ART, ACTION, UTOPIA and more...

Think, reflect, act and not be a sheep (Sorry!) seems obvious, to feel that you're alive. When all this is done well with brilliance should be recognized and supported, to awaken sleeping consciences. Our friends Escuela Moderna/Ateneo Libertario collective have been particularly active this year, and a sample of their actions are those that have been collected:

After several already reviewed projects (as the dome for indignant places; the Remembrance Day on January 27th; the roundtable at the Triennal on 26th May; and the exhibition NERO in Viterbo), Escuela Moderna/Ateneo Libertario arrived to Delft (NL) on the occasion of the local Museums Night, to talk about the relationships between Art, Museum and Society.

The show was conceived as a Wunderkammer, an installation work introducing many contemporary artworks and projects by artists like Manuel, Beuys, Carrino, Pignotti, as well as materials by Alain Urrutia, Santiago Sierra, Juan Pablo Macias, Nicoletta Braga, Elisa Franzoi, Karmelo Bermejo, Democracia, breRaum, sos-workshops, complotSYStem and Massimo Mazzone. The event also included a conference/roundtable, moderators Paolo Martore (PhD) and Lorenzo Benedetti (Curator of the Holland Pavilion for the next Venice Biennale - Visual Arts), on the topic of Collective Memory and Museums Politics.

The show - same format - traveled to Madrid, to the Universidad Carlos III, for the international conference on Utopia; as usual, Escuela Moderna/Ateneo Libertario will open and distribute its archive, exhibiting about the relationships between Art and Anarchy.

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MASSIMO MAZZONE

Massimo Mazzone, (Marino, Rome, 1967) sculptor, numerous exhibitions in Europe and beyond, a member of the group of artists complot s.y.s.tem, and a professor of sculpture at the Brera Academy of Fine Arts in Milan. He has organized several groups to work between art and architecture. Among his recent performances, projects, proposal and publications:

    •   Ex Polis
   •   11. Biennale Venezia
   •   Edifici concettuali
   ◦   Post Lauream
   ◦   Città
   •   La Penisola degli Agnelli
   •   10. Biennale Venezia
   •   Lezioni di pittura
   •   Ex Mattatoio
   •   Piazza Shopping Centre
   •   Worker Bee Cemetery
   •   Triennale Milano
   •   Casa dell'Architettura
   •   Fass Gallery
   •   L'altra Roma
   •   Torretta Valadier

WORKS by Complot s.y.s.tem

ALAIN URRUTIA

Alain Urrutia (Bilbao, 1981). Vive y trabaja en Bilbao.

MA STUDIO Beca reisdente. Pekín. (2011)
FIRST PRIZE ERTIBIL, Fine Arts Show, Bilbao (2011)
Diputación Foral de Bizkaia Beca de Arte (2010)
C. de ingenieros del Pais Vasco PREMIO ARTE (2009)
ACCESIT in INJUVE ART PRIZE- Circulo BBAA, Madrid (2008)
UNED Bizkaia PREMIO DE ARTE (2008)
Rogaland Art Centre Of Stavanger Exchange Grant (Noruega) (2008)
Becas residentes_bilbaoarte Fundation (2008)
Ihes Ederra (Ed. Alberdania 2009) / Comic Book con Hedoi Etxarte (2009)
La Bella Huida/ La Bella Fugida (Ed. Alberdania 2010) Español & Catalán ed. “Ihes Ederra”

SANTIAGO SIERRA

Santiago Sierrra, (Madrid, 1966) 1989. Licenciatura en Bellas Artes, Universidad Complutense, Madrid, España. Taller en el Círculo de Bellas Artes, (J. G. Dokoupil), Madrid, España. 1989-1991 Alumno visitante en la Hochschule für Bildende Künste (F. E. Walter, B. J. Blume y S. Brown), Hamburgo, Alemania. 1995-1997 Beca de de investigación en la Escuela de San Carlos, Universidad Autónoma de México, México D.F. Sus inicios están vinculados a los circuitos artísticos alternativos de Madrid —El Ojo Atómico, Espacio P—, pero gran parte de su carrera ha sido desarrollada ya posteriormente en México (1995–2006) e Italia (2006—2010). Su trayectoria ha tenido, desde siempre, un considerable impacto en la literatura crítica artística.

La obra de Sierra intenta visibilizar la perversidad de las tramas de poder que fomentan la alienación y explotación de los trabajadores, la injusticia de las relaciones laborales, el desigual reparto de la riqueza que produce el Capitalismo y la naturaleza perversa del trabajo y el dinero, y las discriminaciones por motivos raciales en un mundo surcado por flujos migratorios unidireccionales —Sur-Norte—.

Retomando y actualizando algunas estrategias propias del Minimalismo, el Arte Conceptual y la performance de los años setenta, Sierra interrumpe los flujos de capital y mercancías —Obstrucción de una vía con un contenedor de carga, 1998; Persona obstruyendo una línea de containers, 2009—, contrata a trabajadores para desvelar su situación precaria —20 trabajadores en la bodega de un barco, 2001—, explora los mecanismos de segregación racial que se derivan de las desigualdades económicas —Contratación y ordenación de 30 trabajadores conforme al color de su piel, 2002; Estudio económico de la piel de los caraqueños, 2006—, e impugna los relatos que legitiman una democracia sustentada sobre la violencia de estado (Veteranos de las guerras de Camboya, Ruanda, Kosovo, Afganistan e Irak de cara a la pared, 2010–2; Los encargados, 2012).