Title: 24hrs Real Time Museum Program [Tribute to Production/Reception, by Dan Graham, 1976]
Format: Computarized audiovisual installation (HD screen, computer and metronome)
Year: 2010
Premier: Art/TV/Arts, Centro de Arte Santa Mónica, Brcelona, Spain [Group exhibition. Other Artist: W. Vostell, Chris Marker, N. J. Paik, among others]

Computerized installation/Web-TV at Arts Santa Mónica / October 14th / December 5th / Barcelona. The work comprises the following elements: a) a continuous broadcast television programme (live streaming 24hrs), generated automatically by ten video cameras set up in an Arts centre and in two given homes; b) an installation designed to broadcast the programme in the exhibition space where it is being produced; c) a website through which the programme can be broadcast and users (TV viewers) can participate from the Internet.

In the 1970s, the consolidation of cable television (CATV, Community Antenna Television) aroused the interest of certain American artists in using the new locally produced media in order to confront the dominant structure of the mass media system. In that context, Dan Graham came up with a project that he never carried through: the broadcasting of a regional newscast in an extended format that would show, at the same time and on three consecutive channels, the streaming of the edited news, the artifice of its production (the studio) and the subjective background of reception (the sphere of the familiar/uncanny). Three decades later, in an age that is beginning to feel the decline of its own utopias–such as the Internet’s dwindling qualities as emancipator and the users’ newly developed models of obsessive neuroses–this piece/essay stages Graham’s project in the context of an art show, producing a continuous broadcast television programme in which the set is the exhibition space itself and the ‘actors’ are the people visiting the exhibition, the staff of the cultural institution and the very exhibits.

A set of cameras, placed in different spots of the Santa Monica Arts Centre, scan different parts the old convent, sending flows of images to an Internet server. The different stages of space representation (the inner and outermost parts, the auditorium and the toilets) are dynamically interpreted by a piece of software that organises the material according to certain categories which recur in Graham’s work: the deconstruction and the redefinition of the social hierarchies as reflected in the building space, the decentralization of the information circuit (even in the museum space) and the questioning of the centripetal role of the artist in the production of his work. The video signals, first generated in the Arts Centre, then edited and distributed on the Internet by a remote server, come back to the starting point–now endowed with ubiquity–to be exhibited as an installation. The piece thus poses an exhibition loop: a space that contains a work, which in turn contains the space that embraces it.