nail to nail to nail. - pep vidal to nail to nail_arxiu_final.pdf · 2016. 11. 14. · nail to nail...

Nail to Nail to Nail.The archive as a perfect standard.

Pep Vidal

Here is some sample text to show the interaction between systems. The authorcompleted a two-week residency in the Archive of the Fundacio Antoni Tapiesresearching the documentation related to three exhibitions. This article is

the result of the authors experience and is focused on the concepts of semi-openand semi-closed systems and the connections between the Classification scheme ofthe Archive of the FAT and other systems. The article is structured following threedifferent intersecting concepts and research interests: General notions of systems,interaction between systems of the AFAT and the notion of the standard, and therelation between information and time. Sections and subsections of the articlefollow the standard Classification scheme of the FAT.

1 CULTURAL MANAGEMENT

(see also section 1.1.2)

Lorem ipsum dolor sit amet, consectetur adipiscingelit, sed do eiusmod tempor incididunt ut labore etdolore magna aliqua. Ut enim ad minim veniam, quisnostrud exercitation ullamco laboris nisi ut aliquipex ea commodo consequat. Duis aute irure dolor inreprehenderit in voluptate velit esse cillum doloreeu fugiat nulla pariatur. Excepteur sint occaecatcupidatat non proident, sunt in culpa qui officiadeserunt mollit anim id est laborum.

A =

[A11 A21

A21 A22

](1)

At vero eos et accusamus et iusto odio dignissimosducimus qui blanditiis praesentium voluptatum de-leniti atque corrupti quos dolores et quas molestiasexcepturi sint occaecati cupiditate non provident,similique sunt in culpa qui officia deserunt mollitiaanimi, id est laborum et dolorum fuga. Et harumquidem rerum facilis est et expedita distinctio. Nam

libero tempore, cum soluta nobis est eligendi optiocumque nihil impedit quo minus id quod maximeplaceat facere possimus, omnis voluptas assumendaest, omnis dolor repellendus. Temporibus autemquibusdam et aut officiis debitis aut rerum necessi-tatibus saepe eveniet ut et voluptates repudiandaesint et molestiae non recusandae. Itaque earum re-rum hic tenetur a sapiente delectus, ut aut reiciendisvoluptatibus maiores alias consequatur aut perfer-endis doloribus asperiores repellat1.

1A translator is likely needed to understand this text. It iswritten in Latin an example of a system that was formerlyvery open, but not now and randomly included in this doc-ument. Graphic designers are widely using Latin becauseits only the text, without meaning, that allows them tosee how a design is working. In this case, it is a part ofa LATEX template and it is not necessary to understandthe previous content. It is only included to emphasize thata some kind guideline or translator is always needed tofacilitate communication between systems (see also section1.1.2).

1

1.1 Creation of exhibitions and culturalprojects

Residency agreement at the Fundacio Antoni Tapies2

The Archive department of the Fundacio AntoniTapies, represented by Nuria Sole Bardalet, wel-comingly accepts the artistic project of Pep VidalGonzalez, DNI 46826244S, residing in Carrer Mon-turiol, 27, 9-1, Rubı, and authorizes the artist tocarry out a residency in the archive from 20 Julyto 2 August, 8:00 am to 19:00 pm, Monday to Sunday.

During this period, the artist will be granted fullaccess to the archive as a regular archivist and willtherefore respect the rules and regulations of theAFAT as outlined in this document. The artist willbe alone in the archive for the majority of residencyand therefore shall comply with all rules of the AFAT.

More specifically, the artist agrees to respect theconfidentiality of the available documents in theArchive of the Fundacio Antoni Tapies and declares,under his own responsibility, to respect the Intellec-tual Property Law of the documents subjected toreproduction. All of the research will be carried outexclusively for academic and educational purposes.If at any time the artist wishes to use the selected orconsulted documentation for any other purpose, hemust request prior authorization from the Archiveof the Fundacio Antoni Tapies.

During the residency, the artist may receive vis-itors at the Fundacio but they will not be allowedaccess to the AFAT under any circumstances. Theartist will receive visitors in the adjacent CombinedArts room.

In witness whereof, the parties have executed thisagreement in Barcelona, 20 July 2015

Nuria Sole BardaletArchive of the Fundacio Antoni Tapies

Pep Vidal GonzalezDNI 6826244S

2Originally written in Catalan.

1.1.1 Management of exhibitions and culturalprojects

Infinitesimal changes are very small changes thathappen everywhere at all times and are impossibleto see3. They are the basis of the creation of systems4.For example, two people talking, three dolphins inthe water, two people talking and three dolphins inthe water. A book on the shelf that suddenly fallsdown (not before, not after), etc.

Figure 1: Visualization of infinitesimal changes in aclosed system. In this case, variations in themeasurement of the same part of a mirror withmicro-variations of temperature and humidity.

Infinitesimal changes are the basis of the connec-tions between systems (see also section 1.1). Thistype of communication could happen many years oreven centuries later. For instance, and this is incred-ible, new species are still being discovered. Thereare live systems that no one has ever seen before. Itis possible, as well, that this type of communicationhas never been done before. For instance, and this iseven more incredible, every day many species disap-pear before their existence has even been detected.It is very sad and terrible at the same time.

Generally speaking, complexity in systems is re-lated to the diversity and degree of knowledge of theelements —also known as subsystems— that conformto the system.

3The verb see is used but it may be more accurate to use theverbs feel or perceive.

4System is understood as a space where things can happen(very rough definition).

of 12

The communication between systems and the com-plexity of them is widely used across different fieldsof study. For instance in Mathematics, complexity ofa problem (P, NP,...), complexity of a system, graphtheory for G = (V, E), Kolmogorov complexity, frac-tals, and a long list of other concepts. Connectionsand relations of systems are always needed. For in-stance, in figure 3, 75% of the pass code of the mobilephone is given. What is the probability that in lessthan one hour, one person can unlock the mobilephone? And in two hours? This is an open questionand remains unsolved in this paper to show that theactual complexity and the complexity of the systemsis related to patterns and especially to rules thatconnect dots and/or systems. In this case, as in thegraph theory in the schedule for Xavier Le Roy’sRetrospective exhibition (see figure 4), dots have thesame role in the system and connecting dots or el-ements of the same type is easier than connectingelements of a different type.

The degree of complexity is higher if the elementsof the system are different. For example, the problemof the sheep, the wolf and the box of cabbage5. Thereis no sense (or difficulty) if the three elements arecabbage, or wolves, or sheep. This is because thereis no interaction between elements of the system.Another example is the Tangram problem. If all theelements of the Tangram are squares, or triangles, orany other repeated element, making a simple joinedstructure (system) is quite easy.

Standard + Specific Subdivision

In the field of Optics and especially in image pro-cessing, the image of Lena (see figure 2) is typicallyused in the same way Latin is used by graphic de-signers. In figure 2, four images of Lena are shown.In this case, each image applies a different numeri-cal algorithm that processes the image and createsvisibly different results6.

5Help the man in the boat move the wolf, the sheep andthe box of cabbage to the other side of the lake in thischallenging and addicting puzzle game. You can only bringone of these with you at a time. It is very important tonote that the unguarded wolf will eat the sheep and theunguarded sheep will eat the cabbage when the man isntaround. Can you solve this tricky puzzle? Good luck!

6Chuang C, Lin G; Optical image cryptosystem based onadaptive steganography. Opt. Eng. 0001;47(4):047002-047002-9.

Lena is a standard image and for the reader, thecontent of the image itself has no significance. Thereal significance lies in what is happening to a well-known image as a result of different algorithms orimage processes. In this case, the origin of this imageis very different than Latin.

Lena Soderberg (born 31 March 1951 in Sweden)appeared as a Playmate in the November 1972 issueof Playboy magazine. Some geeky engineer or sci-entist probably had this magazine in his own officeand scanned the image. He included the scannedimage in a research paper and this paper has becomea worldwide reference. Consequently, Lena is widelyused. Note that if the scientist had published thefull image of Lena7 in the article, it probably wouldnot have been accepted and Lena would not have be-come a standard for the system of Optics and imageprocessing research papers.

Figure 2: Lena with different image processing. Lena hasbeen converted into a standard image in somefields such as image processing or numericalalgorithms.

In the cases of Latin and Lena, the notion of stan-dard is very important. A standard can be acceptedas a basis of comparison, an approved model, by anauthority or by general consent; a standard can alsobe understood as an object that is regarded as theusual or most common size or form of its kind. Latinand Lena, for different reasons, are now consideredstandards in their respective fields. There are count-less standards.

Another close example is LATEX which is widelyused as a standard word processor and documentmarkup language in the publication of scientific do-cuments in many fields, especially in Mathematics.One can very easily recognize if a document usesLATEX or not8.

Nowadays, as in the Lena and Latin cases, LATEXhas been converted into a standard word processor.

7Originally nude.8This document has been written using a LATEX template.

of 12

U01 + E01. Schedule of activities

The notion of standard can be seen in exhibitionsas well. A standard exhibition. A non-standard ex-hibition, as in the Retrospective9 of Xavier Le Royin the Fundacio Antoni Tapies (2012). In this exhi-bition, for example, a schedule has become the mostimportant part of the creation of the exhibition andall documents in the AFAT actually rotate arounda schedule. Figure 4 shows the schedule of the per-formers during the exhibition. A list of performersfor each day. This apparently easy exercise is thebasis of the structure of the exhibition. Schedules arevery important, not only for this exhibition, becausethey put all the related elements (systems) togetherin a common document or system. In this case eachperformer has the same role. In other words, for Ret-rospective there is no stratification or specializationbetween performers. Obviously they are different,but the role of Carme is the same as the role ofIdure. It is more difficult if their roles (or systems)are different.

It is probably known that Tangram is a game cre-ated in China during the Song dynasty, between 960and 1279. The objective of the game is to forma specific shape (usually a square) using all sevenpieces, without overlapping. Usually the shape of theindividual pieces is more irregular or unfamiliar thatthe final squared shape. The result is that all thepieces are arranged together to form a new simpleshape. The relation with figure 4 and the exhibitionof Xavier Le Roy10 is in the sense that a pattern, rule,grid or standard is needed to turn complex entitiesinto simpler entities.

U07 + E02. Strategic report11

Creation of exhibitions and cultural projects is asystem itself in constant interaction with other sys-tems —institutions, companies, artists, humans ingeneral—. As a result, a compact system is neededto join all different pieces as is done with the Tan-gram. Then, it is clear that communication betweendifferent systems is needed. Systems are actuallyconstantly changing. Previous sections have showndifferent examples of standards and how they have

9A choreography of actions.10If anyone would like his email, you can contact me: vi-

[email protected] as the beginning of the archive.

been changing for years. An important main con-cept is that standards (and systems in general) areconstantly changing. When something is convertingfrom standard to specific, it means that it is notworking for everything/everyone within the contextand is therefore becoming less useful.

Figure 3: Screenshot of a mobile phone. 75% of the par-ticular passcode of this standard mobile phoneis given.

The Archive of the Fundacio Antoni Tapies (fromhere AFAT) was created in 2009 in order to managethe documentation of the institution in a standard-ized way and consists of documents generated by thefoundation since opening in 1990. The part of thepublic documentation of the Archive refers to thecultural management of the institution as well as thepreservation and promotion of the artistic heritageof Antoni Tapies.

The AFAT is a system12 inside the system of Fun-dacio Antoni Tapies inside the system of Barcelonainside other multiples systems. It is a kind of Ma-tryoshka doll (see previous sections). In the other di-rection, inside the system of the AFAT, there are veryimportant subsystems, the dossiers of the exhibition.The cataloging of the historical background is notyet complete, but there are already 47 dossiers of theexhibitions and related activities. In addition to theextensive textual background, a collection of imagesand audiovisual material is being included. Since itsinception the Foundation has recorded many of itsactivities in different formats: photographs, soundand audiovisual recordings.

12Is the archive a system? The answer is very simple and doesnot need any demonstration: Yes.

of 12

Figure 4: Schedule of the performers (above) and studioof the exhibition hall (below), for the Retro-spective exhibition of Xavier Le Roy.

The AFAT is both a semi-closed and a semi-opensystem at the same time. Almost each system il-lustrates these two concepts at the same time, butin the case of the AFAT, it is especially interesting.The Archive was opened to public consultation inJuly 2012. The entire photographic, audio and visualarchive has been digitalized. Its paper digitization iscurrently in progress. In this sense, there is clearlyan interest in opening the archive to people inter-ested in the exhibitions or in the management ofcultural projects. It is like opening the back side ofthe museum.

The typology of the documentation of the Archivevaries, and so, some kind of rule, standard, or netthat permits classifying all the information is neededto keep the system as open as possible. As it isexplained in previous section, the complexity of thesystem is directly related to the degree of variabilityand the degree of knowledge of the elements of thesystem. In this case, the only possibility for having agood knowledge of them is having a good standard forthe classification of the documents and for splittingInformation into I–n–f–o–r–m–a–t–i–o–n.

U07 + E03. Proposals report

In the AFAT there is a very important docu-ment called Classification scheme for the documen-tary holdings of the Fundacio Antoni Tapies. Asthe document itself explains, the Fundacio AntoniTapies needs to develop a classification scheme, en-compassing the entire Fundacio, to enable efficient,cost-effective management of its administrative docu-ments. The scheme is the key element in the FundacioAntoni Tapies integral document and archive man-agement system. These operations manage the entireprocess of conception, development, implementationand evaluation of administrative systems, from thecreation or reception of the institutions administra-tive documents to their destruction or preservationin the archive.

Each document is assigned a value from the classi-fication scheme that refers us to a general or specificconcept. Some initial divisions can be subdividedaccording to (nominal subdivisions), standard subdi-visions and specific subdivisions.

1.1.2 Self-produced exhibitions13

Specific subdivision

Here are some classification of systems, dependingon different parameters. From the general (morestandard) to the particular (more specific):

• Division, subdivision, subsubdivision.

• Section, subsection, subsubsection.

• Specie, subspecie, subsubspecie.

• Family, subfamily, subsubfamily.

• Elisabets, Elisabets, Elisabets.

• Perciformes, Serranidae, Epinephelinae.

One example of this multi-system division is theElisabets sandwich. It is a very tasty sandwich whichcost 3.60 euros and is made with a warm omelet andtuna. It is a very complicated but satisfying mix offlavors and is a kind of Matryoshka doll, fractal oriterative division. The Elisabets sandwich is offered(at least) in a restaurant called Elisabets in Elisabetsstreet. System inside system inside system. All el-ements are different —a sandwich, a restaurant, astreet— but they are all known by the same name.

13I love to create!

of 12

The Elisabets sandwich is not such a useful clas-sification method if the amount of systems is quitebig. For instance, a very important example of anunrelated multi-system division is the classificationsystem for flora and fauna. In biology, a species(abbreviated sp., with the plural form species abbre-viated spp.) is one of the basic units of biologicalclassification and a taxonomic rank.

For instance, it is possible to see this stratified clas-sification with the description of groupers. Groupersor gropers are fish of any of a number of genera in thesubfamily Epinephelinae of the family Serranidae, inthe order Perciformes. Not all serranids are calledgroupers; the family also includes the sea basses.The common name grouper is usually given to fishin one of two large genera: Epinephelus and Myc-teroperca. In addition, the species classified in thesmall genera Anyperidon, Cromileptes, Dermatolepis,Gracila, Saloptia, and Triso are also called groupers.Fish in the genus Plectropomus are referred to ascoralgroupers. These genera are all classified in thesubfamily Epiphelinae. However, some of the hamlets(genus Alphestes), the hinds (genus Cephalopholis),the lyretails (genus Variola) and some other smallgenera (Gonioplectrus, Niphon, Paranthias) are alsoin this subfamily, and occasional species in otherserranid genera have common names involving theword ”grouper”. Nonetheless, the word ”grouper”on its own is usually taken as meaning the subfamilyEpinephelinae.

E01. Organization of the Exhibition

As it is shown in previous section 1.1.2, organiza-tion is very important for any kind of system. In thecase of the AFAT, the Classification scheme for thedocumentary holdings of the Fundacio Antoni Tapies(CSD from here) is the document used to organizeall the information from the exhibitions. All the ex-hibitions are classified within the parameters of theCSD. Each exhibition has its own dossier and eachdossier is organized into different sections, subsec-tions and subsubsections. Actually, each exhibition isorganized within the same parameters of this article.More accurately, this article follows the structureof the CSD. The first section of each exhibition isthe subsystem CULTURAL MANAGEMENT, as insection 1 of the article. And so on.

The most important concept here is that the CSDdocument has become the standard of classificationfor all the exhibitions of the Fundacio Antoni Tapiesin past years. All variability of materials follows thescheme of sections and subsections of the CSD, asthis article is now doing. All articles done in the nearfuture will also be formatted with the same struc-ture: beginning with section CULTURAL MANAGE-MENT (section 1) and concluding with subsectionE45. Description of conditions (1.1.2). No more, noless.

Figure 5: Performing the Museum scheme. The upperdot represents myself and the lines around merepresent the exhibitions I was involved in dur-ing my residency in the AFAT. The dot belowrepresents the Fundacio Antoni Tapies andall the exhibitions it has been involved with inrecent years. The line marked Performing theMuseum, is the exhibition that connects theauthor in time with the institution.

If all the exhibitions are classified with the samestructure, it means one important thing: the struc-ture of the CSD is accurate and flexible enough toclassify all kinds of information of all exhibitions ofthe FAT. It is standard because it does not need anychanges (an extreme alternative situation would bethat all the exhibitions need their own Classificationscheme, each different from the other) and specificenough to provide clarity and make the system asopen as possible. In this sense, it must be a very goodscheme because it has remained unchanged overtime.

of 12

It is very important to note that the variable oftime is not so important in the CSD. The first vari-able of selection, as explained before, is the same asthe sections of this article. Then, when the informa-tion of an exhibition is classified by these parameters,the variable time remains as a secondary or tertiaryclassifying parameter.

Figure 6: Scheme for some of the classified exhibitionsin the FAT.

The scheme of figure 6 shows, as an ex-ample, six different exhibitions of the FAT,{E1, E2, E3, E4, E5, E6}. Each of these exhibitionshas a period of creation —larger than the time of theexhibition itself—. In exhibition E1 the beginning ofthe creation time, is represented as t1i , and the endof the creation time as t1f , where the sub-index i andf are refer to the terms initial and final, respectively.The other exhibitions follow the same procedure. Asshown in the scheme, the longest exhibition creationtime is seen in E6, and the shortest exhibition cre-ation time is seen in E5. On one hand, it also showsthat the pair of exhibitions E1—E4 and E3—E4 donot overlap in time, i.e., they are conceived, exhibitedand finished in completely different periods of time.On the other hand, all the other pairs of exhibitionsoverlap in terms of time.

This analysis in terms of time is very difficult toput into practice at the AFAT. It is very difficult toknow the initial variable ti and the final variable tf .of all exhibitions. And this is because the variableof time is not so important. It is important to firstsplit the documentation of the exhibition into thedifferent subsystems of the Classification scheme —the same as the sections of this article—, and theninto divisions of time.

E02. Production of the Exhibition

I was in residence in the AFAT, every day from10:00 to 20:00, from Monday 20 of July to Sunday 2of August, 2015 (weekends included). The purposeof the residency was to be able to see the dossiersof the exhibitions I was interested in, and more im-portantly, to gain a thorough understanding of howthe AFAT works in terms of structure of informationand its relation to the concepts of semi-open andsemi-closed systems. After signing the documentshown in section 1.1, the AFAT permitted me tobegin my residency during the stated period andview the dossiers of the exhibitions I was interested,in this case:

• Marcel Broodthaers. Cinema. [Exhibition]. 18April — 29 June 1997.

• Tour-isms. Critical Itineraries. [Exhibition]. 15May — 29 August 2004.

• Retrospective by Xavier Le Roy. [Exhibition].24 February — 22 April 2012.

At the same time I was doing my residency inthe AFAT, I was also involved in the production ofseveral other exhibitions. More specifically, I wasinvolved or directly managing 20 exhibitions and/orevents. Figure 5 shows the Performing the Museumscheme. The upper dot represents myself and thelines around me represent the exhibitions I was in-volved with during my residency at the AFAT. Thedot below represents the Fundacio Antoni Tapiesand the lines around it represents all the exhibitionswith which it has been involved in recent years. Themarked line is the line related to Performing theMuseum, the exhibition that connects me in spaceand time to the Fundacio Antoni Tapies during myresidency.

of 12

Somehow, while I was inside the Archive, whichhas a lot of documentation of exhibitions, I wasgenerating more material for other exhibitions. Ifthe other institutions I was working with have theirown archives, I was simultaneously appearing in 20archives. This concept of multiplicity is very impor-tant in the article and following sections.

E21. Authors14

Pep Vidal, in collaboration with Oriol Fontdevila,Nuria Sole and Linda Valdes. English correction byHannah Cowdrey.

Nail To Nail To Nail. The archive as perfect stan-dard is a project by Pep Vidal produced in the frameof Performing the Museum, a project co-funded bythe Creative Europe Programme of the EuropeanUnion. Antoni Tapies Foundation, 2015.

E22. Works

The main work presented in this paper and for thePerforming the Museum project, as a result of theresidency in the AFAT and as a result of conceptu-alizing the classification method of AFAT in termsof systems, accuracy, open and closed systems andthe notion of standard, is an action. This action is aresult as well of thinking in terms of privacy.

The AFAT allowed me to research all the docu-ments of the three dossiers previously mentioned.There is a lot of private information in these threedossiers alone: names, addresses, e-mail addresses,owners of pieces, direction of collectors, problemswith the production of exhibitions, salaries of artists,loan terms, changes in exhibitions, and much more.In this sense, the AFAT is a very semi-open system.

During the residency I was contemplating whatwould happen if I opened my own Archive as AFAThas done. This is the main idea of the resultingaction for the Performing the Museum project andthe residency in the AFAT. The action consists ofopening my Archive in relation to the two weeks Ispent in residence and printing all the emails and

14Creative Commons license: cc-by-nc-sa.

information exchanged within that time —in relationto the 20 running events15—.

Figure 7: Scheme for some of the exhibitions of PepVidal during the residency.

The typology and timing of each event are veryunique. Some events took place at the very beginningof the residency, some at the very end, and othersoverlap only very slightly in relation to the project asa whole. The information collected from each projectduring the residency also varies. Some examples are:

• The photos of a former exhibition.

• The photos of a former exhibition.

• Serious problems with the production of aproject.



• A new proposal for a project.

• A new proposal for a project.

The first question that came up during the resi-dency and with the idea of opening my own archivewas concerning privacy. There are many names,e-mail addresses, and other private information as-sociated with the project. The problem was solved

15As stated in previous sections, during the period of theresidency I was involved in 20 other projects.

of 12

by sending an email explaining the project to all ofthe people involved during this period. If someonehas an issue with making the information public,a negotiation could take place to agree upon whatinformation could be included16.

The second and most interesting question thatcame up with the action is in terms of classification.As explained in previous sections, the Classificationscheme for the documentary holdings of the FundacioAntoni Tapies, the standard used for the classifica-tion of all the documentation of exhibitions, doesnot work directly with the notion of time (not as animportant variable for splitting information), but allthe documentation shown for the action has beenconcentrated in two weeks —so the notion of timein the action is important—.

Figure 7 shows the scheme for some of the exhibi-tions of Pep Vidal during the residency. As statedbefore the total is twenty events, but for the sake ofclarity the figure shows only four. As figure 7 shows,only the part of the residency is shown with the ac-tion, independent of the amount of time needed forthe conception, execution and other periods of theexhibition. It therefore only shows a select part of allthese exhibitions. On one hand —different from theAFAT— it is possible to have information of all theexhibitions running at the same time. On the otherhand —also different from the AFAT— the informa-tion of each exhibition is most likely incomplete. Forthese reasons, and only in this case, the option toclassify the information using only a variable of timewas chosen (independently of the exhibition).

E23. Spaces and set-up

The Cartesian coordinate system is frequently usedto manipulate equations for planes, straight lines, andsquares, often in two and sometimes in three dimen-sions. Geometrically, one studies the Euclidean plane(two dimensions) and Euclidean space (three dimen-sions). Analytic geometry can be explained evenmore simply: it is concerned with defining and rep-resenting geometrical shapes in a numerical way andextracting numerical information from the shapesnumerical definitions and representations. The nu-merical output, however, might also be a vector or ashape. The fact that the algebra of real numbers canbe used to yield results about the linear continuum

16At the moment of printing this article, I have not receivedany negative responses concerning the project.

of geometry relies on the Cantor-Dedekind axiom. Itis needed for measuring grids. It is usually based ona coordinate system (accuracy) and an origin (0,0).

Accuracy of the coordinate system is directly re-lated to the notion of standard explained in previoussections and completely related to the complexityand type of geometry of the system:

1. Simple geometry. A hemisphere, a cube, some-thing very normalized.

2. Complex geometry. Something that is not easyto parameterize.

3. Sub-resolution geometry. A geometry (simple orcomplex) that is smaller than the resolution ofthe grid. What happens if something is smallerthan this? Then, this geometry is invisible tothe system. It is impossible to see it.

E24. Lectures and seminars

E03. Communication of the Exhibition

Nowadays the internet has become the main sourceof communication between humans17. Inside theroom of the Archive of the Fundacio Antoni Tapiesthere is a router allows public connections as partof the Barcelona Wi-Fi network. It provides freeinternet access to all citizens, an online and mobilenetwork which facilitates fast and convenient infor-mation searches and the social use of the internet,keeping us up-to-date on society. This has been madepossible through the use of municipal centres andpublic spaces as Wi-Fi zones. One of these hotspotsis located in the AFAT. From a conceptual pointof view, this hotspot has great significance for theartist in residence because it is an open system (freeWi-Fi) generated by a closed system (the room ofthe AFAT) and supports the idea that a semi-closedsystem may communicate with open systems.

17Could also be between humans and other systems such asrobots.

of 12

E04. Touring of the Exhibition

• 20.000.000 BF

• 10.000 DM

• 50.000 DM

• 20.000 DM

• 10.000 DM

• USD 300.000

• 12.000.000 BF

• 31.100 BEF

• USD 170.000

• 50.000 FB

• 20.000 FB

• 60.000 FB

• 300.000 DM

• 7.000.000 FB

• 5.000.000 FB

• 3.500.000 FB

• 4.000.000 FB

• 160.000 DM

• 15.000 FB

• 1.500.000 FF

• 300.000 USD

• 12.000.000 BEF

• 100.000 fl

• 50.000 USD

• 300.000 USD

• 2.000.000 BF

• 2.200.000 FF

• 1.500.000 FF

• 15.000 BEF

• 1.500.000 BEF

• 2.500.000 BEF

Figure 8: List of insurances for pieces and global packinglist for all of the items loaned to the ”MarcelBroodthaers” exhibition for the Fundacio An-toni Tapies (bottom).

E43. Loan conditions18

E44. Circulation sheet

NASA’s Kepler space telescope found that KIC8462852 dimmed oddly and dramatically severaltimes over the past few years. The dimming eventswere far too substantial to be caused by a planetcrossing the star’s face, researchers say, and otherpossible explanations, such as an enormous dustcloud, don’t add up, either. The leading hypothesisat the moment involves a swarm of comets that mayhave been sent careening toward KIC 8462852, possi-bly after a gravitational jostle by a passing star. Butit’s also possible, astronomers say, that the signalKepler saw was caused by huge structures built by analien civilization say, a giant assortment of orbitingsolar panels.

E41. Installation guide

There are likely many valuable pieces of art insidethe completely closed system shown in figure 9.

Figure 9: Nail to Nail company, Bruxelles.

18This section is empty, like some of the sections of a givenexhibition in the AFAT.

of 12

E42. Condition report

Figure 10: Real coal tit (Periparus ater), top. Ceramicbarn owl (Tyto alba), bottom.

Figure 11: Strange, randomly fluffy coffee.

Figure 12: The Elisabets sandwich.

Figure 13: A friend looking out at us from his own trac-tor.

Figure 14: Who knows.

of 12

E45. Description of conditions19

Pellentesque habitant morbi tristique senectus etnetus et malesuada fames ac turpis egestas. Donecodio elit, dictum in, hendrerit sit amet, egestas sed,leo. Praesent feugiat sapien aliquet odio. Inte-ger vitae justo. Aliquam vestibulum fringilla lorem.Sed neque lectus, consectetuer at, consectetuer sed,eleifend ac, lectus. Nulla facilisi. Pellentesque egetlectus. Proin eu metus. Sed porttitor. In hachabitasse platea dictumst. Suspendisse eu lectus.Ut mi mi, lacinia sit amet, placerat et, mollis vi-tae, dui. Sed ante tellus, tristique ut, iaculis eu,malesuada ac, dui. Mauris nibh leo, facilisis non,adipiscing quis, ultrices a, dui.

First This is the first item

Last This is the last item

Morbi luctus, wisi viverra faucibus pretium, nibhest placerat odio, nec commodo wisi enim eget quam.Quisque libero justo, consectetuer a, feugiat vitae,porttitor eu, libero. Suspendisse sed mauris vitaeelit sollicitudin malesuada. Maecenas ultricies erossit amet ante. Ut venenatis velit. Maecenas sed mieget dui varius euismod. Phasellus aliquet volutpatodio. Vestibulum ante ipsum primis in faucibus orciluctus et ultrices posuere cubilia Curae; Pellentesquesit amet pede ac sem eleifend consectetuer. Nullamelementum, urna vel imperdiet sodales, elit ipsumpharetra ligula, ac pretium ante justo a nulla. Cur-abitur tristique arcu eu metus. Vestibulum lectus.Proin mauris. Proin eu nunc eu urna hendrerit fau-cibus. Aliquam auctor, pede consequat laoreet varius,eros tellus scelerisque quam, pellentesque hendreritipsum dolor sed augue. Nulla nec lacus.

19As a conclusion.

of 12

nail to nail to nail. - pep vidal to nail to nail_arxiu_final.pdf · 2016. 11. 14. · nail to nail...

Documents