Julián D'Angiolillo

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Vision of art
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ANTROPOLIS (2011)

The project Antropolis proposed to build an anomalous park with materials used by the urban infrastructure and maintenance of public spaces. We draw a space with fences, columns and public lighting artifacts, deploying a new assembly order that subverted the functionality for which they were designed to serve the city-hall urbanism.
During the first year of Tecnopolis (2011), a technology and science fair that the Argentine Government built in commemoration of the Bicentennial, Antropolis defined its topography on debris that were part of the facilities of the former Batallion #601, a military intelligence service within the Argentine army running on the same site during the last dictatorship. From these ruins we began to construct Antropolis, also taking advantage of resources and wastes generated from the immense construction project the fair entailed. Quickly the Antro became a sponge, symptomatic of the entire work, or at least, a parasite of Tecnopolis, giving birth to the natural and inevitable suburb which drifts away from all technical optimism.

Become a StallHolder (2010)

"When Columbus came to America, the Indians were waiting with a fair" Jorge Castillo, Punta Mogote´s Administrator.

La Salada it´s a group of fairs that specialize in textiles, which is located outside the city of Buenos Aires, above the ruins of old popular seaside resorts. Twice a week, at daybreak, the fair activates a powerful non-hegemonic economy trough an endless amount of home made factories that supply to all the wholesale that come from all around the country.

The stallholders have built with creativity and with a multitudinous system for those who can´t find in the regular city what it’s offered by La Salada, establishing its own laws and forcing the government to come to negotiate. Thanks to the judicial pressure over the city hall to clean the pollution from the Riachuelo river (were its located the most parlous faire), it´s accelerated a process of transformation of the land that will produce an unexpected negotiation between the government and the fair.

The Real Estate Wanderer (2007 / ?)

Displace / Rivadavia Park bio-geography (2006)

After the 2001 argentinian political and economic crisis, Parque Rivadavia in Buenos Aires was wholly occupied by its traditional book, album and stamp collecting market. The city government’s primary excuse for evicting families and merchants to occupied the park was a remodeling project. Before fencing the park in for good, a barrier that served as a support for advertising was put up during the works being held in the park. This became the modus operandi for a series of reforms of most of the city’s parks and squares (many of them still in progress) that condition the hours when they are open.

book- 192 pgs/20*14 cm

The Entropic Arc of Triumph (of The Square’s courtyard) (2004)

Vision of art

1. Choose a work that represents you, describe it in relation to its format and materiality, its relation with time and space, its style and theme; detail its production process.

For over three months I worked at an abandoned factory which occupies almost a block on the street Guevara of the Chacarita borough. It was in 2004. A narrow path led you to the heart of armored concrete, where you could see the middle square’s courtyard. In the center stood the Arc de Triumph entropic, inspired formally from the Monument to Bolivar of the Rivadavia Park. To build “the Arc” I used module drawers for some old milk bottles (at first the factory Casanto used to function in there). For the platform, a real estate banners (Banco de la Provincia de Buenos Aires, who had also worked there as a kind of supermarket for banking accessories and furnishings... how many uses can be given to one same location?). Passing through the arch, within a few meters, the visitor was on a runway like those in the Falls, but less secure because they had no railing. From the top the view of the square changed since this route was also surrounded by trees that we had brought from Dique Luján with a Van, a separate anecdote. This area was a cemetery of posters, some of which foreshadowed the future of geriatric publicizing site. The gateway opened into a passage leading to the restrooms by far the creepiest place in the factory, where time has literally stopped, the plaque on the tiles, the same pale light all day. Here we place a series of speakers that you could hear from the arc. The sound experience. If you were on the terrace you could hear the square through the chimneys. In front of the Arc there were some rooms that became an apartment for rent, with a dropped ceiling, which we got off the second floor, parquet stacked in a corner and a wall to which we attached a chip found in some abandoned doors. We shut off all sources of natural light and got five public Strand lanterns, those that hang on the street intersections. We buried ourselves within night, in a square that existed before it was even finished. After the opening, visitors were added to the experience, because we, the staff of the New Town (a diverse group of artists, musicians, gardeners and workers) were still linked to the space in the same way, crossing, finding, thinking, measuring, inventing, moving, listening, destroying, understanding, surrendering. A fanzine / catalog that emulated a classifieds magazine gathered documentation of all these actions. Now I am finishing a book that has much to do with this publication, it will be called The displaced.

2. In general terms, how would you suggest to approach your work?

A reading that could not be pre disposed or anticipated. The predisposition (To say: I will read such thing or I will see such exhibition) creates an instant backup of our prejudices. It is the danger of institutional spaces. That is why I like the actions that are among the institutions. Superimposing them, exchanging them. I'm finishing a kind of institutional video dance that pursues these postulates.

3. In reference to your work and your position in the national and international art fields, what tradition do you recognize yourself in? Who are your contemporary referents? What artists of previous generations are of interest to you?

Traditions in fine arts are like literary genres, with their laws, dogmas and formulas. Forms of communication, effectiveness and satisfaction of the viewer. Art is a medium to learn about ourselves. The works that know themselves too well, however, seem self-help (a Polish immigrant once said: There is something in consciousness that becomes a trap for itself). If given a choice, because of its tendency to drift and poetic action, I’d choose science fiction applied to reality, although packaged in small doses. Something like the Arlt invention of the Aguasfuertes (and yes, I went through the press).

4. Choose works or exhibitions from the last ten or fifteen years which in your opinion were very significant and explain why

One day I traveled with some friends to the railway workshops of Remedios de Escalada to see a sample of the Group Ticket Type Edmodson, which was mounted on some wagons. The mark of the territory and the whole excursion seemed to me like a great work equivalent to a sunny day. One night I went through that beautiful space that is the underground tunnel guarded by the Monument to the Spanish. Along the width corridor there was a series of monitors and microphones confronted with blackboards. The showing was called Catch 22 goes underground, if I am not inventing. The microphones coupled, of course, and one could assume that. I remember a few of us got stocked in the hallway muttering to the wall. Again, the sound experience. For several years is being done in the Jurassic Fugue at the Museum of Natural Sciences during the winters, at the Centennial Park. For me it is a ritual to go there after taking a mug of coffee with brandy in the untimely corner bar of Warner and Angel Gallardo streets. I hope the Cromagnon effects do not outweigh that conquered space.