- Fuzzy Now Broadcasting TV
- Is an independent channel directed by Iván López Munuera. Present Day is a weird-blurring concept built by a number of troublemaking actors. We don't need TV-Shows to explain the controversies, agonic relationships and manifestos of today, but we want them!!! We want Fuzzy Now Broadcasting TV because revolution will not be televised but it could help us to get organized!!!
Iván López Munuera
Iván López Munuera. Is Contemporary Art/Architecture Critic & Curator. He explores the inscription of Contemporary Art in the critical context of the social sciences and mass media studies. He has curated, among other exhibitions, ‘Fan Riots’ (Festival SOS4.8, 2014), ‘Pop Politics: Activisms at 33 Revolutions’ (CA2M, 2012-2013), ‘El Ranchito’ (Matadero, 2010-2012), ‘Circuitos MMX’ (Comunidad de Madrid, 2010) or ‘Los Esquizos de Madrid’ (MNCARS, 2009; Fundació Suñol, 2009; CAAC, 2010).
Meet Cosmo here:
Andrés Jaque / Office for Political Innovation
Patrick Craine, Jocelyn Froimovich, Roberto González, Iván López Munuera
Yannan Chen, Ilgaz Kayaalp, Nicolò Lewanski, Jorge López Conde, Senne Meesters, James Quick, Jarča Slamova.
BAC Engineering and Consultancy
Joaquín García Vicente, Anna Melgarejo, Miguel Mesa del Castillo, Tatiana Poggi, in collaboration with FabLab, Proyectos Arquitectónicos, UA. Special Thanks to Ad hoc.
Bollería Industrial. Paula Currás, Ana Olmedo, Eugenio Fernández Sánchez, Enrique Ventosa.
The New York Times
When it comes to tackling a curated project, one of the most recurring issues in any institution is how to attract public who are not already affiliated to the exhibitions, diverse in their cultural formation, and in what way you can get them to participate in the experience; moving away from the stereotypical spectator, from the subject who already knows what he or she is going to see. An issue that, for curatorial practice, involves the matter of not being patronizing or of not simplifying the discourses and thus not banalizing the offers on show. Developing a complete program me for such a defined frame like that of a music festival requires facing plenty of those kinds of challenges, since the profile of its visitors is that of those who go motivated by the musical line-up. One of the sexiest challenges, indeed...
More: Arquitectura Magazine
Architecture/Space designed by: C+Arquitectos
Photos by: Imagen Subliminal
Fan Riots poster by: Jorge López Conde
In 1983, a few years after she moved from California to New York, Kim Gordon wrote: “The club is the mediator or frame through which the music is communicated (…) People pay to see others believe in themselves. Many people don’t know whether they can experience the erotic or whether it exists only in commercials; but on stage, in the midst of rock’n’roll, many things happen and anything can happen” (Artforum, January, 1983). These few words provide us with a glimpse of the atmosphere Kim Gordon and her social environment were producing at that time. An environment formed by her fellow Sonic Youth, Harry Crews and Free Kitten band members; friends or collaborators, like the artists John Fahey, Mike Kelley, or Raymond Pettibon; and film-makers, like Todd Haynes or Spike Jonze. A social environment built out of components of different kinds: sensorial (their music), material (clothes, alternative spaces, and music venues), visual (album covers, video-clips, posters), symbolic (fanzines, art projects), or conceptual (articles, statements, or reviews in the media). Kim Gordon’s account of her personal experience provides opportunities to approach how the politics of Pop are performed by means of garage noise, eroticism, domestic interiors, T-shirt illustrations, or the death of the American Dream...
SCAN ART Selection
|Glass House, by Philip Johnson. Photo: Iván López Munuera|
|Kirstein Tower and Lake Pavilion, by Philip Johnson. Photo: Iván López Munuera|