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Obra artística Art work

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Raul Díaz-Obregon

on 21 November 2017

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Transcript of Obra artística Art work

My creative process throve with artists meetings, and this activity produced the creation of an artistic group. We were very concerned to bind art and life, to break the artistic Spanish conventions of creation, and invigorate the artistic and social environment with ludic, ironic, and critical performances and artistic actions
Installations
Video-performance
Posbolonio uniform
Artist work by
Raúl Díaz-Obregón

Obra artística de Raúl Díaz-Obregón
to previous work
Two-dimensional image

2010
2015

Installations

Drawing
Video performance
Performance
Academic performance
Theoretical work
Performances - CES Felipe II
Some years latter in Berlin, (1997- 2000) I worked on the possibilities of video. I used it as a diary, doing video performances, in which I recorded my difficulties to communicate with my environment
Performance
Performances en congresos
Site specific art at the university
Dos invisibles visibles, en tiempos de crisis global
When the performance body breaks.
Nos mojamos
foto ficha
1990
2005
2000
Un mundo sin arte
Ordenarte desordenarte: tic-tac tic-tac
Video
In the last years of my education at the Fine Arts Faculty in Madrid (1989-94), I developed the need to use space and research other artistic perspectives, away from Formal education (Concomitances). At the Wimbledon School of Art in London (1994-95), I applied some of the photography processes to use them in installations (Daffodils).
When I came back to Madrid, I abandoned the subject “I” as my interest of creation, and I focused in the “you” subject, the public and the others. I move from video to live performance as a way to let public to participate
This is one of the first videos-performances that I made in Berlin. Facing the camera, I asked and aswered to myself in german, english and spanish the followed words:

- How are you?
- Not very well thank you
- Really?
- Really?!!
Between every sentence I turn the camera 360, making a dialoge. There is no edition, no planning and no repetition of the peace.


Team work
Thesis presentación
This video shows the beginning of the artist thesis presentation, where I develop an artistic and also didactic intervention in the space. I broke the protocol in other to take in to practise the didactic and the artistic criteria that he proposed in my research, building a site specific intervention
wacht video
more info
wacht video
wacht video
This pieces, made in December 2000 in Wannsee (Berlin), follows the same structure as the previous artistic videos, in which the artist appears in a contradictory, ridiculous, obsessive, excessive and strenuous actions. The artist doesn’t make a representation (he doesn´t play) but presents himself in front of a camera and performs without knowing how it would finish.

In this video you can see a close up of the artist’s friendly face, which tries to please the viewers with a full and big smile. This expression is held for several minutes, but little by little begins to suffer under the strain, showing run down, doleful and exhausted features, which sometime can´t hold back his tears.

The piece lasts 36 minutes, and as previous works, has no editing and is made in just one shoot, without any test. It was exhibited at his doctoral presentation the 22-10-2003



more info
to video installation
wacht video
This is my first project presented at Katherinas Sievending´s class in the Fine Arts faculty of Berlín. It´s basically a recorded performance which its developed in a video installation, showing, three weeks long cleaning process of the meeting classroom. The video displays aesthetic and ironic images, with subtle and humorous touches.
more info
Performance made the 20-10-2001, during the artist meetings organized by the artistic association ECCA in Madrid . It was the first artistic performance of these meetings and also the first announced performance for the artist.
The artist started the warming up at 10 pm in an exterior courtyard of the association, where he installed a portable baby’s swimming pool. The temperature was around 9 degrees. Meanwhile inside the school, group of artist continue with their colloquium without knowing what was going on outside. After 30 minutes of intense exercise, discarded his clothes and wore goggles, a swimming cap and swimming costume. He dived in to the water and stared beating his arms in the water, between yells and broken breathes. Gradually and due to weariness, he decreased the cadence of his movements, quitting 25 minutes latter.

The piece has a personal and critical meaning. In regards to personal content, it’s necessary to know that the swimming pool was a childhood object, in which he swam when he was little imagining it as a big person, swimming and floating in a bigger space without any problems. The repetition of this action as an adult, who swims with more difficulty than as a youngster, develops a dramatic and grotesque meaning. On the other side, it is a critical warning against the passive and conformist artists attitude of these meetings, who bitterly complained against the unfavourable artistic world. The swimmer performance tried to face the reality and sprang in to action in order to change the situation.

It is important to know that these artistic talks were specially sensitive to September the 11th. They were talking about the possibility of finding an artistic and social position to demonstrate against this disaster. After this performance, there were other artistic proposals from Luis Fernando Martín de los Santos and Fernando Rubio Ahumada in the same space. These three artists created a participation art group.

1995
Taking this democratic, participative and non-elitist art idea, I started working these concepts into the educative area. I have been using art performance art as language, to demand a horizontal relationship and a collaborative attitude.
Behind these interventions there is an interest to change the social environment, creating a new conception of the institutional, educative and artistic field
Teacher presentation (2003)

2003
2004
2006
2007
Bienvenido a este mapa- presentación de mis trabajos. Puedes seguir los pasos de la presentación para tener una visión panorámica de su evolución o pararte y profundizar en cualquiera de las obras presentadas, moviéndote por el gráfico. Ten en cuenta que existen dos coordenadas básicas: una horizontal que te presenta las obras cronológicamente, y otra vertical, en la que puedes identificar los medios artísticos utilizados.


¡Bienvenido!
Vertical coordinate: artistic media
Horizontal coordinate: Timeline
wacht video
wacht video
more info
Reality versus (a)fiction
Hole of light
Agujero de luz
Concomitances
Concomitancias
Daffodils
Narcisos
Butterflies can´t put up
with this noise
Las mariposas no pueden aguantar este ruido
more info

This Installation was made in Villa Iris as a part of a contemporary art workshoop followed by Mitsuo Miura and organized by Marcelino Botín Fundation , from the 1st of July to 15th of July 1997. The artist selected a group of 15 artist of diferents artistic tendencies, to work in and with the space.

Every artist performed in the space freely and differently from the others, obtaining a mosaic of interesting proposals. In my opinion all the work were separated from the hole. My proposal searched to extend the space identity and create, a connection with all participants work, creating a real site-specific art work.
I decided to create a was minimal installation because the place had changed enough by artist’s action. I cut up and took away the butterflies of the wallpaper’s house. These were fist placed all over the interior and exterior places, and then documented

"Butterflies can´t put up with this noise"
Smilingly
Sonriendo
Smilingly
Sonriendo
Smilingly
Sonriendo
How are you?
¿Cómo estás?
Football and art challenge, consisting in playing a football match in front the Madrid´s Contemporary Art Museum on the 05.04.03. In this game, ‘reality’ which included ‘artist teachers’ who were following a collaborative workshop in the European University of Madrid, played against ‘Fiction’ formed by students of the afore mentioned workshop, which changed each other with different members of the public.

It took place at the entrance of prestigious Reina Sofia Nationals Contemporary Art Museum, where the most significant institutional art pieces of the city are exhibited. The Reina Sofia, at that time, had rarely shelter participative, critical, social and popular art displays. Nevertheless, in the square where the match took place, children and immigrants used to meet, spontaneous and marginal people practised the most popular sport: Football. Due to the media, this sport is considered, an art which seduces a real (royal) and not real (royal) people, making us forget them the present, here in Madrid, and also in Great Britain, and Morocco, but also in Iraq and even further…

This magical game between reality and fiction had two halves of 30 minutes each: the first part was played with “the word” (with a ball on which “word” was written) and the second part was played with “fact” (the playing ball was written with the word “fact”). The dorsal of the reality team (4, 7 and 10), and the name of the team (real) were written with chalk on black t-shirts which disappeared little by little. However the dorsal 03, 04 and 05, and the name of the other team (fiction), printed in to a grey colour t-shirt , which were permanent, but the player who wore them, because they were rotating with the public.

The team celebrated their goals with they rising and showing his written palms with the word NO[2]. All of this occurred under a secure police presence, which controlled all popular radical demonstrations in the city and the referee watched, who custodies the order and legality of this strict artistic-didactic-sporty event.

Both teams played fairly during the match. Fiction won with the minimum difference, in a contested sport confrontation, distinguished by the sportsmanship, enthusiasm and good football quality in both sides.

The sporty -artistic match turned in to a pun of words and meanings, in which the public and the following, those who don´t belong to the reality, were the protagonist winning. It was the “real” Madrid of the following ( in Spanish aficción), the real and socially implied art, the real immigration, the real students, the real public and the real social situation, which win the Real Madrid[3] of Fernando (4), Raúl (7) y Luis (10)[4], the art of the museum, the teachers, the artistic elite, the well-off EC citizens and the TV world. The words and the facts, the repression and the demonstration, the museum and the street, the elite and the popular, the culture and the football were mixed, crossed, jumbled and played.

Realidad versus (a)ficción
Reality versus (a)fiction
Realidad versus (a)ficción
Reality versus (a)fiction
Realidad versus (a)ficción
Consummation
Consuma(c)ción
Engagement & + and
Compromiso i + y
more info
wacht video

The original Spanish word “Consuma(c)ción” plays with several meanings:
Consume an action or an ethereal product, consequence of the exchange of attitudes, thoughts, words, tongues and mouths. It is a reaction against a servile artist attitude of offering easy edible objects easy to digest and gentle to the senses and to the public. It is a Re-reaction against all that is easy to consume and fast to forget.
With maximum action, to avoid the public’s passives behaviour. It is an action made with the public participation and other artists. Consummation is a performance in where the roles are reversed: the artist observed the intervention of the public using their participative creativity.

Consummation of the first artistic project of the “4, 7 and 10”, based on the open, critical, plural, agile, ironic and artistic piece. The figure of the artist is questioned, turned in this case to a mere waiter of the artist process. It is the consummation of the public’s presence in the artistic process of this group, using the food/word in a social spatial event.

Consummation
Consuma(c)ción
Consummation
Consuma(c)ción
Paralelamente al trabajo en equipo, desarrollé una tesis doctoral sobre las conexiones entre la instalación y las bases educativas posmodernas. Una de la más significativas es el diálogo entre el artista y el publico, aspecto que potencia una relación abierta y democrática en diversos niveles.
En la defensa y presentación de la tesis realicé un performance e instalación artistica que pretendía poner en práctica los contenidos desarrollados en ella.

Previous to the beginning of the exam I warned the tribunal that my presentation didn´t follow the conventional structure, because the contends demanded a different presentation. The explanation of this action couldn’t be advanced, because the meaning could be damaged. So that I asked permission to do it without any previous explanation. Finally the board members allowed me to continue with the proposal, and also to document the process.

Once the formal presentation was made, I stood up and cut down a thread which holt a big cloth. This semitransparent curtain was unrolled in front of the tribunal table, separating and isolating them from the audience and myself

Forthwith an artistic video of the researcher’s smiling face was projected in the big curtain, which divided the public and the tribunal. Mean while the researcher explained the summarised contends of the doctoral thesis, using a projected images, just opposite to the other projection. The public was free to chose from watching the research-artist projection with the tense smile or following the theoretical contends of the presentation. But to do it, they had to turn in their chair and see backwards. The researcher, situated close to the back of the room, read his speech ignoring the tribunal comments, which was still coffined in their chairs.

The tribunal members need some minutes to joint the public space. They integrated to the public space, where it was possible to appreciate both presentations. They were there until the end of the presentation, when the president of the tribunal, asked to return to the traditional protocol, inviting to remove the curtain an requesting the researcher to come back to place where he started the presentation. The video document doesn´t shows all of the presentation because it could have interfered the tribunal evaluation process.


wacht video
more info
Thesis presentación
First dip in ecca
Primer baño en Ecca
Primer baño en Ecca
First dip in ecca
Presentación de
la tesis
Arte espacio temporal en la universidad
Intersections
2003 - 2007
From 2003 to 2015, every year, I have been doing at least one presentation performance, in my Space, Art and Action class.
Casi todas las performances tenían una estructura similar: se hacían en el espacio de la clase, se grababan en video y solía intervenir un antiguo alummo/a que me ayudaba a su realización.
2008 - 2015
2009
2008
All performances
2010
All performances
2006
Peephole
to installations
2014
2011
2012
2013
posbolonio yacente
Get in touch /come in carefully

Table Tennis

Table Tennis

Micro performances
Welcome to artist-work-map presentation. You are invited to follow the presentation sequence to have a panoramic evolution-view or to stop and dig in any of the exhibited woks, moving around the Graphics. Note that the horizontal coordinate set chronological artwork mean while the vertical, indicates which medias are being used.
Welcome!
Coordenada horizontal: Linea temporal
Coordenada vertical: medios artísticos
Trabajo teórico
Performance académica
Performance
Video performance
Vídeo
Instalaciones
Dibujo
Painting
Pintura

Installations

Drawing
Video performance
Performance
Academic performance
Theoretical work
Video
Trabajo teórico
Performance académica
Performance
Video performance
Vídeo
Instalaciones
Dibujo
Painting
Pintura
En mis útimos años de formación en la Universidad de Bellas Artes de Madrid (1989-94), Sentí la necesidad de utilizar el espacio y otros medios artísticos alejados de la educación formal (Concomitancias). En la escuela de arte (universidad) de Wimbledon en Londres (1994-95), utilicé los procesos fotográficos para la creación de instalaciones (Narcisos).
Unos años después en Berlín, (1997- 2000) Investigué las posibilidades del video. lo utilicé como diario, realizando performances en las cuales grabé mis dificultades para comunicarme con mi entorno.
previous work
Cuando volví a Madrid, abandone el sujeto de interés "yo" para interesarme en el "tú"; el publico y los otros. Me trasladé del video a la performance en vivo, como una vía para permitir la participación del público.
Trabajos en grupos
Mi proceso creativo creció con reuniones de artistas, y esta actividad produjo la creación de un grupo artístico. Nos interesaba conectar el arte y la vida, romper las convenciones artísticas españolas de la creación y revitalizar el entorno artístico y social con actuaciones lúdicas, irónicas y críticas y acciones artísticas
Aplicando esta idea de arte democrático, participativo y no elitista, comencé a trabajar estos conceptos en el ámbito educativo. He estado utilizando la performance como lenguaje artístico, para reveindicar una relación horizontal y una actitud colaborativa.
Desde 2003 hasta 2015, cada año, he estado realizando al menos una performance de presentación , en mi clase de Espacio Arte y Acción.
Upside down
A world without art
Presentation of the book
Art Education in Spain
Presentación del libro
la educación artística en España
Presentación del libro
la educación artística en España
Uniforme posbolonio
Residencia artística en Oslip
Proyecto toldo
http://proyectotoldo.blogspot.com.es/
2005-07
Nunca lo hice tan bien/mal
2007
2010
Nunca lo hice tan bien/mal
2007
Ver video
Ver video
Más información
Más información
A video-instalación
Ver video
Más información
Trabajos anteriores
http://rauldiazobregoncruzado.blogspot.com.es/2003/10/bienale-di-venezia-versus-santiago.html
2003
2003
http://rauldiazobregoncruzado.blogspot.com.es/2003/10/bienale-di-venezia-versus-santiago.html
Artist-teacher presentation

In the first day of the subject, the teacher asked their students to come in together, once they create a numerous group. When they came in, they found the teacher sit down in front of a video camera.


more info
Más información
In the first day of the subject, the teacher asked their students to come in together, once they create a numerous group. When they came in, they found the teacher sit down in front of a video camera.

He bind up his eyes, introduced a cloth in his mouth, he muzzled himself, and then he wrapped himself with wrapping tape to the chair: First his feet and legs, them his body and one of his arms. He couldn’t continue by himself, so he asked with gestures the cooperation of the public, which they helped to gag him. Once he was totally bounded, he encouraged the students to bind up his eyes, with a handkerchief, which he had prepared in the floor. Forthwith he stopped.

The students were confused and started talking to each other, making jokes about the situation. After a few minutes they decides to unbind him. The teacher, free from his bindings, thanked the students for his freedom.

The presentation performance worked as a motivation to start a discussion about the limits of the contemporary art, the teacher duties, the roll of the student and public in the participative art works, the improvisation, the relationship between art and daily experience and the relationship contemporary art and education. The teacher used specific questions to make the students think and reflect about these themes.

This simple action reflected about the meaning of the occidental education specifically the artistic higher art education. Studied the need of an educational change which was presented in the performance Reality versus Ficción, and developed in the doctoral thesis based in the common research of the student and teacher without any hierarchical structure. The teacher performance showed and proved the parallelism between the participative art and the participative education. On the other side, this presentation treat the repression and the limitation of the teacher in the institution, needing from the students help to overcome the limitation of the institutional education, based in the specialisation, disciplinary studies and the fragmentation.
Besides this educational perspective, the performance analyse a personal and vital situation. The artist presence in a world, which stimulates and also denies his senses, tied and liberates him, oppress and help him… This open process to the public decision creates a perverse dynamic which makes the viewer accomplice and culpable of the artist suffering.
En la primera clase de la asignatura, el profesor pidió a los alumnos que entrasen todos juntos al aula cuando hubiesen creado un grupo numeroso. Al entrar, encontraron al profesor sentado en frente de una cámara de video.

Este se tapó los oídos, se metió un trapo en la boca, se amordazó y acto seguido empezó a atarse con una cinta de embalar a la silla. Primero los pies y las piernas, después por el tronco y uno de sus brazos. Al no poder continuar por sí mismo, solicitó con gestos la ayuda de los presentes, que contribuyeron al amordazamiento del profesor. Una vez terminada la cinta, incitó con gestos a los presentes a que le vendasen los ojos, con unos pañuelos que previamente había preparado en el suelo. Acto seguido, el profesor paró.

Los estudiantes se quedaron totalmente desconcertados y empezaron a hablar entre ellos, haciendo bromas sobre la situación. A los pocos minutos decidieron desatarlo y el profesor dio las gracias.

La acción de presentación sirvió de motivación para emprender una discusión sobre los límites del arte contemporáneo, la función del profesor, el papel del alumno y del público en las obras de arte participativo, la improvisación, la relación entre el arte y la experiencia cotidiana y la unión del arte contemporáneo y la educación. Se realizó un procedimiento de preguntas dirigidas que ayudasen a reflexionar sobre la experiencia.
Artist-teacher presentation

Presentación del profesor-artista
En la primera clase de la asignatura, el profesor pidió a los alumnos que entrasen todos juntos al aula cuando hubiesen creado un grupo numeroso. Al entrar, encontraron al profesor sentado en frente de una cámara de video.

Almost all performances had a similar structure: they were done in the classroom, they were recorded on video and a former student used to help me carry them out.
Detrás de estas intervenciones hay un interés por cambiar el entorno social, creando una nueva concepción del ámbito institucional, educativo y artístico
Un mundo sin arte
A world without art (2005)
Más información

Computerized & Non-compurerized:
TIC-Tock TIC-Tock (2005)
In my attempt to connect the artistic and academic activity, I have developed a series of performances in congresses that tried to claim artistic activity as a research tool.

Performances in congresses
En mi intento de unir la actividad artística y la académica, he desarrollado una serie de performances en congresos que trataban de reivindicar la actividad artística como herramienta de investigación.

Cuando el cuerpo performantivo se quiebra performance
Punch out card 2012-15
It was a collaborative performance carried out during 4 years (2011-15) developed in the academic area consisting of wearing a military uniform as a critique of the critical social and educational situation that was experienced at that time.
Fue una performance colaborativa realizada durante 4 años (2011-15) que desarrolló en el ámbito académico y consistía en vestir de uniforme militar como crítica a la crítica situación social y educativa que se vivía en esos momentos.

They are small performances that were integrated into the main project, that helped to expand it. These were made in the academic or public space.
Micro performances
Son pequeñas performances que estaban integradas dentro del proyecto y que contribuían a ampliarlo. Estas estaban realizadas tanto en el espacio académico o publico.

Two visible invisible beings, in times of global crisis

Jaen, 2012
Performances in congresses
2015
In colaboration with Pilar Perez
En colaboración con Pilar Perez
ho ponopono
Girando
saludos posbolonios
Raúl´s Posbolonization
Posbolonizacion de Raúl
2012
Enrolment Stations
2012
Puestos de alistamiento
Corriendo con
máscaras
2013
Bugle Roll Call Ceremony
by myself
individuales
2013
2013
Posbolonio lying
Rotating
ho ponopono
Looking at ourselves
Mirándonos
Posbolonic salutation
Aranjuez, may 2012
UAM, may 2012
Jaen, april 2012
Madrid, may 2012
Pasar revista/lista
We are Spanish, born under Franco´s Dictatorship
Somos españoles, nacidos bajo la dictadura de Franco
Encajados
2014
2017
2016
Disinterment in Matsu
Desentierro en Matsu
Posbolonio Burial
Entierro del posbolonio
Packaged
boca abajo
I never did so well / badly
Artistic residence in Oslip
Parallel to teamwork, I developed a doctoral thesis on the connections between the installation and the postmodern educational bases. One of the most significant is the dialogue between the artist and the public, an aspect that promotes an open and democratic relationship at various levels.
In the defense and presentation of the thesis I made a performance and artistic installation that aimed to put into practice the contents developed in it.
Imagen bidimensional
Tens

2005
Modern and postmodern class
Clase de la modernidad y la postmodernidad
Clase de la Bienale y Santiago Sierra
Class of the Bienniale and Santiago Sierra
Before the beginning of the class, the help of a security guard from the center, María, was requested. She had to request the national identity document, or other legal document that demonstrated the Spanish nationality of the assistants to the class. The students were previously warned of the need to come to the class that day documented. Despite the warning, some students wanted to enter the class. They were denied until 20 minutes, at which time the work of Santiago Sierra at the Venice Biennale would be treated.

Antes del inicio de la clase se solicitó la ayuda de una guardia de seguridad del centro, María. Ella tenía que solicitar el documento nacional de identidad, u otro documento legal que demostrase la nacionalidad española de los asistentes a la clase. Los alumnos fueron advertidos previamente de la necesidad de venir ese día documentado a la clase. A pesar de la advertencia, algunos alumnos quisieron entrar a la clase. Se les denegó hasta pasar 20 minutos, momento en el que se trataría la obra de Santiago Sierra en la Bienale de Venecia.


Action taken for the VI Encounter of Matsu that consisted in finding out in a ditch, staying a few minutes covered and unearthing with the help of those present. I used some diving glasses to protect myself and a tube to breathe. I also left a hand out to communicate with the rest of the audience through three diving signals: ok, go up and something goes wrong.

Acción realizada para el VI Encuentro de Matsu que consistió en enterarme en una zanja, permanecer unos minutos tapado y desenterrarme con la ayuda de los presentes. Me serví de unas gafas de bucear para protegerme y un tubo para respirar. También dejé una mano fuera para comunicarme con el resto del público a través de tres señales de buceo: ok, subir y algo va mal.

The postbolonio uniform project and the academic performances ended with the closing of the Ces Felipe II University, my dismissal in 2015 and these farewell performances. Currently, after a change of university, and a period of reflection, I have taken up the artistic creation, without a direct academic connection at the moment.

End of stage

Final de etapa

Huérfanos, bastardos
y colononizados
2015
El proyecto del uniforme posbolonio y las performances académicas terminaron con el cierre de la Universidad Ces Felipe II, mi despido en el 2015 y estas performances de despedida.
Actualmente, tras un cambio de universidad, y un periodo de reflexión, he retomado la creación artística, de momento, sin una conexión académica directa
Disinterment in Matsu (Video)
Desentierro en Matsu
Ver Video
Watch video
Video
Thank you very much for your attention
The information in this diagram is in process and can be completed in these links:
https://rauldiazobregoncruzado.blogspot.com.es/
http://uniformeposbolonioraul.blogspot.com.es/
https://vimeo.com/user5156737
https://www.youtube.com/user/veovideoarte
https://www.youtube.com/user/raularteducation

¡Muchas gracias por tu atención !
La información de este diagrama esta en proceso y puede ser completada en estos enlaces.
For more information and suggestions please contact:
Para más información y sugerencias por favor contacta

rauldiazobregonc (arroba/at) gmail.com
Full transcript