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Untitled Document Cultures d'arxiu
(octubre - noviembre de 2000
Fundació Antoni Tàpies, Barcelona)
- Recorrido
- Documentos
- Guía

Cultures d´arxiu: memòria, identitat, identificació
(julio - septiembre 2002 Universitat de València. La Nau)

- Recorrido

- Boletín: solicita nuestro boletín nº1 (gratuito, incluir dirección)

Culturas de archivo: fondos y nuevos documentos
(febrero - marzo 2003 Universidad de Salamanca. Palacio Abrantes)

- Recorrido
- Boletín: solicita nuestro boletín nº2 (gratuito, incluir dirección)

Taller: arte, exposición, memoria
(octubre 2003. UPC, ETSAB. Barcelona)

Taller: arte, exposición, memoria II
(octubre 2004. UPC, ETSAB. Barcelona)

Culturas de archivo IV: representaciones
Febrero-abril 2005

Monasterio de Nuestra Señora de Prado
Autovía Puente Colgante s/n

Fondo Ángel Ferrant
Patio Herreriano
Museo de Arte Contemporáneo Español
Jorge Guillén, 6

Sala de Referencia Planos y Dibujos
Archivo de la Real Chancillería de Valladolid
Chancillería, 4

Organización y producción: Junta de Castilla y León

Taller/Worshop: Culturas de archivo

Septiembre/September 2005

Universitat Politècnica de Catalunya
Escola Tècnica Superior d'Arquitectura de Barcelona

Visita al archivo districte Sants-Monjuic 28 septiembre 2005

Octubre/October 17-23 2005

Fakultet for arkitektur og billedkunst

Lectures and workshop: Archive Cultures


- Lecture

Temporary Library

-Temporary Library
- Visiting Legal Museum
- Visting Stadtarchiv

- Working on reference room

Participación en SEMINARIO DOCUMENTALIDADES. CGAC. 14 octubre 2006
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Participación en el seminario "La imagen fantasma". Barcelona, Fundació Antoni Tàpies, 28 noviembre 2006

Participación en el simposio internacional "Revistas y Guerra". MNCARS, enero 2007 ver más

Ideas recibidas Un vocabulario para la cultura artística contemporánea Curso-programa de conferencias

MACBA Octubre/October 2008
Archivo: el acceso al saber/poder y las alternativas a la exposición ALLAN SEKULA.

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Conversaciones abiertas Dictadura, Arte y Archivo

Casa Amèrica Catalunya. c/ Còrsega, 299. Barcelona

7/8/9 OCTUBRE 2008

Libro Santiago Roqueta. Co-edición y concepto.
El libro constituye un montaje de documentos imágenes y rastros dejados por S.R. en su actividad profesional y docente.

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Categoría: Principal / Archivos de Autor / Author Archives

Ordenar enlaces por: Título ( + | - ) Fecha ( + | - ) Valoración ( + | - ) Popularidad ( + | - )
Sitios ordenados por: Fecha (links antiguos primeros)

Good Memory (Marcelo Brodsky)  Popular
When I came back to Argentina after living in Spain for many years, I had just turned forty, and felt the need to work on my identity. Photography, with its precise ability to freeze a point in time, was the tool I used for this purpose. I began going through my family photographs, the ones from my youth, the ones from school. I found our class portrait from first year [eighth grade], taken in 1967, and felt the need to know what had become of each one of my classmates. I decided to hold a 25th reunion of my classmates from the Colegio Nacional de Buenos Aires so that we could see each other again. I invited those I was able to find to my house, and proposed doing a portrait of each of them. I made a huge enlargement of the '67 picture, the flrst one in which we were all together, to serve as a backdrop for the portraits, and asked each classmate to include an element of his or her current life in their portrait. I continued to do portraits of those classmates who did not come to the reunion, but the large photograph could not be moved. I took small copies of it along to include in the portraits I did of those I was able to find. The portraits were done in Buenos Aires, Madrid, Robledo de Chavela (Spain), and New York. Later, a ceremony was organized, in memory of the students of the school who had disappeared or were murdered by state terrorism in the black years of the dictatorship. After twenty years, the school authorities accepted, for the flrst time, that the missing be officially recognized in the school's main hall. It was a historic occasion. I decided to work on the surface of the large photograph that had served as a backdrop for the portraits of my classmates, and to write a few thoughts about each of their lives on the image...
Añadido el: 23-Mar-2003 | Visitas: 4325
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The Absence (Santiago Porter)  Popular
On July 18, 1994, at nine fifty three in the morning, a bomb exploded in front of the building of the Argentine Jewish Mutual Association. The AMIA. In a way, the AMIA was the home of the Jewish community in Buenos Aires. In the building, located in the heart of the city, a whole set of social, cultural and educational activities took place. Inside its walls functioned an employment office, a schooling network, the Center for the Study of Argentine Judaism and the Jewish Science Institute, among other organizations. On that day and hour, the building was crammed with people who were looking for a job, taking care of the paperwork required for a funeral, inquiring about schools for their children, or studying in the library. At the time, hundreds of people were passing in front of the building. The bombing left a balance of 85 persons dead and over 200 injured. The destruction of the building also destroyed the library, probably the most important one on Jewish culture in Latin America. It housed over sixty thousand volumes in Yiddish and Spanish. The bomb and the shock wave affected neighboring buildings, stores and cars. Seven years have passed since that 18th of July and it is still not known who were the material and intellectual authors of the bombing, the most serious one in the history of Argentina. On September 17 the trial that will determine the guilt or innocence of the persons accused of being the terrorist’s local contacts began in Buenos Aires. Twenty people are involved; fifteen of them are policemen. The prosecutor’s office is asking for an indefinite number of years of prison for the five main suspects. They are being tied to the selling and setting up of the car bomb used that morning. It is expected that the trial will raise other issues that have not been clarified: the withholding of information, the manufacturing of evidence, the lack of preparation of the intelligence and security services, and the way the investigation was mishandled. All this is related to the memory of the dead. The memory of the dead With time, victims of catastrophes of this magnitude unavoidably become—except for their family—figures in statistics or files in a trial. My project focuses on each one of the eighty-five persons who were murdered and their relatives. The idea for this work came up months before the sixth anniversary of the bombing. At the beginning of that year I finally worked out how to approach this series in terms of photography, and shortly after I began taking the first images. I decided to work with diptychs, trying to create one for each case. The diptychs are formed by a portrait of a relative of the victim and a second photograph corresponding to an object. This object is something the person had with him or her on the day of the bombing at the time of death, or else, an object that was representative of that person when he or she was alive. The idea behind the diptychs is related to the underlying theme of this work: To represent the memory of the victims through their possessions, and to embody a demand for justice, giving it a visible and concrete face through the portraits of their relatives. I am taking each photograph in black and white, in medium and large formats, using a white background. Through these sober images I aim at providing the entire work with an aesthetic unity, avoiding contexts and focusing on gestures, on textures and on absence. Argentina’s recent history has been regretfully and unquestionably characterized by one thing: impunity. The military responsible for the disappearance of thirty thousand people during the last government are in fact free. It is still not known who were the material and intellectual authors of the bombing of the Israeli embassy on March 17 1992, where 23 people lost their lives. The list goes on and is overwhelmingly long. In this context it becomes essential to preserve the memory of the dead and to renew the demand for justice. This is the aim of this project. Santiago Porter 2001.
Añadido el: 23-Mar-2003 | Visitas: 2252
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transaction  Popular
Nomeda and Gediminas Urbonas were born in Lithuania. They were both educated at Vilnius Art Academy and continue to make Vilnius their main base, spending some working time in Stuttgart. They have worked together as artists since 1997, co-founding Jutempus interdisciplinary art program – a model for social and artistic practice. Their approach embraces a flexible array of disciplines, building frameworks for old and new media practices. They are committed to studying the transformation of Lithuanian society following the 1989 revolution through projects such as tvvv.plotas and Transaction.
Añadido el: 29-Nov-2003 | Visitas: 2188
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De geuzen  Popular
De Geuzen is: Riek Sijbring, Femke Snelting and Renee Turner. Around 1994 we started working together while studying at the Jan van Eyck Akademie in Maastricht. In 1996 after realizing our collaborations were more than a habit, we officially took on the name De Geuzen. Pooling our various skills together, our practice includes curating, art, design and educational workshops.
Añadido el: 29-Nov-2003 | Visitas: 1419
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