a prisoner is standing on a box his face covert and is connected to electricity wires.
PREPARATION
To find the perfect spot for the misplacement and make sure the media icon has no relation with Madrid it is important to make a good observation of the city, its history, the design of the public space and other monuments. From the information of these observations I want to make the decision witch media icon I should reconstruct and where it should be placed.
I will visit Madrid for 3 days and I would like to ask the organization if it is possible to contact me with a historian and a city planner who knows a lot about Madrid and are interested to walk with me trough the neighborhoods of Madrid where the exhibition is held.
I did enclose images of my last works because I never make sketches or Marquette’s of my work, the work itself is a plan a sketch, reconstruction or proposal. And its important for me to keep that kind of discovering energy.
The project is a new step in my work, but also coming from the reconstruction concept, former works are made from that principal, the new work is connected to these works.
08prtc1844
2008. Anno Dijstra. PROPORSAL NR 19 + GIFT (location)
Pº de Recoletos, central boulevardProposal Nr. 19. From 7th february to 2nd MarchGift. (performance) 12:00 H. 7th of Febrauary. 12:00 H
08intd2059
2008. Anno Dijstra (Cv)
S’ANNAPAROCHIE, NETHERLANDS, 1970 LIVES AND WORKS BETWEEN: AMSTERDAM; HAARLEM, NETHERLANDSWWW.ANNODIJKSTRA.NLWORK EXPOSED IN MADRID ABIERTO: PROPOSAL NR. 19 + GIFT
EDUCATION1998· Gerrit Rietveld Academie, afdeling Autonoom Sculptuur diplomate Amsterdam2001-2003 · Toekenning Startstipendium door het Fonds BKVB 2004-2006 · Toekenning basisbeurs door het Fonds BKVB
EXPOSITIONS (SELECTION)2007· Lek in het zwijgen…noise, Watou (B)· Data, Haarlem· Trading places, Gdansk(P)Hoorn
2006· Moscow Bernadette (SMAK), Gent(B)· MENS locatie project SMAK, Leuven(B)
2005· Gorcums museum, Gorinchem· Artist inc., New York (US)· Witte zaal, Gent(B)· PAK////T, Amsterdam· Colonie 21 (SMAK in Bredene), Bredene (B)
2004· R1 hamburg, Hamburg(D)· Gallerie Kusseneers, Antwerpen(B)· NP3, Groningen
2003· Hedah, Maastricht· R2, Hamburg(D)· Kunstfort Vijfhuizen, Haarlem· Bubbel (NP3/platformGRAS), Groningen · Nieuwe Vide (solo), Haarlem
2002· Land, Amsterdam· Non members only( Arti), Amsterdam· Nieuwe vide centraal, Haarlem
2001· Niggendijker, Groningen· Rebus, Alkmaar
2000· De Vest, Alkmaar
1998· Desolaat’ lokatie project, Alkmaar
1996· Virtual Room, Hengelo· AIAS workshop, Linz (AUS)· De Fabriek ‘Booreiland’, Eindhoven
PERFORMANCES2007· GHB. van Abbemuseum, Eindhoven· Stad als podium, Haarlem
2006 · MENS, Leuven
2004 · Nieuwe Domeinen, Amsterdam
2003 · Vensters, Alkmaar· Save the flat (opening), Zwolle
2002 · Wake, Amsterdam· Theater Frascatie ‘250kuub’, Amsterdam· VIP in de Vide, Haarlem
2001 · Theater Frascatie ‘250 kuub’, Amsterdam· Theater Frascatie ‘250 kuub’, Amsterdam
2000 · Muiderpoort theatre, Amsterdam· G.Washington University, Washington (US)· Art Space, Richmond (US)
1999· Muiderpoort theater ‘Fetitia’, Amsterdam· Gasthuis theater, Amsterdam· Kunst Ruimte Kampen, Kampen· Gasthuis theater ‘Hero’s’, Amsterdam
1998· Provadja theater ‘Clone Control’, Alkmaar
PHURCHASES2005· Utopia aan particulieren
2002· ‘Kill your darlings’aan particulieren
2001· ‘Urnen’ aan particulier· ‘Kill your darlings’ aan particulieren
PUBLICATIONS· Catalogus ‘Lek in het zwijgen’ Watou, 2006· Catalogus MENS (SMAK), 2006· Catalogus Utopia gorcums museum, 2006· Parool ‘LAND’, 2002· Volkskrant ‘Land’, 2002· Parool ‘Wake’, 2002· Volkskrant ‘Wake’, 2002· Alkmaarse Courant ‘Desolaat’, 2000· Alkmaars Dagblad ‘Clone control’, 1998· Catalogus ‘Gewapend behang’, Uitgave Gerrit Rietveld Academie Amsterdam, 1998
ORGENIZER· ‘Edelwies’ location project in Haarlem, 2006· ‘LAND’ Location project on Ijburg/Amsterdam, 2002· ‘Desolaat’ location project in Alkmaar, 2000
EXTRA’S· Winner of contest St’leve de Bouwput, Price is the realization of an art work for the public space, Amsterdam, 2004· Workperiod EKWC, DenBosch, 2004
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2008. Anno Dijstra (Cv)
S’ANNAPAROCHIE, NETHERLANDS, 1970 VIVE Y TRABAJA ENTRE AMSTERDAM; HAARLEM, NETHERLANDSWWW.ANNODIJKSTRA.NLOBRA EN MADRID ABIERTO: PROPOSAL NR. 19 + GIFT
FORMACIÓN ACADÉMICA· Gerrit Rietveld Academie, afdeling Autonoom Sculptuur diploma 1998 te Amsterdam.· 2001-2003 Toekenning Startstipendium door het Fonds BKVB.· 2004-2006 Toekenning basisbeurs door het Fonds BKVB.
EXPOSICIONES (Selección)1996· Virtual Room, Hengelo.· AIAS workshop, Linz (Austria).· De Fabriek ‘Booreiland’, Eindhoven.
1998· Desolaat’ lokatie project, Alkmaar.
2000· De Vest, Alkmaar.
2001· Niggendijker, Groningen. · Rebus, Alkmaar.
2002· Land, Ámsterdam. · Non members only( Arti), Ámsterdam. · Nieuwe vide centraal, Haarlem.
2003· Hedah, Maastricht. · R2, Hamburgo (Alemania). · Kunstfort Vijfhuizen, Haarlem. · Bubbel (NP3/platformGRAS), Groninga. · Nieuwe Vide (en solitario), Haarlem.
2004· R1 hamburg, Hamburgo (Alemania). · Gallerie Kusseneers, Amberes (Bélgica). · NP3, Groninga.
2005· Gorcums museum, Gorinchem. · Artist inc., Nueva York (EE.UU.). · Witte zaal, Gante (Bélgica). · PAK////T, Ámsterdam.· Colonie 21 (SMAK in Bredene), Bredene (Bélgica).
2006· Moscow Bernadette (SMAK), Gante (Bélgica). · MENS locatie project SMAK, Lovaina (Bélgica).
2007· Lek in het zwijgen…noise, Watou (Bélgica). · Data, Haarlem. · Trading places, Gdansk (Polonia) Hoorn.
INTERPRETACIONES 1998· Provadja theater ‘Clone Control’, Alkmaar.
1999· Muiderpoort theater ‘Fetitia’, Ámsterdam. · Gasthuis theater, Ámsterdam . · Kunst Ruimte Kampen, Kampen. · Gasthuis theater ‘Hero’s’, Ámsterdam.
2000· Muiderpoort theatre, Ámsterdam. · G. Washington University, Washington (EE.UU.). · Art Space, Richmond (EE.UU.). · Niggendijker’Shopping around’, Groninga.
2001· Theater Frascatie ‘250 kuub’, Ámsterdam. · Theater Frascatie ‘250 kuub’, Ámsterdam.
2002· Wake, Ámsterdam. · Theater Frascatie ‘250kuub’, Ámsterdam. · VIP in de Vide, Haarlem.
2003· Vensters, Alkmaar. · Save the flat (opening), Zwolle.
2004· Nieuwe Domeinen, Ámsterdam.
2006· MENS, Lovaina.
2007· GHB van Abbemuseum, Eindhoven. · Stad als podium, Haarlem.
ADQUISICIONES 2001· ‘Urnen’ aan particulier · ‘Kill your darlings’ aan particulieren
2002· ‘Kill your darlings’ aan particulieren · 2005· Utopia aan particulieren
PUBLICACIONES · Catalogus ‘Gewapend behang’, Uitgave Gerrit Rietveld Academie Amsterdam, 1998.· Alkmaars Dagblad ‘Clone control’, 1998.· Alkmaarse Courant ‘Desolaat’, 2000. · Volkskrant ‘Wake’, 2002. · Parool ‘Wake’, 2002. · Volkskrant ‘Land’, 2002. · Parool ‘LAND’, 2002. · Catalogus Utopia gorcums museum, 2006.· Catalogus MENS (SMAK), 2006.· Catalogus ‘Lek in het zwijgen’ Watou, 2006.
ORGANIZADOR · ‘Desolaat’. Proyecto de ubicación en Alkmaar, 2000.· ‘LAND’. Proyecto de ubicación en Ijburg/Amsterdam, 2002.· ‘Edelwies’. Proyecto de ubicación en Haarlem, 2006.
EXTRAS· Workperiod EKWC, DenBosch, 2004.· Winner of contest St’leve de Bouwput. El premio consiste en la realización de una obra de arte para el espacio público en Ámsterdam, 2004
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2008. Anno Dijstra. RECOSNTRUCTION - PROPOSAL NR 7, 2005
RECOSNTRUCTION - PROPOSAL NR 7, 2005 Trinity site , Where the worlds first nuclear divice was exploded on july 16 1945 380 x 90 x 90 _plaster and wood.The work was made on the location, the citzens could see me work.
DISLOCATIONSTrinity Site, the American monument for the first ever atomic bomb tests has been carefully rebuilt in plaster and placed in a suburb of Ghent. A starving child from Ethiopia is cast in bronze and shows up in down town Madrid. Tourists like to have their picture taken in front of the touching sculpture with a compassionate look in their eyes. A polyester copy of the Vietnamese girl Kim Phuk stands for a while in a suburb of Hoorn before moving on to various locations throughout Gdansk. Another scale model of an atomic explosion cast in bronze is placed on a green in front of a block of 70’s flats in Haarlem.
The reactions by people living in the area and coincidental passers by to the dislocations are strikingly diverse. Some take pity on the naked Vietnamese girl by dressing her in cloths for the cold winter nights. Others just wonder; where have I seen this before? Some people are incensed by the sculpture, in others it summons up anger, why now? Why here? What gives the artist the right to confront me with this on my own doorstep? Exactly the same images that are haphazardly thrust into our living rooms (the personal domain) through the television set seem to be experienced as less invasive.
08inme1854
2008. Anno Dijstra. PROPOSAL NR. 19 + GIFT (published text)
Obliged seeing
A witness of the famine in Ethiopia in 1984, 14 years old, I was watching television at home.
A memory of a scene seen on television. An image with which I am not directly related to, immaterial, elusive, without a location, floating through the air. I can’t go back to the place where the drama happened. The television in my living room is the location where it happened, but the television shows already other images and there is nothing in my living room that refers to the drama.
How free is watching without engaging? In other words, can a witness become guilty because of what he sees?
Dislocating
For Madrid Abierto I want to research a new angle of the reconstruction/proposal by investigating misplacement. The misplacement caused by the media. In this context, a well known media icon is moved outside his original context, from the television/internet of our living room to the public space. From the flat public space (tv) to the three-dimensional public space. By the conflict erasing from the misplacement, (I know this image, but what has it to do with this place?) the new situation reveals the viewer’s absurd position, the absurd situation of being witness in the global media age.
08intc1983
2008. Anno Dijstra. PROPOSAL NR 17, 2007
PROPOSAL Nr 17, 2007Site specific160x110x60cm _ polyester/cement
DISLOCATIONSTrinity Site, the American monument for the first ever atomic bomb tests has been carefully rebuilt in plaster and placed in a suburb of Ghent. A starving child from Ethiopia is cast in bronze and shows up in down town Madrid. Tourists like to have their picture taken in front of the touching sculpture with a compassionate look in their eyes. A polyester copy of the Vietnamese girl Kim Phuk stands for a while in a suburb of Hoorn before moving on to various locations throughout Gdansk. Another scale model of an atomic explosion cast in bronze is placed on a green in front of a block of 70’s flats in Haarlem.
The reactions by people living in the area and coincidental passers by to the dislocations are strikingly diverse. Some take pity on the naked Vietnamese girl by dressing her in cloths for the cold winter nights. Others just wonder; where have I seen this before? Some people are incensed by the sculpture, in others it summons up anger, why now? Why here? What gives the artist the right to confront me with this on my own doorstep? Exactly the same images that are haphazardly thrust into our living rooms (the personal domain) through the television set seem to be experienced as less invasive.
08aaia1849
2008. VIDEO OF THE EDITION
VIDEO OF THE 2008 MADRID ABIERTO EDITION: INTERVENTIONS + AUDIOVISUAL WORKS + SOUND WORKS
08dive2366
2008. Anno Dijstra. MISPLACING (visual data)
Dear asociacion...
Thank jou for your mail, i do not have images of the project becouse its not ready made, the project is a new step in my work, but also comming from the reconstruction concept, former works are made from that principal, so the new work is conected to these workes. My description of the plan is about the new step. In the way i work i never make any skeches or maquettes, i hope this is not a problem for commity. I hope i understood the question of the Madrid Abierto well, becouse i thougt its about new work. Best regards Anno Dijkstra
I enclosed a photo of a insitu work for the project Moscow - Bernadette of the SMAK in Belgie, ist a work i make special for people at home.
08prtc1845, 08pric1842
2008 / 2008.02.28. CONTRAINDICACIONES.NET. Proporsal nº 19 (Anno Dijkstra)
** OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT
08dimd2359
2008. Anno Dijstra. PROPOSAL NR. 19 + GIFT (images)
PHOTOS: Alfonso Herranz
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PHOTOS: Anno Dijstra
08inic1981, 08inic3732
2008 / 2008.02.06. LABROMA.ORG. El niño que siempre da la espalda (Anno Dijkstra)
** OPEN THE ATTACHED PDF TO SEE THE COMPLETE DOCUMENT
08dimd2281
