ES

Second Thoughts

Second Thoughts

Second Thoughts

Alumnos

Second Thoughts

Project

Second Thoughts is a program of lectures, workshops, and panel discussions focused on artistic practices that use visual communication and graphic design as mediums and motives of critical research and experimentation. The project is a one-year initiative consisting of a series of visits from international artists to Mexico City. It will conclude with an exhibition and a publication that will bring together the work of the participants and local artists.

Activities will be held at Fundación Alumnos47 and Museo Tamayo. The program starts in November 2015.

Second Thoughts is a program of lectures, workshops, and panel discussions focused on artistic practices that use visual communication and graphic design as mediums and motives of critical research and experimentation. Each edition, withThe project is a one-year duration, consistsinitiative consisting of a series of visits from international artists to Mexico City and culminates inCity. It will conclude with an exhibition and a publication that will bring together the work of the participants with that ofand local artists together.

This edition’s aActivities will be held at Fundación Alumnos47 and Museo Tamayo. The program will startstarts in November 2015.

Second Thoughts is a program of lectures, workshops, and panel discussions; focused on artistic practices that take advantageuse visual communication and graphic design as mediums and motives of visual comunication ascritical research and experimentation. Each edition, with a resource and reason for experimentation and critical research. With duration of one year each editionone-year duration, consists of a series of visits from international artists to Mexico cCity, and culminates within an exhibition and a publication, bringing togetherpublication that will bring the work of the guestsparticipants with that of local artists together.

Theis edition’s activities will take placebe held at the premises of alumnos47Fundación Alumnos47 and the Tamayo museum andMuseo Tamayo. The program will start from novemberin November 2015.

Curatorial abstract

Art production has a long tradition of defying dominant economic models, however, it also contributes to the forms of hypercapitalism that seem to establish themselves as the global political paradigm. On one hand, industries are focusing on services where communication is essential and manpower requires creative, speculative, and intellectual procedures. On the other, tasks directly devoted to culture are increasingly subjected to the norms of their markets. Contemporary artists have become archetypal figures of the current labor conditions. If this is true, how can they make meaningful criticism against the same power structures that sustain them?

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In recent years, artists that implement visual communication strategies in their work have proliferated. Graphic design is exercised as a post-conceptual resource: as a means to integrate radical ideas in appealing and accessible products for the broader public.

By working with preexisting material, the discursive possibilities of the acts of collecting, selecting, organizing and distributing content unfold, calling into question the notions of authorship that have placed the artist in a privileged position within the cultural hierarchy. Likewise, the mutability and reproducibility of information through different mediums dismantles the supremacy of the unique art object and, in the process, reveals how institutional systems and economic forces regulate the flow of knowledge.

b1

With new technologies available, artists and designers explore spaces of social discontent with a variety of approaches. These include propositions to intellectual property such as open source software and copyleft licensing, post-fordist manufacturing techniques, counter-corporate surveillance and government censorship initiatives, self-sustaining operations such as the DIY movement, and self-governed and, in many cases, illegal modes of entrepreneurship such as piracy and the black market.

Art production has a long tradition of defying its institutions and dominant economic models;, however, it is part of the transition towardsalso contributes to the forms of hypercapitalizationhypercapitalism that seem to establish themselves as the global political paradigm. On one hand, industries are focusing on services where informationcommunication is essential and manpower requires creative, speculative, and subjectiveintellectual procedures. On the other, tasks directly devoted to culture are increasingly subjected to the norms of capitalist production.their markets. Contemporary artists have become archetypal figures of the current labor conditions. But, if the latter wereIf this is true, how can artiststhey make meaningful criticism against the same power structures that sustain them?

a1

In recent years art practicesyears, artists that implement visual communication strategies in their work have emerged.proliferated. Graphic design is being exercised as a Ppost-Cconceptual resource and: as a means to integrate radical ideas in appealing, and accessible products for the broader public.

Through recontextualizingBy working with preexisting material, the discursive potencialpossibilities of the acts of collecting, selecting, archiving, organizing, and distributing content unfolds— questioningunfold, calling into question the notions and fundamentals of authorship that maintainhave placed the artist in a privileged position of the artist within the cultural hierarchy. Likewise, the mutability and reproducibility of information through different mediums dismantles the supremacy of the unique art object and, demystifiesin the process, reveals how institutional systems and economic and political forces regulate the flow of culture and knowledge.

b1

With new technologies available, artists and designers explore spaces of social discontent, exercising propositions withindiscontent with a wide variety of activities, ranging from new approachesapproaches. These include propositions to intellectual property, such as open source software and copyleft licensing; P, post-Ffordist manufacturing techniques;, counter-corporate surveillance and government censorship operations;initiatives, self-sustaining initiativesoperations such as the DIY movement, toand self-governed and, in many cases, even illegal modes of entrepreneurship such as piracy and the black market.

Art has a long tradition of defying its institutions and dominant economic models,; however, it is also participating in apart of the transition totowards the forms of hypercapitalization that are establishingseem to establish themselves as the political paradigm. On one hand, industries are focusing on services where the transmission of information is essential, and work procedures requiremanpower requires creative, speculative and subjective and creative abilities, onprocedures. On the other hand,other, tasks directly devoted to culture are subjected to the norms of capitalist production. Contemporary artists have become archetypal figures of the current condition of labor butconditions. But, if this isthe latter were true, how can theyartists make criticismsmeaningful criticism against the same power structures sustainingthat sustain them?

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Artists are implementingIn recent years art practices that implement visual communication strategies have emerged. Graphic design is being exercised as a Post-Conceptual resource and as a means to integrate radical ideas in appealingappealing, and accessible products tofor the generalbroader public. In this regard, graphic design is exercised as a postconceptual resource and as a means of access between the artistic world and commercial endeavors.

Through recontextualizing preexisting material, the discursive possibilities inpotencial of the acts of collecting, selecting, archiving, organizing, and distributing content unfolds—calling into questionunfolds— questioning the notions and fundamentals of authorship that maintainsmaintain the privileged position of the artist.artist within the cultural hierarchy. Likewise, the mutability and reproducibility of information inthrough different mediums, dismantles the supremacy of the unique art object and, in the process, demystifies how marketeconomic and political forces regulate the circulationflow of culture and knowledge.

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With new technologies available, artists investigateexplore spaces of social discontent, exercising propositions alongwithin a wide variety of activities, ranging from new approaches to intellectual property, such as open source softwaressoftware and copyleft licensing; Post-Fordist manufacturing techniques; counter-corporate surveillance and governmentalgovernment censorship operations; self-sustaining initiatives such as the DIY movement;, to self-governed, and, in many cases, even illegal, modes of entrepreneurship such as piracy and the black market.

Credits

This is a project by Federico Pérez Villoro developed with Fundación Alumnos47.

We would like to thank Museo Tamayo and all the people who have made Second Thoughts possible, especially: Alicia Cheng, Sarah Gephart, Mariana Pérez Villoro, Ana Paula Tovar, Uriel Fernández Lignian, Chris Hamamoto, David Reinfurt, Daniël van del Velden, Constant Dullaart, Eva Posas, Chris Lewis, Manuel Alcalá, Paula Villanueva, Adriana Maurer Walls, Aisel Wicab, Rosa E. Contreras, Hélène Ficat, Juan A. Gaitán, Julieta Aranda, Jorge Munguía, Mariana Alfaro, Héctor Juárez, Francisco Cordero-Oceguera, Francisco Zúñiga, Valentina Jager, Juan Arturo García, Íñigo López Vázquez, Diego Salvador Ríos, Anni Garza Lau, Dora Bartilotti, Emilio Pérez, Sofía Sánchez Navarro, Eduardo Makoszay, Paz Sastre, Jota Izquierdo, Jesús Robles Maloof, Manuela Moscoso, and Gisela Pérez de Acha.

This website was designed and developed by Chris Hamamoto and Chris Lewis.

This is a project by Federico Pérez Villoro developed with Fundación Alumnos47.

We would like to thank Museo Tamayo and all the people who have made Second Thoughts possible, especially: Alicia Cheng, Sarah Gephart, Mariana Pérez Villoro, Ana Paula Tovar, Uriel Fernández Lignian, Chris Hamamoto, David Reinfurt, Daniël van del Velden, Constant Dullaart, Eva Posas, Chris Lewis, Manuel Alcalá, Paula Villanueva, Adriana Maurer Walls, Aisel Wicab, Rosa E. Contreras, Hélène Ficat, Juan A. Gaitán, Julieta Aranda, Jorge Munguía, Mariana Alfaro, Héctor Juárez, Nicolás Pradilla, Francisco Cordero-Oceguera, Francisco Zúñiga, Valentina Jager, Juan Arturo García, Íñigo López Vázquez, and Diego Salvador Ríos.Ríos, Anni Garza Lau, Dora Bartilotti, Emilio Pérez, Sofía Sánchez Navarro, Eduardo Makoszay, Paz Sastre, Jota Izquierdo, Jesús Robles Maloof, Manuela Moscoso, and Gisela Pérez de Acha.

This website was designed and developed by Chris Hamamoto and Chris Lewis.

This is a project by Federico Pérez VilloroFederico Pérez Villoro developed thanks towith Fundación Alumnos47.

We would like to thank Museo Tamayo for facilitating its spaces and contributing to the promotion of the activities and to all the people who have made the projectSecond Thoughts possible, especially: Alicia Cheng, Sarah Gephart, Mariana Pérez Villoro, Ana Paula Tovar, Uriel Fernández Lignian, Chris Hamamoto, David Reinfurt, Daniël van del Velden, Constant Dullaart, Eva Posas, Chris Lewis, Manuel Alcalá, Paula Villanueva, Adriana Maurer Walls, Aisel Wicab, Rosa E. Contreras, Hélène Ficat, Juan A. Gaitán, Julieta ArandaAranda, Jorge Munguía, Mariana Alfaro, Héctor Juárez, Nicolás Pradilla, Francisco Cordero-Oceguera, Francisco Zúñiga, Valentina Jager, Juan Arturo García, Íñigo López Vázquez, and Jorge Munguía.Diego Salvador Ríos.

This website was designed and developed by Chris Hamamoto and developed by Chris Lewis.

Program

Visit 1: David Reinfurt (Dexter Sinister), November 11–14, 2015

David Reinfurt will show and discuss projects that exist in spaces between design, editing, publishing and distribution. Gathered under the general heading of "interfaces," his activities will explore the use of software as works of art in the digital age.

Lecture

“I’ll be your interface.*”

  • November 11, 2015 (7:00pm)
  • Museo Tamayo (Auditorium)
  • Paseo de la Reforma 51, Bosque de Chapultepec, Mexico City, Mexico
  • Free activity and open to the public

Panel

“Functional aesthetics”

  • Participants: David Reinfurt (Dexter Sinister), Juan A. Gaitán (director of Museo Tamayo), Julieta Aranda (artist and e-flux co-founder), and Jorge Munguía (director of Buró–Buró)
  • Moderated by Federico Pérez Villoro

  • November 12, 2015 (7:00pm)
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity with limited space RSVP here

Workshop

“Welcome to tomorrow, today.*”

  • November 13–14, 2015
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity by invitation and open call Interested write here

Visit 2: Daniël van der Velden (Metahaven), March 17–20, 2016

Daniël van der Velden will show and discuss recent projects that explore the mutation of propaganda in the age of social media. His activities will address the relationship between politics and aesthetics as well as the possibility of design to question contemporary power structures.

Lecture

Propaganda about propaganda

  • March 17, 2016 (8:00pm)
  • Museo Tamayo (Auditorium)
  • Paseo de la Reforma 51, Bosque de Chapultepec, Mexico City, Mexico
  • Free activity and open to the public

Panel

Realidades paralelas

  • Participants: Daniël van der Velden, Paz Sastre, Jota Izquierdo, Jesús Robles Maloof

  • March 18, 2016 (8:00pm)
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity with limited space RSVP here

Workshop

-

  • March 18–20, 2016
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity by invitation

Visit 3: Constant Dullaart, May 12–14, 2016

Constant Dullaart will discuss the relevance of the Internet and digital technologies for art production and dissemination, as well as the corporate and institutional powers behind these platforms. His activities will address the limits between public and private communication in our heavily surveilled society, and where social capital seems to drive contemporary behavior.

Lecture

Contemporary materialities

  • May 12, 2016 (8:00pm)
  • Museo Tamayo (Auditorium)
  • Paseo de la Reforma 51, Bosque de Chapultepec, Mexico City, Mexico
  • Free activity and open to the public

Panel

Balconism: visibility and privacy in the digital age

  • Participants: Constant Dullaart, Manuela Moscoso, Gisela Pérez de Acha
  • Moderated by Federico Pérez Villoro

  • May 13, 2016 (8:00pm)
  • Museo Experimental El Eco
  • Sulivan 43, San Rafael, Mexico City, Mexico
  • Free activity and open to the public

Workshop

Publishing on the balcony

  • May 12–14, 2016
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity by invitation

Visit 1: David Reinfurt (Dexter Sinister), November 11–14, 2015

David Reinfurt will show and discuss projects that exist in spaces between design, editing, publishing and distribution. Gathered under the general heading of "interfaces," his activities will explore the use of software as works of art in the digital age.

Lecture

“I’ll be your interface.*”

  • November 11, 2015 (7:00pm)
  • Museo Tamayo (Auditorium)
  • Paseo de la Reforma 51, Bosque de Chapultepec, Mexico City, Mexico
  • Free activity and open to the public

Panel

“Functional aesthetics”

  • Participants: David Reinfurt (Dexter Sinister), Juan A. Gaitán (director of Museo Tamayo), Julieta Aranda (artist and e-flux co-founder), and Jorge Munguía (director of Buró–Buró)
  • Moderated by Federico Pérez Villoro

  • November 12, 2015 (7:00pm)
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity with limited space RSVP here

Workshop

“Welcome to tomorrow, today.*”

  • November 13–14, 2015
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity by invitation and open call Interested write here

Visit 2: Daniël van der Velden (Metahaven), March 17–20, 2016

Daniël van der Velden will show and discuss recent projects that explore the mutation of propaganda in the age of social media. His activities will address the relationship between politics and aesthetics as well as the possibility of design to question contemporary power structures.

Lecture

Propaganda Aabout Ppropaganda

  • March 17, 2016 (8:00pm)
  • Museo Tamayo (Auditorium)
  • Paseo de la Reforma 51, Bosque de Chapultepec, Mexico City, Mexico
  • Free activity and open to the public

Panel

-Realidades paralelas

  • Participants: Daniël van der Velden, Paz Sastre, Jota Izquierdo, Jesús Robles Maloof

  • March 18, 2016 (78:00pm)
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity with limited space RSVP here

Workshop

-

  • March 18–20, 20152016
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity by invitation

Visit 3: Constant Dullaart, May 10–14,12–14, 2016

Constant Dullaart will talk aboutdiscuss the relevance of the iInternet and technologydigital technologies for artistic production,art production and dissemination, as well as the corporate and institutional power relationshipspowers behind these platforms. His activities will address the limits between public and private communication in thisour heavily surveilled society, and where social capital seems to drive contemporary behavior.

Lecture

Contemporary Mmaterialities

  • May 10,12, 2016 (78:00pm)
  • Museo Tamayo (Auditorium)
  • Paseo de la Reforma 51, Bosque de Chapultepec, Mexico City, Mexico
  • Free activity and open to the public

Panel

Balconism: visibility and privacy and visibility in the digital age

  • Participants: Constant Dullaart, Manuela Moscoso, Gisela Peérez de Acha
  • Moderator:Moderated by Federico Pérez Villoro

  • May 13, 2016 (78:00pm)
  • Museo Experimental El Eco
  • Sulivan 43, San Rafael, Mexico City, Mexico
  • Free activity with limited spaceand open to the public

Workshop

Publishing on the Bbalcony

  • May 13–14,12–14, 2016
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity by invitation

vVisit 1: David Reinfurt (Dexter Sinister), November 24—29,11–14, 2015

David Reinfurt will show and discuss projects that exist in spaces between design, editing, publishing, and distribution. Framed withinGathered under the conceptgeneral heading of "interfaces," his visit and activities will explore the use of software as functional works of art in the digital age.

Lecture

“I’ll be your Iinterface.*

  • November 25,11, 2015
  • (6(7:00pm)
  • Auditorium museo TamayoMuseo Tamayo (Auditorium)
  • Paseo de la Reforma No 51, Bosque de Chapultepec, Mexico cCity, Mexico
  • Free eventactivity and open to the public

SeminarPanel

Self-governed publishingFunctional aesthetics

  • Participants: David Reinfurt (Dexter Sinister), Juan A. Gaitán (director of mMuseumo Tamayo), Julieta Aranda (artist and e-flux co-founder), and Jorge Munguía (director of Buroó–Buroó)
  • Moderator:ed by Federico Pérez Villoro

  • November 26,12, 2015 (7:00pm)
  • Fundación Alumnos47
  • Library Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico cCity, Mexico
  • Free activity with limited space (to rsvp email here)RSVP here

Workshop

“Welcome to Ttomorrow, Ttoday.*

  • November 27-29,13–14, 2015
  • Friday–SaturdayFundación Alumnos47
  • Study Hall Museo Tamayo
  • Paseo de la Reforma #51, Bosque deAlumnos 47, San Miguel Chapultepec, Mexico cCity, Mexico
  • Free activity by invitation and open call (interested email us here)Interested write here

vVisit 2: Daniël van der Velden (Metahaven) February 23–27,(Metahaven), March 17–20, 2016

Daniël van der Velden will show and discuss recent projects that explore the mutation of propaganda in the age of social media and the Internet.media. His activities will address the intersectionrelationship between politics and aesthetics andas well as the possibilitiespossibility of design to question contemporary power structures.

Lecture

Propaganda aAbout Propaganda

  • February 24,March 17, 2016 (8:00pm)
  • Museo Tamayo (Auditorium)
  • Paseo de la Reforma 51, Bosque de Chapultepec, Mexico City, Mexico
  • Free activity and open to the public

Panel

-

  • Participants: Daniël van der Velden, Dr. Paz Sastre, Jota Izquierdo, Jesuús Robles Maloof

  • February 25,March 18, 2016 (7:00pm)
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity with limited space RSVP here

Workshop

-

  • February 26-27,March 18–20, 2015
  • Fundación Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity by invitation

vVisit 3 : Constant Dullaart, April 19–24,May 10–14, 2016

Constant Dullaart will discusstalk about the relevance of the Iinternet and digital technologiestechnology for art production and dissemination,artistic production, as well as the corporate and institutional powerspower relationships behind these platforms. His activities will address the limits between public and private communication in ourthis heavily surveilled society, and where social capital seems to drive contemporary behavior.

Lecture

-Contemporary Materialities

  • April 19,May 10, 2016 (87:00pm)
  • Museo Tamayo (Auditorium)
  • Paseo de la Reforma 51, Bosque de Chapultepec, Mexico City, Mexico
  • Free activity and open to the public

Panel

Balconism: privacy and visibility onlinin the digital age

  • Participants: Constant Dullaart, Manuela Moscoso, Gisela Perez de Acha
  • Moderator: by Federico Peérez Villoro

  • April 20,May 13, 2016 (87:00pm)
  • Museo Experimental El Eco
  • Sulivan #43, San Rafael, Mexico City, Mexico
  • Free activity with limited space

Workshop

-Publishing on the Balcony

  • May 12–14,13–14, 2016
  • Alumnos47
  • Alumnos 47, San Miguel Chapultepec, Mexico City, Mexico
  • Free activity by invitation

Participants

David Reinfurt

David Reinfurt is an artist, writer, and designer based in New York whose work integrates highly conceptual ideas with technological experimentation. In 2000, Reinfurt founded O-R-G, a design studio made up of a constantly shifting network of collaborators.

In 2006, Reinfurt, along with Stuart Bailey, established Dexter Sinister, a small workshop that works contrary to large-scale contemporary publishing. Following the transformations in industrial product manufacturing, Dexter Sinister applies post-fordist ideas such as Just-In-Time economies, uses inexpensive local machinery and web based distribution strategies. Through a combination of active research, speculative projects, and an extended practice in design, Dexter Sinister addresses the scope of visual communication as a means to generate knowledge and circulate information. The workshop is responsible for the acclaimed magazine “Dot Dot Dot” and “The Serving Library,” a virtual archive and a physical library that reciprocally feed each other.

a1

Reinfurt is a professor at Princeton University and has held teaching positions at Yale University, Columbia University and the Rhode Island School of Design. He has also been a visiting critic at the Royal College of Art and the Gerrit Rietveld Academy. In 2006 and 2007, he was a research affiliate at the Center for Advanced Visual Studies at MIT and in 2010 was named a United States Artists Rockefeller Fellow in Architecture and Design. His work has been exhibited extensively and included in the permanent collections of the Walker Art Center, the Whitney Museum, the Cooper Hewitt National Design Museum, and the Museum of Modern Art.

Daniël van der Velden

Daniël van der Velden is an artist, designer, and writer based in Amsterdam. In 2007, together with Vinca Kruk, Daniël founded Metahaven, a studio whose practices consider graphic design as a tool to analyze models of social organization as well as structures of economic and political power. Their activities have included identity proposals for Sealand, a self-proclaimed sovereign nation-state located on a naval platform off the British coast; the development of Nulpunt/0, a social media site that allows users to comment on and share official documents; and product design projects for WikiLeaks.

a1

In early 2016, Metahaven released “The Sprawl”, a film presented in multiple formats that explores the mutation of propaganda in the age of social media. The piece centers on communication processes during the recent Ebola outbreak, the conflict between Ukraine and Russia, and the rise of the Islamic State (ISIS).

Metahaven’s work has been exhibited in places such as Manifesta 8, MoMA PS1, Artists Space, Casco, the Walker Art Center, CAPC musée d'art contemporain de Bordeaux, Künstlerhaus Stuttgart, Bureau Europa, Maastricht, AA London, the Gwangju Design Biennale, Museion, and Kunsthalle Baden-Baden. In 2010, Metahaven published “Uncorporate Identity” with Lars Müller Publishers, and in 2015, “Black Transparency: The Right to Know in the Age of Mass Surveillance” with Sternberg Press.

Daniël van der Velden currently serves as a critic at Yale University, as an advising researcher at the Jan van Eyck Academie and a tutor at the Sandberg Institute. He has lectured in numerous schools including Columbia University, the School of Visual Arts, Rhode Island School of Design, the Royal College of Art, Goldsmiths University, and the Royal Academy of Arts, as well as the Tate Britain, the Stedelijk Museum, and the Venice Architecture Biennial.

Constant Dullaart

Constant Dullaart is an artist based in Berlin whose work explores the vernacular of communication tools and the Internet understood as a public space. Dullaart is interested in the aesthetic and structural aspects of mass media and the channels by which we can access information. His approach is political and critiques institutional and corporate systems influencing contemporary semantics.

a1

Through websites, performances, and installations, Dullaart sets into play the dialectics of notions such as “private” and “public,” “physical” and “digital,” “offline” and “online,” dissolving their binary nature. Recent projects include “Jennifer in Paradise,” a digital restoration of the first ever photoshopped image; “Treasure of Lima,” an encrypted code with the location of a container with artworks by leading artists, buried in a Caribbean island; and dozens of websites designed as spaces of institutional critique and anti-corporation protest, where a series of explorations with the Google interface stands out.

Dullaart is a former resident of the Rijksakademie and currently holds a teaching position at the Werkplaats Typografie in Arnhem. His work has been exhibited in places such as MASS MoCA, UMCA, the New Museum, Polytechnic Museum, Autocenter, de Appel, W139, and the Stedelijk Museum.

David Reinfurt

David Reinfurt is an artist, writer, and designer based in NYCNew York whose work integrates highly conceptual ideas with technological experimentation. In 2000, Reinfurt founded theO-R-G, a design studio O-R-G, a practice composedmade up of a constantly shifting network of collaborators.

In 2006, Reinfurt, along with sStuart bBailey, Reinfurt established Dexter Sinister, a small workshop in the lower east side of New York City—running counterthat works contrary to large-scale contemporary large-scale publishing. Following the transformations in industrial product manufacturing, Dexter Sinister applies post-fordist ideas such as just in time economies and print on demand,Just-In-Time economies, uses inexpensive local machinery, and considers web based distribution strategies. TroughThrough a combination of active research, speculative projects, and an expandedextended practice in design, Dexter Sinister addresses the reachscope of visual communication as a means to generate knowledge and circulate information. The workshop is responsible for the acclaimed magazine d“Dot dDot dDot and for The“The Serving Library:Library,” a virtual archive and a physical library that reciprocally feed each other.

a1

Reinfurt is a professor at Princeton uUniversity and has held teaching positions at Yale uUniversity, Columbia uUniversity, and the Rhode Island School of Design. He has also been a visiting critic inat the Royal College of Art and the Gerrit Rietveld Academy. In 2006 and 2007 we2007, he was a research affiliate at the Center for Advanced Visual Studies at MIT and in 2010 was named a United States Artists Rockefeller fFellow in aArchitecture and dDesign. His work has been exhibited extensively and included in the permanent collections of the Walker Art Center, the Whitney Museum, the Cooper Hewitt National Design Museum, and the Museum of Modern Art.

Daniël van der Velden

Daniël van der Velden is a designeran artist, designer, and writer based in Amsterdam. In 2007, together with Vinca Kruk, DanielDaniël founded mMetahaven, a studio whichwhose practices consider graphic design as a tool to analyze models of social organization as well as structures of economic and political power structures. Placing emphasis in notions such as transparency and visibility, recentpower. Their activities have included identity proposals for the identity of Sealand, a self-proclaimed sovereign nation-state located on a naval platform off the British coast,; the development of Nulpunt/0:, a social media site that allows users to comment on and share official documents; and a range of research andproduct design projects for WikiLeaks.

a1

In late 2015,early 2016, Metahaven released The Sprawl, a documentaryfilm presented in multiple formats that explores the mutation of propaganda in the age of social media. The piece focusescenters on communication processes during the recent eEbola outbreak, the conflict between Ukraine and Russia, and the rise of the Islamic State (ISIS).

Metahaven’s work has been exhibited in places such as Manifesta 8, MoMA PS1, Artists Space, Casco, Tthe Walker Art Center, CAPC musée d'art contemporain de Bordeaux, Künstlerhaus Stuttgart, Bureau Europa, Maastricht, AA London, the Gwangju Design Biennale, Museion, and Kunsthalle Baden-Baden. In 2010, Metahaven published Uncorporate Identity with Lars Müller,Müller Publishers, and in 2015, Black Transparency: tThe rRight to kKnow in the aAge of mMass sSurveillance with Sternberg Press.

Daniël van der Velden currently serves as a critic at Yale uUniversity, as an advising researcher at the Jan van Eyck Academie and as a tutor at the Sandberg iInstitute . He has lectured in numerous schools including Columbia uUniversity, the School of Visual Arts, Rhode Island School of Design, the Royal College of Art, Goldsmiths University, and the Royal Academy of Arts, and in institutions suchas well as the Tate Britain, the Stedelijk Museum, and the Venice Architecture bBiennial.

Constant Dullaart

Constant Dullaart is an artist based in Berlin. Interested inBerlin whose work explores the vernacular of communication strategiestools and tools, and in the iInternet understood as a public space,. Dullaart investigatesis interested in the aesthetic and structural aspects of mass media and of the channels by which we havecan access to information. His approach is political and critical tocritiques institutional and corporate systems influencing contemporary semantics.

a1

Through websites, performances, and installations, Dullaart sets into play the dialectics of notions such as “private” and “public,, “physical” and “digital,, “offline” and “online”.“online,” dissolving their binary nature. Recent projects include Jennifer in Paradise, a digital restoration of the first image ever Pphotoshopped; image; “Treasure of Lima, an encrypted code with the location of a container with numerous artworks by leading artists, buried in an island at thea Caribbean shore;island; and dozens of websites designed as spaces of institutional critique and anti-corporation protest. Here it stands outprotest, where a series of explorations Dullaart did with the Google’s interface. stands out.

Dullaart is a former resident of the Rijksakademie and currently holds a teaching position at Tthe Werkplaats Typografie in Arnhem. His work has been exhibited atin places such as MASS MoCA, UMCA, the New Museum, Polytechnic Museum, Autocenter, de Appel, W139, and the Stedelijk Museum.

David Reinfurt

David Reinfurt combinesis an artist, writer, and designer based in NYC whose work integrates highly conceptual ideas with technological experimentation. After receiving his MFA in Graphic Design from Yale in 1999 and worked at IDEO in San Francisco, heIn 2000, Reinfurt founded ORG, athe design studio O-R-G, a practice composed of a constantly shifting network constantly rotating partners.of collaborators.

In 2006, together with Sstuart Bbailey, Reinfurt established Dexter Sinister, a small publishing workshop that runs contraryin the lower east side of New York City—running counter to the realities of the editorial production of large-scale.contemporary large-scale publishing. Following the example of the transformations in the world of industrial product manufacturing, Dexter Sinister applies post-fordist ideas like "just-in-time" economies, usingsuch as just in time economies and print on demand, uses inexpensive local machines,machinery, and digitalconsiders web based distribution strategies to collapse distinctions between writing, editing, design, production, and distribution. Throughstrategies. Trough a combination of active research andresearch, speculative projects, and an expanded practice in design, Dexter Sinister addresses the reach of graphic designvisual communication as a means to generate knowledge.knowledge and circulate information. The workshop is responsible for publications such as the acclaimed art magazine Ddot Ddot Ddot and for The Serving Library: ana virtual archive and a small physical library that feed each other.

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David Reinfurt has taughtReinfurt is a professor at Princeton University, Yale,university and has held teaching positions at Yale university, Columbia university, and the Rhode Island School of Design (RISD),Design. He has also been a visiting critic in the Royal College of Art in London and the Gerrit Rietveld Academy in Amsterdam.Academy. In 2010, he was appointed United States Artists Rockefeller Fellow, and previously, in 2006 and 2007 hewe was a memberresearch affiliate at the Center for Advanced Visual Studies at MIT.MIT and in 2010 was named a United States Artists Rockefeller fellow in architecture and design. His work has been exhibited widely including at the 2008 Whitney Biennialextensively and the Venice Biennaleincluded in 2013 and is part of the permanent collections of the Walker Art Center, the Whitney Museum, the Cooper Hewitt National Design Museum, and the Museum of Modern Art (MoMA).

Daniël van der Velden

Daniël van der Velden is an artist,a designer and writer based in the Netherlands. AlongAmsterdam. In 2007, together with Vinca Kruk in 2007,Kruk, Daniel founded Mmetahaven, a studio which practices consider graphic design studio whose practices clearly demonstrates the use of visual communication as a means for critical research. Focusing ontool to analyze economic and political power structures. Placing emphasis in notions such as transparency and visibility, theirrecent activities includehave included proposals for the visual identity forof Sealand, a self proclaimed sovereign territory inself-proclaimed nation-state located on a maritime platform inoff the British coast;, the development of Nulpunt/0,: a social networkmedia site that lets you editallows users to comment on and share legal documents,official documents; and a range of research and design products for WikiLeaks.

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In late 2015, Metahaven launchedreleased The Sprawl, a documentary film presented in differentmultiple formats that explores the mutation of propaganda in the age of social media. The projectpiece focuses on communication processes during the recent ebola outbreak, the conflict between RussiaUkraine and Ukraine,Russia, and the rise of the Islamic State (ISIS).

HiMetahaven’s work has been exhibited in places likesuch as Manifesta 8, MoMA PS1 andPS1, Artists Space in NY, Helmet,Space, Casco, The Walker Art Center, CAPC Mmusée d'Aart Ccontemporain inde Bordeaux, Künstlerhaus Stuttgart, Bureau Europe,Europa, Maastricht, AA London, the Gwangju Design Biennale 2011,Biennale, Museion, and Kunsthalle Baden-Baden. In 2010, Metahaven published Uncorporate Identity. In 2013Identity with Lars Müller, and in 2015, Black Transparency: the studio was awardedright to know in the Cobra Art Prize and received the Design Studioage of the Year Award. In addition, in 2012 they were finalists of Dutch Design Awardmass surveillance with Sternberg Press.

Currently, Daniel van der Velden, isVelden currently serves as a senior critic inat Yale University, research adviseruniversity, as an advising researcher at the Jan van Eyck Academie and as a tutor inat the Sandberg Iinstitute . He has also lectured at many other universities such asin numerous schools including Columbia Uuniversity, School of Visual Arts (SVA),Arts, Rhode Island School of Design (RISD),Design, Royal College of Art, Goldsmiths University, and Royal Academy of Arts, and in institutions such as the Tate Britain, Stedelijk Museum, and the Venice Architecture Bbiennial.

Constant Dullaart

Constant Dullaart is an artist based in Berlin (Germany) working with the tools of communication and using the Internet as a public space. In 2002 he graduated from the Gerrit Rietveld Academie and from the years 2007 to 2008 and was a resident of the Rijksakademie.Berlin. Interested in the vernacular of digitalcommunication strategies and tools, and in the internet understood as a public space, Dullaart investigates the aesthetic and structural aspects of mass media and of the Internet, hischannels by which we have access to information. His approach is political and critical ofto institutional and corporate systems influencing contemporary semantics.

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Through minimal gestureswebsites, performances, and sometimes precarious, his work investigatesinstallations, Dullaart sets into play the effectsdialectics of notions such as “private” and affects of media“public”, “physical” and contemporary communication platforms,“digital”, “offline” and often takes the form of web pages, performances, installations and images found on the internet and manipulated. Among his most recent“online”. Recent projects include Jennifer in Paradise, which is the digitala restoration and series of visual exploration of the first image ever modified in Photoshop. AlsoPhotoshopped; Treasure of Lima, a cylinderan encrypted code with the coded location of a container containingwith numerous artworks buried in an island at the Caribbean shore; and dozens of works by important artists that was buried in Costa Rica.websites designed as spaces of institutional critique and anti-corporation protest. Here it stands out a series of explorations Dullaart did with Google’s interface.

Dullaart has lectured at many universities and is a professorformer resident of the Rijksakademie and currently holds a teaching position at The Werkplaats Typografie in Arnhem. His work has been exhibited extensively, inat places such as MASS MoCA, UMCA, the New Museum in New York, MoscowMuseum, Polytechnic Museum, Autocenter in Berlin, andAutocenter, de Appel, W139, and the Stedelijk Museum.

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