Re-visiones (E-Journal)
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Del levantamiento feminista al arte público. El Far West de las Oportunidades
No full textLas prácticas artísticas desde el entorno mujer han cuestionado los lugares donde crear, contemplar y difundir arte desde hace varias décadas. Con ello, han participado en la modificación sustancial del concepto ‘arte’ y también de sus instituciones. ¿Por qué el movimiento feminista es esencial en la definición del arte público actual? ¿Qué buscaban o de qué escapaban las mujeres artistas al experimentar estas nuevas tendencias? ¿Qué relación tiene el ciberarte feminista con las apuestas iniciadas en los 70? ¿Por qué artistas desde este entorno redefinen el concepto de autoría? Estas son algunas de las preguntas con las que se formuló el encuentro entre Toxic Lesbian y la artista americana Suzanne Lacy el pasado 6 de mayo de 2014 en el marco de colaboración con Intermediae Matadero, Madrid, junto con Gloria G. Durán y alumnos de la Facultad de Bellas Artes de la Universidad Complutense de Madrid, de la mano de Lila Insúa
Derivación Total: Tesis sobre Espacio-Tiempo Urbano
No full textEn época de dislocación geopolítica total, ¿cómo saber qué es Norte o qué es Sur? Bagdad, París, Río, New Orleans tienen barrios que son Norte y barrios que son Sur. Ciudades y países enteros pueden pasar de ser Norte a ser Sur de la noche a la mañana. Detroit, Grecia y España eran Norte y ahora son Sur. Si los espacios están entrecruzados, también lo están los planos temporales: geometrías insospechadas unen formas de desposesión y de resistencia pasadas, presentes y futuras. De hecho, en el espacio-tiempo rizomático de la sincroni-ciudad, el pasado no es pasado porque no ha terminado de pasar, y el futuro no está ’por-venir’ porque su huella ya está aquí. Convertidos en los negros de nuevas esclavitudes, en una constelación de subjetividades desposeídas en formatos desiguales en los circuitos de la precariedad neoliberal, nuestra esperanza está precisamente en el símbolo de los Jacobinos Negros, que dejaron de ser Homo Sacer y se alzaron en las plantaciones de Haití
Design and Violence - Paola Antonelli y Jamer Hunt, MoMA
No full textDurante año y medio, cada semana, el MoMA de Nueva York expuso, a través de una plataforma web, un diseño –objeto, aplicación informática, proyecto, diseño especulativo, etc. – relacionado con la violencia junto a la respuesta por escrito de una persona afín al mismo. A partir de un breve ensayo se abría el debate a cualquier espectador-internauta que quisiera tomar parte. Se conforma así un archivo en torno a la relación diseño/violencia basado en cuatro ejes: Hack, Control, Trace y Annihilate
Coming to blows with the audience
No full textStarting with Dadaism, which strikes the public’s moral standing, and above all with a certain kind of cinema which, according to Walter Benjamin, can punch the spectator awake, this article studies several different kinds of impact that contemporary art exerts. In this context, the possibility of an “acceptable shock” and an “unacceptable shock” is put forward, and, within both of these categories, the effectiveness of coming to blows with the audience is studied from the perspective of various different authors. On the other side of all this is the spectator abused by excess –whose modern antecedent we have situated in Georg Simmel’s blasé figure-, and another who is perhaps shaken up by the world before him, which would imply political mobilisation through art
Lo que hay en el “entre”
No full textEl presente texto constituye una narrativa sobre la película de los autores, Facts of life, que partió de 18 horas de vídeo de los cursos de Gilles Deleuze en la universidad de Vincennes, en 1975-76, un material en bruto grabado por Marielle Burkhalter como parte de su proyecto de Máster de “filmar el pensamiento en su devenir”
From the feminist upheaval to public art The Far West of opportunities An open dialogue with Suzanne Lacy
No full textIn the last decades, women’s artistic practices have questioned the places to create, contemplate and show art. Women have thus contributed substantially to the evolution of the concept of ‘art’ and its institutions.Why is the feminist movement essential in the definition of today’s public art? What were women artists looking for, what were they escaping from when they experimented with these new trends? What relation does feminist cyberart have with the proposals initiated in the 1970s? Why do artists in this field redefine the concept of authorship?These are some of the questions that shaped the encounter between Toxic Lesbian and the American artist Suzanne Lacy on May 6, 2014, in conjunction with Intermediae Matadero, Madrid. Gloria G. Durán’s and Lila Insúa’s students, from the Faculty of Fine Arts, Universidad Complutense de Madrid, participated in this encounter
SNAPSHOTS. Images, crowds, thoughts. A conversation with Susan Buck-Morss
No full textThis conversation was prompted by the interest of our research project in all the people (in the theoretical field as well as in artistic or curatorial practices) who carry out what we have called a thought through images. In this sense, more than unquestionable, Susan Buck-Morss’s figure was foundational. We were especially interested in picking up some Benjaminian derivations that have accompanied her since the issue of her book The Dialectics of Seeing, a critical visuality with which it is possible to politically rethink hegemonic narratives, as is the case of Dreamworld and Catastrophe. The Passing of Mass Utopia in East and West, Hegel, Haiti, and Universal History or Thinking Past Terror: Islamism and Critical Theory on the Left. The conversation will be interwoven with this factory of thought that regards the image as a fundamental tool of political theory, with all that is implied –for the emergence of a new culture– in the possibility of sharing it (Visual Studies and Global Imagination, 2004). The events that went off like simultaneous powder kegs –Arab spring, 15-M, occupy movements, etc.– true devices of bodies, words, images and gestures, proved that this new culture would also favor the emergence of a new policy, the potency (not the power) of what she has called the translocal commons (On Translocal Commons and the Global Crowd, 2013). The conversation took place in New York, in March 2014
Dynamics of urban transformation in the practical rhetoric on the fourth meeting of AACC Comboi a la Fresca
No full textWhile it is true that the temporal proximity prevents definitive appreciations, we can confirm that in 2008 emerged an emancipatory politics on a global scale that had its turning point in 2011. This emergence involved, in the field of urban design, an intensification in the relationship between architects, sociologists, artists, and the neighbors, as well as the incorporation of collaborative practices, coming from grassroots movements, in urban regeneration processes, as response to the crisis of neoliberal capitalism applied to the management of the city.This article will exemplify this way of doing within the city in the practice developed by Comboi to Fresca, the annual meeting that the international network Arquitecturas Colectivas held in Valencia in 2011. The starting point is how the emancipatory micropolitics that took place in Valencia, instead of remaining as an utopia, articulated a dynamics of urban transformation built up from questioning their own practices and in opposition to the local modus operandi developed in Valencia
What lies between
No full textThe present text establishes a narrative of the filmmaking process by the authors ofFacts of life. A film developed with 18 hours of video from Gilles Deleuze´s courses at the university of Vincennes (1975-76). A working material taped by Marielle Burkhalter as part of her Master Project ‘film thought in its becoming’