Eng. below //

Botaniq va a tener uno de sus talleres en el contexto del festival FILE en Sao Paulo, Brasil, este 22 de Julio 2013.

Estas invitado a tomar parte del festival y taller.

Nosotros vamos a estar documentando y experienciando la ciudad y las obras de arte presentadas en el FILE.

Preguntas.

info@botaniq.org

Eng//

Botaniq will develop one of his workshop in the frame of the FILE Festival in Sao Paulo – Brazil, this 22 of July 2013.

You are all invited to take part of this great event the workshop.

We will be documenting and experiencing the city and the works of art presented in the FILE.

Questions:

info@botaniq.org

FILE FESTIVAL.    http://filefestival.org

Text by Pau Cata.

This year International Sympossium on Electronic Art ISEA has taken place in the inspiring city of Istanbul. The title of the showcase was Uncontainable and its focus was on dislocations and the development of contemporary arts at the intersection of art, science and technology. The main New Media display of the symposium was in the Cumhuriyet Art Gallery where the exhibition Uncontanable took place, one of the main topics was: dislocation. The Cumhuriyet Art Gallery is situated in Taksim Square, the meeting point of one of the most vibrant neighbourhoods in town.

The word Taqṣīm comes from the Arabic and means “division” or “distribution”. The Taksim square was originally the point where the main water lines from the north of Istanbul were collected and branched off to other parts of the city. The exhibition itself functioned in this manner, so from the central and vibrant square the festival spread its nets to different locations around the city. ISEA presentations and round tables took place in the Sabanci Center a post-brutalism tower located at the periferical area of Levent and all the workshops except of one happened at the Robert Collage, a 40minutes walk from the center of the city. This one workshop was ‘botaniq: conservation of experiences with Media Art’ heald in the Robert College, a neoclassical building funded in 1863 by two Americans, philanthropist, to offer an “American style” education under the Ottoman Empire. The college has over the years educated many of Turkey’s leading citizens and nowadays in its premises you cannot smoke nor drink ‘Coca Cola’. The impressive building is located on the top of a hill with spectacular views of the golden horn and is surrounded by an even more impressive garden that leads to the Marmara Sea. From here one can imagine perfectly the beginning of the century uniformed Turkish teenagers being properly educated in western fashion. From Taksim Square to the Robert College there is no tube line and one bus (n40) we have never seen. The taxi ride, depending on the mood of the driver and the traffic jumps does not cost less than 12 Liras (10Eur). Once in the entrance of the fenced property you have to hand in your passport first to the security guards and then walk up hill for 20mts till you get, all sweety under the persistent 30C to the astonishing staircase of the actual institution. The trip does not ends here though, before arriving to the place where the workshop took place you have to climb to the third floor of the building, the attic, in which unfortunately no windows and no views where to be seen. Indeed it looks like, as in the case of the famous ‘gecekondus’: the infinite shanty towns of Istanbul, now all being commodified by real state bureaucrats, the net of ISEA spread itself a bit too far, so making the topic of the exhibition, Dislocation, a painful everyday experience.
Beside the pritty-difficult-to-get-to location two persons assisted in the first day, three more in the second which went down to the original two in the last day of the workshop. Yes, just the most brave could adventure to this unknown, marvelous lands and stay constant to their plans and, Stephanie Sarah Lauke and Florian Wiencek are brave and persistent indeed.
The attention of Florian was catched by “(Lights) Contacts” an interactive istallation by Gregory Lasserre and Anaïs met den Ancxt, working as Scenocosme. The istallation consists of a small ball that is touched by a visitor — and nothing happens. But if a second visitor touches the first, the installation produces an array of changing lights and sounds. Stephanie instead decided to document ‘One hundred and eight’an interactive hypnotic installation by Nils Voelker made from garbage bags and fans.

Resulting diaries of the Workshop.

One Hundred And Eight

Artist: Nils Völker. (Germany).

Year: 2010.

Diary of: Stephanie Sarah Lauke (Germany).

Date diary: 15-09-2011.

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Lights Contacts

Artist: Scenocosme (Fr).

Year: 2010.

Diary of: Florian Wiencek (Germany).

Date diary: 15-09-2011.

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Vivan Las Antípodas.

Art work: Vivan las Antípodas.

Artist/Director:Victor Kosskovsky.

Year: 2011. Diary of: Yamilet García A. 

Nationality: Mexican.

Date: March 12 – 15. 2012. Description: Documentary film. 

A través de un collage, ella rescata la idea de cómo las distintas realidades, aparentemente distantes se conectan como complemento.

External references:

VIVAN LAS ANTIPODAS! (2011) Official Excerpt from Richard Lormand on Vimeo.

Araya.

Art work: Araya.

Artist/Director: Margot Benacerrat. (Venezuela).

Year: 2009. Diary of: Talia Montiel  

Nationality: Mexican.

Date: March 12 – 15. 2012. Description: Documentary film. Place: México-Xalapa. Ella trabajó con sal, uno de los elementos que figuran en el documental; al moler la sala recreaba ella misma la coreografía de trabajo que figuraba en la película. No. 36

External references:

Lebensbelt.

Art work: Lebensbelt.

Artist/Director: Elías Brossoise. (Mex).

Year: 2010. Diary of: Valentina Montero. Nationality: Chile. 

Date: March 12 – 15. 2012. Description: Documentary film 30 min. Place: México-Xalapa. No. 34

Lebenswelt.

Art work: Lebenswelt.

Artist/Director: Elías Brossoise. (Mex).

Year: 2010. Diary of: Bernardo Zamora.

Nationality: Mexican.

Date: March 12 – 15. 2012. Description: Documentary film 30 min. Place: México-Xalapa.

Lebenswelt – Bernardo se queda con algunas frases de la película; una de ellas que habla que “los sueños salen de las tripas”. El relaciona esto con el juego de “la piñata”. Y conecta esto con la propia realidad mexicana, la naturalización del crímen, el desamparo.

Ritos de Río.

Art work: Ritos de Río.

Artist/Director: Ben Russell.

Year: . Diary of: Emilio Santiago Marín.  

Date: March 12 – 15. 2012. Description: Emilio construye una bitácora aplicando la misma estrategia que el director de la película: jugar con la reversibilidad de las cosas. Su diario debe leerse con un espejo.

. Place: México-Xalapa. No. 32

Lebenswelt.

Art work: Lebenswelt.

Artist/Director: Elias Brossoise.

Year: . Diary of: Joselin Lohe.  

Nationality: Mex.

Date: March 12 – 15. 2012. Description: . 

  Place: México-Xalapa. No. 31