Los directivos esquivan la crisis (Spanish Edition)

D e bem os aprovechar la op ortun id ad crucial [ I urge the partie s t o seize t h e opportunity to make [ Insto a l as partes a que aprovechen la o po rtunidad [ What should be don e t o seize t h e opportunity? Are you not paying exces si v e attention t o a channel that does [ Partic ul a r attention w i ll be paid to transition situations [ The allocation of central responsibility for various measures - for example to a dedicated oversight body such as an information commissioner, ombudsman or human rights commission, or to a central government department - will.

With t h e Attention M a p, you immediately [ May I al s o seize t h e opportunity to applaud the [ I have sought and will continue to seek points in common that will allow us to obtain the consensus that we need in orde r t o seize t h e opportunity now presented to us, representing a historic challenge for us all. Most frequent English dictionary requests: Please click on the reason for your vote: This is not a good example for the translation above. The wrong words are highlighted. It does not match my search.

It should not be summed up with the orange entries The translation is wrong or of bad quality. Thank you very much for your vote! You helped to increase the quality of our service. Since conditions of [ Como las situaciones de [ DE Mr President, ladies and [ Like in the shop window and at the [ Como en el escaparate y en el Punto de [ I urge the President and the [ Pido al Presidente y al [ The CV is often the first contact with a future [ Why do you choose a domestic space as a place for the materialization of the project? Actually, I didn't choose a domestic space, but the space of a ballot box for the materialization of the project.

The Matryoshka those Russian dolls which are hollow and which house another smaller doll inside, could explain something about the space issue in the Davis Museum. The fact that the Generalitat of Catalonia has asked me an address means, for me, hardly a collateral effect. The Davis Museum is above all ambulant, even though it can be presented in a closed and fixed space.

Do you think that there is currently a strategy of the domestic in visual arts? I suppose that the strategy of the domestic responds to a specific group of artists interested in questioning and challenging the sacralised spaces of art. Within this context, two fundmental ideas are developed. The first one is that "art can be anywhere" and the second one is that the domestic strategy generates a degree of empowerment for artists, which provokes, in a certain way, that the traditional limits of art spaces enter in crisis.

Do you think that these spaces contribute to redefining the artistic canon? With their micro personal narratives published on the net, these domestic spaces question the art monopoly that the establishment possesses. The Davis Museum exhibition proposals are elaborated in five stages. The third stage is the design of an e-flyer and the massive sending of it to a list of about contacts within the contemporary art around the world. The fifth and last stage is the account of the number of visitors, which is later sent to the Department of Culture of the Generalitat of Catalonia.

I usually work individually. We work as a team, especially when making videoexhibitions. This collaborative work can be online, if the artist is in a far city or country; or offline, if the artist lives or comes expressly to Barcelona to work on his videoexhibitions. The promotion is done through a mass mailing to a list of more than 10, transversal contacts within contemporary art, from students of Fine Arts to contemporary art commissioners of the star system.

I almost always contact with artists and a few times with coordinators. The criterion of selection is that the artist's work be contemporary in form and content, especially linked to art, politics, and technology. I have in mind gender parity: That's not so bad. There is little left to achieve equality. Which does not mean that there are works of these groups in the collection of the Davis Museum. Do you think that the use of social networks and digital media have favored the promotion of current art? Does this influence the public's perception of contemporary art?

Digitalization is creating a new framework of artistic practices that alters the perception of contemporary art. Both museum walls and artworks are dematerializing. Museum warehouses are being transformed into digital archives. The number of online visitors to museums is much higher than offline visitors. The latter refuse to play a voyeuristic role within the institution.

They want to participate, even if it is making a selfie. This event tries to reflect the nuances and changes in the creative thinking of the artists who live this reality and the change, which determines their way of working and thinking here and now as structures are changing in art. Thursday, December 14th, from 6: Who inspired you to create the Davis Museum?

Formally, I was inspired by digital art and web design of social networks. What do you expect the viewers to think about the Davis Museum? I hope that viewers understand that there is a narrative within the history of art that deals with the artists who created their own museums. Following this narrative, I decided to create the Davis Museum, The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona ongoing , which is, simultaneously, a readymade sculpture, a non-profit collective art project, and at the same time, a cultural entity recognized by the Generalitat de Catalunya an Autonomous Community in Spain.

Created symbolically in an electoral ballot box and disseminated mainly through Facebook, the Davis Museum is also the smallest contemporary art museum in the world. Why have you chosen this medium? I chose the artistic installation expanded to the Internet because it is one of the main genres in contemporary art. What artist is currently exhibiting at the Davis Museum? With this gesture of empowerment, Meschac Gaba challenges the cultural hegemony of the West, through the use of the narratives of minority cultures.

What work of art is being exhibited at the Davis Museum? The work is titled "Chocolate Coin"; it is a piece of edible art covered with a thin golden aluminum wrapper. On this chocolate disk there is a stamped relief with the official logo of the "Museum of Contemporary African Art", consisting of a map of this continent and the inscription, " Tate Modern ", corresponding with his exhibition held there in London, in The Museum Shop consists of an installation built with wooden pallets on the floor, presenting a vast collection of objects, such as: The Shop is clearly inspired by the popular street markets of his native country, Benin.

It is the first contemporary art museum created in a ballot box through social networks. It functions simultaneously as a readymade sculpture, a collective work of art, and a temporary, mutable conceptual space more than a physical one. A provocation to the art establishment.

With its own permanent contemporary art collection, the Davis Museum is also a non-profit artistic project that organizes and produces exhibitions, encourages research, and promotes contemporary art exhibitions. Additionally, the Davis Museum organizes traveling exhibitions to other cultural centers, museums and institutions, nationally and internationally, while generating debate, thought, and reflection. Its mission is the selection, presentation, study, dissemination, and preservation of contemporary art by emerging and renowned artists from around the world.

Although the Davis Museum can't challenge the cultural hegemony, it's an example of the emergence of independent museums created by artists to crack the monopoly of big cultural institutions, the establishment, and an attempt to create alternative channels and increase the visibility of contemporary visual creation, organizing exhibitions, uploading videos and publications as an alternative channel of expressive information. And yes, it could be seen as a small revolution in the way we think, organize and act culturally and politically, and not just in the way we create art with more or less exhibition space or funding.

First of all let's define your starting point: I am accumulating layers: In this way, I question traditional hierarchies, blurring the boundaries between graphic and plastic arts, high and low culture, art and the market, craft and technology. You studied art in Brazil — is that right? Fajardo is one of the most intelligent people I have met and he has represented Brazil many times in the Sao Paulo and Venice Biennales.

When did you come in Barcelona? In , the year I began studying painting at the Escola Massana.

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What is the origin of the Davis Museum? The first phase of the Davis Museum was in , when I was invited by an art gallery in Madrid to participate in the Holland Art Fair. However, today it surprises me to remember how that fortuitous encounter would bring, afterwards, unpredictable consequences.

The second was in , when I finished Fine Art studies at the University of Barcelona, after twelve years of compulsory readings. Once released from such duties, I began to research subjects on my own. There I found a manual that caught my attention: On page the authors began a narrative describing "the artists who had created their own museums. Later, on page , they pointed to a second turning point in this narrative: When I was reading about this, suddenly a flood of questions arose in my mind.

How could I update it? How could I convert it from modern to contemporary? I considered capturing the Zeitgeist via Facebook, which, with only three years of existence, was causing a real disruption in the ways of relating and communicating. The origin of the Davis Museum is therefore in the union of two concepts: How do you create a museum?

I thought if Filliou had used so much irony and self-confidence to create an art gallery in a hat, maybe I. Do you like the work "P. Yes, I liked it a lot, because I am very interested in the preservation of nature. It is very surprising to me to know there are some people who are fighting for nature conservation. Why did you decide to do it in a ballot box? Once I had the mental outline of the Davis Museum , the next step was to choose some readymade object that would symbolize it.

Without any pre-established ideas, I went to a DIY construction material shop and in the plastics section I found a methacrylate ballot box measuring just 20 cubic centimeters, which attracted my attention because of its geometry, brightness, transparency, lightness, portability, and price. It is important to emphasize that selecting an object as meaningful as a ballot box had obvious semiotic consequences, since it has conditioned all the content of the project, which was circumscribed around the relationship between art, politics, and social networks.

How does the museum work? The Davis Museum is a bit more complex than I'm going to describe here, but simplifying a lot, it's something like a readymade work, an art practice of Do It Yourself, a collection of contemporary art, a non-profit cultural entity, and an online digital archive.

Broadly, it works as follows: An artist donates a work to the Davis Museum. This piece is recorded for the realization of a video exhibition a concept I devised in that proposes a new way of making art exhibitions through video art and video-performance. This videoexhibition is published on a YouTube channel and is promoted through a mass email sent to a list of approximately 10, people related to the contemporary art world. While the videoexhibition is accumulating views on YouTube, visitors can physically visit the The Polling Station Section, where the physical exhibition of the artist's work is presented.

Is there an exhibition calendar? The calendar is a little bit strange, since it does not give specific dates or opening and closing times, but is governed by the seasons: Do you choose the artists or do you get proposals? I choose artists as much as I accept or reject the proposals that come to me. Can it be a group exhibition?

Could I propose, for example, a curatorial activity for the Davis Museum? The artist Francesc Torres also showed interest in curating a group show. Therefore, you too could do so! Iain and Ingrid Baxter. How did you acquire it? I suppose this has been possible due to the fact that the project is interesting for the artists, because it dignifies and diffuses their works, and also because the Davis Museum has emancipatory strategic content: How many pieces are there now?

There are currently works of contemporary art in the collection. It's a very small museum. How does the public access it? The Davis Museum ballot box is the maternal cell of the project, which is exhibited inside The Polling Station Section of the Davis Museum, a mini artistic installation composed of a platform, a bench, a velvet curtain, a pedestal, an electric rotating platform, framed embroidery, and a kiosk with an iPad.

This installation can be visited, but it was conceived rather as a place for encounter, dialogue, opinion, and above all, for visitors to vote and take photographs. It does not have regular hours, but is open by appointment. The public can vote if they like the piece or not.

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Can you explain your idea of The Referendum Section? The Davis Museum was created in a ballot box and must therefore make elections and referendums. The Referendum Section of the Davis Museum is structured around four fundamental constituent components: I conceived of a circuit through which all these elements could relate to each other.

If the museum is a ballot box, the artist is a voter since his work is a vote of confidence in the project. The visitor of the exhibition also becomes a voter by choosing "Yes" or a "No" in response to the work in exhibition. The results are gathered and bifurcated into sets of data that serve different purposes: The guestbook is used so that any web surfer can know the visitors' opinions of the work in the show.

The count book records the number of visitors and profiles their gender, age, origin, and educational level. Once the visitor enters, literally, The Polling Station to record his vote and to be photographed, he becomes part of the work. Do you think that creates a different relationship between the public and the museum? But this specific relationship in The Referendum Section is particular to the Davis Museum and I believe it should be preserved.

O'Doherty, in his book Inside the White Cube , analyzes the exhibition space and states, for example, that: The context provides much of the content of modern and postmodern art ".

Or a little later: It is a ghetto space, a survival area, a proto-museum with a direct line to timelessness, a set of conditions, an attitude, a place devoid of location, a reflection in the bare curtain Of the wall, a magic room, a mental concentration, maybe a mistake. It preserves the possibility of art, but it hinders it.

How do you understand the relationship of a space as peculiar as the Davis Museum , and so different from the white cube, to the work, to the production of meaning, and to the system of conventions that makes art possible? My conclusion, after eight years of experience with the Davis Museum , is that the 'white cube' model Brian O'Doherty describes in Inside the White Cube is still deeply rooted in the collective subconscious.

I have received some negative judgments from artists, teachers, art historians, critics, and visitors who have been unable to read the Davis Museum as a criticism of the model. But one of the most defining elements of the project is just that! It is obviously charged with political intent. The Davis Museum has a bit of white and a lot of blue. The Davis Museum is mostly transparent, both literally and figuratively.

In the same way that The Referendum Section allows the perfect infiltration of the visitor into the work, the transparency of the Davis Museum allows the perfect infiltration of the background into the exhibition of the work. This becomes more evident when videoexhibitions are performed outside, in that what happens in the landscape is a very important layer of meaning. This encounter of the background with the work can be produced in a harmonic or conflictive way and ends up creating new and unpredictable conceptual relationships.

The Davis Museum is also exhibited, because it is itself a work of art. There is even a performative element and sometimes you take the museum to other places, but always with a work of another artist exhibited inside. Concepts such as "the museum as a work of art" and "video-performance as an exhibition" are defining elements of the Davis Museum. Are you interested in an abolition of traditional categories? Yes, the abolition of traditional categories and, consequently, the creation of frontier conflicts are two of the most important elements of my practice, and both are reflected in the Davis Museum.

Do you think you can maintain a balance between the work and the institution? Some works from the Davis Museum collection. Francesc Torres, "Not for reading" 2. This is one of my favorite border conflicts. I think one can and must maintain this ambivalence between work of art and cultural entity, because it is what makes the Davis Museum unique, even if it causes annoyance and discomfort for a few artists, visitors, teachers, critics, art historians, and extreme left-wing protesters.

Are not you afraid that one devours the other? I do not fear that the work devours the cultural entity, or vice versa. What I fear is being devoured by some artists, visitors, professors, critics, art historians, and extreme left-wing protesters who do not understand or accept my artistic proposal until then, no problem and have reacted with a harmful criticism, even with aggression then yes, there are problems.

We have an online graphic document that exemplifies the museum's problematic as a battlefield: There are many antecedents of artists' museums. Some that have a program or a collection, such as Distel's Drawer Museum, the network that Cai Go Quiang has created in different countries. Others have a more symbolic character, such as those by Broodthaers or Meschac Gaba, or are centered on a collection of objects by the artist, such as the Mouse Museum by Oldenburg or The Salinas Museum by Vicente Razo. What sets the Davis Museum apart from other artist museums? The difference is that the Davis Museum is the first and only museum of contemporary art created in a ballot box, which we could consider as a "museum of art political party.

Left, tower version of the Davis Museum. Is not it paradoxical that the Davis Museum is a cultural entity recognized by the Generalitat of Catalonia? Yes, it is paradoxical. The Davis Museum , on the one hand, must be read as a gesture that refers to a corpus of ideas already existing and accepted — a cultural entity — and, at the same time, must be placed outside it — an artistic practice of self-management. Museums are getting bigger and more expensive, both in terms of buildings and activities.

Are they going in the wrong direction? According to Andrea Fraser, this is a phenomenon of the early 21st century: They propose a kind of museum art, in this sense, an official art, for masses of visitors. It is a model in which there are many economic interests at stake and is just the opposite of the Davis Museum. At the Spanish level, the situation is different. The Davis Museum was created at that period of time. It was founded with the idea of criticizing failed institutional and capitalist systems. At that time my intention was to bring about a change in harmful social values, such as waste and corruption, and defend austerity and simple and efficient solutions as a models of cultural management.

Could the Davis Museum be a model for the future: I will refer again to Andrea Fraser, who believes that the museum of the future will no longer have a single model and will be fragmented into various complex realities. The museum of the future will not have a building, nor a monument. It will be a laboratory of ideas, a Gesamtkunstwerk.

It will be authentic,. It will be small and portable; mobile, fluid and flexible. It will also be conceptual, expanded and permeable. It will be have an accessible and free digital archive. It will be sustainable and will promote a global dialogue. It may have contradictory, unconventional, and unstable elements.

It will be democratic, participatory, communitarian, and very committed to the audience. It will be a synergy, a cultural network, an agent for social change. Is it possible that the Davis Museum has a few of these characteristics? Il museo si concretizza mostrando le opere d'arte della sua collezione in un cubo di vetro acrilico. Davis Museum ha mostre itineranti presso altri musei, centri culturali e istituzioni, a livello nazionale e internazionale. In my artwork I investigate the spatial possibilities of drawing.

Intertwined with this research, I reflect on our relationship with nature and what we define as such, in an increasingly manipulated and constructed environment, conditioned by culture. I build portable and nomadic structures that can acquire several configurations and adapt to different spaces and places. Dendrogram Tree-kit Mini Version was made during the process of creating a large piece titled Dendrogram Tree-kit. Dendrogram Tree-kit is a product of a research on the possibilities of drawing in space. Dendrogram is a kit, several pieces that fit into a box or a bag. Its transformed branches may be mounted in a tent like fashion.

This makes the artwork portable and mutant: The analysis of our relationship with nature and how we have been culturally conditioned to experience it, is the basis from witch I have been creating fictional narratives in my artwork. The Dendrogram works developed from a research on a fictitious Botany in which I created new vegetable species in drawing. The fictional species were created from the ideas of taming, mimicking, manipulation and hybridization. The artifacts and visual materials produced are then organized into portable museums.

In the Dendrogram works, the original material of the tree shapes is hidden. Existent tree sticks are altered and painted into new shapes representing new-formed tree branches. This body of work entangles fact and fiction, organic and mechanic, natural and artificial, sculpture and drawing. The portable museum is a free form of the museum. Unconstrained by institutional weight, it is light; it travels, has no fixed context, and, most importantly, it is endowed with a sense of humor.

El primer Parque P. El segundo Parque P. El espacio elegido es un solar en el casco antiguo de Valencia, donde estamos esperando que el ayuntamiento nos ceden un solar como huerta urbana. Hicimos dos pasacalles con los vecinos del barrio y personas queers, trans y ageneros afines al proyecto. Cylinder seals are rolled on wet clay to impress a picture in relief. By rolling continuously, our relief proposes an endless cycle of interaction of a bird, an egg and a hunter. Accustomed to spectacle and business, ventures never fail to surprise, which humbly help to re-establish closeness and dialogue between the work and the spectator.

A more democratic act, tailored to the common folk. We talk about rebel art, huggable art, art capable of surpassing convention. His words match the spirit of these projects set up with little means and a lot of enthusiasm, using donations, and fun participation methods, including crowdfunding campaigns. What do you consider your greatest achievement? If you could change one thing about your family, what would it be? What is your most treasured possession? The Davis Museum ballot box.

What do you regard as the lowest depth of misery? Unable to pay the bills. What is your favorite occupation? Take a macchiato while reading the press. What is your motto? Davis Museum The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona, was founded on Facebook in , is the first and unique contemporary art museum created in a ballot box, with its own permanent contemporary art collection.

It is also a ready-made sculpture and collective work of art. It is a non-profit artistic project that organizes and produces exhibitions, encourages research and promotes contemporary art exhibitions. The Davis Museum has travelling exhibitions to other cultural centers, museums and institutions, nationally and internationally, while generating debate, thought and reflection. Its mission is the selection, presentation, study, dissemination and preservation of contemporary art by emerging and renowned artists from around the world.

Viernes, 12 de diciembre de Art has been a victim of an institutional and commercial kidnap for years now. Davis Lisboa, an artist from Brazil, decided for a change and to fight from the inside. So, he opened the world's smallest contemporary art museum a floor above his apartment, inside a receptacle, an actual ballot-box that voters use on election days. The box even conserves the slot. To enjoy a visit to the exhibitions inside the transparent methacrylate box, you need to phone Davis Lisboa's home number or get an appointment through Facebook.

Once there, you will be received and guided to the museum by Davis Lisboa himself. Or rather, accompanied to stand in front of the museum, which you will only be able to see but not enter into, owing to the obvious constraint: At present, an exhibit of a Yoko Ono art piece of a couple of centimeters is hosted. It resembles an Easter egg, transparent and about 5 cm in size, with a caption we are not going to give away, only to keep the surprise for the future visitor. And paying a visit to the Davis Lisboa Museum is certainly an experience in itself. In spite of its size, its a must see to believe it.

This is one of the few museums in the world which not only can be held in one hand but can also be transported. It is portable, so Davis Lisboa can take it wherever he wants to, or is invited to, that is, apart from being stationed in his apartment it can be in any other place such as another museum, the beach or in a forest. With all this, Davis Lisboa aims at making us reconsider our perception of what art and museums are, including our relationship with the works of art as spectators and even our view on life.

But this scheme is not strictly limited to the dimension of the art scene. Davis Lisboa has a lot more: To sum up, the Davis Lisboa Museum is today an unusual display full of subtlety, a minuscule but free space whose room, the size of a box, is a genuine image of the current state of contemporary art in Europe and the world. Also, a show of desire for a determined artistic expression of even the smallest dimensions no matter where. An impulse to express and depict life that cannot be stifled. Davis Lisboa, Davis Intuitive Museum full mini-installation , , plexiglas ballot box, vinyl, and painted plastic, 7,8 x 7,8 x 7,8 in.

The Davis Museum has been expanding itself with the creation of new Sections. These groups of works are created by Davis Museum founder, Davis Lisboa. The piece is an assemblage made with a Davis Museum ballot box. The interior of the box contains two models, a brain, and a top hat painted in blue on a mirror base. These elements combine to raise questions about the nature of institutional critique, kitsch, and appropriation and how their relationship with one another. How can these visual signs be interconnected in the most synthetic way?

Why is conceptual art considered the highest form of contemporary art? What is the relationship between the souvenir and institutional critique? The Medicine Cabinet Chicago es un proyecto iniciado en Desde esta iniciativa otros espacios marginales de este hogar se han ido convirtiendo tambien en lugares de arte. This is the Davis Museum , the smallest to be known and recognized by the Generalitat. With over pieces of art comprising its permanent collection, the museum was born in through an Internet initiative.

The project kicked off when Davis Lisboa, the museum's creator, polled the art community whether they felt the need for a new kind of museum to be made, one that would be distinct from mainstream centres of art. With this initiative Davis aims to tie criticisms of cultural establishments and the economy, a reason for which, he explains, he wanted to set up a small breathing spot in the middle of the capitalism of our time. A 20 square centimetre surface area.

Such are the dimensions of the world's smallest contemporary art museum. This acrylic glass receptacle has hosted more than works of art as part of its permanent collection. Born from the creation of Davis Lisboa, a Brazilian illustrator who embarked on moving away from major art centres and built a new museum which in turn is a work of art itself. This artistic project in particular has over pieces that tackle art and economy. The artists create companies and think up objects linked to corporate products. Such as a new universal African coin, for example. The creator of the Davis Museum looks on the museum as a hall of resistance in the midst of the tumult of the market of art.

He speaks of being like a place to breathe some oxygen in a capitalist reality. The Davis Museum also provides an alternative currency for the exchange of commissions and artworks made for its institution with artworks often donated to the Museum after their exhibition and held in the permanent collection in Barcelona to be take out as and when needed in the various solo and group projects the Museum is invited to participate in.

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The artworks take the duel role of having the scale and portability of an edition whilst retaining the form of an individual artwork. The current Museum installation in Margate of the Davis Museum consists of the 'museum' box which sits atop a white plinth, a flag which states the Museum's goal as an 'island of resistance' to the 'tsunami' of the art market laid out like a facebook page and status update which alludes to the Museum's origins as a non-physical space , an iPad which displays a looped history of the Davis Museum's exhibitions and a poster.

Each artist that has been invited to respond to the Museum in Margate was asked to use the components of the Museum as they saw fit. This malleability refers to the continuous re-contextualisation of an exhibit or archive. The miniature sculptural work that the artists produced takes the form of cut-outs based on architectural forms. Using the Davis Museum iPad and incorporating the crop editing tool, the artists use a single photographic snapshot, one of women in red outside the Soviet Commissioned Ninth Fort Memorial to the Holocaust in Kaunas, Lithuania, to provide the backdrop to the exhibition.

The women, some in hotpants, were captured on a photo shoot during the artists visit to the memorial site. The incongruous nature of their usage of the memorial site as a fashion location as opposed to a site of reflection or remembrance, make the lack of context to the photograph even more startling. The work tells the, often trippy and dream-like story, of a man who has nasal trouble only to find out he has a museum of contemporary sculpture stuck up his nose. El Davis Museum, un petit gran museu Generalitat de Catalunya. We are talking about the Davis Lisboa Mini-Museum of Contemporary Art, by definition today's smallest contemporary art museum around the world.

Not only is it a mobile museum, but it can actually display works of art and activities wherever its director pleases. Experimental, portable, open, flexible and low-cost, the Davis Museum, bearing the name of its creator, has no limits in terms of where to travel to display or what artists to work with. In the past years Lisboa has brought together a permanent collection of about donated-only pieces of art of various kinds such as paintings, sculptures, videos and new media forms that are usually installed and physically displayed in his studio in Barcelona.

That being said, how can you name a 20 cubic centimetre acrylic glass ballot-box a museum, where you can only display one piece of art at a time? Perhaps a more accurate approach than calling it a museum could be looking at the project as a work of art in itself, even though the Government of Catalonia makes no such distinction, and catalogues the Davis Museum as one among the registered cultural entities in Catalonia.

It is not the array of collections that is limited, but the space the museum uses for the exhibits. It would be impossible to name all the pieces of the collection. As far as the new media are concerned, we should highlight Living Drawings, a Hunter Cole's video installation San Francisco, , based on an image projection of shapes created by bioluminescent bacteria.

It is a democratic form of building a museum: Halfway between a social project and a collective art project, the collection of the Davis Museum is open to all artists who are selected based on their artistic career. Basically, it is primarily the format of the piece of art that can generate certain limitations, which is not the case of videos and new forms of media, given that such works can be presented on a small screen of a mobile device such as an iPhone or an iPad. However, works of the plastic arts to be shown must be of a smaller size than the physical dimensions of the museum, as they must fit in the acrylic glass display box.

Looking at it from a different angle, the reduced dimensions are a clear advantage at the same time, reflected in the obvious freedom to change places, which makes the museum growingly popular at the scenes of public international presentations. The participation in the Museum Show in Bristol's Arnolfini Art Centre UK was a milestone for the Davis Museum, as the mini-museum was awarded for its alternative qualities, singular format and its exhibits.

Prizes at this show are given for the quality and conceptual relevance of the works of art rather than the amount of works exhibited. The Davis Museum is on the road right now, showing its works and making its philosophy known at CRATE, a place of research and support for experimental art projects in Margate UK , within the frame of the presentation titled The Survey.

So we worked out the survey which is being sent out to 50 museums in each of the 49 European countries, which means a total of individual museum surveys. More on The Survey, Sacha Waldron points out that this expo marks only the beginning of a work that will take about 12 months to complete and will be summed up in a study uploaded on the Web in PDF format and in a printed book as well. In the meantime, Davis Lisboa is going to expose in his Polling Station Section a name coined for the installation made up of the acrylic ballot-box, the iPad etc.

The Davis Museum offers space for individual displays, however, whenever there is a chance for works of different artists to be shown side by side in a harmonious way, we can set up collective displays. What I usually do, though, is equally distribute the exhibit time among the participating artists. If we have a month to do the entire expo and there are four artists, each of them gets a week to do their part.

It is important to note that the Davis Museum keeps close ties with the Internet and social media Twitter. Then a digital image was created and with that its corresponding Facebook group came to life. As a matter of fact, the Polling Station Section, a ballot-box of the digital world, is an idea taken precisely from an element on Facebook, which later got transferred to a tangible physical level, the acrylic glass ballot-box.

As regards the near future, the mini-museum will be set up in the Centro del Carmen of Valencia for the 6th Incubarte International Art Festival, while the medium and long-term plans include broadening and sorting the works of the collection, and also improving the overall quality. Betts Robinson born in Romania, lives in Mexico weaves obscure personal narratives with a Fluxus playfulness. Her practice, which normally takes the form of prints and posters, has for the Davis Museum taken the form of a series of instructions and directions that were sent via email to CRATE.

Robinson's instructions all relate to the particulars of CRATE that were noticed and noted by Robinson during a visit to the space and to Margate in November For example, the proximity to Kentucky Fried Chicken and the ubiquitous smell of Colonel Sander's favourite led Robinson to the idea of making the smell of CRATE more homely, more Sunday lunch than late night shame-snack. With no direct indication of how to do this, many experiments have been carried out over the last few weeks using perfumed oil diffusers, Bisto, burning Sage stuffing over candles, constructing makeshift candles of our own using chicken skin and long consultations with the butchers of Margate.

The resulting work, has, in the end, had to be realised through the most obvious answer. CRATE is still not sure this will work but, using the gallery's micro-oven, we will try to roast a chicken during the days of the exhibition. Other instructions sent were numerous and often, uncompleteable. Robinson's response to the Davis Mini Museum environment and to CRATE's ongoing Small, Unusual and Specialist Museums Survey project which you can see growing in the corridors of CRATE has been to use the slot at the top of the ballot box the core of the Davis Museum exhibition space which is sometimes used to invite the audience to vote on the exhibitions — good or bad, yes or no.

The garden, Alpine chemical wonderland, takes up to two days to fully grow, emerging over Robinson's exhibition. Opening 6 September with Limoncello and roast chicken. CRATE currently has seven studio holders. If you would like to be contacted when space becomes available please contact admin cratespace. Conceived of as an MA in Doing, it brings together a group of 6 regional arts practitioners artists, curators, organisers, writers, researchers and thinkers based in Kent who are interested in collaborative working and the pluralities of contemporary visual art practice producing, curating, organising, writing, etc.

CRG will run from September until April A video of this will be up soon. This week we launched our new research project, The Small, Unusual and Specialist Museums Survey, which is attempting to catalogue and connect with as many small, unusual and specalist museums in Europe as we can. CRATE is sending out a survey via email and post asking the staff of these museums what they think about their institutions, their collections, what they think might happen to their museums in the future and how they feel their museums contribute to the cultural lfe of their area. Crate's exhibition and project space programme launched in June with The Survey, curated by Sacha Waldron and running for 18 months.

Survey as a format for looking at the work of artists — survey shows and their relationship to the solo show, charting artists practice. The Davis Museum specializes in miniature installations. Instead of painting something new, my aim was to reproduce the paintings and the objects that I liked and collect them in a space as small as possible.

I did not know how to go about it. I first thought of a book, but I did not like the idea. Then it occurred to me that it could be a box in which all my works would be collected and mounted, like in a small museum; a portable museum, so to speak. There is no doubt that Duchamp is an important referent for Davis Lisboa. But what can induce a contemporary artist to found a museum?

Traditionally, the museum is a place of conservation, of classification, a structure of memory and as such a bridge between past and future. Reflecting on and, above all, questioning that function can be a stimulating working environment for a contemporary artist. For an artist, founding a museum is a way of reflecting on, criticizing or opening up a discussion about the role of the museum while at the same time drawing attention to aspects related to the production, distribution and mediatization of art. That said, perhaps the questions should be: How is it possible to create a museum devoted to a 21st-century artist?

And what should such a museum contain? The ephemeral museum, the permanent museum, the virtual-collective museum, the museum as fiction, as inspiration or as critique are some of the options open to artists in setting out to the define a museum project. The Davis Museum is in line with this genealogy of works: Alongside this description, which might earn it a place in Guinness World Records , The Davis Museum is an initiative — or, as I think we can call it — a non-profit institution whose aims are to organize and produce exhibitions, encourage research and promote contemporary art. The Davis Museum itself is in the form of a ballot box measuring 20 x 20 x 20 cm.

The choice of object is not fortuitous: The project consists of an architecture with a format the ballot box that makes it easy to transport; it was first a showroom and is now a mini-installation in Barcelona and has a strong virtual presence by way of Facebook, Twitter and a YouTube channel that generates a multiplier effect and effectively differentiates The Davis Museum from other museum projects conceived by artists.

In fact, one of the most important aspects of the Davis Museum is the networking that makes it a kind of Fluxus 2. In its day, Fluxus was a critical declaration against the traditional object as a commodity and chose to dissolve art into everyday life, in opposition to the art institution. The Davis Museum is also critical of the art establishment. The Davis Museum presents itself as a proposal for networking, as a platform of communication that in its very functioning constitutes a critique of the way the processes of the art institutions are managed.

Resistance is the key. Allowing artists to present what are akin to jewels in a jewel case the Davis Museum , Davis Lisboa promotes and educates worldwide, allowing the development of audience and appreciation of how art can be integral to the global community. For me, these are Davis Lisboa's substantial ideas for the continuing benefit of international artists, and the edification of the widest audience possible.

Works in the Davis Museum have magnitude, are dazzling as jewels, rare and intense. Artists donate the essence of themselves for this opportunity. Artists that donate work for the Davis Museum, are curated by Davis Lisboa surpasses the physical limits of space, are conscious works. This art has integrity that expands space.

The scope of the work dissolves containment. The Davis Museum was created in , in the midst of the subprime recession. The era of extravagance has come to an end and now we see a change in values: The Davis Museum is a mini cultural entity as it's main idea is about being low-cost. This approach criticises institutional and capitalist systems, and hopefully works towards a decline in these systems. The reason for the Davis Museum is clear: The market is a tsunami and it will swallow anything it encounters on its way, while the the Davis Museum remains an island of resistance.

A mini low cost contemporary art museum invites artists to create without spending exorbitant amounts of money. The small size of the art works is a way of keeping costs low. The hardware of the Davis Museum can be found in a methacrylate ballot box that only measures 20 x 20 x 20 cm. One of the most important requirements of the work is that it is smaller than the space available.

A short time after, the contemporary art collection of the Davis Museum was acknowledged by the local government of Catalonia. As the collections and visits have increased, a mini showroom has been created so that visitors can enjoy the works of art. In , the Davis Museum was invited to take part in a collective exhibition called Museum Show, commissioned by Nav Haq, in Arnolfini Bristol,United Kingdom , one of the most important centres of contemporary art centres in Europe.

In the Museum Show there is a selection of 40 museums of artists from all over the world, among them are: In , a mini installation began to develop where 15 of the works that make up the Davis Museum are on display until the present date, 10th November Throughout the entire process, TV and radio interviews aswell as magazine and newspapers articles and publications on the Internet have been on the up. Also I would like to add the final touches to the mini installation of the Davis Museum in Barcelona.

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After, my idea is to organize an opening event of this museum, and invite those connected to the world of contemporary art and also a TV channel that could make a report on this event. This will be divided into three parts. In the mid term, there are two interesting proposals to exhibit at the Davis Museum , however, at the moment, I do not want to give away any more details about that. And in the very long term, closing the Davis Museum and donating it to a contemporary art museum so that the work continues to thrive thereafter.

What comments and opinions regarding the Davis Museum have surprised you most? Some artists have surprised me when describing the museum, using terms such as: From your experience with Facebook y Second Life, What do you think of artistic and cultural broadcasting via Internet?