2009, Santiago de Chile

invitacion Street Hacker

 

 

STREET HACKER 2


International Visual Arts show with artists coming from Chile, Italy, United Kingdom, Greece and Lebanon.

• The show “Street Hacker 2” will run form the 2nd to the 30th of May at the Galería de Arte Centro de Extensión UC, Santiago de Chile.

• The show is part of the international project “Platform Translation”.

“Street Hacker 2” is the second part of Natalia Arcos’ curatorial proposal which focuses on the idea of generating a translation from computer concepts, related to the intervention of systems (as ‘troyans’, ‘hacker’, and ‘free software’), to the field of action of the visual arts. This translation is a theoretical exercise that pursues to connect the dynamics of Internet hacking to the aesthetic creation.

The key idea is the imaginary re-appropriation of the street and the bunkers as an active alternative facing the withdrawn that the society suffers when it is threatened by the economical impositions of the global capital.

The capacity of material recuperation, connected to the survival in a territory, constitutes an adequate mode of sustaining an approach that defends other ways of exercising citizenship. In this way, the concept of translation (which axes the whole project of Platform Translation) comes out here in the capacity of constant reinvention, which is, at the same time, related to the dynamics of the free software (open coding programs that are improved by the users).

In sum, in Street Hacker 2, translation works on two levels: on the one hand, computer concepts are translated and illuminate the visual creation, and on the other, the artworks will embrace the capacities of change, mutation, and constant development.

Curator: Natalia Arcos Salvo

Guest Curators: Zoi Pappa (Greece), Barbara D’Ambrosio & Silvano Manganaro (Italy)

Participants Artists: Marwa Arsanios ( Lebanon ), Elena Bellantoni ( Italy ), Christian Costa (Italy), Nury González (Chile), Carolina Hoehmann (Chile), Sachiyo Nishimura (Chile), Zoi Pappa (Greece), Soledad Pinto (Chile), Tom Robinson (UK), Francisca Sánchez (Chile), Mihalis Theodosiadis (Greece)

 

 

 

Work


Marwa Arsanios

“I’ve heard stories 2”

I’ve heard stories 2, is the second episode of the series I’ve heard stories. The first one took place in Athens during the first stage of the project Platform Translation (November 2008). The artwork that I am presenting in the exhibition Street Hacker 2 is a collaboration with the artist Nury González (part of a series of collaborations with different artists and collectives through out the touring of Platform Translation). I sent her out curtains recuperated from the mythical Carlton Hotel in Beirut before it was demolished. As a curtains’ recipient, she intervened on them in her own way, in an attempt to create a new narrative and find entry points to a material loaded with histories and stories.

 


marwa2

 

Marwa, Nury detail 1

 

Marwa, Nury detail 2

 

 

Nury González

“Historias de Guerra”

During the last years, I have developed several projects —Historia de Cenizas (1998), El Mercado Negro del Jabón (1999), Correspondencias de Mayo (2001)— which recall certain narratives, some of them are historical, others are fictional, but all arise from an autobiographic tradition of displacement: major tragedies such as war and exile or what could be framed as “historical instability”. I have tried to create, with the imaginary that it comprises, a co- narrative trough artistic procedures, overall exploring the instable quality of the materials and with the translation of practices generally connected with the domestic realm. My references are connected to the search, the rescue and the fixation of oral stories that are blurred, lost domestic crafts, stories that are heroic and private at the same time which destiny is forgotten, and to archive documents giving it a personal dimension. The pictures, documents and objects kept as treasures by my ancestors (displaced and brought thought frontiers to casually arrive in Chile) allow me to weave a
memory and build up a possible story as well as to create the possibility of having a history. In this context, I received the proposal of an artistic collaboration, which touches all the areas of my personal interest, generating the same narrative energy that is produced by my personal stories and documents. Through the Chilean curator Natalia Arcos, the Lebanese artist Marwa Arsanios sent me four curtains from the Carlton Hotel in Beirut to be intervened. The curtains had been previously intervened by an Athenian artist, and I received them as a Greek present. I also received a written narrative and a video that shows Marwa Arsanios recovering the curtains from the hotel, an act that symbolizes the restoration (as she points out) of the history of her own childhood in Beirut, a city that suffered 15 years of civil war. Besides, in the video one can see the waves of the Mediterranean, crushing against the bank close to the hotel. This hotel, a common place of “modern architecture” was not closed because of a homosexual passional crime.

From all these stories, sometimes it is difficult to imagine and understand, what those textiles carry – I vaguely remember a scene in a Schlondorf’s movie, where a white horse rums by Beirut’s ruins- I keep the material itself and the images of the Mediterranean waves. All the rest is meaningless, inclusive the long travel of the curtains -Beirut, Athens, Santiago- which I extend to the Lago Riñihue, in the South of Chile. In the coast of this paradisiacal lake (which is connected to another tragedy: the earthquake in Chile of 1960), I opened the parcel, took the curtains and submerged them into sweet water (excepting the one intervened in Athens by Anna Lagiou Tsouloufi). I kept them there for seven days, to wash them from the stories they had embodied. During this process, which I registered in a video and gave a ritual character, I realized that the curtains had a sort of lining, totally destroyed by the sun and the passing of the time. So, I took the curtains out of the water, and let them dry in the sunlight. Subsequently, I folded them and decided to restore the fabrics burned by the sun of Beirut by fixing them as if they were archaeological
textiles, ironing and sewing their fractal edges to a new white linen. The fabrics then become big maps, almost invisible, of a unknown territory.

 

Marwa, Nury general

 

Nury detail

 

 

Elena Bellantoni

“Tent Action”

Walking in the city is a key aspect of my practice. As an artist I approach the city to experiment with the idea of mobility, exploring and questioning the socio-political realities of an urban space and of its transit zones. Moreover, my artworks and interventions only exist in and through mobility; they circulate and move around, interacting with complex realities of an already unstable world. From such a practice, poetics of wandering, strolling and nomadism are established. My work is becoming more and more related to each city I visit. Tent_Action consists of a video and an installation. They are the outcome of a performance I did in Santiago de Chile. I walked into the city from 7am till 7pm, carrying on my shoulders a tent that I build up with founded materials. The psycho-geographical landscape of Santiago changed during my walk: I started the action in the poorest area of the city, I crossed the richest part, and I finished my performance in front of the Palacio de la Moneda, where in 1973 the President Salvador Allende died. There, in the middle of Plaza de la Constitución, I installed my tent, disassembled it slowly, and observed how it collapsed on the ground.

 

Elena General

 

Elena guy

 

Opening, Elena

 

 

Carolina Hoehmann

“Migratory reconstruction”

Migratory reconstruction is the reconstruction of a temporal story. The migration as a global phenomenon constitutes the answer to different reasons: one of them (the most complex) is the quest for opportunities of improvement in life quality. Migration comprises economical, social, and political factors, and generates common spaces where the difference of costumes, life and production rhythms, communication and understanding are confronted. Besides the political aspects related to both, the rights of immigrants and the rights of the receptive community, arise and power relations emerge.
Migratory reconstruction uses newspaper as a material. Its use refers to the reconstruction of a temporal story in relation to the problematic of migration in Spain. It mainly includes recollected news about this theme between January 2008 and May 2009. The organization of several newspaper fragments tries to generate a tension among the theme, the image, and the material, and to confront the viewer with visual and aesthetic problematics. Moreover, it attempts to point out the fragile, instable, and massive presence of the immigrants.

 

Carola general

 

Carola people

 

Carola detail

 

 

Sachiyo Nishimura

“Paisaje / Ficcion 10”

The constant and progressive development of contemporary cities obstruct the observation of certain spaces that – located both inside and at the outskirts – are apparently passive and kept aside from the urban rhythm. Even though they cover large extensions of space, this sort of landscapes have become almost imperceptible on the daily basis, recognizable but not identifiable, remaining insignificant in our memory. As an artist, I attempt to reactivate the image of these spaces through photomontage, re-presented under a more memorable, unique identity.
The medium of photography, while it translates the visible space into a flat surface, allows our gaze to adapt to the slow, almost inactive timing of these passive cityscapes. Once they are photographed, a translation into pure graphic codes takes place: lines, figures, directions, tonalities, information that becomes vulnerable to manipulative operations such as repetition, reframing, scale variations and fragment superimposition. My artistic proposal aims to reconstruct the landscape observation scheme through photography. By means of certain graphic manipulations based on mathematical formulae, the photographic image is being recomposed, in order to alter its spatial dimensions and contemplation timings. By doing this, the resulting photomontage aims to extend a different version of the landscape, more complex and more significant than its real referent.

 

Sachiyo obra

 

Sachiyo General

 

Sachiyo detail

 

 

Soledad Pinto

“Ruined”

Ruined is part of my research on the recovery of lost territories (landscapes memories, cityscapes, and urban ruins), which aims to develop their translation and restoration in tension with the material boundaries of the exhibition space.
These translations —reterritorializations— are conceived as interplays between opposite poles and juxtapositions of different kind of spaces in a single place. They want to call the attention to those microprocesses where the solidness of the boundaries is contested in almost invisible ways, to highlight the ambivalent, contingent, and transient nature of the limits that structure our daily experience. In effect, projects on urban ruins stress the fact that those spaces configure systems of opening and closing possibilities, which isolate them as much as make them penetrable; sites where the passing of the time devours specific features and collapses the space’s constitutive antinomies, i.e. Near/Distant and Inner/Outer. In Ruined, a re-constructive approach drives my use of the production capacity of the media (silkscreen printing). This work attempts to restore the materiality of the original space through massive image repetition and accumulation, performing an act of reterritorialization that metaphorically turns the interior of the
exhibition space inside out.

 

HPIM2309

 

Opening, Sole

 

 

 

 

Tom Robinson

“With the Grain”

At the time of writing, I have not yet begun the production of the piece of work I will show in Santiago this May. There is yet time for things to go horribly wrong. The work I have in mind is to address the site of Canary Wharf in London. The site is a shining vertiginous fortress of dominant finance. At least it was when I began thinking about the project ten or twelve months ago. Things have change since then. My intention is to engage with the inherent theatricality of the architecture. To the buildings that demand submission, I will submit. I will ask to be dragged through the site on my back. With video camera in tow, the work will pit the ego and the myth of Canary Wharf against the ego and the myth of the Artist.

 

Tom General

 

Tom, With the grain still 1

 

Tom, With the grain still 3

 

 

Francisca Sánchez

“Powers”

The piece I’m presenting is part of a series called Potencias/Powers. Since last September, I have developed works that are related to representations of the light and their manifestations: sun sparkles, rays, reflections, sunsets, among others. The sculptural exploration around these images has generated several objects, one of which was set out in Athens in November 2008. My research understands the light as an isolated element that has a body, and is dynamic and solidifiable. Therefore, the sculptures or situations that I build are material expressions of an immaterial phenomenon.

Francisca General

 

Francisca Detalle 1

 

Francisca Detalle 2

 

Francisca Obra Negra

 

 

Greek Intervention

Curator: Zoi Pappa

On the same wavelength as the first exhibition of platform Translation in Athens, Transleat me, which focused on the idea of translation as a device of manipulation and power, TRANSLEATED explores the violation of one’ s right to privacy. TRANSLEATED reflects on the notion of being translated in the computerized world and on the fact that our personal information is warehoused, mined, and assembled, to model and manipulate our behavior. TRANSLEATED questions the invasion of the personal realm by the public sphere. Our intervention explores the systematic relationship between privacy and information and the necessity of maintaining a private sphere by constructing a “safe haven”, or sanctuary, where people may fell free from the scrutiny and possibly the disapprobation of others.
Based on the idea of profiling technologies and ambient intelligence, which are used as devices to manipulate/influence/modify preferences of consumers, the Greek artist Michail Theodosiadis attempts to create a ‘secure’ public shelter where people could stand and feel relaxed. Then, without their consent, the visitors become the ideal preys over which the artist has supreme control. On the other hand, Zoi Pappa, with her photographic installation ‘Up Against The Wall Motherfuckers’, protests against dominant power structures. She disguises by wearing a ‘meat’ mask to emphasize the importance of an intimate zone and defend the integrity of her private realm.

 

General Greeks

 

 

Mihalis Theodosiadis

“Gallery Hacker”

A hacker in computing is invisible and many times the effect of hacking is indirect. A hacker has no tactile contact with the victim. A gallery hacker can have an impact on visitors by spreading invalid data and generating confusion.

In the project ‘Street Hacker 2’ I used the idea of hacking in a public space, and I inducted Gallery Hacker to hack the system that gave it the reason for being. I exploited the concept of the project and the space that was given to me (entrance corridor) by creating something that looked like an information point. Gallery Hacker’s adaption in the space was quite successful for it was the first thing in the gallery that was approached by viewers. Many of them read the text but, instead of having some information about the show they were confronted with a fiction that provided them advice for successful city-hacking. This fiction was parodying the idea of Street Hacker as it was presented in an indoor institution.

 

Mihalis detail

 

Zoi Pappa

“Up Against the Wall Motherfuckers”

The photographic installation Up Against The Wall Motherfuckers protests against dominant power structures. Loosing my profound identity in the public eye is a mean of gaining anonymity, intimacy, and liberty by protecting my personal domain. Creating a mysterious anarchist character by wearing a ‘meat’ mask, I attempt to reinvent myself in order to generate a new self out of the conventions of the society. In Up Against The Wall Motherfuckers, my transformation vents feelings of shame and alienation in parallel with senses of relief, free will, rebellion, and power. By exercising control over intimate and sensitive information about myself, I exercise control over the way I portray to others, what enhances my capacity of acting as an autonomous, creative, and free agent.

* Up Against the Wall Motherfuckers was an anarchist group based in New York. This “street gang with analysis” was famous for its Lower East Side direct action and it is said to have inspired members of the Weather Underground and the Yippies. Abbie Hoffman characterized them as “the middle-class nightmare… an anti-media phenomenon simply because their name could not be printed.”

 

Zoi General

 

Zoi detail

 

 

Italian Intervention

Curators: Barbara D’ Ambrosio & Silvano Manganaro

At this stage of the project, we intend to focus on the concept of continuity, which is an underlying concept of translation and, at the same time, reflects the structure of the travelling exhibition. The reflection on continuity will also work by linking the issues addressed in Santiago to those that will be developed later in Rome. After all, isn’t translation a process that allows the permanence or the continuity of meaning from one language to the other? And isn’t recovery something that marks a continuity and a rupture? In the act of regaining or saving something lost, the desire of preserving the continuity is clear. What concerns us, and what we look for, is to think and wonder about the time, place, and space (physical and mental) in which one may feel that this continuity is also a passage or a meeting/confrontation. In this context, the artist Christian Costa has been invited to work on what is preserved in cultures over centuries and millennia, not only on what is recovered but also on what remains in the collective unconscious, as something that is continually converted and, at the same time, expanded in the process of translation. The recovery is then understood as a re-invention, an uninterrupted dialogue that occurs between one era and another, between different cultures or different traditions, a continuous circular flow (an “eternal return”) in which any loss is also a conquest.

 

 

Christian Costa

“Death is the Only Answer”

Christian General

 

Christian detalle 2

 

Christian detalle 1

 

Christian detalle 3



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