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A r c h i v e
(Season One 2009-10)




#8








CONCRETE RADIO is a collaborative project between Karen Di Franco and Sophie Mellor that describes the relationship between producer and originator, by exploring the liminal space of transmitting and receiving. Broadcasting within a highly localised area, Concrete Radio transmits a programme of found fragments, historical recordings and audio performances.










Radio transmission program:


> Samples of audio data collected by the Huygens Atmospheric Structure Instrument (HASI), which includes an acoustic sensor, during Huygens' descent, 14 January 2005. From the European Space Agency (ESA).
> Aleister Crowley reads from the Gnostic Mass

> Radar echos from Titan's surface: This recording was produced by converting into audible sounds some of the radar echoes received by Huygens during the last few kilometres of its descent onto Titan. As the probe approaches the ground, both the pitch and intensity increase. Scientists will use intensity of the echoes to speculate about the nature of the surface.
> Soundtrack by Throbbing Gristle to Shadow of the Sun by Derek Jarman. Recorded live in Chicago.
> An extract of Opus 17a for double bass performed by Robert Black Produced in association with the exbition "Kulturgeschichte 1880-1983,1980-83" at Dia Center for the Arts, March 28, 1996-June 29,1997. First performed at the opening of Hanne Darboven's exhibition at Dia on Wednesday, May 1, 1996.> The weather in space











KAREN Di FRANCO is an archivist based in London, UK. Co-Director of Plan 9 since 2007 her practice is divided between explorations of artistic economy with projects such as the Summer of Dissent, Concrete Radio and Trade Union, initiated with Sophie Mellor as a strategy to combine their artistic practice with their roles as directors of Plan 9, and a studio based practice that explores narrative and archival research.







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Archive
#7




























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Archive
#6



The Barber Shop and Novo Museo Tropical
present










A gran saudade colletiva with works by
Alexandre da Cunha, Patrizio Di Massimo, Dominique Gonzalez-Foerster, Pablo Helguera, Runo Lagomarsino, Mauricio Lupini, Donald Urquhart, Jean-Michel Wicker, Carla Zaccagnini, a journal by Elein Fleiss, poems by Walter Gam, soundtrack by Arto Lindsay, and documents from the Flavio de Carvalho and Helio Oiticica Archives.

With special thanks to Luiz Augusto Teixeira de Freitas and Adriano Pedrosa.

March 4, 2010
22h


In memory of Claude Lévi-Strauss (1908-2009)


























More pictures HERE





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outros apoios a este projecto :








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Archive
#5








Esferas de Influência:
Ontologia Antropofágica, Periférica, Maravilhosa!


Em 1928 o papagaio narrador atravessa o Atlântico após a transformação de Macunaíma em constelação: direcção Lisboa. Um tradição de espera, sem dúvida.

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Em 1970, com Godard por trás da câmara de filmar, Glauber Rocha aponta dois caminhos: o mesmo ou 'um cinema perigoso, divino, maravilhoso!' A personagem escolhe um terceiro, pelo mato, sob os arbustos ao canto do plano.

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Contra José Gil, (re)colonizemo-nos.




Apresentação e conversa por Pedro Neves Marques em torno de: revisitação antropofágica; detoùrnement antropofágico (ou como a arte ganha sempre); ontologia antropofágica. Pedagogia. Estética. Geopolitização (uma vez periferia sempre periferia, ou centro é onde os meus pés pisam).


Sábado 13 de Fevereiro 18h

















Photos by Susana Pomba (a.k.a. Miss Dove)
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Archive
#4













"The captain heard a hoarse hissing and he could see how the white wave transformed into a long enormous eel. With his last effort the sailor got up at the eels back and found that he could breathe. He rode on the great eel through three deep oceans for three long nights

(...)

Suddenly the door was opened hasty and the two men turned around. A silhouette appeared in the pale backlight. A man glanced hasty around the room before he entered the saloon. He was wearing an old sailors jacket, sun bleached and of an un-modern fashion. A jacket just like the old shipper used to wear. He nodded politely as to greet them and sat down in the chair far back into the room. The barber studied him in the mirror and kept looking at the worn out jacket. A most peculiar atmosphere arose in the saloon, after a while the barber spoke and asked the stranger if he knew anything of the shipwreck of Cassiopeia. The stranger didn’t answer at first, he harked, raised his gaze somewhat but kept on staring into the mirror. His hand fumbled over the pocket and he got up a bottle of rum and an old half-smoked cigar."


'If you can tell a bigger tale my friend, I´m afraid you´ll have to tell a lie'

by Ferocitas Lions

sound, drawing, installation and shadowplay

January 16th and 17th . 6-8pm

Curated by Karolin Tampere



















This event had the kind support of Office for Contemporary Art Norway



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Archive
#3



Photobucket

“Existe uma expressão para descrever o que então aconteceu; infelizmente trata-se de um termo intelectual, mas que resume o ocorrido –foi uma experiência existencial. Todas as distinções sociais insignificantes foram varridas, assim como a mentira, o pedantismo e a charlatanice. Todos, de uma ponta à outra do país, na cidade ou no campo, estavam na corda bamba, à espera dos acontecimentos, e era inútil fazer de conta que nada se passava, embora alguns, de forma patética, se empenhassem em manter as aparências. O que não iria ser possível. Os velhos dogmas tinham falhado; era fundamental apagar o quadro e começar de novo.” Tony Simpson, introdução de ‘The Sugarbag Years—An Oral History Of The 1930’s Depression in New Zealand’

“Estamos de visita a Airotiv. No entanto, Airotiv é um nome inventado para um lugar que existe na Nova Zelândia nos antípodas de Vitoria no País Basco em Espanha. O antípoda exacto encontra-se na realidade localizado no Sul do Oceano Pacífico, a cerca de 500 km da costa de Canterbury. Escolhemos a cidade de Christchurch, na costa de Canterbury, pois é geograficamente a cidade mais próxima nessa relação antípodal com Vitoria. As coisas de Airotiv, que podemos agora observar, não exprimem necessariamente a diferença desse lugar; pelo contrário, representam uma série de coincidências, repetições, eventos que reconhecemos. Estes elementos são documentos de coisas que aconteceram no início dos anos 1930, e que de novo acontecem, agora. De facto, Airotiv é onde nos encontramos nós neste preciso momento, em Vitoria.” André Guedes (texto para a brochura do Centro Cultural Montehermoso)

A publicação "The Airotiv Papers" foi editada pela Braço de Ferro em Maio de 2009 no âmbito de "Airotiv", uma exposição de André Guedes no Centro Cultural Montehermoso em Vitoria, Espanha, com a colaboração de The Physics Room, Christchurch (NZ).
É constituída por um caderno de fotografias de arquivo e pela reedição de quatro textos, todos originários da Nova Zelândia: ‘The Sugarbag Years’ (1974) de Tony Simpson, ‘The Heyday of the One-Act Play, 1930-1945’ (1984) de John Thomson, ‘Rabbits’ (1932) de Violet Targuse e ‘Port Supermarket Checks Out’ (2008) de Ian Steward.
Por ocasião da apresentação da publicação no The Barber’s Shop haverá uma conversa com o artista e será lida a peça de teatro em um acto 'Rabbits' (1932) de V. Targuse, por Luz Câmara, Álvaro Correia, Maria Duarte e Lucas Hawkey.
















(photos by Susana Pomba, a.k.a. Miss Dove)
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Archive
#2






Academy Expanded and Expanding Exhibiting
a presentation of Displayer Magazine
by Doreen Mende

5 December . 17h

"The requirement to exhibit the final product is something we can view in the framework of the capitalist system, along the lines that an employer who has made an investment now needs to see a result. These relationships are reproduced in the collaboration among artists, curators, and directors who have invested in a work in an institutional framework. The exhibiting institution, being the last link in the chain of this market transaction, needs a visible, tangible result: a product." (Milica Tomic, Politics of Memory, Displayer 03).

While an academy is an environment which does not request a 'finished' product, the space of exhibition depends on something to be shown to a public. The lecture will be based on the project Displayer, which is a publication series of the programme Exhibition Design and Curatorial Practice at the University of Arts and Design / ZKM Karlsruhe. Displayer is a magazine of original sound. The editorial team are the students of the seminars of the University's programme.

The points of departure for the most recent issue, Displayer 03 (2009) are the demands, the challenges, and the potentialities as well as the impossibilities of exhibiting space itself. Space is the fabric in which events occur, and events, in turn activate space culturally, socially, politically and geographically. Hence, the exhibition of space is strongly connected to performative acts in addition to questions about the requirements of constructions in space.

In which way can a publication be understood as an space for exhibiting? Under which demands as well as urgencies does a publication expand the conditions of an academy? And for Displayer 03: What are the means of recording space in order to perform it at different times, in different places and different institutional settings?








Contributions Displayer 03 by Eva Kraus, Tilo Schulz, Martin Beck, Charles Jencks, Pablo Bronstein, Katrin Mayer, Stefan Römer, Walter Benjamin, Alfred Barr, Ines Katenhusen, Milica Tomic, Omer Fast, Sina Najafi, Hans Hollein, Joseph Dabernig, Achim Lengerer, Paul Gangloff, Dominique Gonzalez- Foerster, Ines Weizman, Moritz Küng, Kersten Geers, Giorgio Grassi, Guillaume Paoli, Heiner Mühlmann, Stephan Trüby, Wilfried Kuehn.
Filipa César realized Displayer 03 as a filmed book which is part of the lecture.

Displayer Magazine is published by the programme Exhibition Design and Curatorial Practice at Hochschule für Gestaltung / ZKM Karlsruhe.

http://www.displayer-hfg.de


This event had the kind support of the Goethe-Institut Lissabon.




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Archive
#1:




























The Man Who Wasn’t There, conceived by THE OFFICE, takes the characteristics of a barber shop as a starting point for both its narration and format. A barber shop is a half public / half private place, where the relation between a barber and his client can become confident and even intimate, and, to some extent, paradigmatically represents a masculine (and assumedly partly homoerotic) world par excellence.

The project The Man Who Wasn’t There doubles this intimate dialogue between men: As an all female organization, THE OFFICE takes the chance of organizing a project at THE BARBER SHOP to dive into the space’s past and create our own fantasy of this world women are no part of, presenting a selection of films and videos, which all deal with men’s reflections on male role models, stereotypes or on the positions men are assigned to by and in society.

(photos by Susana Pomba, a.k.a. Miss Dove)















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Thank you:

António Bolota
João Biscaia
Sr. Fernando
all the guest designers
and neighbours





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