Re-visiones (E-Journal)
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La imagen instalada
No full textNota del autor: este artículo está realizado conscientemente fuera del formato habitual de la revista Re-Visiones, lo que constituye un elemento fundamental para su correcta comprensión. Para visualizarlo, hacer click en la imagen
Image, body and knowledge
No full textIn the presentation issue of the Journal –Images think, thinking with images– we intend to define the methodology we claim in our research group, i.e., to take the artistic practices –or simply the images– as the starting point to examine the official narratives, and to use for this purpose the format we consider appropriate in each moment: texts, classes, conferences, exhibitions, artistic practice, etc. As the image is always partial, sensible and specific, working with images induces us necessarily to create a series of small narratives which, in one way or another, deflect slowly the big knowledge blocks -the results of old concepts which are still imposed and which devise what is commonly known as ’hegemonic discourses’. These small narratives we create from the sensible quality –hence warm– of the image ’melt’ the big polar circles we are made of. It would be worthwhile to think a way to negotiate with them in order to avoid ending up going drifting in relativism
¯\_(ツ)_/¯
No full textUn fantasma recorre intenet; el nihilismo.Desde las corporaciones intentando sacar tajada a los rincones de resistencia del usuario, a las plataformas de consulta de información, nos podemos encontrar con ejemplos que desafían el control pero también ponen en jaque el sístema de lógicas que imperan en el mundo tangible. Nada importa en el abismo virtual
Repetición y distancia en las fotonovelas de ASCO
No full textEste artículo lleva a cabo un análisis de las fotonovelas hechas por el colectivo de artistas ASCO a principios de la década de los ochenta en la ciudad de Los Ángeles, rescatadas recientemente como pieza clave de la reciente historia del arte en EEUU. La definición de lo performativo que formula Judith Butler se toma como punto de partida para el trabajo, prestando especial atención a la función de la repetición como un mecanismo para reformular el género mismo de la fotonovela
Presentación
No full textPresentación de FOCUS Adelita Husni Bey. Libro Blanco: Sobre la tierra, la ley y el imaginario
Missing Jennifer. From image-object to digital product
No full textAfter the arrival of the post-internet era we cannot distinguish any more between the life we develop outside and inside the Internet, offline and online. We are learning how to live between the body we inhabit and the images which represent us in the web. In this context, images have started to develop new meanings for the viewer. These meanings are determined by the new circuits in which we insert them: the social networks. In this way, we first see how the image transforms itself into an image-object and then into a digital product
A common place is no my place: artistic relations between Mexico – United States in a globalized world
No full textDuring the 80’s and 90’s, some structural changes took place in Mexico to cope with the economic recession caused by the oil crisis in the end of the 70’s. This changes involved private investments which precipitated several adjustments in the way the commercial trade and politics were design an executed. This situation brought a radical transformation in the cultural field because, in Mexico, traditionally the State has had total control over cultural distribution. This form of private investment was tied up directly with the North America Free Trade Agreement (NAFTA) between Mexico, Canada and United States, which terms imposed United States’ conception of culture as an industrial one. The Mexican commercial aperture that involve the transformation and foundation of some cultural institutions as CONACULTA and FONCA in 1988-89 also promoted the aperture and consolidation of some private galleries, collections and foundations following the US model of cultural funding. What I will show in this paper is that the economic politics, that involved permanently the US as the main speaker, not only redesigned Mexican cultural politics but the art is understood. I will also demonstrate that the economics are regulated in the body of works and introduce new forms of making , buying, and distributing art in Mexico
Poking holes in reality. On bodies, images and squares
No full textOn 15 September 2008, Lehman Brothers went bankrupt. That date will be remembered as the beginning of the financial crisis we are now experiencing -the second worst in history, or so they say. From that moment on, the discourse on which our current system of debt and precariousness is predicated began to spread, and many people subscribed to the belief that this crisis would be our end or, at the very least, would leave us seriously wounded, as if it were impossible to glimpse alternatives outside of that enforced reality. It became clear that our nation-states are colluding with the markets to globalize speculation, and as citizens we felt abandoned: we were up for sale
At night, lightening
No full textWe were invited by Gitanjali Dang and Christopher Schenker to participate in the Draft Project, an initiative that explores contemporary art that produces, contributes or provokes public debate. The project involved nine teams around the world that worked for twelve months in their local contexts: Beijing, Cairo, Cape Town, Hamburg, Honk Kong, Mexico City, Mumbai, St. Petersburg and Zurich. In our case, Mexico City was conformed by Helena Chávez Mac Gregor, Cuauhtémoc Medina and the artistic collective Teatro Ojo. For us, one of the questions raised by the Draft project was how to intervene within a public sphere swamped by images of violence that unlike creating a space to produce a collective thought subdues into the effects of its own violence. The local configuration of the public sphere happens as if we are isolated, staring at the catastrophe without any words to say. The images that circulate, normalized, are no longer able to open up our eyes. Its saturation no longer lights up anything. Teatro Ojo’s intervention attempts to produce a different order, sense or formation, by circulating publicly a bunch of different images. Montages trying to turn back to the public sphere –either TV or social network- and appear with the shape of lightning bolts, to establish in its sequence possible new relations. This text is the recounting of the process that lead us to At night, lightening