Madrid, Spain
26 november 2015 – 28 march 2016

Bogotá, Colombia
13 august 2016 – 13 september 2016


There is a popular saying in Spain that reads “everything is in the books”. Meanwhile there are others who assume that if something exists it must be on the internet. Tutorial. Who teaches what to whom? suspects of these common grounds but trusts popular knowledge as a mechanism for creating worlds and there- fore brings together a selection of publications which, in their different formats, invite us to imagine other ways of sharing knowledge.

Through a series of bizarre relations and associations between different elements of Publishing, Literature, Science, Contemporary Art and Visual Culture, it proposes a journey along the cultural memory of the know-how and along the way in which we generate and spread our policies of collective learning.

The works have been divided into three categories borrowed from the internet jargon: PLAY, SHARE, VIEW.


Under the shabby-amateur like aesthetic of certain tutorial there lies a refined subversive potential. The reader/spectator/ consumer, at first an individual controlled by the system, emancipates him or herself through their desire to experiment and play. They turn into unexpected agents of knowledge by producing and spreading unusual contents, aware that knowledge is a field of creation. Play beyond a mere reproduction approaches the creative realm of performance through instructions. Could this agent also be an artist?


Watching others doing something lets us believe we can reproduce those movements. Tutorials are a genre displayed in videos, manuals, guides, diagramas and pamphlets that circulate on and offline. By privileging a reading through images, they demand a discursive ability by association and invite to intuitive elaborations. They operate clearly under a pedagogy of the visual that even allows inevitable misunderstandings to lead to new findings and unexpected inventions.


Tutorials paradoxically enter two op- posite domains: they encourage the norma- tivity of the rules of structured knowledge, but they are also parasitised by informal knowledge, generating an ideal territory
for experimental and speculative practices in the peripheries of official institutions. Governed by a logic of abundance, these materials favour a hybrid learning atmosphere that questions authorship, is open to edition, replication and an essential question: who owns ideas?




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