In the unclassifiable book Bartleby & Co., Vila-Matas writes about the impossibility of affirming the literature itself. Since the essence of any text is to avoid all essential determination, such thing as an essence of literature wouldn’t exist, therefore. Maybe this is not the least of the reasons why the book in question is presented as footnotes that discusses an invisible text, which does not exist in the belief that from “the maze of Not writing to come may arise”.

Few writers seem to have moved so comfortably around the maze of Not as the Irish Samuel Beckett (1906-1989), to his own dismay Nobel Prize for Literature in 1969 and one of the leading representatives of the theater of the absurd, who even decided to stop writing in their native language, English, in the belief that using French in its place was a more effective way of strengthening his particular aesthetics based on the subtraction, the lack of knowledge and impoverishment.

With these weapons, which should be added the question whether life was worth doing anything at all, of course including writing, he did feel able to compete with the two canonical giants of twentieth-century literature he so admired, his Friend James Joyce and Marcel Proust, whose work showed him that since he could never aspire to such excellence of style, it was better to renounce any such ambitions, (which he believed enabled him to adopt a second language as literary medium) and perhaps also for investment regarding the Recherche his own artistic project represented it was necessary to make of oblivion, instead of memory, the main subject of his work.

Who knows, in any case, what would have happened if the letter he sent when he was 29 to the Soviet filmmakers Sergei Einstein and Vsevolod Pudovkin hadn’t got lost because of a smallpox epidemic, offering himself as his apprentice? As Beckett, who always wanted to escape from the word, was apparently firmly resolved to travel to Moscow to study filming.

It would be precisely 29 years later when he turned his dream true, coming to shoot up in 1988 a series of films and audiovisual material (television and radio included) pioneer of video art that can now be seen in single channel until March 20 in an exhibition organized by the Centro Andaluz de Arte Contemporaneo of Seville

For more details: http://www.caac.es/programa/beckett10/frame.htm

Paul Oilzum

This is a unique opportunity. If you rent apartments in Seville do not miss it. Although nothing is worth indeed, it serves to whet your time while waiting.

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Translated by: salome antigone
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Until February 13 the CAAC presents the work of Pierre Giner with Collection/Exhibitions. A particularly agile exhibition whose aim is to exhibit again the works of the existing collection in this Museum, and which has led the artist Pierre Giner and curator Luisa Lopez to create a dynamic and accessible device for this Exhibition / Installation.

With the help of a video game built by the artist as a device, Exhibitions, as its title, as a possibility, this exhibition seeks to give an almost unlimited range of possible relations of the works in a same space.

The artist has designed a video game that invites visitors to navigate in virtual spaces where random exhibitions are put back stopples, created from photographic documents of the collection. These are accompanied by formal speeches, also generated randomly.

The viewer can bring forth thousands of other exhibition possibilities through a command into a video game and photographic documents from the collection in each room, with various scenarios, and each of the works in the collection.

This way a host of new exhibitions is being written, involuntarily, like a player at random hands. Aimless, boundless, endless, reliving every moment, every component, which is part of the rich collection of the Centro Andaluz de Arte Contemporáneo, giving a new life to the existing one, appearing many other works with the combination of each work. In virtual spaces where exhibitions are put back at random without stopping.

One can also think this exhibition / installation as a “dummy document” or a fiction documentary. What is showing are not the actual works that are part of the collection, but its photographic record, its documentation. A kind of tribute to the action of the collector as a generator of documents, files, possibility of installing works out of a given space and time.

But works can not go alone. Word necessarily gives rise to the “discovering” process, to make them public. Always the word, as generator of speeches, presents and accompanies the work. For this, a speech generator has been installed that enables the visitors to listen to some speeches that may exist. These speeches are automatically created by a computer program. There is the word thanking the donors, institutions and artists their responsibility and role that made possible the existence of the collection.

Nancy Guzman

On the banks of the Guadalquivir River and the shelter of the beautiful building known as the Monasterio de la Cartuja, you can visit the Centro Andaluz de Arte Contemporáneo and enjoy becoming an artist, collector and curator with this fun device Collection /n Exhibitions. Then you can enjoy of the necessary moment of relaxation and privacy by renting apartments in Seville

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Translated by: salome antigone
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The Centro Andaluz de Arte Contemporáneo presents the exhibition Public and counter-public until March 6, 2011. The aim of the exhibition is to make the viewer consider their position in contemporary visual culture, essential aspect in the formation of a critical perspective on culture in society.

What the audience sees in the staging of a play and what is seen from the audience’s behavior regarding the work are two sides displayed in this exhibition. It starts by questioning the role that normally meets the viewer in the art scene, which is considered a mere spectator and not incorporated into the art scene. It continues to objectify to a mere economic role of consumers of art.

Today, post-Fordist capitalism, where capital, production of profit is in the symbolic space, the new urban economies have a strong element of culture. This thing the theorists have called “cognitive capitalism”, which refers to forms of immaterial, communicative and emotional subjectivity, installs subjectivity to work on the idea of the cultural sphere as an autonomous space of resistance or criticism. That is, they retain a relative autonomy regarding politics or economics.

This interesting cultural commitment is expressed in some thirty works of contemporary artists, such as Marina Abramovic and Ulay, Joseph Beuys, Danika Dakic, Dora Garcia, Dan Graham, Antoni Muntadas Zoberning Perejaume and Heino, among others.

Among them, Marina and Ulay Abramovic’s work is stressed. They are a couple of artists who met in 1975 and began an interesting bet of art: reflecting how the experiences merge into the bodies and are subjected, they do not only push into a search of physical stamina, but also the psychological test. Their complicity and attraction, and an excellent harmony and understanding led them to develop a research on the relationship as a couple, to reflect on the dual conditions in which they held their intense relationship. Their work The Lovers is highlighted, where Marina and Ulay Abramovic arrived in the town of Er Lang Shan in China, in June 27, 1988, after travelling 2,000 kilometres in 90 days to get to this appointment at the end of the world, meet and separate.

The Catalan culture is also represented with Antoni Muntadas’ masterpiece; he’s starting in painting, to continue making inroads into new multimedia support, he shows relations between art and life, making installations that mix new segments or just symbols or using a television off for projecting advertisements slides, in his work Television. Muntadas plays with subjectivity mixing images from museums and shopping, to provoke the viewer.

Nancy Guzman

If you want to see and feel the pulse of art as a public or counter-public, just go to Seville and attend the Centro Andaluz de Arte Contemporáneo, then you can enjoy the city and contrast the art and life to retire to rest in apartments in Seville /p>?

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Translated by: salome antigone
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One of the oldest desires of human beings is to be able to look to the future. Hence the ancient fascination with astrology and tarot culture, from the beginning of our history we have wanted to predict what tomorrow will bring us and thus become architects of our own destiny.

However, divination, palmistry or clairvoyance practices have always belonged to popular religion and they have rarely been subject of scientific study. Until now. After making a number of experiments related to riddle, a group of researchers pretends to discover that not only there are people with psychic powers able to foresee the future, but also that we can influence events before they occur.

It all started when Daryl Bem, a physicist keen on magic, began to experiment in the field of parapsychology, by definition a pseudoscience devoted to supernatural phenomena and which so far, after a century of research, has failed to provide evidence of its existence.

In one of these experiments, Bem gave a list of words to a group of students which they had to memorize. He then asked the group to name all the words they had been able to store and, in a last step, they were given another list of words they should note down. As expected, there were words they could remember more easily than others, but what was surprising was that these were precisely the words that appeared on the list of words to note down later.

For all those who relieve in psychic powers, the result of this experiment was clear evidence that students were able to predict the words that would then be on the list of words to note down.

Heloise Battista

What do you think? True or false? Rent apartments in Seville where palmistry is part of the rich culture of the city.

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Translated by: salome antigone
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It just so happens that the premiere of the second movie by Carlos Saura about Flamenco (Flamenco, Flamenco) coincides with the decision of the UNESCO to declare this form of art as world cultural heritage.

Although many important musicians of this genre like gitarrist Paco de Lucía think that this recognition comes a little late, a long time after this form of dance filled theatres and concerts halls. They this it would have been important to support the flamenco 30 years ago when it was insignificant culturally and economically.

The mystery of the flamenco starts with its name because there are many theories about the origin of this term. One of these theories claims that it is a word from the streets as an expression for passion and arrogance related to the gypsies. Gitano or egiptano,  many have associated this population with the mysteries of Egypt, a culture that apparently has a lot in common with the gypsies.

Speaking of polemics regarding the culture of Flamenco it is an art form that emerged in Andalusia

Paul Oilzum

Rent apartments in Seville and look in hidden, mysterious corners of this magical city for the essence of Flamenco.?

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Translated by: salome antigone
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