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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
Hold On to Your Dreams: Arthur Russell
24-04-16 Suggested by: Terry & The Pirates 


Tim Lawrence's book breathes fresh and warm breath on the frost plate glass of Arthur Russell's mysterious work, says Bernard Keenan.

The basic facts of Arthur Russell's biography will be familiar to anyone who has heard his music, and they go like this: He was born in Oskaloosa, Iowa, in 1951. From there he spent some time in San Francisco in the late 60s, absorbing Buddhist philosophy and developing his skills on the cello. He then moved to New York where he remained, consistently producing a wide range of music until his death from AIDS related illness in 1992.

By Bernard Keenan

The basic facts of Arthur Russell's biography will be familiar to anyone who has heard his music, and they go like this: He was born in Oskaloosa, Iowa, in 1951. From there he spent some time in San Francisco in the late 60s, absorbing Buddhist philosophy and developing his skills on the cello. He then moved to New York where he remained, consistently producing a wide range of music until his death from AIDS related illness in 1992.

This much we know. But aside from his recorded music, he exists only in the hearts of those who knew him and the minds of those who have discovered him through his music. The 2008 documentary Wild Combination filled in many details of his life, told mainly through interviews with his family and loved ones, yet the man himself remained elusive. So the idea of a written biography of Arthur Russell is a daunting prospect - after all, the man can no longer speak for himself. Tim Lawrence handles the task masterfully, however, marshalling his extensive research, presenting accounts of events even where two seem inconsistent, and always avoiding the temptation to draw trite conclusions. The result is a fascinating book and an image of a deeply troubled, uniquely gifted artist.

We know now that Arthur Russell was one of the most exciting musical voices of the last century. His gifts were extraordinary. His work spanned mutant disco, minimalist composition, introverted pieces for voice and cello all bathed in echo, and propulsive yet delicate pop music. And despite being widely ignored until a series of posthumous reissues in 2004, Russell was dedicated to melody and rhythm in a way that is often sneered at in the world of sophisticated modern music. He was also a sensitive lyricist, who could draw whole worlds of emotion out of the smallest moments, a gifted and a disco producer with a unique sense of rhythm and groove.

All of the above could be said to describe the man adequately, but does it really capture the essence of the fellah? Not really. We need categories to make sense of the world, especially when describing something as ephemeral as music, but Arthur Russell's music always seemed to exist somewhere else, beyond anything familiar, safe or easy. It comes to us today completely out of context. Through meticulous attention to detail and chronology, Tim Lawrence's book manages to piece together memories, letters, and records to give a very real sense of who Arthur Russell was; while placing him firmly in the times and places he lived. From his work with Allen Ginsberg, to his influential role as director of the Kitchen art space in New York at the height of the Downtown movement, to his passion and natural gifts for dance music just as gay liberation spread through the city's discos, Russell lived and worked through an incredibly productive time in New York's musical history. While Colombia Records' John Hammond wanted to make him the next Bruce Springsteen and Philip Glass tried several times to help him gain a foothold as a serious composer, Arthur seems to have been constantly torn between his desire for commercial success and his fidelity to music as a force for liberation, collaboration, and exploration.

As such, there are no easy answers here. The book reveals numerous opportunities that were presented to Russell; chances to seize the sort of success he craved. Whether he failed due to insecurity, self-sabotage, dedication to experimentation, chronic inability to finish work, or the naïve idea that the world was ready for him, is never clear. The book accepts the contradictions. It sometimes feels like peering through frosted glass, or listening to an old friend on tape. On other questions the book compensates for the ambiguities of Russell himself. Lawrence's approach combines an academic's attention to cultural context with a record collector's passion for the details of the recording process. Parts of the text are likely to appeal only to serious fans of Russell's work. Nonetheless, it is also a fascinating insight into the vibrant constellations of collaboration, politics and experimentation that were taking place, even as Russell seemed to confound them. It is also a tender book. As it draws towards its end, the sheer weight of the tragedy of Arthur's death is difficult to bear.

That Arthur Russell should have finally found recognition in the decade now ending makes a lot of sense. The internet has to some extent rendered the old categories of music and commercial modes of distribution quite meaningless. Artists are now free to cross boundaries without sacrificing recognition. Russell's music embraced technology while remaining deeply concerned with simple human emotion - It continues to speak to us; it remains relevant. Lawrence does not eulogise or wax romantic about Russell's belated acceptance. This book is a vital document of the man and the times he lived in. It is nothing less than justice being done.

Excerpt from Tim Lawrence's Hold On to Your Dreams: Arthur Russell and the Downtown Music Scene, 1973-1992 
 World of Echo

The Lama Ngawang Kalzang had been meditating for twelve years in various caves and retreats in the wilderness of the mountains of Southern Tibet. Nobody knew him, nobody had heard of him. He was one of the many thousands of unknown monks who had received his higher education in one of the great monastic universities in the vicinity of Lhasa, and though he had acquired the title of Géshé (i.e. Doctor of Divinity), he had come to the conclusion that realisation can only be found in the stillness and solitude of nature, as far away from the noisy crowds of market-places as from the monkish routine of big monasteries and the intellectual atmosphere of famous colleges. The world had forgotten him, and he had forgotten the world. This was not the outcome of indifference on his part but, on the contrary, because he had ceased to make a distinction between himself and the world. What actually he had forgotten was not the world but his own self, because the 'world' is something that exists only in contrast to one's ego.

Lama Anagarika Govinda, The Way of the White Clouds

Having filmed Sun Ra in the late 1960s, Phill Niblock decided he didn't want to repeat the exercise with anyone else, but Arthur's not-quite-ofthis- world persona gave Niblock second thoughts, and he ended up filming Arthur performing a selection of his voice-cello World of Echo songs at the Experimental Intermedia Foundation on two separate occasions in the autumn of 1985—both times without an audience. "Arthur had this strange lighting setup with a bunch of cheap lamps and filters and a dimmer board that Steven Hall was manipulating," Niblock recalls. "The lighting changed dramatically from moment to moment, so it was all quite interesting." Shot on a single camera and without breaks, the first video was marred by interference while the second ran smoothly. As far as Niblock knew, Arthur was planning to release the second performance, provisionally titled "Terrace of Unintelligibility," in a video-only format, but the filmmaker had come to appreciate there was little point asking Arthur what he was going to do with the tapes.

Arthur continued to perform songs from his solo, voice-cello World of Echo project during 1985, more often than not at the Experimental Intermedia Foundation, where cheap wine could normally be found in a corner. "Phill's loft was a much more relaxed hangout than the Kitchen," notes Arnold Dreyblatt. "Phill may have been less critically curatorial than some of the directors of the Kitchen, and it's true that he did not present some of the more provocative acts that appeared at the Kitchen, but it is not an accident that Arthur became friends with Phill and ended up performing at this very off-the-mainstream space." Arthur also liked the audio tracks of Niblock's videos so much he resolved to release a World of Echo album. "We would start at eight or nine in the evening and go on at least until 3:00 a.m.," recalls Eric Liljestrand, who confirms the songs were recorded almost always at night. "Arthur always tried to maximize the time, so we did everything in a rush. It's not like Arthur did endless takes of the same thing, but the tape was continually running and the sessions were pretty blurry to me."

Because he was the only instrumentalist in the sessions, Arthur realized he could break with the standard practice of playing in a quiet, isolated room, and so he set himself up in the control booth in order to hear exactly what the engineer was hearing and tweak the sound according to his own taste as he played directly into the mixing board. Then, when he was done with singing or playing, he would cut, re-equalize, and manipulate the recordings, weaving them together as if he were a time-traveling tapestry artist. During these sessions it became standard for Arthur to splice together separate tapes, and he would regularly grab a track from one tape and fly it into the multitrack of another while his onlooking engineer tried to stay calm. "We would be mixing on a piece of tape, and I would see a splice go by," recalls Liljestrand. "It was all very confusing. I could never really tell what we were working on until it was done." The ghostly accidents that arose from Arthur's insistence that they re-record over old tape became an integral part of the sonic fabric. "There would be leakage of an old track into a new track, which drove me bonkers," explains the engineer. "But it didn't seem to bother Arthur." Arthur was more concerned with Liljestrand's habit of double-checking every time Arthur instructed him to record over an old multitrack, and on one occasion he "got really mad," re members the engineer. But as their working relationship deepened, Arthur relaxed and took to standing over Liljestrand's shoulder, clenching his fists and rocking backwards and forwards in a virtually imperceptible motion as the material was played back to him. "It was almost like he was dancing inside, and only a little bit was coming out."

Working into the early hours, Arthur and Liljestrand studied a series of recordings that showcased the startling complexity of Arthur's amplified cello—an instrument that, in terms of Arthur's releases, had been restricted to playing orchestral scores and making cameo appearances on twelve-inch singles. Arthur had started to amplify the instrument in San Francisco, but it was only when he combined an MXR Graphic Equalizer with the Mutron Biphase box (a hundred-dollar piece of equipment that generated resonance by combining the technology of phase modulation with the wahwah pedal) that the electric cello sounded (as he put it) "really beautiful." "The result is that a very new road is opened to me with the cello bringing it a long way from its traditional orchestral role," Arthur wrote to Chuck and Emily in 1977. "I don't think anyone plays this instrument this way, amplified with such a clear sound." Arthur went on to acquire a bewildering number of other effects boxes, which he would combine as he searched for a "deep and shifting feeling" that resembled an "undertow current" (in the words of Hall). "He took his cues from heavy-metal guitars, and was looking for the same depth of sound and impact," notes Hall. "He was fascinated by their huge, monolithic soundprints and studied various metal guitarists in his quest."

Arthur's playing was directed toward sonic range rather than virtuosic skill. When his fingers flew up and down his cello's neck in darting, athletic movements the instrument twanged like a funk bass, yet when he bounced his bow on its strings or tapped out rhythms on its wooden body, the sound was percussive. On some songs Arthur's cello reverberated with electrostatic intensity as the bow screeched over the instrument's strings, while on others it rumbled deep and threatening, or generated a modulated bleeplike signal, or even shifted between a series of affects. "Echoing the chance operations of John Cage and Jackson Mac Low, he loved constant, random modulation," adds Hall. Indeed the cello only sounded like a cello when Arthur played pizzicato, sending off gentle, acoustic sounds of such subtle detail that even the movement of the air around the strings seemed to be audible. And although feedback was an ongoing curse that could result in chaos, by the time of the World of Echo recordings Arthur had come to describe these untameable waves as "feedback harmonies." Arthur's voice discovered a similar freedom during these insomniac sessions. Having taken vocal lessons at the Ali Akbar College of Music, where he let go of the objective of clear pronunciation and started to slur his vowels, Arthur continued his studies in New York with the vocalist and composer Joan La Barbara, who taught him how to utilize the bones in his nose to get a droning, nasal sound. "Arthur was a dedicated musician with lots of ideas," recalls La Barbara. "His time at the Kitchen was very rich and meaningful for the downtown music community." As with all her students, La Barbara went through her basic physical warm-up exercises with Arthur, "because a good singer is like an athlete and sings with the entire body." Then she ran through tongue exercises, because, as La Barbara notes, the back of the tongue is connected to the vocal cords, and the exercises help bring blood directly into the area and warm it up in preparation for singing. Finally La Barbara moved on to working with vocal sound. "I always do a lot with resonance and with placement of the sound in specific areas in the face and head, focusing on specific bones such as cheek bones, the fore head, and, of course, the wonderful nasal resonances where one can make extreme sounds."

On the World of Echo recordings, Arthur's languid voice discovered a freedom of movement that had not been available in the comparatively formal settings occupied by the Flying Hearts, Loose Joints, Dinosaur L, and the Necessaries. Suspended between the musical traditions of India, Brazil, and North America, Arthur whispered and moaned, glided between notes, and explored unexpected directions as he moved through a series of seemingly impossible maneuvers. Like a kite, he combined tension with darting movement as he switched across a range of barely fathomable time signatures, yet the energy expended on maintaining his poise and flow didn't result in a loss of range and evocativeness. At times he sounded as though he was about to swallow his mike, while on other occasions he might as well have been singing on a ferry bound for Staten Island. And as his words blurred into each other to the point of being indistinguish- able, Arthur edged away from the obligation of verbal communication and relaxed into an economy of phantasmagorical sounds. "After listening to tapes of World of Echo as well as foreign language singing," Arthur wrote in a later set of program notes, "I've enjoyed the musical effect of words as sounds, but where the meaning is not totally withdrawn."

Evoking textures in infinite detail as they helped each other to discover their full expressive range, Arthur's voice and cello moved with a subtle dexterity as they headed into a Delta Lab 2 delay box, which generated echo and reinforced the illusion of disappearing sound. Yet whereas most dub producers sought out murkiness, Arthur hoped to create an echo that was scintillating rather than muted. "I like the bright sound, I like compression," Arthur wrote in a letter to the mastering engineer of the tapes. "Please make it as loud as possible." Arthur asked friends if they thought he was using too much reverb, and Ernie Brooks, who placed a high value on hearing the words of a song, told him that he was. Persevering, Arthur created a chorus of voices that combined in a flickering, spectral harmony. A shimmering, mystical celebration of vowel sounds, "Tone Bone Kone," which would become the opening song on the album, expressed itself as textural sensation rather than textual meaning, while other songs evolved in meandering, mesmerizing threads, fluttering about in tender butterfly movements that were impossible to predict and would have been terrible to contain or discipline. "When I have written songs, the functions of verse and chorus seem to be reversed for some unknown reason," Arthur wrote in a set of accompanying, unpublished notes. "The idiomatic style I ended up using is not immediately reference-able."

Arthur's decision to blend all of the songs into one continuous track contributed to the unraveling of structure, while his acoustic reworkings of "Let's Go Swimming," "School Bell / Treehouse," and "Wax the Van" illustrated the way his songs could discover an even greater degree of elasticity when they weren't required to follow the pulse of a drum. "It's the same song just different instrumentation," Arthur said of "Tree House" (as it was renamed on the album) in an interview with Frank Owen published in September 1986. "I think, ultimately, you'll be able to make dance records without using any drums at all." Songs without beats, Arthur added, would be the source of "the most vivid rhythmic reality."32 In his unpublished jottings, Arthur also noted that his aim was to "redefine 'songs' from the point of view of instrumental music, in the hope of liquefying a raw material where concert music and popular song can criss-cross." That made World of Echo the song-oriented successor to Instrumentals (1974—Volume 2), which introduced popular forms into compositional music, and 24 −−> 24 Music, which channeled orchestral improvisations through disco.

Along with the music's hushed, late-night atmosphere, the re-recording of older songs in an acoustic/dub format suggested that songs contain their own echoes—their own ability to discover a reincarnated form that's both the same and different. The self-referential twist suggested an introspective mind-set, and the use of sonic space, in which Arthur's voice and cello bounced around the three-dimensional contours of the mix, bolstered the impression that the recordings amounted to an internal, multidimensional play area that could be explored ad infinitum. At times Arthur appeared to be playing a game of existential hide-and-seek with his own shadow: his schizophrenic edits resulted in the multitrack tapes shifting between contrasting sonic environments—flat or hissy, spacious or closed, muffled or clear, dry or wet, populated or empty—in rapid succession; and because the voice-cello setup was so sparse, disappearance and loss were continually evoked as Arthur's feathery voice floated away, or a scratchy strike on his cello reverberated into thin air, and nothingness was met by the next word or note. Sounds moved across the multitrack tape like the gentle, recurrent movement of the seashore, where a receding wave would begin to reveal the sand underneath, only for the next wave to fold over the escaping undercurrent.

Channeling the jams of the Mantric Sun Band, the drones of the Ali Akbar College, and the meditative chanting of Ginsberg through the deserted downtown space of the Battery Sound studios, World of Echo was Arthur's latest attempt to blend West Coast spirituality with the East Coast avant-garde. Devotional and ethereal, the songs were delivered as twilight prayers as Arthur lost track of the distinction between himself and the world—perhaps like the Lama Ngawang Kalzang following twelve years of his cave- and mountain-bound meditation. John Hull notes that "Sound places one within a world," because the auditory is experienced inside the body of the listener (in contrast to the visual, which is experienced as a separate scene to be observed). Yet in World of Echo Arthur appears to have transcended this state, as well as the mind/body divide (the notion that the physical and the nonphysical are always separate and opposed), because the recording worked as a form of abstract materialism in its illus tration of the way movement isn't just physical but is also about potential. Stripping music down to its bare essence—to simple sequences of notes and friction and air—Arthur revealed the infinite quality of sound and existence.

As a rule, Arthur didn't get along with label bosses. When relations with the decision-makers at Sire and West End deteriorated, he cofounded his own label, and even this move simply became the precursor to his fallingout with his partner. But things seemed to be different at Upside, where he felt comfortable with Gary Lucas and Barry Feldman. "Arthur had this great résumé, but everyone in the scene treated him like shit—like, 'Fuck you, Arthur!'" says Feldman. "This would go on all the time, and he just seemed beaten down by all of it. I think he liked me because I wasn't very judgmental. Respectful of Feldman's background—the label boss grew up with jazz and could play compositions by Ornette Coleman, Charlie Parker, and others—Arthur began to call Feldman up and wait for him to start a conversation, or drop by the Upside office to share musical obsessions and low humor. And at some point during the second half of 1986, he decided that things were going well enough for him to entrust Feldman with World of Echo.

The album contained fourteen tracks, two of which were live takes recorded at the Experimental Intermedia Foundation. "He blurted out, 'Barry, I think you really should release this record,' and then practically ran out the door," recalls Feldman. "The album was completely done. If he had proposed it and asked for money, I would have probably said, 'No.'" The Upside boss reasoned that if he gave Arthur one thousand dollars he'd have one problem, whereas if he gave him three thousand dollars he'd have three problems, but Arthur wasn't asking for money, and although Feldman wasn't a big fan of the record, he paid Arthur a token sum and crossed his fingers he would break even. "By that point there were so many problems with cash flow the idea of making a lot of money went out of my head," he says. "But I was like, 'Fuck it! I'm not making any money, I might as well put out a cool record!'"

Aside from a persnickety review in New Musical Express, the album received strong press. Billboard declared it to be "one of the finest avantgarde pop albums in some time," while Frank Owen described the album as being "mournful, mysterious, intimate, understated, indeterminate and altogether beautiful." Writing in Melody Maker, David Stubbs was even more adulatory. "This is what is left when the Beat has eaten itself, when the crunch of hip-hop has crunched itself to dust," he wrote. "'World Of Echo' is an orbit of resonance, a giant, subterranean repository of Dub. . . . It works, as a fuzz, a blur, a ric, throbbing pulse, a signal in space. . . . I imagine that, at some point in the future, it will be possible to dance quickly and furiously to 'World Of Echo,' once the rust-marks of the beat-grid have made a sufficiently indelible mark on the folk-memory, enabling the listener to refer to his ancient instincts to know what to do with his feet." Melody Maker went on to list the album at number twenty-two in its chart of the top thirty releases for 1987, but sales were disappointing. "I was getting great press, but the stores barely took it," says Feldman. "I think I pressed up 1,200 copies and sold 900 at the most." As the movement in the stores faded, Arthur asked Feldman if he would place a football-shaped sticker on the cover that contained a single word: Unintelligible. "It was Arthur's way of saying to people, 'Don't expect to get it the first time, or the second time. Don't listen to it that way.' The sticker became a running joke."

Arthur appeared to be in good humor. Although his Flying Hearts, Bright and Early, and Corn recordings remained unreleased, he now had four albums to his name in addition to the two he had recorded with the Necessaries, and that was good going for any artist, let alone a compulsive procrastinator. "The next album might be a bit more of the same, except with drums," he told the Oskaloosa Herald in December 1986. "Or there may be a country album, because I like that a lot. Playing in a country band would have been perfect for me." A few months later, in April 1987, he talked of the Upside LP as being a "sketch version" rather than a "complete version" of World of Echo. "I want to do the full version which will have brass bands and orchestras playing outdoors in parks with those bandstands that project echo," he commented. "I also want to have Casio keyboards on sail boats." Arthur was still planning, still dreaming.

Copyright Duke University Press, 2009.

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25-05-08_ Biopiracy, the new colonialism
25-05-08_ John Baldessari * 3 films 3
26-06-08_ MP + MP ROSADO * entrevista aún por realizar... [actualizado 15_06_'08]
28-04-08_ Del salón recreativo a la realidad virtual
04-05-08_ Anthology of Surreal Cinema: Vol. 1
25-05-08_ UBU * April 2008
19-04-08_ ¡Viva la viscosidad!
10-05-08_ Rodney Graham
27-04-08_ Marcel Duchamp vs. Stéphane Mallarmé
23-04-08_ Nadie es inocente
18-04-08_ DIGITAL MEDIA 1.0
16-04-08_ El arte como ONG
20-04-08_ Eve Sussman & Rufus Corporation: en el filo ideológico de las formas cinematográficas de gestión productiva
20-04-08_ My kid could paint that
31-03-08_ Nuevas dimensiones
24-03-08_ Harun Farocki - Selected Works (1967-2001)
12-03-08_ Richard Serra * Hand caching lead
28-03-08_ Sam Taylor Woods * Video Works
25-03-08_ Un castillo en ruinas, la decodificación del imperio
02-04-08_ Inteligencia Colectiva y Redes Creativas
24-03-08_ La oscura vida de un pintor marginal
16-03-08_ Lamentablemente, Muñoz Molina
24-03-08_ Sueños y pesadillas en clave ética 
25-03-08_ Sobre el planteamiento de IVO MESQUITA para la 28 Bienal de Sao Paulo
27-02-08_ How To Survive as an Independent Artist
11-02-08_ The crux of the critique
24-03-08_ Candidatos al MACBA
24-03-08_ Políticas de la visualidad * EL LUGAR DEL ARTE
24-03-08_ Arkipelag TV * Hans Ulrich Öbrist
19-02-08_ Landings 6+7: sobre avestruces, Arthur Danto y el fin del arte
24-03-08_ Paul McCarthy's Low Life Slow Life: Part #1
09-02-08_ La EDAD de ORO
04-02-08_ Double Agent * ICA London
24-03-08_ Heterocronías y estratos * Nicolas Bourriaud en Murcia.
03-02-08_ Interview with Juha Huuskonen (Pixelache)
01-02-08_ Una exposición de mierda
24-03-08_ El intelectual y el administrador
08-06-08_ Shut Up and Paint * On Julian Schnabel music
26-01-08_ Cómo cobrar 12 millones por algo titulado 'La imposibilidad física de la muerte en la mente de alguien vivo'
25-01-08_ Maria Teresa Hincapié * 1954 - 2008 
25-03-08_ Siete motivos para no asociarse a VEGAP, y uno solo para pertenecer a ella.
26-03-08_ Les Grands Ensembles * Pierre Huyghe
16-01-08_ arcad[i]as y convulsiones, perro muerto en tintorería: los fuertes (II)
24-03-08_ A journey that wasn't * Pierre Huyghe
30-12-07_ Dirty Dali * A private view 
24-03-08_ MONOTO * Entrevista
27-12-07_ Interview with Mark Mothersbaugh (DEVO)
05-01-08_ Paul McCarthy at the S.M.A.K
01-01-08_ El fenómeno vvork.com
22-12-07_ Devo * Bruce Conner
04-01-08_ Courbet indomable
26-12-07_ Camuflaje artístico para la guerra
26-12-07_ El artista como "War Profiteer"
01-01-08_ Featured Resources: December 2007 Selected by Alejandra & Aeron
16-12-07_ Emotional Sytems, contemporary art between emotion and reason
25-12-07_ Feministaldia 2007: taller de GWLP sobre mujer, postporno y hardcore
19-12-07_ Arcad[i]as y convulsiones perro muerto en tintorería: los fuertes (I)
04-01-08_ ¡VIVA EL FRACASO!
16-12-07_ Jaume Plensa * Entrevista
16-12-07_ 4 Películas * Gordon Matta-Clark
12-01-08_ El aura de lo digital
25-11-07_ Portikus * Ben van Berkel & the Theatre of Immanence
25-11-07_ Siempretodavía * Everstill
21-11-07_ Más y Más Malas Artes
21-11-07_ Reina la razón en El País????
22-11-07_ Sinestesia (en la era digital)
28-11-07_ Jorge Diezma * Eso ahí queda
24-11-07_ PALERMO at Duesseldorf
12-01-08_ HÉRCULES: devaluación y plusvalía [ dossier AGUT, Pep]
18-10-10_ Martin Heidegger * La pregunta por la técnica
05-11-07_ Pep Agut * HERCULES
06-11-07_ Hackers And Painters
15-10-07_ Sound is Material
01-10-07_ Who's there...
10-10-07_ Formas de institucionalización de las obras de net.art en el mundo del arte
09-10-07_ Val del Omar. FUEGO EN CASTILLA
04-10-07_ Ibon Aranberri: la memoria estancada
24-11-07_ The Aura of the Digital
27-09-07_ Arqueologías del futuro
29-09-07_ Artistas del No
23-09-07_ Lost. Aitor Lajarín
18-09-07_ La simpleza
23-09-07_ Passengers
10-09-07_ Un caldo indigesto
10-10-07_ The Fundamentals of Sonic Art and Sound Design
25-09-07_ Itinerario visual: abriendo ventanas (puertas)
07-09-07_ Imágenes del otro lado
27-09-07_ La reflexión de la mirada
02-09-07_ Bodypoliticx
26-08-07_ Concretismo  & Neoconcretismo
10-08-07_ Game Art
26-08-07_ La (im)posibilidad de atrapar el fantasma del deseo (José Luis Guerín)
26-08-07_ Nada se destruye, todo se transforma
25-08-07_ Reconstrucción del vacío
25-08-07_ Inland Empire: la esquizofrenia inevitable [1 & 2]
30-08-07_ A-desk: documenta en pocas palabras
01-08-07_ Los timos con más arte
24-07-07_ Las Vanguardias
09-07-07_ Cultural Institutions & Community * MAC
01-08-07_ UBU * Featured resources_ summer '07
07-07-07_ Stroom Den Hagg
03-07-07_  Formas de institucionalización textual de las obras de net.art en el mundo del arte.
31-01-08_ Andy Warhol * Life and Death (2006)
01-07-07_ Documenta sin documentos
26-06-07_ De Julia Fullerton-Batten a Seton Smith pasando por Rineke Djistra PHE07
05-07-07_ La cultura del fraude
21-06-07_ El regreso al orden *  Sobre la 52 Bienal de Venecia
28-06-07_ Neo Rauch at the MET
06-06-07_ UbuWeb Featured Resources June 2007
17-05-07_ Killing Time * Cuban Artists
17-05-07_ Access Denied
14-05-07_ Dana Schutz * Stand by Earth Man
10-05-07_ Cultura RAM * José Luis Brea
07-05-07_ CENTROS DE ARTE:  Chus Martínez y Ferran Barenblit
06-05-07_ Ireland at Venice 2007
03-05-07_ John Baldessari: Music
31-05-07_ El mundo del arte
23-04-07_ Nos Pagan por limpiar, no por hacer arte
16-04-07_ Time Based Text, the gesture in computer art
16-04-07_ Proyecto: La institucionalización del arte en españa
15-04-07_ The Abjection Collection
13-04-07_ Malota en Mad is Mad
09-04-07_ UbuWeb Featured Resources April 2007 Selected by Anthony Huberman
05-04-07_ Procesado de imagen. Silencio
02-04-07_ Imágenes congeladas
02-04-07_ El soporte sigue en la pared
29-05-07_ Beckett directs Beckett
23-03-07_ A Bit O' White * Een Neetje Wit * Un Peu de Blanc
20-03-07_ Alex Katz * The Jewish Museum
20-03-07_ Spanish Painting from el Greco to Picasso
20-03-07_ Wilhelm Sasnal 
23-07-07_ El autor como productor
10-03-07_ Kosuth: "Vivimos un saludable estado de descontrol"
08-03-07_ Christiane Löhr * Naturaleza Silenciosa
07-03-07_ Scorpio Rising * Kenneth Anger
07-03-07_ Kubelkas talks
04-03-07_ ¿Qué historia es la que nos quieren contar?
12-03-07_ La mala crítica
05-07-07_ Retrato del artista como crítico cultural
03-03-07_ Dan Flavin * La mística del material
26-02-07_ Péter Forgács - Wittgenstein Tractatus
23-02-07_ Cross sections of yesterday * Gordon Matta Clark
22-02-07_ 'Lost' y 'Desperate Housewives', de David Lachapelle
22-02-07_ ARCO: decoración (excesívamente) cara
11-07-07_ (Re)construyendo un afuera
06-11-07_ Matthew Barney: The Cremaster Cycle
19-02-07_ Francis Bacon (con un par de huevos) ejem 
12-02-07_ These are pearls that were his eyes
11-02-07_ Cardiff & Bures Miller: La metafísica del sonido
11-02-07_ LA EXPOSICIÓN INVISIBLE. Obras sonoras del siglo XX
11-02-07_ Art Fair TOKYO 2007
09-02-07_ Nuevo arte casero
11-07-07_ One11 [1992] * A film by John Cage
03-02-07_ El profeta de la nueva melancolía
02-02-07_ People Like Us & Ergo Phizmiz - Boots!
01-02-07_ Del lápiz al píxel * Fantasmagoría. Dibujo en movimiento
01-02-07_ Transforming e-waste into art
28-01-07_ Hacer cantera
07-07-07_ Art market stupidity
22-01-07_ The AD Generator
22-01-07_ The way we loop "Now"
18-01-07_Index. Coup de parole
19-07-07_ Interview with Art Orienté Objet
12-01-07_ Piece by Piece
04-01-07_ Ten Commandments for Gilbert & George (1995) 
02-01-07_ Premio Turner. La hora del cambio?
06-01-07_ Joan Morey: «El artista y su trabajo son objetos fácilmente reemplazables en este sistema»
29-12-06_ Slomo Video
28-12-06_ Audio-Visual Art and VJ Culture
04-08-08_ Popaganda: the art crimes of Ron English
19-12-06_ Se busca a la chica que va enmedio en el taxi
18-10-10_ La obra de arte en la época de su reproductibilidad técnica
15-12-06_ Keith Tyson
16-12-06_ Texte zur Kunst * Porno
13-12-09_ Drawing Restraint 9 * Matthew Barney [ updated 20_11_'07 ]
16-12-06_ Sampler * Ricardo Echevarría
11-12-06_ The projection project
09-12-06_ Bill Viola * Anthem
07-12-06_ Una mala broma
15-12-06_ Vicent Todolí * entrevista
09-12-06_ Sergio Prego * Black Monday
03-12-06_ Stan Douglas *  Viena Secession
02-12-06_ Vídeo y puertas al campo
30-11-06_ Lyon Biennial 2007 
24-11-06_ La visibilidad de un artista
23-11-06_ Sobre la idea de hablar * Pep Agut
27-11-06_ Chomsky vs Foucault. Human Nature * Justice versus Power.
15-11-06_ Soledad de unas uvas
10-11-06_ Alex Katz Paints Ada * The Jewish Museum
22-11-06_ How Art Made the World
15-11-06_ Fuera de campo, con nosotros
02-11-06_Terayama Shuji - Experimental Image World
01-11-06_ Ampudia, la (in)digestión del arte
01-11-06_UbuWeb Featured Resources Nov-Dec 2006 Selected by Ingrid Schaffner
30-10-06_Prospección de un lugar * Taller Lara Almarcegui
30-10-06_Hacia la ciudad 'replicante'
01-11-06_Ritual Ov Psychick Youth
24-10-06_Robert Morris * Exchange
23-10-06_El código morse
22-10-06_David Link * Poetry Machine 1.0
26-10-06_¿Una napsterización del arte?
18-10-06_TEOR/eTica * Estrecho dudoso
18-10-06_Turning * Antony and the Johnsons with Charles Atlas
18-10-06_Dos españoles en la Bienal de Sao Paulo
01-10-07_ Jonas Mekas * 365 Shorts
09-10-06_Gary Hill * Como suenan las imágenes
16-10-06_Disinformation TV: The Complete Series
03-10-06_Unbounded Freedom
30-09-06_Muntean/Rosenblum * Memento mori
29-09-06_P2P Art
29-09-06_Intentos de escapada
28-09-06_ Bustamante, en el extremo
27-09-06_Piracy is the New Black (Again)
09-10-06_... aquí ...ahora ...nunca * josé maldonado
21-09-06_CCNOA (Center for Contemporary Non-Objective Art)
28-09-06_Pasaporte a Berlín
20-09-06_Eva hesse * Jewish Museum N.Y.C
27-09-07_ Stan Brakhage * 2 de 300 ( o más )
18-09-06_Raymond Pettibon * El copyright obstaculiza la creación
17-09-06_José Luis Brea * El tercer umbral
14-09-06_CONFLUX 2006
13-09-06_Bienal Internacional de Arte Contemporáneo de Sevilla 2
13-09-06_Yve-A. Bois: « La crítica precisa más discusión y menos poesía »
12-09-06_On collaboration
09-09-06_Illusion is a revolutionary weapon
01-06-07_AHmérica !¿ [ crónicas americanas ] vol.1 + 2 + 3
07-09-06_Abstracción cálida y guerra fría. 1946-1956
06-09-06_Done Anything Dangerous Lately?
05-09-06_The Pile
04-09-06_Lewis LaCook * The Ghosts of Colors
02-09-06_Live webcast of Burning Man
01-09-06_The art of provoking the art world
13-09-06_Bruce Nauman * Videos
20-08-06_The wonderful world of irational.org
20-08-06_Desestructurando la imagen
18-08-06_Interview * Ricardo Miranda Zúñiga
18-08-06_The Residents * The River of Crime
17-08-06_TV Party!
15-08-06_The Eighth Square * Museum Ludwig
17-08-06_Colección(ando) * CAAC
13-08-06_GLOBOS SONDA * Reinventar la modernidad
13-08-06_Détournement as Negation and Prelude
31-10-10_ Steve Roden * Soundwalk
10-08-06_Werk Ltd
10-08-06_Nothing * Nada
06-08-06_PICNIC ‘06 Cross Media Week
06-08-06_Yes Bruce Nauman
07-09-06_The Dawn of DIMI
04-08-06_Scope Miami 2006
04-08-06_Buchenwald Memorial * Esther Shalev-Gerz
31-07-06_Cybernetic Serendipity
30-07-06_Los comisarios se la juegan
06-08-06_Tacita Dean * Esquivar la ficción
26-07-06_The Best Surprise Is No Surprise
26-07-06_NO(HA)LUGAR. Balance(s) del arte español.
24-07-06_Obra de arte asesina?
24-07-06_En el país de Alicia
22-07-06_ORIGEN de Bleda y Rosa
18-07-08_ Dan Graham & The Static (Audio Arts Supplement, 1979)
20-07-06_Guy Debord - Critique de la separation
02-12-07_ Ernie Gehr * Serene Velocity
30-06-06_Matthew Barney * Drawingrestraint
30-06-06_Radio Gallery
30-06-06_Los tiempos muertos de Alicia Framis
29-06-06_Guerrilla Girls * Going ape
26-07-06_Juan Hidalgo * biografías y corbatas
28-06-06_ Damien Hirst * En descomposición
27-06-06_PhotoEspaña premia la pasión por el detalle de Hiroshi Sugimoto
26-06-06_This is America * Centraal Museum, Utrecht
30-06-06_Interview * United Visual Artists
26-06-06_La Espera * Avelino Sala
26-06-06_Switch on the power! * Ruido y políticas musicales
22-06-06_5 Days to the End of Art
26-06-06_Sonar... Sonar... Sonar...
16-06-06_Santiago Sierra * Del minimalismo al sentimiento de culpa
16-06-06_Salla Tykkä * De Appel
16-06-06_Especulaciones aun tiempo
13-06-06_Storefront for Art and Architecture
11-06-06_Yoshua Okon * Realidad y ficción no son categorías ni aisladas ni abstractas
10-06-06_Alva Noto * Fades
04-09-07_ José Luis Brea * Art.matrix
08-06-06_La ascesis de Malevich
08-06-06_D3Sombra * Emanuele Mazza
08-06-06_Técnica, ética y violencia del sentido
08-06-06_CENDEAC * Actividades Junio-Julio 2006
08-06-06_For Immediate Release
05-06-06_Michel Foucault * Of Other Spaces (1967), Heterotopias.
05-06-06_Matthew Barney versus Donkey Kong
04-06-06_Montserrat Soto * Archivo de archivos (1998-2006)...
03-06-06_Chema Alvargonzález * Bienvenidos al mercado irreal
05-06-06_Kunsthaus Graz * Inventory
01-06-06_Antoni Abad gana el Ars Electronica
05-06-06_Robert Gober
05-06-06_Project Arts Centre
24-05-06_Distrito cu4tro * Atelier van Lieshout
24-05-06_Galería Juana de Aizpuru * MACHÍN
24-05-06_Museum Ludwig, Cologne
23-05-06_ediciones originales * carles congost the congosound
05-06-06_Marcel Duchamp: The Creative Act
20-05-06_'Efecto Doppler' en la Tate Modern
05-06-06_DESTE Foundation (Athens)
06-06-06_Huis | Festival a/d Werf, Utrecht // De Appel, Amsterdam
06-06-06_Tina B — The Prague Contemporary Art Festival
07-06-06_Shock tactics
17-05-06_La historia no se repite
07-06-06_sonambiente berlin 2006
07-06-06_Netherlands Architecture Institute * Museum Boijmans Van Beuningen * Nederlands fotomuseum
07-06-06_Akureyri Art Museum, Iceland
07-06-06_frieze announces international art writer's prize
04-05-06_MUSAC * Globos sonda /Trials Balloons
30-04-06_Patricia Gadea, la oscura luz de una pintora
04-05-06_Joseph Beuys Sonne Statt Reagan, (1982): el vídeo.
04-05-06_Outrageous and Contagious
28-04-06_Lawrence Weiner * X Y&Z
28-04-06_Que no ondeen las banderas
28-04-06_John Martin, lux ex tenebris
28-04-06_Agirregoikoa o no ceder al deseo del amo
07-06-06_e-flux projects * Martha Rosler Library
26-04-06_Representaciones Árabes Contemporáneas. La Ecuación Iraquí
25-04-06_Las listas del Mal (en este caso pintores)
07-06-06_Tom Sachs in Milan * Fondazione Prada
23-04-06_Tecnologías y estrategias para la creación artística * Altea Mayo '06
22-04-06_Fernando Renes * Mis animales y yo
21-04-06_Daniel Buren * Les Cabanyes de ceràmica i spill
21-04-06_Serpentine Gallery and e-flux announce Agency for Unrealised Projects (AUP)
21-04-06_WHY BERLIN ! No. 6 – Exhibitions in Berlin April – August 2006 and more
20-04-06_MIRADOR 06 * O.K Centre for Contemporary Art
20-04-06_Sin.con.texto * Una nueva velocidad
02-04-08_ Instinto Básico: Trauma y Re-atrincheramiento 2000-2004
22-04-06_José Luis Brea * La crítica de arte - después de la fe en el arte
19-04-06_El ir y venir de África
19-04-06_Thomas Locher * el escenario de la ley
19-04-06_Pierre Huyghe * Lo que la verdad esconde
08-04-06_Oportuna y chocante: Bienal de Berlín
08-04-06_Diango Hernández, el artista demediado
08-04-06_Las esculturas de luz de Christian Herdeg
08-04-06_Joana Pimentel
07-04-06_Timeless Universe * Universo Atemporal
02-04-06_The Youth of Today * Schirn Kunsthalle
01-04-06_Peter Zimmermann y la fábrica de chocolate
01-04-06_Una idea es una idea es una idea * Luis Bisbe
02-04-06_Pintura ni en pintura
30-03-06_MADRID PROCESOS 06 Convocatoria de producción para proyectos artísticos
31-03-06_Takeaway exhibition highlights
30-03-06_ARTIUM de Álava convoca su programa de BECAS '06
29-03-06_Frankfurter Kunstverein * A New Departure
27-03-06_El Retorno de J.V. Marjov a Valencia
26-03-06_Calendar of upcoming events
27-03-06_Un misterio de 38 toneladas (sigue la saga)
26-03-06_Para todos los públicos
25-03-06_Juan López, desde lo público
03-04-06_Douglas Gordon
25-03-06_Humildad y gloria * FCS
24-03-06_MUSAC | Lo Siniestro
22-03-06_Preus museum | Skate Culture
22-03-06_ARTIUM abre a la Red su Base de Datos
29-03-06_Hiato Berlines | crónica dxd
22-03-06_INTRACITY- art públic i mediació social
21-03-06_III Jornadas de Arte Contemporáneo
21-03-06_Signs of Psyche. Psychoanalytical Perspectives on Art
19-03-06_Eulàlia Valldosera | Lugares de Trabajo
18-03-06_Threshold | Faisal Abdu’Allah & Charlie Dark
17-03-06_N e t e r o t o p i a
16-03-06_Reclaim the Spectrum | Festival Zemos98 8ª Edición
16-03-06_Stefano Cagol | Galleria Civica di Arte Contemporanea
15-03-06_Subterráneos | Seminario de Manuel Delgado y Compañía
13-03-06_Guillermo Paneque
13-03-06_Guff and nonsense
12-03-06_Desde el lado trágico de la revolución conservadora
10-03-06_Young British | British art and a scent of scandal
09-03-06_Otto Dix
05-03-06_Joan Fontcuberta | Googlegrams
03-03-06_Deva Sand
01-03-06_An art that eats its own head
28-02-06_III Convocatoria de Becas / MUSAC
24-02-06_Revoluciones Por Minuto
24-02-06_Ángela de la Cruz
23-02-06_Esta casa es una ruina / MP & MP Rosado / "Desajustes
17-02-06_4º Encuentro Internacional de Performance
21-03-06_La pupila de cualquier bicho... / Entrevista con Jorge Diezma
17-02-06_International Biennial of Contemporary Art of Seville (BIACS)
17-02-06_Paul Sharitts en EACC
07-02-06_Archivo F.X.: La ciudad vacía
07-02-06_MUSAC EN ARCO
07-02-06_ENTREVISTA: Benjamin Buchloh
03-02-06_300 Words from London: Dan Flavin - All Light Now
03-02-06_Fernando Sinaga, territorio introspectivo
03-02-06_Ugo Rondinone
03-02-06_Valérie Mréjen
01-02-06_Going Out in Berlin: New Faust Opera, Beuys on Film, Forsythe
29-01-06_Curro González y Manuel Ocampo, cara a cara
29-01-06_Y de repente... Roman Signer
29-01-06_Golpes de efecto / James Rielly
26-01-06_ OVERGADEN, Copenhagen, Denmark is seeking an Artistic Director as of May 1, 2006.
25-01-06_Contra la Desgana / Jesús Palomino
27-01-06_«Bricomanía» con Jan de Cock
27-01-06_Is Damien Hirst the most powerful person in art?
23-01-06_HIRAKI SAWA
23-01-06_Entrevista a Pedro G. Romero
23-01-06_Rosemarie Trockel: Subversivamente femenina
20-01-06_Crítica: What Good Are the Arts?, by John Carey
19-01-06_Perdidas 38 toneladas de Serra... Richard
17-01-06_Dark Places
18-01-06_WHY BERLIN ! No. 5 – Exhibitions in Berlin January / April 2006
16-01-06_Contraluz / Sergio Barrera
16-01-06_Apaga y vámonos / Light art from artificial light
16-01-06_En la brecha / Sergio Prego
16-01-06_Copyright y el brillante futuro digital de los museos
13-01-06_Lessness / Ricardo Echevarría
12-01-06_fotoencuentros '06
12-01-06_5e Biennal d’Art Leandre Cristòfol
13-01-06_Festival Internacional MEM
13-01-06_Sin mancharse las manos
11-01-06_Class of Wolfgang Tillmans
11-01-06_Seeing Out Loud
10-01-06_KW Institute for Contemporary Art is looking for a curator
05-01-06_ARTIUM 2006
04-01-06_The most buoyant art movements of 2005
04-01-06_Minimalism & Market
04-01-06_Jorge Diezma en Luis Adelantado proximamente...
22-12-05_Mike Kelly: Day is done
18-12-05_Ignasi Aballí, la obra abierta
08-11-09_ Vanessa Beecroft: Desnudas flores de ceniza"VB53"
18-12-05_Video Art On Video IPods
18-12-05_Cuando el vecino llama a la puerta
15-12-05_Hiroshi Sugimoto: End of Time
15-12-05_Pedro Garhel: hasta pronto¡!
19-03-06_Entrevista: Martí Anson, artista
11-12-05_The Power Plant
07-12-05_Light Art from Artificial Light
05-12-05_Fatal Frames / Marcel Pey
03-12-05_Ojos que no ven...
01-12-05_A Brief History of Invisible Art
01-12-05_Olafur Eliasson, 'Notion Motion'
30-11-05_VIB / vídeo
30-11-05_Programa de Estudios Independientes MACBA
28-11-05_Fundación Tàpies: nuevo WEB...
25-11-05_MUSAC inaugurates five new exhibitions...
24-11-05_Rubell Family Collection
30-11-05_Beat less Beat / vídeo
22-11-05_SESSIONS eKAPA 2005
22-11-05_Right about Now: Art and Theory since the 1990s
12-11-05_Little Artist Versus Big Dealer in Sidewalk Showdown
03-11-05_Damián Ortega, ‘Escarabajo'
03-11-05_Permanencias Difusas / CAB
28-11-05_Ignasi Aballí 0-24h
31-10-05_Todo y más / Cabanyal Portes Obertes
31-10-05_The New Art Dealers Alliance (NADA)
23-10-05_Skateboard Fever: 50 años de cultura Skateboarding
22-10-05_Embankment / Rachel Whiteread
05-09-06_Hand Puppet
12-10-05_KEITH HARING. Obra completa sobre papel
11-10-05_Abierto Concurso para cubrir la plaza de Dirección Técnica de Hangar
11-10-05_HIGHLIGHTS. Prudencio Irazabal
05-10-05_Surface Charge
29-09-05_Arts & LEISURE
29-09-05_Atumn in black and white
28-09-05_Francis Alÿs / Seven Walks
27-09-05_Robert Whitman
23-09-05_e-flux video rental slumber party
22-09-05_The Mousetrap
22-09-05_Hussein Chalayan
22-09-05_IDENSITAT Calaf/ Manresa 05
22-09-05_Sesiones animadas
21-09-05_POWER PLANT gallery
21-09-05_WHY BERLIN! No. 4
21-09-05_Monika Weiss
20-09-05_Dora García / Frac Bourgogne
20-09-05_S.M.A.K. is recruiting a Guest Curator
20-09-05_IN CONCERT
20-09-05_OPEN SEASON
08-06-05_Ana Laura Alaez » The Black Angels Death Song
15-01-06_Robert Gober 2 » La falsa fruta verdadera o sin título



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