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).

29 de nov. de 2014

Fan Riots featured in Arquitectura Magazine COAM!!!

Fan Riots, the project I curated for FESTIVAL SOS 4.8 2014, featured in the last issue of Arquitectura Magazine (COAM, 370)!!!

Intro:

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







Beyond the Frame

My contribution for the last issue of Arquitectura (COAM, 370) about Beyond the Supersquare, the exhibition in Bronx Museum, NY: Habitually, the history of the 20th century architecture has been understood as a lineal tradition developed around certain focal points in Central Europe and, later, North America, and other nuclei and geographical locations have been considered mere receivers of these architectures and ideologies. An interpretation that can't be maintained upon looking in detail at the multitude of experiences produced in diverse places, like the countries in Latin America...




29 de oct. de 2014

Kim Gordon in Conversation with Iván López Munuera

Magui Dávila and Las Lindas Pobres have edited a fanzine with a conversation between Kim Gordon and me: It's Not a Statement. It's a Desire. Here are some pics, soon I will give you more info about how to get it!!!

Intro:

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...







27 de oct. de 2014

SCAN ARTE Selection

Desde SCAN ARTE, una plataforma digital creada para difundir y promover el trabajo de creadores españoles emergentes y establecidos, me pidieron una selección de agentes culturales // SCAN ART, a digital platform created to disseminate and promote the work of emerging and established contemporary Spanish artists, asked me to curate a selection of cultural agents. Here it is:

SCAN ART Selection




En el bosque, la Casa de Cristal / Into the Woods, the Glass House

En este link podéis encontrar mi recorrido por la Casa de Cristal de Philip Johnson publicado en El Viajero de El País. Aquí un adelanto:
Cada año, del 1 de mayo hasta al 30 de noviembre, la Glass House (casa de cristal) de Philip Johnson se abre para recibir la visita de grupos reducidos. A 45minutos en tren desde Nueva York, la casa es un hito de la arquitectura. Hay proyectos que parecen aglutinar una época. Construcciones que son un reflejo de estructuras sociales complejas donde lo visible compite con lo que no es tan evidente. La Glass House de Philip Johnson es uno de esos casos.

Here you could find my visit to Philip Johnson’s Glass House published  in El ViajeroEl País. Here’s an excerpt.
Every year, from May 1st until November 30th, Philip Johnson’s Glass House is open to the public receiving small groups. About a 45 minutes away by train from New York, this house is a milestone in the history of architecture. There are projects that look like they could bring together a whole period of time. Buildings that could act like reflections of complex social structures, where the visible is as well as important as the not so obvious. Philip Johnson’s Glass House is one of these examples.



Glass House, by Philip Johnson. Photo: Iván López Munuera

Kirstein Tower and Lake Pavilion, by Philip Johnson. Photo: Iván López Munuera