LA CONFIGURACIÓN DE LOS ESPACIOS INDEPENDIENTES DE ARTE EN MÉXICO. El texto busca ofrecer un panorama sobre la configuración de los espacios independientes de arte en México durante el siglo XX, a partir de contextos históricos y sin genealogía precisa.
Un recorrido para abordar el legado que hoy en día motiva la creación de espacios independientes relacionados con la promoción de las artes. Se pretende asimismo, develar los mecanismos por los que en particular las artes visuales en México se han mantenido en constante evolución y cambio. La funcion del arte y los artistas.
LA CONFIGURACIÓN DE LOS ESPACIOS INDEPENDIENTES DE ARTE EN MÉXICO. Everything Is Permitted: Artist-Run Spaces of Mexico City in the 1990s Francis Alÿs, “Re-enactments” (2000–01), two-channel video installation, 5 minutes 23 seconds (image courtesy the artist) PHILADELPHIA — In the early 1990s, Mexican artists Daniel Guzmán and Luis Felipe Ortega recreated and recorded on video a selection of works by Bruce Nauman, Vito Acconci, and Paul McCarthy.
They relied only on written transcriptions. Like many artists of their generation, they had to self-educate, because in the decades leading up to the ‘90s, art students in Mexico were taught an outdated curriculum, one that skipped large portions of the 20th century and mythologized Mexican history. Sensacional de Diseño Mexicano - Poderosa Gráfica (05/04/2012) Seeing Gray: The Power of Interpretation in Chris Burden’s Shoot By Amber Donofrio. Class: Performance Art, Institutional Criticism and the Museum Major: Writing ’14 …at any moment, the world presents us with a composition in which a multitude of meanings and realities are available, and you are able to swim, lucid and self-contained, in that turbulent sea of multiplicity.
–Richard Foreman1 At 7:45 p.m. on November 19th 1971, performance artist Chris Burden was shot. Standing still inside an empty gallery space, surrounded by white walls, he watched as his friend pointed a loaded rile at his left arm from a distance of approximately fifteen feet. Ten people observed the scene; they stood to the side. Chris Burden’s performance Shoot instantly became infamous, making his name known to those in the art world. Known for performing Shoot and other acts of self-inflicted pain,7 Burden is continuously referred to as “quasi-masochistic” and “quasi-sadistic”8 despite his own explanations for his art pointing otherwise. Chamanismo Colonialismo y El Hombre Salvaje. Michael Taussig. Modern Cult of the Factish Gods. Francis Alÿs - The Politics of Rehearsal [AKA Ensayo 2, 2005] (2005) Comrades of Time. Boris Groys Contemporary art deserves its name insofar as it manifests its own contemporaneity—and this is not simply a matter of being recently made or displayed.
Thus, the question “What is contemporary art?” Implicates the question “What is the contemporary?” How could the contemporary as such be shown? Being contemporary can be understood as being immediately present, as being here-and-now. But rather than further analyze the workings of Derrida’s deconstruction, I would like to take a step back, and to ask: What is it about the present—the here-and-now—that so interests us? That is why I find the following question especially relevant for our present discussion: How does the present manifest itself in our everyday experience—before it begins to be a matter of metaphysical speculation or philosophical critique? Le Corbusier painting on the white walls of Eileen Gray’s E-1027. REIS - Octubre/Diciembre 1998 - Centro de Investigaciones Sociológicas.
Textos. Libros. Titles with full-text online. "The 1688 Paradise Lost and Dr.
Aldrich": Metropolitan Museum Journal, v. 6 (1972) Boorsch, Suzanne (1972) 20th-Century Art: A Resource for Educators Paul, Stella (1999) 82nd & Fifth The Metropolitan Museum of Art (2013) Abbot Suger and Saint-Denis Gerson, Paula Lieber, ed. (1986) "About Mäda": Metropolitan Museum Journal, v. 40 (2005) Baetjer, Katharine (2005) "About the Sequence of the Tapestries in The Hunt of the Unicorn and The Lady with the Unicorn": Metropolitan Museum Journal, v. 17 (1982) Nickel, Helmut (1982) "About the Sword of the Huns and the 'Urepos' of the Steppes": Metropolitan Museum Journal, v. 7 (1973) Nickel, Helmut (1973) Historiaiuna.com.ar/wp-content/material/2012_marcha fiz_del arte objetual.pdf. Www.pauladaunt.com/books/catch22.pdf. El arte de los ruidos. Manifiesto Futurista. 1.- Los músicos futuristas deben ampliar y enriquecer cada vez más el campo de los sonidos.
Esto responde a una necesidad de nuestra sensibilidad. El arte de los ruidos. Querido Balilla Pratella, gran músico futurista, En Roma, en el Teatro Costanzi lleno de gente, mientras con mis amigos futuristas Marinetti, Boccioni, Balla escuchaba la ejecución orquestal de tu arrolladora MÚSICA FUTURISTA, me vino a la mente un nuevo arte: el Arte de los Ruidos, lógica consecuencia de tus maravillosas innovaciones.
La vida antigua fue toda silencio.
Textos. Claire Bishop: Publications Reviews Podcasts etc.