--arteUna

The cities change. Our Buenos Aires and other cities of the rest of the country are not the exception and almost all they make it without planning neither organicidad, I save in the pathological thing. It is for that reason that the urban space turns out to be the place but appropriate to express the contradictory significances of the life that it harbors, since it is its faithful reflection. On the contrary, the closed spaces contain organized ways of life starting from the differences installed in the current world.
The street, common to all the social levels, continues being the best place to develop appropriate expressive languages to manifest the daily vital crises. The works and actions or visual performances presented in the public spaces, are open to the participation, they are ephemeral, separated from him "aesthetic", casual, gratuitous, disparadoras of other actions, reflections or sensations and they are as particular as the space that occupy.
When in the decade of the '60 entered the new materials, the artists incorporated them next to the new technologies. New technological procedures and different conceptions arose for the function of the work of art.
The new economic conditions were reflected in the art when the museums, the unions, the schools and the cultural, political and social opinion groups, supported the development of the artistic actions outside of the regular spaces of the circuit of the art. Many investigators began to get the attention on the conceptual, social changes and comunicacionales that it implied to take out the work of the traditional spaces and the possible variations of the circulation of the art.
The contents of these currents reflected the reality and the desires in different ways facing a spontaneous public that many times were linked for the first time with these conditions of symbolic communication. The publication of the information in the graphic and television means of the activities carried out in the art spaces outside of the circuits traditional many times only appeared published in the pages of general information or, like it happened in the periods of the dictatorship, in the sections of police or union information sometimes integrated to the social protests. The documentation, studies and investigations on this activity are scarce and in many incomplete cases and almost always obeying the orientation and optics characteristic of the art market.

This project, intends to revert that focus. Once given to diffusion, he will make evident the new ones and other forms that it can adopt the creativity in answer to the alienation that produces the contemporary world.
This chronology will be published in internet and its hypertext, open, in progress, it will be the appropriate form to the work characteristics open of the works presented in the urban space and it will contain, inside the plurality of the data, a matter in common that it is the opinion of the realizadores on its work.

The page will also include, bibliography, a glossary of the used terminology and Carlos' critical analysis Filomía and Julio Flores, the creators of the project of chronological autogenealogía.
The work presentation in the street, outside of the art circuit means not to accept the laws of its market neither of its limitations. It means that neither the work neither their author are in sale, for what they will be able to say with critical focus their concern for the social processes and for the artistic languages and their relationship with the society.

It means that these works are articulating a different language that deserves to be kept since in mind, to their way, it is patrimony of all.

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For further information, one will be able to consult calling to the telephonically
(54 11) 4307 8255
e-mail: julioflores@ciudad.com.ar

The date of reception of materials won't have limit; he will be filled the corresponding schedule and to send with the documentation to:
CARLOS FILOMÍA
MIRALLA 588 (1408)
Buenos Aires
e-mail: cfilomía@mixmail.com

Nature of the Project
Summary of data on works and visual actions presented outside of the art circuit, starting from information contributed by their realizadores, including their opinion on their own work. Origin of the proposal Given the absence of exhaustive studies on the topic, this summary will complete the function of to register and to give to diffusion to the production and the creators of works or actions presented outside of the art circuit.
The documentation, studies and investigations on this activity are scarce and in many incomplete cases and almost always obeying the orientation and optics characteristic of the art market. This project intends to revert that focus and, once given to diffusion, he/she will make evident the new ones and other forms that it can adopt the creativity in answer to the alienation that produces the contemporary world. Area to take a census of will become special emphasis in that taken place in the Republic Argentina (keeping in mind the production of Argentinean in the exterior) and its bordering countries.

Foreword arte@calle
Once the work or visual action intervenes, it acts, he/she enters in game, it happens or it happens in the urban space, the latent spectator that circulates for the streets will have a casual contact with her that, with a sensitive language, it will outline him queries.
The street, space common to all the social levels, is the best place to develop expressive languages that you/they manifest the contemporary vital crises. The graffiti, posters, murals, performances, facilities, as so many others in the ways presented in the street, are open to the participation, they are ephemeral, separated from him "aesthetic", casual, gratuitous, triggers of other actions, reflections or sensations and they are as particular as the space that occupy. For their thing characteristics that he/she is born, it is developed becoming projection polisémica and it disappears for the action of the climatic factors or of the pedestrians that act on her, this art piece cannot be collected in private or public galleries neither kept in museums and he/she doesn't have values of change in the market, to the inverse one of what happens in order to traditional art. The history written for who we carry out work in public spaces and outside of the market it will show how today's art is, the forms that it adopts and where to find some of their expressions before they disappear and to either install them in our memory enjoying the direct experience or rescued through this virtual, open sampling, in format CD ROM or in the net, of a cultural patrimony that belongs us to all.

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