FondationDire.org

Fondation Dire is a cultural platform designed by Marco Milan, in partnership with Nora Zanella, for the development of projects in the artistic and social field through the use of publishing and exhibition resources in constant and ambivalent relation to...

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Columbian, he was born in 1977 in Bogotá, where he still lives and works today. Fol­low­ing a degree in archi­tec­ture, Paris taught for a while at Meta, in Colom­bia, before entirely ded­i­cat­ing him­self to his own artis­tic career…

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Nicolás París // "Jardín portátil" 2009-2014 Lápiz de color verde intervenido. Medidas variables.

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Curta Metragem “Inferno” de Yael Bartana parte 01 de 02

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Daniel Santiago Salguero

Honey and ants

A few months ago I was working with honey. While I was photographing and recording it a drop fell on the kitchen table. Ants came right away and remained around the drop for quite a while. Some of them jumped into the honey, overwhelmed with thrill and died buried in it. I like to imagine the feeling that the ants must have had tasting that small amount of honey, for us insignificant. I suppose it’s a good metaphor for those situations in life, for example, accidents, that, at another level or from another perspective, can trigger something positive, or at least a sweet effect.

Daniel Santiago Salguero, "La miel y las hormigas", 2014

About the Error / Sobre el Error

Madrid, Casa de América

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Between the street of certainties And the avenue of pride I preferred to cross The path of the mistake There I found old Unknown friends I found the man That thought it possible To invent a mirror of ice For the girls in the desert The one who wanted to walk Along three river banks The one who thought of making A coin with three faces The one who believed his name indelible Written in the water The man who wanted To leave his body at home To go for a walk Without its bothering presence I preferred the little street Of the mistaken To the lounge of the certainties I chased the confusing Words of one Who painted a tunnel in a wall Of prison To help his friends escape The one who made mistakes calculating Whist building A bicycle of wind, The failed artist that wanted To taste with wine The bread painted in the cupboard Between the street of certainties And the avenue of pride I preferred to cross Through the path of the mistake There I found, still nervous, The one who wanted to hide A man about to be executed in a poem The one who never knows what to answer When someone asks “who is there” The thief of impossibles, The one who wanted to be his own rider And went galloping in his madness, The one who wanted to colour the vowels And kiss the distance, The blind one that did not declare At customs the landscapes He had in his touch And only wanted to write a book Made of smells and tastes, The one who never hit the target with his bow And is never spot on about the truth Between the street of certainties And the avenue of pride, I preferred to cross Through the path of the mistake There I found old friends That only read in books The grace note of the errata. In all those, There is more truth Than in the proven facts Of our stupid history.

JUAN MANUEL ROCA, "THE STREET OF THE MISTAKE" 2014

READ MORE ON: http://www.tales-on.com

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Mateo López

Mateo López // Cosas por hacer, 2014

http://www.tales-on.com

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Nicolás Paris Vélez

Nicolás Paris Vélez // Memorabilia of Errors, 2014

see more on: www.tales-on.com

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Daniel Salamanca Nuñez

Daniel Salamanca Nuñez // Leo Fines, Personaje absurdo, 2014

Imagine you are in an unknown place and a long ago era. You do not know if it is the future or the past, but it surely is your present. You continue being a human being and you continue belonging to a world which in turn is part of a vast universe. Although it seems quite different, in fact it has all remained the same. The error: claim to establish boundaries between people, entrust the controls of the game to a single person and imagine that things can change. This picture has precisely to do with the construction of a fictional character, a multidisciplinary artist (not to mention the ability to juggle more than ten professions), to which the monumental task was given of redesigning the world, with existing land borders. An impossible task which, in my view, calls into question the excessive human ambition to transcend, to find an absolute truth and to deposit in others their own inability to do things well. Again, here is the error with which they are debating in this outline, this inventory of lines and this absurd tale. It’s about how fiction is not very far from our reality.

TALES-ON // About the Error / Sobre el Error, 2014

www.tales-on.com

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Vincenzo Agnetti

Vincenzo Agnetti, 1970

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"10:51" Jorge Macchi, 2009

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Three Dots & Sandra of the Tulip House or How to Live in a Free State / Joachim Koester & Matthew Buckingham

Past and present life in the anarchistic "free city" of Christiania, in Copenhagen, Denmark, is the subject of "Sandra of the Tuliphouse Or How to Live in a Free State". In"Sandra of the Tuliphouse or How to Live in Free State" Christiania is approached at face-value, as a self-described laboratory of freedom, an environment that provides an almost unparalleled opportunity to unravel a very particular history of markedly contrasting power relations and vivid social forces.. The situation at Christiania in 2001 is compared with its distant past as a military base, its more recent utopian regeneration, and its possible future. The viewer engages with the work by following the shifting and unstable voices, sounds, and images as they relate the experiences of a fictional character named Sandra, who is temporarily staying in Christiania.

watch the video:

http://pikaia.be/chronicles/?p=236

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Antonio Vega Macotela // Murmurs

ANTONIO VEGA MACOTELA

"Murmurs", 2012

The impenetrable communication code used by Mexican drug traffickers becomes an installation with an almost sacred aura, a hymn of reverence and fear. Murmurs, whispers from that the pages of El Sol de Mexico. An imprisoned drug dealer taught the artist the anamorphic code used to communicate with the outside world. Only by approaching the wall on one’s knees do the messages reveal themselves, forcing the viewer into a position that recalls praying or the prelude to a cruel execution, thus rendering us accomplices or condemned.

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MONA HATOUM

Mobile Home  2005 furniture, household objects, suitcases, galvanized steel barriers, three electric motors and pulley system

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"The Right of Passage"

A film by Zanny Begg and Oliver Ressler, 2013

watch the video: http://www.ressler.at/the_right_of_passage/

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SIGALIT LANDAU // BARBED HULA

This act of desensitization - spinning a hula hoop of barbed wire - I performed at sunrise on a southern beach of Tel-Aviv, where fishermen and old people come to start their day and exercise. The beach is the only calm and natural border Israel has. Danger is generated from history into life and into the body. In this video loop I am performing a hula belly dance. This is a personal and senso-political act concerned with invisible, sub-skin borders, surrounding the body actively and endlessly. All my work relates, in one way or another, to a loss of orientation. The pain here is escaped by the speed of the act, and the fact that the spikes of the barbed wire are mostly turned outwards.

watch the video: http://www.sigalitlandau.com/page/video/Barbed%20Hula.php

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Alejandro Cartagena

"THE CAR POOLERS"

http://alejandrocartagena.com/#

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Teresa Margolles // Frontera

Frontera reflected on the suffering engendered by the dramatic scale of organised crime in Mexican society, and in particular on the murders and disappearances in Ciudad Juarez, the ‘frontier’ city on the border between Mexico and the United States that gave the exhibition its name.

With more than 3,000 murders in a year, and more than 700 women kidnapped, tortured and killed, Juarez is thought to be one of the most dangerous cities in the world. For “Frontera” the artist Teresa Margolles has created works of great impact. Through at first sight simple and minimalist in terms of style, when we learn of the origin of the materials used and their connection to horrific crimes, the pieces revealed their great emotional depth, recounting deep-seated trauma. Beyond the specific context that shaped them the works in the show also possessed an undisputed universal value, commenting on our mechanisms of denial and the taboos connected to death and violence in contemporary society.

WATCH THE VIDEO: https://www.youtube.com/watch?v=_eFoTbRgPKU