Postcapital Archive (1989-2001) The Book

Daniel G. Andújar / Technologies To The People

Postcapital Archive (1989-2001)

Edited by Hans D. Christ, Iris Dressler, texts by  Iris Dressler, Iván de la Nuez, Valentín Roma, graphic design by Nieves und Mario Berenguer Ros

German/English

2011. 344 pp., 523 ills.

17.00 x 24.00 cm clothbound

pub. date: September 2011 by Hatje Cantz

ISBN 978-3-7757-3170-6

Price: 35 Euro (Amazon Online)

In conjunction with the exhibition Postcapital Archive (1989-2011). Württembergischer Kunstverein Stuttgart

| A political art project in the form of a multimedia installation, open database, and interactive laboratory

The project Postcapital Archive 1989–2001 by Spanish artist Daniel García Andújar centers on the profound changes that have occurred around the world on social, political, economic, and cultural levels. Key issues are the fall of the Berlin Wall and the September 11, 2001 attacks in New York. Here, Andújar examines developments after the collapse of the Wall not from the aspect of postcommunism, but postcapitalism. He is concerned with the question of how “Western” societies have changed without their former counterpart, communism, and what kinds of new walls were built through global politics after 1989 and 2001. The foundation of the project is a digital archive containing over 2,500 files the artist has gathered from the Internet over the course of the past decade.

| Ein politisches Kunstprojekt als multimediale Installation, offene Datenbank und interaktives Labor

Das Projekt Postcapital. Archive 1989–2001 des spanischen Künstlers Daniel García Andújar kreist um die tief greifenden Veränderungen, die sich in den letzten zwei Jahrzehnten weltweit auf gesellschaftlicher, politischer, ökonomischer und kultureller Ebene ereignet haben und als deren Eckpunkte der Fall der Berliner Mauer sowie der Terroranschlag auf das World Trade Center am 11. September 2001 gelten. Dabei betrachtet Andújar die Entwicklungen nach dem Mauerfall nicht unter Aspekten des Postkommunismus, sondern des Postkapitalismus. Es geht ihm um die Frage, inwiefern sich die »westlichen« Gesellschaften ohne ihr ehemaliges Gegenstück – den Kommunismus – verändert haben und welche neuen Mauern durch die globale Politik nach 1989 und 2001 gezogen wurden. Das Projekt basiert auf einem digitalen Archiv mit über 2500 Dateien, die der Künstler in den letzten zehn Jahren aus dem Internet zusammengetragen hat.

 

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Post_Cyber-Communism and the Holes in the Pavement (v0.2.0.1)

EXTRACTS from the READER 01
Postcapital. Archive 1989–2001
Orton Akıncı

Daniel García Andújar describes the condition and the period after the “fall of the Berlin Wall” as an aspect of post-capitalism, rather than of post-communism. That condition, the period covered in Andújar’s project “Postcapital. Archive 1989-2001” also features the advance in information technologies and the phenomenon of the Internet.

When the students began ripping of the paving stones to throw them to the police during the events of May 1968 in Paris, they realized the yellow sand underneath the paving stones; the cobblestones. And when they also turned on the water pumps, the sand got wet. Yes, this was the “beach”. The beach of freedom, covered up by the pavement of the modern civilization of property and control. The “beach” was the “another world”, ”under the paving stones”.

In his 1998 essay “Cyber-communism”, Richard Barbrook stated “the Americans are superseding capitalism in cyberspace”. This was also the time Andújar describes as an aspect of post-capitalism. According to Barbrook, the Americans were having a different experience than that of capitalism in their daily Internet practice. This experience, which he relates to that of communism, was a consequence, an aspect of capitalism. According to Barbrook, it was capitalism itself which made the “digerati” a powerful class with high salaries, and it was the digerati who developed the information technologies, the Internet and the idea of free/open source software, as well as many other possibilities that enabled the individuals to “supersede” capitalism in “cyberspace”. Just like the scenario Karl Marx proposed for the end of the capitalism: “At a certain stage of development, the material productive forces of society come into conflict with the existing relations of production or — this merely expresses the same thing in legal terms — with the property relations within the framework of which they have operated hitherto. From forms of development of the productive forces these relations turn into their fetters. Then begins an era of social revolution. The changes in the economic foundation lead sooner or later to the transformation of the whole immense superstructure.”  

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MANIFIESTO FOR A SOCIETY OF UNEASINESS

Václav Bělohradský

Umělec 1/2010 / cz en de. Ilustrated by Daniel G. Andújar. Umelec magazine. p 76-109

MECHANISMS

There are no facts in front of which we would be silenced in the same way as in front of a reality that appeared on its own, such that „there is nothing to talk about“. Builders of universal empires require an agreement between them to be announced as an agreement with reality itself. If they succeed, there will be a worldwide universal empire, which won‘t stand anything but „willing helpers“. …

The greatest contradiction of industrial society is the rational nature of its irrationality, its rational foolishness. The system’s ever-increasing level of productivity is accompanied by the ever more rapid destruction of ancient worlds; sovereign political power rests on the threat of nuclear holocaust; our thoughts and emotions are subjugated to the power strategies of large corporations; the helplessness of the majority increases in direct proportion to the enormous and unprecedented power of the privileged minority. A society filled with such contradictions can survive only because of the immense effectiveness of its controlling mechanisms, which rob us of the ability to perceive the system’s objectives and our role within it as an offense to human reason and feeling. “The mechanism by which the individual is bound to his society has itself been altered. Social control is grounded in the new needs which it has created.” We become the chief editor of a newspaper, we have a high salary, a person with a high salary must live in a house outside of Prague, we take out a loan on our high salary,

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Chronos

Postcapital. Archive 1989-2001 Daniel Garcia Andújar/Technologies To The People

Exhibition

2010

-Postcapital TimeLine. Goyang Studio, National Museum of Contemporary Art, Curated by Nathalie Boseul Shin. Seoul, South Korea.

-Postcapital Archive Madrid. La Noche en Blanco, Curated by Basurama, Madrid, Spain

Postcapital Archive (1989 – 2001) . Total Museum of Contemporary Art, Seoul. Curated by Nathalie Boseul Shin and Hans D. Christ -South Korea

-Postkapital Arşiv 1989-2001 (1989-2001). OPAL Contemporary Art Space. Curated by Basak Senova. Istanbul – Turkey

Postcapital Archive (1989 – 2001) . The Unavowable Community; Bòlit-LaRambla. Curated by: Valentín Roma. Girona, Spain

Postcapital Archive (1989 – 2001) . Honour; Espai Visor Gallery.  Valencia, Spain

2009

Postcapital Archive (1989 – 2001), Iberia Art Center, Comisariado por: Valentín Roma. Beijing, China

Trapped in Amber. Angst for a Reenacted Decade. Postcapital (Honor). UKS, Oslo, Curated by: Helga-Marie Nordby, Bassam el Baroni. Oslo, Norway

– Angel of History, Postcapital (copyright), Laboral , Curated by: Christiane Paul, Steve Dietz. Gijón, Spain.

-Postcapital (Archive 1989 – 2001). “Mauer/Bremen”. Museum for Modern Art, Bremen, Germany. Curator: Anne Thurmann-Jejes.

Postcapital (Archive 1989 – 2001). Venice Bienal. Catalan Pavilion, Venice, Italy. The Unavowable Community with: Archivo F. X./Pedro G. Romero, sitesize; Curator: Valentín Roma

Angel of History, Postcapital (Archive 1989 – 2001) “Copyright”, Laboral, Gijon, Spain. Curator: Christiane Paul, Steve Dietz

Postcapital (Archive 1989 – 2001), Württembergischer Kunstverein, Stuttgart, Germany. Curator: Hans D. Christ and Iris Dressler

Anna Kournikova Deleted By Memeright Trusted System – Art in the Age of Intellectual Property, Postcapital (Archive 1989 – 2001) “Library”. Hartware MedienKunstVerein, PHOENIX Halle Dortmund, Germany. Curator: Inke Arns and Francis Hunger

La mediation du conflit/Mediating Conflict, Postcapital (Archive 1989 – 2001). “Honor. The War”, Maison de La Culture, Montreal, Canada. Curator: Sylvie Lacerte.

– 2nd Biennial 01SJ, Global Festival of Art on the Edge, Zero1. Postcapital (Archive 1989 – 2001). “Honor. The War”. San Jose, California. Curator: Steve Dietz, USA

Close Window. Refresh, Senko Studio in Viborg, Postcapital (Archive 1989 – 2001). “Honor The War”. Curator: Annette Finnsdottir, Denmark

2007

Postcapital (Archive 1989 – 2001). “Secret”, Barcelona Toolbar, Matucana 100, Ciudad de Santiago de Chile. Curator: Valentín Roma, Chile

2006

– Postcapital, “City, Money, Politics” with Carlos Garaicoa and Ivan de la Nuez. Palau de la Virreina, Barcelona, Spain. Curated by the artists.

Video Screening

2009

-Multitud Singular: El arte de resistir, Postcapital, The Wall, Museo Nacional de Arte Reina Sofía, Curated by: Berta Sichel. Madrid, Spain.

2008

– Postcapital Honour. 2nd Biennial 01SJ Global Festival of Art on the Edge, Zero1. San Jose, California, Curated by Steve Dietz. USA.

– Postcapital Honour. Close Window. Refresh, Senko Studio in Viborg,  Curated by: Annette Finnsdottir. Denmark

Public intervention

2007

Postcapital, Secret, Barcelona Toolbar, Matucana 100, Ciudad de Santiago de Chile, Curated by: Valentín Roma, Chile.

+ info Daniel G Andújar Archive / Postcapital