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Acting Out:Cuban Artists Challenge to the State
No full textFive of the videos in Coco Fusco’s exhibition Tomorrow, I Will Become an Island at KW were filmed in Cuba, where the artist has collaborated with local artists on a range of projects for over thirty years. The videos explore the fraught relationship between civic engagement and the Cuban state. Coco Fusco will be joined by Cuban artist and former political prisoner Hamlet Lavastida, and Cuban poet and essayist Antonio José Ponte for a discussion about Fusco’s work and the current state of artistic activism in relation to cultural politics in Cuba today. Hamlet Lavastida is a Cuban artist, based in Berlin. He studied painting at the Academy of Fine Arts San Alejandro and the University of the Arts (ISA) in Havana. Lavastida reinterprets the role of Cuban political rhetoric and iconography in public culture. He focuses on the ways that Cuban propaganda shapes and distorts history. He explores the visualization of state ideology in his videos, collages, drawings, and public art. Lavastida’s work has been shown at Documenta 15 (Kassel, Germany); Museo Nacional Centro de Arte Reina Sofía (Madrid); Künstlerhaus Bethanien (Berlin); Center of Contemporary Art Łaźnia (Gdańsk) and Center of Contemporary Art, Zamek Ujazdowski (Warsaw). Antonio José Ponte was born in Matanzas, Cuba in 1964. He first worked as a hydraulics engineer, and later as a professor of literature, script writer and author. He is Deputy Director of the online daily Diario de Cuba, founded in Madrid in 2009. His published work includes the essays Un seguidor de Montaigne mira La Habana (1995), Las comidas profundas (1997), El libro perdido de los origenistas (2004), Villa Marista en plata (2010) and La lengua suelta y Diccionario de la lengua suelta (2021), the short stories Cuentos de todas partes del Imperio (2000) and Un arte de hacer ruinas y otros cuentos (2005), a book of poems with the title Asiento en las ruinas (2005), and the two novels Contrabando de sombras (2002) and La fiesta vigilada (2007). Coco Fusco is an interdisciplinary artist and writer. She is a recipient of numerous awards, including a Guggenheim fellowship, an American Academy of Arts and Letters Award, Latinx Art Award, a Fulbright fellowship and the Herb Alpert Award in the Arts. Fusco’s performances and videos have been presented in the 56th Venice Biennale, Frieze Special Projects, Basel Unlimited, three Whitney Biennials (2022, 2008 and 1993), and several other international exhibitions. Her works are in the permanent collections of the Museum of Modern Art, The Art Institute of Chicago, The Walker Art Center, the Centre Pompidou, the Imperial War Museum, and the Museum of Contemporary Art of Barcelona. She is the author of Dangerous Moves: Performance and Politics in Cuba (2015), English is Broken Here: Notes on Cultural Fusion in the Americas (1995), The Bodies That Were Not Ours (2001) and A Field Guide for Female Interrogators (2008). She is a Professor of Art at Cooper Union.Coco Fusco Hamlet Lavastida Antonio José Ponte An event of KW Institute for Contemporary Art in cooperation with ICI BerlinFünf der Videos in Coco Fuscos Ausstellung Tomorrow, I Will Become an Island in den KW wurden auf Kuba gedreht, wo die Künstlerin seit über dreißig Jahren mit lokalen Künstler*innen in einer Reihe von Projekten zusammenarbeitet. Die Videos thematisieren das Spannungsverhältnis zwischen zivilem Engagement und dem kubanischen Staat. Mit Coco Fusco diskutieren der kubanische Künstler und ehemalige politische Gefangene Hamlet Lavastida und der kubanische Dichter und Essayist Antonio José Ponte über ihr Werk und den aktuellen Stand des künstlerischen Aktivismus in Bezug auf die Kulturpolitik in Kuba heute. Hamlet Lavastida ist ein kubanischer Künstler, der in Berlin wohnt. Er studierte Malerei an der Akademie der Künste San Alejandro und der Universität der Künste (ISA) in Havanna. Lavastida interpretiert die Rolle der politischen Rhetorik und Ikonographie in der öffentlichen Kultur Kubas neu. Er konzentriert sich auf die Art und Weise, wie die kubanische Propaganda die Geschichte prägt und verzerrt. Anhand seiner Videos, Collagen, Zeichnungen und seiner Kunst im öffentlichen Raum erforscht er die Visualisierung staatlicher Ideologie. Lavastidas Arbeiten wurden auf der Documenta 15 (Kassel, Deutschland) gezeigt, im Museo Nacional Centro de Arte Reina Sofía (Madrid), im Künstlerhaus Bethanien (Berlin), im Zentrum für zeitgenössische Kunst Łaźnia (Danzig) und im Zentrum für zeitgenössische Kunst, Zamek Ujazdowski (Warschau). Antonio José Ponte wurde 1964 im kubanischen Matanzas geboren. Er arbeitete zuerst als Hydraulik-Ingenieur und dann als Literaturprofessor, Drehbuchautor und Schriftsteller. Er ist stellvertretender Direktor der 2009 in Madrid gegründeten Online-Tageszeitung Diario de Cuba. Zu seinen veröffentlichten Werken gehören die Essays Un seguidor de Montaigne mira La Habana (1995), Las comidas profundas (1997), El libro perdido de los origenistas (2004), Villa Marista en plata (2010) und La lengua suelta y Diccionario de la lengua suelta (2021), die Kurzgeschichten Cuentos de todas partes del Imperio (2000) und Un arte de hacer ruinas y otros cuentos (2005), ein Gedichtband mit dem Titel Asiento en las ruinas (2005) und die beiden Romane Contrabando de sombras (2002) und La fiesta vigilada (2007). Coco Fusco ist eine interdisziplinär arbeitende Künstlerin und Autorin. Sie wurde mit zahlreichen Preisen ausgezeichnet, darunter ein Guggenheim-Stipendium, der American Academy of Arts and Letters Award, der Latinx Art Award, ein Fulbright-Stipendium und der Herb Alpert Award in the Arts. Fuscos Performances und Videos wurden auf der 56. Biennale von Venedig, bei Frieze Special Projects, Basel Unlimited, drei Whitney-Biennalen (2022, 2008 und 1993) und mehreren anderen internationalen Ausstellungen gezeigt. Ihre Werke sind Teil der ständigen Sammlungen des Museum of Modern Art, des Art Institute of Chicago, des Walker Art Center, des Centre Pompidou, des Imperial War Museum und des Museum of Contemporary Art in Barcelona. Sie ist die Autorin von Dangerous Moves: Performance and Politics in Cuba (2015), English is Broken Here: Notes on Cultural Fusion in the Americas (1995), The Bodies That Were Not Ours (2001) und A Field Guide for Female Interrogators (2008). Sie ist Kunstprofessorin an der Cooper Union.Coco Fusco Hamlet Lavastida Antonio José Ponte Ein Event von KW Institute for Contemporary Art in Kooperation mit dem ICI Berli
The Future of the Studio:From a Female Artists’ Perspective
No full textArtists’ studios have emerged throughout time as spaces that are not only real but also imaginary (e.g., today the virtual space of a computer). With the change of artistic idioms and practices, studios have evolved from spaces in which one can think and create in solitude to dynamic environments for (collective) production, social interaction, and the presentation of works along with their storage, possibly in a well-organized archive. Furthermore, studios have been associated with an inspiration and an independence that, when it comes to output, give rise to an oscillation between vast expectations and often-uncertain outcomes. This event is particularly concerned with the gendered coding of the studio. Is the studio still a gendered place and, if yes, what kind of frame does it provide for female artists today? Do they — who have often been denied creative agency and representative spaces — have special claims, needs, and practices with regard to the studio space? Does the studio still offer temporary shelter, privacy, and an opportunity to escape the care work of home? A second aspect is devoted to the future of the studio in the 21st century. This aspect focuses on the studio’s separation from public space as well as its limits in terms of flexibility and mobility. In what ways have the notion of the studio and the conditions of artistic practice been transformed? What elements of the studio live on if there is no longer a room to live in and to share? What are the social, political, and aesthetic implications of these developments for today’s (post-)studio experience?
Marysia Lewandowska: www.marysialewandowska.com Alice Pedroletti: www.notalike.com moderated by Cristina Baldacci and Claudia Peppe
‘I know you can cant’:Slips of the Mother Tongue in Fred Moten’s <i>B Jenkins</i>
Get PDFThis article reads Fred Moten’s collection B Jenkins as literalizing the poetic appeal to the mother tongue to reveal its mediated essence. Approaching its first and last poems in terms of Friedrich Kittler’s techno-psychological history of the family casts Moten’s detuning of natural language in terms of cultural mastery streaked with affirmative disfluency. With the ‘cant’, slang slides towards a broader awareness of the limits of knowledge. There, language may emerge for perceiving the role of the technological mother tongue in our post-national age