The MIAxM, through its own characteristics - mobility, intermittency, multiculturalism ... - and its activities, questions the ability of the art museum to produce knowledge. Questions not only its universality or its centrality, but its very viability. And so it is a project that generates multiple tensions with such diverse institutions as the MALI or Machu Picchu.
foto:Exposición del MIAxM en Cusco
María María Acha-Kutscher
… when artists come into other fields that are not just art, they enhance significantly their artwork, they can go farther than they would have come inside an artistic environment. After all, it’s drive, work and that spark call talent, not the distribution channel, what make good artists. This is the case of the photographer Lillian Bassman, who worked between 1940 and 1960 as a fashion photographer for Junior Bazaar and later for Harper's Bazaar. She invented a new image, not only of the women in fashion, but also of the woman of her time.
foto: Lillian Bassman
No one questions the legitimacy of the art market and its material instances, galleries and fairs. No one is interested in analyzing the power structures that are hidden under this system and its projection on the symbolic universe that we all use to understand our place in the world and build stories that make it tolerable.
Honestly, I do not think that feminism was ever in Mexican art, let's start there. There have been these efforts at specific times, circumstantial, among several artists, but I do not think that it has been part of what we call Mexican art. Back to what I said before: those who did performance in the 90s, we did not include ourselves in a feminist discourse because many do not know well what it was, or in what consisted feminist movements in Mexico and elsewhere. To date there is for many women an amazing misinformation about what feminism is.
…while in Europe the most advanced artistic practices interpellate a large middle class, a hegemonic and majority public at once, and therefore the question is about minority and subaltern publics, in Latin America it’s a minority which is the hegemonic public, and the question should be on those publics that are majority and subordinates at once. What do we do when the excluded 'minority' comprises 70% or 80% of the people?
foto: Saturno devorando a su hijo. Francisco Goya
... Lefebvre's central thesis is that the space is not a neutral container of society, but is produced by it, and becomes at once a formative element of its economic, politics and cultural practices. For him, every society produces a specific space that responds to its mode of production and, consequently, its class relations. But this space is not apprehensible at first glance, because it is hidden under thick veils of ideology: The space of an order is hidden in the order of a space.
foto: Bend City. Carlos Garaicoa
The museum, as an institution that produces knowledge, which provides a form of truth, their own truth, it can also be supplanted, counterfeited and confronted with itself. Imagining artworks that are simultaneously museums, all orders are disrupted. It is not the museum who legitimizes the creation, but the creative act who establishes the museum. The entire apparatus trembles like a rotten scaffolding, crackle, and even for a second the transposition of roles trigger the doubt: Who is where? Where is how? How is what?
22/jun/2014; spanish; tags=museum, essay; formats=issuu, pdf
María María Acha-Kutscher
Varrone's work has a lot of autobiographical. All characters, mostly women, are her or have something of her life memory, with oniric and esoteric atmosphere, influenced by history, mythology and pop culture.
María María Acha-Kutscher
The drawings accompanied by texts of the protagonists, like a MUNI driver who gets paid about $30 an hour: "A dollar to drive and $29 to deal with people," or the security guard at the main library who has seen it all, the names of 50 dogs Macnaughton's encountered. There's even a map depicting the social groups found in one of the parks of San Francisco, Dolores Park, before the current remodeling.
imagen: Meanwhile in San Francisco: the city in its own words
The construction of the new global space, as researched by Saskia Sassen, David Harvey, Edward Soja and many others, has an almost infinite number of ramifications, including the possibility of developing a critical theory of art the market, or of art in general, through its spatiality, which makes us easier to have a broader understanding of contemporary art as a global institution, linking it to the transformation of cities and the capitalist mode of production in its advanced stage.
Gloria G. Durán
During the seventies decade the upheaval was in the streets. Many artists in that time were taking part of the social revolts. They were also trying to change the way they made their work. They wanted their art to cause change. Social change, political change and personal change. This guided their most exoerimental works. Ignoring the need for an object, the artists tended to create situations, to develop "acts", to experiment, to make their works as social prototypes. Small laboratories to promote changes in the contexts in which they lived.
...the title of the Biennale is "You Imagine what you desire." That is, the Biennale invites artists to imagine a better world and highlights precisely the transformative capacity, or at least critical and / or prospective, of the visual arts. The company Transfield, whose profits for the management of detention centers are going to be millionaires, financed a platform for artists to imagine a world where migration caused by poverty, refugees from wars and dictatorships, detention centers for foreigners and companies like itself do not exist.
Occupy Museums, along with the Arts & Culture and Arts & Labor working groups within OWS, have openly embraced the surplus imagination of the phantom archive of dissent, transforming its dark matter into a bright carnival of protest.
feb/13/2014; spanish; tag=museum
foto: Occupy Museums' banner at MoMA
Collecting gives sense to a world that seems not having. Perhaps this explains the excitation that fairs produce, these nervousness almost obscene that makes art world’s skin stand up for a week, year after year, from city to city, like the imminence of a portent or a singular phenomenon, despite then we can check that it is very difficult to differentiate one fair from another.
feb/13/2014; spanish; tag=review
foto: El Trono, Mauricio Garrido. Collage 2014
After 50 years or more existing, contemporary art has been less (although some artists may make us believe) a form of production, and more a srategy of appropriation of productive forces, both their own and those of others.
feb/11/2014; spanish; tag=essay
foto: © Olav Westphalen "Wall Street"
Teresa Burga left the art in the mid-80 due to the impossibility to establish a dialogue with her society, Peru. It's terrible and coherent at the same time, because for her, as it has always been for the old conceptual, art was not a road of self-aggrandizement, but a disinterested observation of reality, a way of being in the world.
jan/27/2014; spanish; tag=review;feminisms
foto: Teresa Burga, Boceto para Perfil de la mujer peruana, 1980. Tinta sobre papel, 38 x 26 cm. Colección Emilio Tarazona. Cortesía de la artista y aim-arteimovilización
Some time ago someone said that we should not ask what is art, but when it's art. Even more so if that art requires such a contingent attribute as being political. When is political? Maybe when it is not art.
María María Acha-Kutscher
American artist Erin M. Riley translates into tapestries pictures of incriminating sex and drugs situations of her generation, where women are protagonists. Some are photographs of the artist herself and other of anonymous women found on the Internet, that show the behaviors of the generation born from the mid-80s. Images that usually live in Facebook, Snapchat, Tumblr, or in the privacy of a cell phone.