Portfolio - The Radical Sharing

THE RADICAL SHARING- CURATED BY -

DANIEL S.M.PIZARRO

GARAZI ANSA

&

- CURATED BY -

WOCHENKLAUSUR, CHRISTINE HILLS, APOLONIJA ŠUŠTERŠIČ, DIDIER COURBOT, C.A.S.I.T.A., FERNANDO GARCÍA-DORY, MADS LYNNERUP, GIL & MOTI,

AHMET ÖGÜT, JULIETA ARANDA & ANTON VIDOKLE, THIERRY GEOFFROY / COLONEL

GARAZI ANSA & DANIEL S.M. PIZARRO

THE RADICAL SHARING

THE RADICAL SHARING GARAZI ANSA / DANIEL PIZARRO

THE RADICAL SHARING

We must work to live. This is the basic rule, the first of the social commandments, and the most unbreakable one. We have to work; in an office, in an auction house, at the sea or in the street; as masons, as seamstresses or lion tamers. The point is to have a job, a labor, to have a salary and a fixed money income every month; which is the ulti-mate goal: the money. Working is just a medium to get money. The ethic of the labor is no longer meaningful; working is no longer a value, nor a lofty activity in itself. The new commandment states: No job, no money; and if there is no money, then, it is not a job. We do not understand a job without a paying. It may be a whim, a hobby, houseworks, or studies, but not a job.

The identification of the job with a paid work is already associated since the nineteen-th century according to Marx Weber: the working activities that the male performed -which were related to money- were a labor; but the working activities that made their brides -which were not about money, but indispensable for their life- not. Since then, these latter activities have become invisible, and of course, labeled as a ‘not labor’. Thus, although it is degrading, it seems that what separates a job or a labor ,from a ‘not a job’ is just the tag which points out its price. The consequences that this entails are disastrous in many ways, as they contribute to the gradual but relentless dissolution of the community and the “social cohesion”, whose maintenance requires time, effort and dedication1.

However, it does not change the fact that the job has a price, and therefore, it can be sold and purchased. But the price, apart from being linked to the job, is also connected to the person who performs the work itself; we are defined and characterized by the job, because basically, we are just the job we perform. The type of work we do -and its salary- is the decisive and fundamental factor that directs our lives; it defines the area in which we can move, the area in which we can relate and socialize, it defines our li-ving standards, our itinerary of life. Thus, the job and the salary are the main reference points around which are planned and ordered all the activities of our life. The job and the money are the main center of our lives.

And, what happens if we have not a job?, If we can not get a salary? Although what the future was holding seemed to be the universal labor, the technological progress has reached at the point where productivity grows in inverse proportion to the decrease of jobs. Economic growth in any of their current meanings, is always linked to the re-

placement of stable jobs by flexible workforce, to the replacement of job security by renewable contracts, jobs and temporary contracts and by staff reductions. All this co-mes down to the decline of jobs. This increasingly widespread notion implies a set of hirings and firings with little rules2. If we add this to the current economical crisis, we are in a situation without a choice, forced to accept jobs at any price for our basic survi-val, and dragged into a growing precariousness of life, because it seems that money is absolutely necessary to acquire the basic necessities for living; and as we already have mentioned: No job, no money.

In addition, in government policies, the impact of the philosophies of Locke, Bentham or Young return resonating the repeated assertion (despite being already proved as not true) that the main cause of social precariousness will be overcome, by providing jobs. They keep promising incessantly new workstations, but in vain; because the fu-ture does not promise universal work, quite the contrary. Nevertheless, they continue spreading and selling the eternal lie, promising the impossible, without any attempt of even rethinking the functioning of the system nor the mechanics and the concepts of the job, work or labour.

In these circumstances where besides, welfare states are in a continuing recession, the more the lives of the workers are being degraded, the more they are willing to sell their labor in exchange for the most miserable wages, because even the most miserable wa-ges and the most grueling and tedious routine will seem bearable in exchange of the capacity to buy the everyday. This is the roulette in which we are caught today, which is moving in terms of the capitalist system. A system, which pursuing the economic benefits and progress, reduces the labor; a system that not only emphasizes the social differences, but which increases it, as the welfare state is being removed, and the rich are getting richer, while the workers’ life is each day more miserable. Thus, through this project we try to explore the insertion of new potential and possible alternative systems, extending the concept of work and labor beyond the accepted by the labor market, that is, beyond the mere means of obtaining money; or the imple-mentation of the possible developments of other non-monetary based systems, whe-re life does not turn only around the acquisition and the consumption of money, but around the community and people.

« Que voulez-vous donc ? Changer l’humanité ?— Non, quelque chose d’infiniment plus modeste : que l’humanité se change, comme elle l’a déjà fait deux ou trois fois. »CASTORIADIS, Cornelius. Le monde marcel. Seuil, Paris, 1990. p, 100.

In order to it, we depart from a concept close to us, auzolan, which is the Basque name for a type of social organization based in the community which has been performed in the Basque Country since medieval times. Auzolan is the working system of a society organized in communities that perform different kind of services for public benefit. So, being a collective work or labor, both the land, and the infrastructures that the com-munities endowed for their subsistence, were considered communal property, and it was a meeting of the community, that determined when and who had to effectuate the performance, which could be also diverse in nature, including all the sorts of activities from building new roads to helping and supporting widows of the community. What is interesting within the concept auzolan is that beyond being a mere collective labor, in which they practice a radical sharing between all the components of the community, at the same time they were building and reinforcing again and again different commons through their activities, and so, following David Bollier, relinking the bonds of the com-munity and people, by strengthening their identity.

Bearing in mind the concept of auzolan, through this project we propose to present new alternatives to the current system using different artistic projects, whose funda-mental bases are neither the money nor the price of labor, but the radical sharing. We propose new models of work, whose main purpose is not to make money, but to create and build collectivities, communities and alternative and parallel economies, taken ad-vantage of the museum space, which is one of the few immune places today, where you can still perform activities and experiments -in the same time from the inside and out-side of the system-, and test them, through new proposals and create new possibilities.

With the intention of carrying it out not only theoretically, but of implementing as far as possible, the most part of the artistic projects we have selected for this curatorial project, apart from expressing the need for a new alternative system for the labor, the idea of the community making and the radical sharing, they are also projects related to participatory or community based art. But beyond being out projects with an attempt to make some changes in the reality, the importance of these practices fall on their conceptions of collective processes -as auzolan- instead of being individually made art works, although there are also exceptions. So, the artists are seen less as a single pro-ducer of objects, and their role is redefined as a collaborator or producer of situations that often have no clear beginning or end; and the audience, previously considered as a mere observer, is repositioned as a co-producer, participant or collaborator3. All these,

leads to create new opportunities for collective4 and community production processes. Thus, the works of art are no longer results of one single voice, but of collectives, and in many times, by the end of the process they became totally independent from the artist, and are run as independent and autonomous bodies by the co-producer community itself.

So, we try to analyze, display and experiment with possible production and economi-cal alternatives that may develop in the near future, bearing in mind the ongoing and seemingly unstoppable recession of the labor, not only in industry but in almost all the areas of the workplace, and the social precariousness which entails, with some artistic projects that fight on two fronts: from the concept of the artwork itself since most of them try to find new alternative ways of production, economy and community buil-ding; and from the format of the practices, because the format itself, which is based on co-productivity and collaboration, also exerts pressure on conventional modes of capitalist production5.


1 - BAUMAN, Zygmunt. Work, Consumerism and the New Poor. Open University Press, Berkshire, 2005.2 - Ibid.3 - Ibid.4 - BISHOP, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship.Verso, London, 2012.5 - We should not forget the statement that Roland Barthes did in 1968, in which he reminded us that all kind of authorships are multiples and are indebted with each others continuously, so actually the the ideas, experiences and the possibilities that came up for those connections are the most important thing. Although in some cases it happens only within the art system.

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GALLERY 2 / 3

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WORKLIST

1, 2, 3 - COURBOT, Didier. Needs (1999 - to now), c-print, each 94 x 120 cm4 - WOCHENKLAUSUR. Wochenklausur Office. variable dimensions5 - HILLS, Christine. Volksboutique, shop, aprox. 4,5 x 3 x 3,5 m 6 - WALL OF NEEDS. Aprox. 3 x 8 m7 - ŠUŠTERŠIČ, Apolonija - Light Therapy ROOM. variable dimensions

* - C.A.S.I.T.A. I.R.P. Viability Rate of a Project. variable dimensions (museum entrance)

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INSTRUCTIONS

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I NEED:

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I OFFER:

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BRIGHT LIGHTS

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GHTSLIBRARY

WARD

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RECEPTION DESK

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WORKLIST

8 - LYNNERUP, Mads. Time is Money, Money is Time (2009), 11 drawings, ink on colored paper9 - ARANDA, Julieta & VIDOKLE, Anton. Time/Bank. dimensions variable10 - GARCÍA-DORY, Fernando. Museum´s Pastoral - FEP (2009)11 - GIL & MOTI. Available for You (2008), dimensions variable12 - ÖGÜT, Ahmet. The Silent University (2008), dimensions variable13 - GEOFFROY, Thierry. Cultural Exchanges (2000), video, 5 min

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VEJLEDNING



I NEED: I OFFER:

Wall of Needs is an open and free platform for the visitors of the museum, which will be settled at the exhibition. The installation is constituted of two big blocks: “I need” and “I offer”. The people who are interested in, could be able to write their needs or offers by using diverse papers and drawing pins which will be available at the space. Thus, it will work as a tool or operator of free public ex-change, in which different people, can offer and/or receive any kind of need without the intermediation of money. Somehow, our inspiration started with the Western or Wai-ling Wall, in which, among other types of prayers, praises and re-quests are common and continuous, both oral and written, as there is a great tradition of introducing them into the wall. We have reco-

WALL OF NEEDS


vered the function of introducing requests on the wall, but in this case, rather than just having a chance of writing them, it will also be possible of acquiring them by people who can offer them. Besides, next to this one, there will be also another wall -the wall of offers-, for those willing to share something that is not still requested in the first one. This walls are not related to a divine faith but to our faith in people that constitute the diverse communities of Aarhus, and their willingness to want to work beyond the fact of getting money, and so, to begin to create or promote new meanings of work.

WORKLIST

C.A.S.I.T.A.

I.R.P. Viability Rate of a Project , 2003 - to now

Three Postboxes, variable dimensions

This is an ongoing project which consists in bringing to-gether people from different academic disciplines. The goal is to exchange and interact on common interest subjects. With the aim of running a poll on the issues to be dealt with through mutual collaboration, we pro-duced a number of mailboxes with a sign which read: INFILTRATE YOUR KNOWLEDGE, with the following instructions.

1. Write down on a piece of paper the topics you would like to share from your knowledge in an interdiscipli-nary context, and write down your e-mail so that we can get back to you.2. The results of this first round will be communicated to the participants via e-mail and published in the cam-pus newspaper and other periodicals from the field, for whomever might be interested.

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http://www.ganarselavida.net/irp/index_en.html


Didier Courbot

Needs, 1999 to now

c-print, each 94 x 120 cm

Since 1999 Didier Courbot has carried out a photogra-phy series of diverse humble actions in urban su-rroundings to improve the street furniture quality. The actions were developed in well-known big cities, such as Rome, Paris, Prague or Osaka.

1, 2, 3

http://www.didier-courbot.com/works/needs


WochenKlausur

WochenKlausur's Office, 1993 - to now

open office, variable dimensions

WochenKlausur is an artist collective, who dedicates to organise projects to resolve society problems on a small scale. For it, they settle their office at the exhibi-tion and analyse first the different problems of the city. Then, they propose a plan and show their results in the space.

We will invite WochenKlausur for a month residency, in which they will carry out a project in Aarhus, on the current labor market situation. A WochenKlausur Offi-ce will be settled at the exhibition, in which they will be working during that month, and visitors will be able to discuss with the members of the collective about their concerns regarding the labor market in the city.

Next to the office, there will be also some archive do-cuments of other developed projects by the collective to be consulted by the visitors.

4

http://www.wochenklausur.at


Christine Hills

Volksboutique, 2011

shop installation, aprox. 4,5 x 3 x 3,5 m

The show features a scaled-up, life-sized version of the familiar German children’s toy, a Kaufladen. Visitors to the gallery are invited to ascend the actual construc-tion and take their position behind the sales counter to pose for mobile phone snapshots in the guise of The Proprietor. The shelving contents reference phrenolo-gical divisions/assignments of the brain – the collected wares on display are assigned meaning and priority based on their placement and labeling. Taxonomically, these goods address a series of existential questions and considerations.

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http://www.volksboutique.org


Apolonija Šušteršič

Light Theraphy, 1999

installation, variable dimensions

The project consists on a room and a reception inside the museum where people can enjoy light therapy. In these areas, both furniture and clothes are white and the lights are bright. The project was conceived in Sweden where many inhabitants suffer for Seasonal Affective disorder. Equally, the Light Therapy Room took place in a modern art museum at a time when art institutions were undergoing rapid change and being used in different ways. Light Therapy Room will be available to everybody du-ring the opening hours of the exhibition, and it could also be reserved -for free- with a previous appointment by anybody who wants to use the space for a meeting. In this last specific cases, the Light Therapy Room will remain closed for other visitors.

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http://museumarteutil.net/projects/light-therapy/


Mads Lynnerup

Time is Money, Money is Time, 2009

11 drawings, ink on colored paper, each 26 x 36 cm

In this series of drawings, Mads transformed 11 different common sayings, which include the words “money” and “time”. Every time a sentence would have the word “time” in it Mads would use “money” instead, and vice versa. The actual drawings, where the sayings are depicted are all made-up situations, where one could imagine the words being presented.

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http://www.madslynnerup.com/pages/Time%20is%20money.html


Julieta Aranda and Anton Vidokle

Time/Bank, 2010 to now

installation, variable dimensions

Time/Bank is a platform of people, who interchange their time and diverse activities without money. Thus, Julieta Aranda and Anton Vidokle develop an exchan-ge-system, where people can find an alternative to the traditional capitalistic system and focus on the real needs of the society.

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http://e-flux.com/timebank/


Fernando García-Dory

Museum´s Pastoral - FEP, 2009

Intervention in a museum encomprising a curatorial project, an editorial project, an installation artwork and a socialprocess; Assembly´s Module (aprox. 2,5 x 3 x 5 m); The FEP altar; The first issue of FEP newsletter; pictures from Eduardo Diaz Hevia; drawings from Manu Griñón

Museum’s Pastoral is a Project by Fernando Gar-cía-Dory, which consists on developing an Assembly for Asturian shepherds, who were totally disconnected to each other. The installation within the exhibition, emulates a tradi-tional Asturian house, which contains a video-projector explaining the constitution of the assembly. There will also be exhibited the logotype of the assembly and diverse drawings and photographs related to it. In addition to it, we will invite Fernando Garcia-Dory for a month residency, to develop a project with shepherds of Aarhus, taking into account that the re-gion is a major agricultural producer, where emerged one of the major dairy groups of Europe. During the residency, he will be invited to present his project wi-thin the installation, which will be followed by an open debate.

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http://fernandogarciadory.com/index.php?/projects/museums-pastoral---fep/


Gil & Moti

Available for You, 2013 to now

installation (photographs, drawings, video, breakfast action...), variable dimensions

The Israeli-Dutch artist duo Gil & Moti offers their free services to Arab communities in their action-installa-tion “Available for You” and document it with diverse photographs, drawings and videos. This Project was carried out in diverse cities, such as, Copenhagen, Rot-terdam, Amsterdam and Stockholm.

In Aarhus, we want them to activate their project in 15 days, by helping Arab communities of the city. Thus, the installation will be a combination of previous and new material, this last one, generated during their stay in Aarhus. The project will finish with a brunch-action and a talk in the exhibition.

The artists want to leave aside the confrontation be-tween the Jewish and Arab communities, and to evi-dence the coexistence and a hope for an egalitarian world. For implementing it, they carry out different cultural exchanges based on solidarity and the will of sharing experiences, instead of economical profit.

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http://www.gilandmoti.nl


Ahmet Ögüt

The Silent University, 2012 to now

archive, variable dimensions;

The Silent University is a platform, which allows refu-gees to put their academic studies into practice throu-gh different lectures. In the exhibition, there will be two shelves with a compilation of previous given lectures within the frame of Silent University, available for con-sulting.

During the period of the exhibition, we will invite Ah-met Ögüt, the founder of The Silent University, to implement the project in the city and arrange different lectures which will be given in the exhibition space by some refugees of Aarhus.

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http://thesilentuniversity.org


Thierry Geoffroy / Colonel

Cultural Exchanges, 2000

video, 5 min

Thierry Geoffroy (Colonel) carried out the 3 TV series, commissioned by the national Danish TV Denmark Radio. The aim of this series was to measure the Dani-sh national identity. In this specific video, the artist tries to improvise some cultural exchanges between people who belong to different cultural communities.

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http://www.emergencyrooms.org/spaces/TV/commissioned.html



ESTIMATED BUDGET

PROJECTS COSTS

A. Ögüt -The Silent University-

Transportation and insurance costs Shipping Amsterdam-Aarhus-Amsterdam 1.715,66 DKKProduction costs Furniture 1.491,88 DKK

Lecturers fee (3) 4.475,64 DKKArtist related costs Travel costs 2.573,49 DKK

Accommodation costs (1 week) 1.566,47 DKKDaily allowance (1 week) 1.566,47 DKK

TOTAL 19.096,06 DKK

J. Aranda & A. Vidokle -Time/Bank-

Transportation and insurance costs Shipping Berlin-Aarhus-Berlin 4.177,26 DKKProduction costs TOTAL 4.177,26 DKK

T. Geoffroy -Cultural exchange-

Transportation and insurance costs Shipping Copenhagen-Aarhus-Copen. 447,56 DKKRental cost for the visualization display 4.475,64 DKK

TOTAL 4.923,20 DKK

C.A.S.I.T.A. -I.R.P. Viability Rate of a Project.-

Transportation and insurance costs Shipping Madrid-Aarhus-Madrid 447,56 DKKTOTAL 4.475,64 DKK

Gil & Moti -Availabe for you-

Transportation and insurance costs Shipping Amsterdam-Aarhus-Amsterdam 745,94 DKKProduction costs 5.221,58 DKKArtist related costs Travel costs 5.370,77 DKK

Accommodation costs (15 days) 7.459,40 DKKDaily allowance (15 days) 7.459,40 DKK

TOTAL 26.257,09 DKK

A. ŠUŠTERŠIČ -Light Therapy Room-

Transportation and insurance costs Shipping Amsterdam-Aarhus-Amsterdam 447,56 DKKProduction costs 5.221,58 DKK

TOTAL 5.669,14 DKK


ESTIMATED BUDGET

F. García-Dori -Museum s Pastoral – FEP-

Production costs Shipping Amsterdam-Aarhus-Amsterdam 5.221,58 DKKArtist related costs Travel costs 2.983,76 DKK

Accommodation costs (1 month) 7.459,40 DKKDaily allowance (1 month) 7.459,40 DKK

TOTAL 23.124,14 DKK

C. Hills -Volksboutique-

Transportation and insurance costs Shipping Berlin-Aarhus-Berlin 2.759,98 DKKProduction costs 5.221,58 DKK

TOTAL 7.981,56 DKK

D. Courbot -Needs-

Transportation and insurance costs Shipping Toronto-Aarhus-Toronto 8.205,34 DKKTOTAL 8.205,34 DKK

M. Lynnerup -Time is Money, Money is Time-

Transportation and insurance costs Shipping Amsterdam-Aarhus-Amsterdam 4.475,64 DKKTOTAL 4.475,64 DKK

Wochenklausur

Production costs 5.973,04 DKKArtist related costs Travel costs (2 members) 2.610,79 DKK

Accommodation costs (1 month) (2 members) 14.918,80 DKKDaily allowance (1 month) (2 members) 14.918,80 DKK

TOTAL 32.448,39 DKK

OTHER COSTS

Construction of new additional walls

Curators fee 18.665,75 DKK

Vinyls ‘Wall of needs’ 3.729,70 DKKTOTAL 42.518,58 DKK

Unexpected costs 10% 5.221,58 DKK17.939,86 DKK

TOTAL 199.984,85 DKK

14.918,80 DKK

The estimated budget present within the application is a hypothetical budget, that only have taken into account the economical amount offered by the Kunsthalle Aarhus, since it is the only income that is secured 100% at the moment. Presenting this speci-fic and tight budget, our intention is to show that the project we developed for this open call could be carried out even in the most adverse situations.

Moreover, in addition to the budget that your institution offer, would try to increase it to have more leeway, applying to different kind of grants and supports:

−Consulate of Austria: To support the project of Wochenklausur−Consulate of Spain and the program for the Internationalization of Spanish Culture of AC/E (Spanish Government) to support the projects of Francisco García-Dory and C.A.S.I.T.A.−Consulate of Mexico and Germany, to support the travel and accommodation costs of Julieta Aranda and Anton Vidocle for giving a lecture on the Time/Bank project.−Consulate of The Netherlands and Mon-driaan Fonds (Grant International Presenta-tions) to support the projects of Ahmet Ögüt and Gil & Moti.−Phillips’ sponsorship for the lights of the project Light Therapy of Apolonija Šušteršič.

CVs

Official address:

GutsMuthsstr. 2604177 Leipzig, Germany

Plaza de Africa, Ed. dos Mares, 3º, s/n 51001 Ceuta, Spain

+49 34126698094

+49 1754178930

[email protected]

02.07.1990

Telephone number:

Mobile phone:

Email:

Date of birth

Ceuta, SpainBirthplace

Academic studies

2011 - 2012 Official master degree in New Media Art Curatorship, Universidad Ramon Llull-ESDI, Barcelona

2008 - 2011 Degree in Art History, University of Granada.

2004 - 2007 High school and A level, I.E.S. Luis de Camoens, Ceuta

2000 - 2004 Middle and Primary school, Colegio San Agustín, Ceuta

PROFESSIONAL EXPERIENCE

April - Jul. 2014 Internship at Gallery Eigen + Art, Leipzig

Aug. 2013 - March 2014 Internship at Gallery Christian Ehrentraut, Berlin

Aug. - Sep. 2012 Internship at La LABoral, Gijón

June - July 2012 Internship at CCCBLAB, which belongs to Centre de Cultura Comteporània de Barcelona

RELEVANT SEMINARS AND COURSES

July 2013 critic's creation and market: contribution ofmeaning and value. Cervantes Institute, Berlin.

Dec. 2012 - May 2013 Kapitel II language school, Berlin - german course (B2.1 - C1.2)

Nov. - Dec. 2011 Course about leisure culture and digital entertainment. Universitat Oberta de Catalunya, Barcelona

April. 2010 Course about new media art curation and preservation. Universitat Oberta de Catalunya, Barcelona

Sep. 2010 Alhambra y el Generalife: 25 años de Gestión Autonómica.Centro Mediterráneo, University of Granada

Name: Daniel San Martín Pizarro

Current address:

April - July 2010 Culture volunteer. Centro de Formación Continua, University of Granada

April 2010 “Exhibir arte hoy en día” (Curating). Escuela Plano B, Granada

March 2010 “Crítica de Arte” (Art critic). Escuela Plano B, Granada

FREELANCE WORK

currently Gallery Christian Ehrentraut, Berlin

VOLUNTARY ACTIVITIES

currently Collaborator - Kunstverein Gegenwart e.V., Leipzig

EXHIBITIONS

November 2014 “Gallery Akaro”, Room Art Fair, PNC, Madrid (Curator)

Feb. - March 2014 “Mariano Bertuchi”, Murallas Reales, Ceuta, Spain (Curator)

Aug. - Sep 2013 “The Cake” Cervantes Institute, Berlin (Artist)

Aug. 2013 “Marke Spanien“. ECC - European Creative Center, Berlin (Artist)

Aug. 2013 Photography exhibition by Anne Eger “The Silent Screams”III Festival d’arte, musica e teatro ApertaMente 2013, Italy (Curator)

DESIGNED PUBLICATIONS

HEROLD, Jörg: Der Dokumentararchäologe auf der Suche nach dem Himmelreich der Schlesier, Galerie Eigen + Art, Leipzig 2014

WELLM, Irene: Second Self, Leipzig 2014

IT KNOWLEDGE

Windows 7.Windows Office / MACAdobe Photoshop CS6.Illustrator CS6.InDesign CS6.SketchUpBlogs (Tumblr, Wordpress...)Social networks (Facebook, Twitter, etc.)

LANGUAGES

Spanish - mother tongueGerman - fluentEnglish - high level

697420309

[email protected]

20.07.1989

Telephone number:

Email:

Date of birth

Oiartzun (Gipuzkoa) Birthplace

ACADEMIC STUDIES

Sept. 2011 - Sept. 2012 Official master degree in New Media Art Curatorship, Universidad Ramon Llull-ESDI, Barcelona

Sept. 2007 – Jun. 2011 Degree in Art History, Special award, UPV

Sept. 2005 – Jun. 2007 Professional musical degree, F. Escudero CPM

INTERNSHIPS

November, 19th 2014 - … Curatorial Assistant, Kunsthalle Lissabon

Jan. 27th 2014 – July 13rd 2014 Curatorial department, Van Abbemuseum

Dec. 10th 2013 – Dec. 16th 2013 Curatorial department, Van Abbemuseum

Name Garazi Ansa Arbelaiz

Rua Lopes 118, 1900-301 Lisboa (Portugal)

Current address:

Oct. 15th 2012 – Nov. 30th 2012 Permanent Collection Department, Aquarium of San Sebastián

Nov. 15th 2010 – April, 29th 2011 Education Department, Artium

Official address: Katalintxo bidea 3, 20180 Oiartzun (Gipuzkoa)

COMPLEMENTARY STUDIES

2012 − 2013 University upper course in Interior Design, Universidad Complutense de Madrid

2012 Exhibition management in multiple formats: Biennials, fairs, roaming. Plataforma/C: Formación cultural

2012 Photography course, Sociedad Fotográfica de Gipuzkoa

2012 Feminist perspectives on artistic productions and the theories of art, Alhondiga

2011 A*Seminar: Exhibitions and curators, A*Desk: Critical thinking

2011 Course of artistic production and feminist art theory, New debates IV, Montehermoso

2011 Based on true facts contemporary art course, Artium

June, 25th 2008 – July, 11st 2008 Consolidation and enhancement of wall structures in the fortified village of Arrola Maruleza, UPV

PROFESSIONAL EXPERIENCE

May, 26th 2014- … Independent curator, Project: L’Internationale, Van Abbemuseum

November 2014 Independent curator, Project: Gallery Akaro, Art Room Fair. PNC

Aug, 2nd 2014 - Nov. 10th 2014 Educator, Mining land of Arditurri

PUBLICATIONS

SCHOLARSHIPS

- Global Training scholarship for doing a 6 month internship in Kunsthalle Lissabon (2014)- Leonardo Da Vinci scholarship for doing a 6 month internship in Van Abbemuseum (2014)- Provincial Government Scholarship for specialized training in curatorial studies (2011-2012)- Erasmus scholarship at the University Roma Tre of Rome (2009-2010)

- Basque: High level, native tongue.- Spanish: High level, native tongue.- English: High-intermediate level; Certificate in Advanced English (Council of Europe level C 1) - French: Official title in intermediate level, B 1.- Italian: Intermediate level; one year stay in Rome. - Portuguese: Basic level.

2013 A text for the exhibition In. Material. C.C. Ernest Lluch

2013 Different texts for the exhibition catalogue of Incomparable (hi)stories. Koldo Mitxelena

2011 No global tour: A text for an online magazine, Nontzeberri

Oct. 9th 2012 – Dec. 31st 2013 Educator, Artium

Oct. 20th 2012 – July 4th 2013 Curatorial assistant (for the Curator: Haizea Barcenilla) A Project for Koldo Mitxelena

April, 17th 2011 – Sep. 30th 2011 Educator, Artium

LANGUAGES

Documents

Portfolio - The Radical Sharing