VIDEO ACT II at: CINCINNATI, USA
PUBLIC CONSIDERATIONS, A SYMPOSIUM IN THREE ACTS (2010/2011)
(LIPAC-ROJAS-UBA)
At Public University, National Bank and Parliament
forums films and book
PRESS dossier
Performative-talk - -------------films
-------------- book
Through the occupation of spaces and discourses
of enactment, Public Considerations, a Symposium in
Three Acts, transforms these spaces and discourses into
investigative scenarios that help us question the instruments
upon which our public rights rely.
Public Considerations, a Symposium in Three
Acts is an exercise that presents a double
status of existence, creating a form of the public sphere
within the city’s political scenarios and enabling
these scenarios to transform themselves into mechanisms
of investigation.
The project proposes entering into a debate on what
constitutes 'the public'. It includes three acts in
three auditoriums of notable and iconic public institutions
of the City of Buenos Aires: Buenos Aires University's
Ricardo Rojas Cultural Centre, the central office of
the Argentine National Bank on Plaza de Mayo, and the
auditorium of the National Congress. Within each respective
context diverse participants introduce and activate
different perspectives: political analysts; artists;
activists; investigators in the fields of philosophy,
art and sociology; economists; musicians; journalists;
town planners; actors; video makers. Consequently, re-localizations
of art and knowledge are challenged, processes of emancipation
are rethought, art and economy are re-mapped and new
forms of cartography are proposed.
Public Considerations, a Symposium in Three Acts
demands that political scenarios be revised. In Buenos
Aires (as in other places), representational forums
or spaces for the ‘practice of democracy’
conserve rhetoric shaping how we listen and participate;
how the performative dimension of institutional discourses
unfolds (e.g., the power of discourse capable of producing
phenomenon that establishes and normalizes it); and
how it is enacted. This project attempts to generate
a time to de-normalize these discourses from within
their own institutional scenarios, under the proposition
of art as an emancipatory practice.
The project proposes three key matters. The first is
that it 'stages' the public, revising the concepts of
liberty forged by the vanguards of history. This is
possible in Public Considerations, because while it
exists on the limits of the scenarios of visibility
and the subjects of the field of art (the question of
the public is rarely dealt with in discussions in this
field), the project also questions its politics and
conditions of production—what Walter Benjamin
termed the “production apparatus.” The second
is concerned with the scenarios, the “representational
space of discussion and debate.” In Public Considerations,
the public auditoriums of the university, bank and parliament
offer a wide variety of mechanisms for debate on the
public and also bring enormous potential to investigate
the limits of these emblematic mechanisms: how they
create observation and participation. The auditoriums
are also considered for their representational dimension.
The third matter is that which makes the previous two
possible: the performative talk. This conversational
form interrupts the classic scheme of symposia and presents
a redistribution of artistic processes, at the same
time as it stands in the way of their classification.
It brings the idea of theatre to the symposium and that
of symposia to talk TV, including the construction itself:
a regisseur, round tables, performers officiating as
introductory guides to the proposed institutions, theatrical
illumination, signs, live incidental music, the participation
of a moderator, a PANEL of experts on the proposed subjects.
The act of debate is staged through a 'participative
tribune' of particular abilities (GRADAS), and an in-situ
script is created that enhances the flow of the public's
active participation. Its complexity favors situating
the experience as part of a heuristic strategy and a
multiplicity of perception, proposed as a process of
continuous dislocation.
Through flows of exchange, speech acts, tools for communication,
displays and equipment fixtures, we intervene in the
space of the forum, questioning the naturalization of
its capitalist logic. We exercise the common and enact
new public capacities. We recognize that the performative
reappropriation of discourse, so that it has the capacity
for action and is powerful in emancipatory struggles.
Participants:
Esteban Álvarez, Ibon Aranberri, AVCC: Martín
Di Girolamo/Ana López/Ciro Museres/Cristina Schiavi;
Agustín Blanco, Carina Cagnolo, Axel Cherniavsky,
Minerva Cuevas, Colectivo La Tribu: Diego Skliar/Sebastián
Vázquez, CIFFYH–UNC: Santiago Druetta/
Alicia Gutiérrez/Pedro A. Klimovsky; Julian D´angiolillo,
Andrés Denegri, ElClú:
Mirta Martín/Natalia Rizzo, GAC: Lorena Bossi/Mariana
Corral/Carolina Golder, Juan Pablo Gómez, Marcelo
Grosman, Karina Granieri, Alicia Herrero, Iconoclasistas:
Pablo Ares/Julia Risler, IUNA: Julio Flores, Claudio
Katz, Viola: Awami Kollo, La Darsena: Azul Blaseotto/Eduardo
Molinari, LAC: María Eva Glota/ Julia Masvernat/Diego Posadas, LAIR: Sebastián
Roma/Andrés Palavecino, LiPac: BaseDdatos/S.A./S&Authier,
Mujeres Públicas: Magdalena Pagano/Lorena Bossi,
Claudia Mac Auliffe, Not Made inChina: Mariano Baqués/Daniel
Goldaracena, Sonia Neuburger, Drummer: Leandro Pazos,
Revista Underground: José Luís Meiras/Pablo
Ares, Percussionists: Horacio López/Alejandro
Oliva (StudioCCRR), Pío Torroja (m7red), Adriana
Vázquez, Alfredo Zaiat
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