BCN Producció 2017 is beginning the process to select proposals for its tenth edition. Aimed at the artistic community of Barcelona and its area of influence, this open process fosters the creation of projects that require resources for production and institutional support in order to become reality.
With this programme, La Capella helps to meet artists’ financial and production needs while closely following the discursive lines of art today.
Any questions regarding this call, please contact La Capella on: firstname.lastname@example.org
Three small-format solo exhibition projects in a space measuring approximately 4 × 8 metres that will be located at the entrance of La Capella
Three projects for solo exhibitions in the Sala Gran at La Capella
A small-format curatorship project in a space measuring approximately 4 × 8 metres that will be located at the entrance of La Capella
A curatorship project in the Sala Gran at La Capella
Two off-site projects
Two research projects
One publication project
Three live action projects
Two digital environment projects
PANEL OF JUDGES
The panel of judges in charge of selecting the projects will be formed by David Armengol, Monica Bello, Joan Casellas, Latitudes (Max Andrews and Mariana Cánepa), Mireia Sallarès, Alexandra Laudo and Oriol Gual (with the right to speak, but not to vote).
Interested artists have until 2 May at 11 am to fill in the participation form.
David Mutiloa looks back at the transformations that have taken place in recent decades in the dynamics of manufacturing work: the digitising of its procresses, the fractalising of its times and spaces, the absorption of cognitive and affective faculties, etc. Throughout much of the 20th century, workers struggled to attain a social condition that would enable them to escape the alienation caused by work, but this aspiration for self-realisation ended up integrating perfectly into the production chain, giving rise to a widespread constant state of depression. SYNTHESIS aims to trace the genesis of this change, taking it as the turning point in which the origins of contemporary tragedy reside.
In the summer of 2017, Marco Noris walked the 300 kilometres of the stretch of teh Spain-France border that lies in the province of Girona, an area through which ran the main paths followed by Republicans heading into exile. Over the course of his trek, the artist will paint a work for each of the 198 boundary markers on his route: walking and painting while linking points along the frontier, as if balancing on this invisible line that divides what is one in two, making the invisible visible and thereby unfolding a new scenario of memory.
El peso de mis vecinas. La poesía y el cante como dispositivos estratégicos explores ‘production’ by women in the Moroccan/Amazigh community and their concerns in a neighbourhood community context by studying the collective ability to compose sung lines that turn conversation into song.
Through this research, the project looks into the close relationships, distance and common ground between the women in the community. The research is being carried out in El Born, a neighbourhood in the old quarter of Barcelona, and on the border between Melilla and Morocco.
NOTES ON A NOVEL (THAT I AM NOT GOING TO WRITE) OR THE SWIMMING POOL, OR THE HAIR, THE HERB AND THE BREAD, OR THE TOMATO PLANT is Irene Solà's project for Barcelona Producció for digital environments.
NOTES ON A NOVEL is a project about seeds that never grow, or about planting an apple tree but growing a tomato plant. It is the preparation for a novel that no one any longer intends to write. It is a novel that was never written and everything it could have been. It is a project about writing in the digital era, as the notes for this novel are going to be written online in a public folder on Google Drive. It is a meta-novel made up of all the plots, snippets and fragments, dialogues, notes and ides, and discarded material that were never braided. And it is also a swimming pool full of thoughts, books, articles, conversations, questions, discoveries, investigations, anecdotes and stories.
NOTES ON A NOVEL, from September 18, 2017, at notesonanovel.com
By fermenting miso, Nyamnyam raises a series of process and community-related dynamics organised in different contexts in Barcelona for the six months that this biological process lasts. In this way, the fermentation of a food becomes a system of social, cultural and vital agitation that will expand from four specific events taking place between October 2017 and April 2018.
As a direct testimony to its dislocated status, the miso recipient will remain at La Capella from 10 October until the end of the process, thereby establishing a dual function: to share its initial point of reference and to mark its extended existence in time. Setting up miso in the exposition space at La Capella not only involves its physical presence, but includes other ways to sense its fermentation, like smell.
The Nyamnyam association will discuss their project 'Són els organismes els que tindran l'última paraula' (Micro-organismswill have the last word) on Saturday 30 September, the day celebrating the tenth anniversary of A TAULA! Cicle de cultura i gastronomia put on by Centre Cívic El Sortidor.
Date: Saturday 30 September, from 11 am onwards
Place: Centre Civic El Sortidor (Pl. Sortidor, 12. Poblesec)
Talk Trouble is an exhibition showing different lines of research focused on structures and systems of speech circulation. A linguistic, sonorous and performative axis which expands to different registers such as the text, the object or the installation.
We see a drawing of a man holding a pole in the centrepiece of this exhibition. Is it a ghost that he is relating to? And who is this man? What i he trying to do? He seems to be poking in the fog, but maybe he is just someone doing something practical that he was ordered to do, like remove a piece of fabric. Or is it a flag and he is waving it? And if it is a flag, what colour is it? It looks white. So maybe he is surrending. And what if what matters is not so much what he is moving or removing, but what he might find under the fabric?
Matteo guidi gives us few hints with the title of his work Remover con una vara de madera (Moving with a wooden pole). And neither of the two black and white pieces displayed in the dark and grey exhibition hall seem to give any clues: an illuminated retro photograph of what seems like a dirty corner of a warehouse and the video projection of a hand-drawn animation loop.
In this firts session to open the project, we propose a day in the La Vanguardia occupied vegetable garden. This is the first space chosen as a context of active and disruptive fermentation.
Sunday, October 29th, from noon to 6 pm. La Vanguardia vegetable garden. Llull street/Llacuna street (Poblenou district).
Free entry. If you would like to stay for lunch, please send us an email at email@example.com
Objects & Desires is a narrative inquiry into the objects and people that cross the border between Morocco and Europe, and into the desires they harbour. In keeping with the poetic methodology of the adventurers of old, the Catalan-German artist Christina Schultz will present the results of her research and of her residency at Le 18.
Reading in three acts.
1. Rage, Home & Insults.
2. Internal jokes, Romance & Contagious
3. Emissions, Fools & Bonding
The reading will start at noon
With the collaboration of: Aleix Clavera, Noela Covela, Ameen Metawa and Clàudia Pagès.
To expand on the exhibition, Matteo Guidi has organised a tour of the Center of Collections of the city's history museum guided by Jorge Luis Marzo. The purpose of the tour is to use the case from which Remover con una vara de madera departs to reflect on the ghosts hounding the memory of our country, those that we buried so quickly and deeply.
Very limited places.
Please confirm your reservation at: firstname.lastname@example.org
On November 22, the Conference Hall of the COAC (Architects' Association of Catalonia) will host the presentation of the publication 'The Drowned Giant', held by the artist Anna Moreno and the architect and researcher Lluís A. Casanovas.
Col·legi Oficial d'Arquitectes de Catalunya. Barcelona, Plaça Nova, 5 (Ciutat Vella). Starting at 7pm
On 22 November, the Conference Hall of the COAC (Architects' Association of Catalonia) will host the presentation of an LP containing the sound recording of this restoration process, the only documentation of the event that exists. The album features the testimony of Gila Dohle, The Downtown Alligators, Enrique Doza, Peter Hodgkinson, Anna Moreno, JC Ramone, Toti Soler, Ramón Del Solo and others. It also includes a booklet with fictional stories written by the architects Paula Currás and Havi Navarro, the curator María Montero, the authority on the blues Ramón del Solo and the artist Anna Moreno.
Col·legi Oficial d'Arquitectes de Catalunya. Barcelona. Plaça Nova, 5 (Ciutat Vella). From 7pm
As a closing of the exhibition Talk Trouble, a reading in three acts will happen:
-Rage, Home & Insults
-Bromas internas, Romance & Contagious
-Emissions, Fools & Bonding
Performing Aleix Clavera, Noela Covelo, Ameen Mettawa and Claudia Pagès.
sunday, January 7, at noon.
El mal alumne. Pedagogia crítica per a intel·ligències artificials studies the mechanisms of artificial sight and learning by means of neural nets. Nowadays, machines can see and learn, but what do ‘seeing and learning’ mean? Is it possible to formulate a critical pedagogy concerning their learning? How can we subvert the usual uses – commercial and monitoring – of these tools? Our research project aims to experiment in this field by using three basic strategies: producing alternative learning; evaluating the unexpected results produced by these tools (very often regarded as errors); and making these tools talk not about images but about themselves, revealing characteristics of their learning.
Eixams explores the territories of beekeeping in an experimental encounter with the visual arts and video documentary-making. From this, we can extract manifestations of the behaviour of the life of bees expressed in shared formats of knowledge, research and healthcare for the hive in order to facilitate the work of the beekeeper by means of devices and experiments designed specifically for research purpose. The resulting data is displayed by means of an audio-visual installation.
In a Barcelona enmeshed in the globalised collaborative economy, a shared flat is sponsored by a Russian and American multinational. In exchange for a paltry few material goods, the occupants display the brand in the privacy of their home on a collection of ordinary clothing.
The shared flat, both an expression of modern-day neoliberalism and a relic of Stalinist totalitarianism (the kommunalka), is a contract as flexible as it is constrictive.
artengo2000 presents a succession of genre movie scenes lubricated with microsociology and the psychoanalisis that imagines the meanderings of the protagonists through the dispositifs of sharing and their networks of friends connected by web platforms born in Silicon Valley.
My curiosity was piqued by the mysterious journey through Paris by a car with a strange artefact on its roof, emitting and spreading subsonic vibrations and waves like a virus as it made its way through the city in March or April 1968. the journey, witnessed by just a small proportion of the populace, the Gaston Lagaffes of the city and the country, took place a month or two before the May 1968 Revolution. If, as some say, the Russian Revolution of 1917 was originally nothing more than a happening organised by Lenin, then perhaps the origin of the Paris revolution of 1968 was the bad vibes of a jinx.
Second session of the project Són els microorganismes els que tindran l’última paraula
Activity associated with the Air Pur installation at the Sâlmon< Festival (Mercat de les Flors)
Plaça Margarida Xirgu – 11 February from 12 midday to 5.00 pm
Our aim is to mount a huge pop-punk-glam-trash-glitch Graeco-Roman bacchanalian feast as a way of resisting the occupation and colonisation of the body poetics by capitalism, in a tribute to the freedom of the body and an endorsement of its power to transport us as a gateway to the great mysteries of art. A collection of lost archives of the future. The post-apocalypse is a psycho-aesthetic condition. Aesthetic junkies who have overdosed. The kitsch is the new rococo.
Colours are a cultural construction which consists in pointing at a certain stripe of the light spectrum and giving it a name. This projects proposes a live action using colour expressions in order to develop a composition of words, sounds and gestures which may put into question our understanding of colour. Just like green Chroma Key screens, this piece is a surface where anything can be projected
The Reading Room is concerned with the unrestricted exploration of other forms of collective reading. The third session of this project presents an action situated between the boundaries of the open essay, micro-theatre, performance and sculptural installation, while also studying the idea of writing plays for the theatre as a medium. Through the reappropriation of Miran Božovič’s essay “The Omniscient Body”, which contains a wealth of narrative material, surrealist brushstrokes, the philosophy of materialism, veiled misogyny and indoctrination, and in which the theme of the acousmatic voice in Diderot’s first novel, Les bijoux indiscrets, and in Pythagorean legends is examined as the possible origin of the term, what is proposed is a deconstruction of meaning expressed through the action of two women drummers who embody two or three characters, a sculpture presented as an actor and a complete alteration of the idea of place that involves what is audible as representation and as fiction.
We subvive in this era of high definition and low empathy. Hiding behind the regime of transparency is the dictatorship of specular objects. Identity has fragmented into Web morphemes: filters, “I like” and other clicks. Hype is the new faith and an outdated immunological firewall transforms otherness into a World of Warcraft horde. In the floor of Silicon Valley, a bunch of fingers slides across the black waters of a frozen lake; in its depths, a twinkling charm holds the erotic energy in a Cartesian chatroom. Fear and loathing on AliExpress. Time becomes a purchase history and the predictive program pursues the accident. Porno-existentialist philosophers debate the differences between the society of the spectacle and the spectral society: “Ne vous connectez jamais” on the façade of a data centre. In the distance, the scopic lament of voices on auto-tune drowns in a quantified sea. Greenpeace protects Technogaia. The data cold war to control painstaking and poor readings. Nick Land, Nobel Peace Prize winner. Cyber-realist demonstrators attack the parapsychology industry: no to the networks of hyperconnected ghosts. Steve Jobs cargo cult. When laughter turns to a smile, the only thing left to say is “LOL”.
“A break can be what we are aiming for” is a direct quotation from the author Sara Ahmed that points us towards the notion of rupture, of breakage, but also of a pause, an interruption. The fragile element may be a structure, a context or a situation that gradually wears us down, causing breakages and damage. The fact that we feel vulnerable means that we need safe places and spaces where we can gather our strength and build a family, a group, a tribe, a guerrilla force. Looking after ourselves and others is also a political act. Is there any way of relating to the break that does not aspire to restore what was broken? Remaining outside may constitute the safe place. A break may be what we are aiming for; it may be both a crevice and a hammer.
The works and formats in this exhibition revolve around and traverse these ideas that focus on vulnerability as power, the energy that comes from being demolished and demolishing at the same time, seeking, in a dual sense, the idea of the safe place and also the possibility of expanding, of circulating in a fragmentary and collective manner.