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Pool de Fotografos en Flickr


Fraction Magazine Pool (Flickr)

Pool 2


Primal Poetics! at Social Fiction


Primal Poetics! at Social Fiction 1

Celestino descends from the Funai Office in Brasil in 1980. Xavante leader routinely pressured officials to demarcate their lands. Celestino wears traditional war paint, a war club and a brief case. From Indigenous struggle at the heart of Brazil.

Primal Poetics! at Social Fiction 2

No se pierdan este archivo relacionado con el Arte Ambiental y los Indigenas

Andy Goldsworthy


Andy Goldsworthy makes land art. His sculpture is a sensitive, intuitive response to nature, light, time, growth, the seasons and the earth.

For the land artist, the whole planet is an artist’s studio. The land artist ranges over the whole globe. A desert, a beach, a field, a forest becomes a studio, a place of creative activity. This means the very texture and colour and shape and dampness and springiness and strength and size of moss, for instance. Or a stone. Or a crevice in a rock formation. The way the light falls on a patch of grass, the little bits of dead, yellowish grass on top of the newer, green grass. Pine cones, closed-up. Flowers turning sunward in the late afternoon. These are the things land artists deal with in making art. These are the actualities that artists employ when they create artworks. 

Rivers and Tides
A clip from the beautiful documentary on Andy Goldsworthy, “Rivers and Tides”.

Environmental Art 384 – Channel 10
Ephemeral Art-in-Nature works by University of Guam Spring 2009 Environmental Art 384 class.

A Fluxus Walk


Psychogeography for Dummies


Psychogeography Psychogeography was defined in 1955 by Guy Debord as the “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.” A more straightforward definition is that it is “a slightly stuffy term that’s been applied to a whole toy box full of playful, inventive strategies for exploring cities. Psychogeography includes just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape.”

What Burns never Returns


WBNR – What Burns Never Returns is a performance and research project exploring in particular the mediated relationship between the body and the urban environment. It has three main interrelated objects of research and it is developed through a creative dialogue between the relative practices: choreography, urban geography-visual art and communication technologies intertwined in an emergent disciplinary field dealing with the human body, the city and the generative code. In order to analyze these trajectories, Alessandro Carboni has started the research in Asia, were urban transformation are more visible: the region of Guangdong called “the Pearl Delta River” as Hong Kong, Guangzhou, Shenzen and also the regions of Guangxi, Sichuan, Henan,Tibet and the city of Beijing. The journey was focused on the exploration and study of the process of landscape transformation called: “high-speed urbanization” and on the most disarticulated forms of urban density. After the Chinese experience, he has involved in this project, through the creation of Platforms of research in Europe, a wide range of contributors, enriching his basic artistic and technical competencies with such figures as urban researchers, media artists and theorists and software programmers, in order to lead a both a performance production and a theoretical contribution.

The performance presented in Prague, is a development of a performative act between a steady cognitive practice exploring specific urban environments and choreography. On the one hand, the dance oriented practice is an investigation of the human body and its gesture facing the intense, dense and over-stimulated urban environment: a practice of exploration of a performance and choreography methodology, capturing gestures, tics and idiosyncrasy of modern metropolitan life as sign of deeper pressures and thrusts influencing everyday life behavior in public. On the other hand, an inquiry on specific urban environments using spatial assessments, GPS technology, drifts, aimed at developing a context-based knowledge of the densely built environment producing the emergent character of the city of Prague.

What Burns never Returns

Obrist Interview with Vaneigem


Hans Ulrich Obrist entrevista a Raoul Vaneigem

A continuación un extracto de Hans Ulrich Obrist, In Conversation with Raoul Vaneigem  (entrevista completa de Journal e-flux)

HUO: In your writing you have described the work imperative as an inhuman, almost animal condition. Do you consider market society to be a regression?

RV: As I mentioned above, evolution in the Paleolithic age meant the development of creativity—the distinctive trait of the human species as it breaks free from its original animality. But during the Neolithic, the osmotic relationship to nature loosened progressively, as intensive agriculture became based on looting and the exploitation of natural resources. It was also then that religion surfaced as an institution, society stratified, the reign of patriarchy began, of contempt for women, and of priests and kings with their stream of wars, destitution, and violence. Creation gave way to work, life to survival, jouissance to the animal predation that the appropriation economy confiscates, transcends, and spiritualizes. In this sense market civilization is indeed a regression in which technical progress supersedes human progress.

HUO: For you, what is a life in progress?

RV: Advancing from survival, the struggle for subsistence and predation to a new art of living, by recreating the world for the benefit of all.

HUO: My interviews often focus on the connections between art and architecture/urbanism, or literature and architecture/urbanism. Could you tell me about the Bureau of Unitary Urbanism?

RV: That was an idea more than a project. It was about the urgency of rebuilding our social fabric, so damaged by the stranglehold of the market. Such a rebuilding effort goes hand in hand with the rebuilding by individuals of their own daily existence. That is what psychogeography is really about: a passionate and critical deciphering of what in our environment needs to be destroyed, subjected to détournement, rebuilt.

Consulte el contenido original en la revista electrónica de arte e-flux