Gipsy Dance Rock Mix at La Loseta a project by Radames Juni Figueroa

a mini resume of the show at the site in Radames Juni's on a warm night in San Juan.........

the video piece      

Performance Detourned Song, Lip singing , dancing .
Questioning commerce , publicity strategies as art practice...
Video screened at LA LOSETA , a project by Radames Juni Figueroa , San Juan, Puerto Rico .
25 Septiembre 2011
Copy Right : Esther Planas VEGAP 2011

Gypsy Dance Rock Mix is a project for the space La Loseta , curated by artist Radames Juni Figueroa at his place in San Juan Puerto Rico. The project consist of 12 guest artist and curators responding to the invitation by Radames to interact at his space. The outcome of the whole 12 shows will be published on a book wile the space and the " gallery" will disappear for good .
The installation consisted of a screening of the film Ase ere de je which is a lip singing /dance home recorded performance by Esther Planas wile listening to the major  viral successful song ASEREJE , a bottle of spanish wine containing fake spanish flowers, a container with Tinto de Verano a punch called Gypsy , and a series of detourned . tunned, manipulated posters on topic photoshop from films related to the topic of Quinqui Cinema ....
The video manipulation on I movie , as a playful , home made youtube specimen of the so many at the moment is a comment  on other new media works and the soft blurry line that divides art from non art .
As part of the show, there was a specially selected DJ YOuTube by Esther Planas of songs and films related to the theme and a blog for any one up for research....

The invite

The sound
Dj//Play List by Esther Planas

click on the screen to go to youtube for the whole selection !! enjoy!

PUBLISH AND BE DAMNED AT WHITE CHAPELL BOOK FAIR

Publish and be Damned 

at 

White Chapel Gallery Book Fair

Esther Planas publications V.0. 1983/85 and Dark Star 1999/2012

Escuela de Calor at eme3 Barcelona 2 July 2011

(Indeed, the very concept of “daily life” is itself a product of industrialism and the urban.) Martha Rosler.
////////////////////Calor en eme3 : An extract cut and paste fragments from Martha Rosler essay published at E-Flux Journal //////Culture Class: Art, Creativity, Urbanism, Part 1 E-Flux Journal http://www.e-flux.com/journal/view/190///////////////////////////////////////////////////////////////////////////////////////////////////////////

Lefebvre’s emphasis on the city contradicted the orderliness of Le Corbusier, whom he charged with having failed to recognize that the street is the site of a living disorder, a place, in his words, to play and learn; it is a site of “the informative function, the symbolic function, the ludic function.”⁵ Lefebvre cites the observations of the foundational urban observer Jane Jacobs, and identifies the street itself, with its bustle and life, as the only security against violence and criminality. Finally, Lefebvre notes—soon after the events and discourses of May ‘68 in France—that revolution takes place in the street, creating a new order out of disorder.

The theoretical underpinning for a renovated cityscape came primarily from the earlier, utopian “millennial” and interwar designs of forward-looking, albeit totalizing, plans for remaking the built environment. It was not lost on the city poor that so-called urban renewal projects targeted their neighborhoods and the cultural traditions that enlivened them. Cities were being remade for the benefit of the middle and upper classes, and the destruction of the older neighborhoods—whether in the interest of commercial, civic, or other forces, such as enhanced mobility for trucks and private cars—extirpated the haunts of those beyond the reach of law and bourgeois proclivities, adversely affecting the lives and culture of the poorer residents. Martha Rosler, Culture Class: Art, Creativity, Urbanism, Part 1 E-Flux Journal http://www.e-flux.com/journal/view/190

Escuela de Calor , referencia al titulo de la cancion de Radio Futura, a la letra, ( arde la calle al sol del poniente..) continuando con la postura de buscar y re-interpretar a varios "maestros" grecolatinos, desde Diogenes, Socrates, Aristoteles a Joseph Jacotot o Jaques Ranciere.........

NOT YET/// AGORA NAO/// THE BARBER SHOP /// LISBON///

2011
Agora não/Not yet (w/ Filipa Ramos)
Performance and installation.
«A letter was sent to various persons - dear acquaintances and some admired individuals - inviting them to share a non-done projects of theirs. The ongoing collection of these contributions is thus becoming an anthology of non-pursued thoughts. Each of them will be publicly opened one by one and displayed in an event that will take place on the evening of the 17th of June 2011, from 6pm onwards, at The Barber Shop in Lisbon. Simultaneously, José Albergaria, from Change is good, Cláudia Castelo and António Gomes, from barbara says, will be producing in real time the catalogue of the project.»
>> List of participating artists (in order of appearance): Davide Balula, Laetitia Badaut-Haussmann, Nicolas Chardon, Hugo Canoilas, Von Calhau, Francis Upritchard, Stephania Galegati, Pedro Neves Marques, Pauline Curnier-Jardin, Nico Angiuli, Sara & André, Karina Bisch, Daniel Barroca, António Contador, Elisa Pône, Diego Perrone, Celine Condorelli, Ângelo Ferreira de Sousa, Invernomuto, Cesare Pietroiusti, André Uerba, Mathieu Laurette, Ignasí Aballí, Carla Cruz, Susana Pomba, Becky Beasley, Filipa Ramos, Marco Raparelli, Simone Berti, Rita Sobral Campos, Fernando Mesquita, Alexandre Estrela, Gerlach en Koop, Ana Cardoso, Francisco Queirós, Pablo León de la Barra, Lisa Tan, João Simões, Jacopo Miliani, Stephen Lichty, Tiny Domingos, Iacopo Seri, António Ortega, Isola and Norzi, Chiara Fumai, Esther Planas.

REALITY in The East End ..found picture gentrifying vampir

URBAN ENVIROMENTAL SPEEDY INTERACTION SEQUENCES

a No Dance Dance project

Movement paused on positions

Positions by process of a trajectory

becoming pose, repetition and difference

a dance of the pose and the captured seconds

posing by the building I fear and love

Inside huge Ivy arches

Like ancient coffins containers

Found Sculptures which to activate

by detour and misuse

so many possible existing body exercises,

coded and decoded

eternal production of shapes containing

all of the whole history of movement ,

all expelled , devoid and trimmed down to zero

in the territories of a body , at the subjectivity of stillness

at the bottom of the towers where nothing but the cube is

welcomed.

Urban filaments, an encounter at  a zone and

an area where a contingent has taken place , the

composition of the proportioned cubes and squares

mounted on to each other, the wild growth of the ivy

and the presence of the body that echoes both:

the basic equation and encounter of numbers intended

at the reproduction of the same

Interrupted, stillness,a body placed against the grain of time

stasis feeding a movement awaking from a control delusion

algebraic character and mathematical rigour trying to find forms

that could still hold a transfusion of the visual in to the corporeal

in situ at the present tense at the reduced instants.

A pause and a pose that prolongs its timing
that tries to inhabit a sort of lapses a quietness of the essential
against the super dance the super gestures and its excess
at display an attempt to extract from instantaneity
a form of preserving the singularity of  its existence

CLOSE ENCOUNTERS OF THE THIRD KIND INSIDE THE WHITE CUBE

  

Maria Aguero, Tariq Alvi and Alex Carvalho 

   Edward Dorrian , Tariq Alvi and Marc Hulson 

Richard Crow , Esther Planas and visitors 

Audience at the opening talk Close Encounters 

  Cedar Lewisohn  and Maria Aguero 

Joan Morey's Installation " The Eye of The Beholder "

Pablo Leon de la Barra , Alex Carvalho and friend