EXHIBITIONS / PROJECTS

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

http://www.rojas.uba.ar/lipac/consideraciones_publico.php

http://consideracionessobrelopublico.blogspot.com/



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, Leticia El Halli Obeid, 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

 

 

 










 



ACT I-ART and KNOWLEDGE, RE-LOCALIZATIONS


ACT II-BANK: ART & ECONOMIES

ACT III-E.M.A.N.C.I.P.A.T.I.O.N.

3 FILMS of 40" each

(Film summary 17" : https://vimeo.com/43580094 )

1 BOOK




pdf Symposium

Texts about:

THE ENACTING OF THE PUBLIC (FROM PERFORMATIVITY TO EMANCIPATION) in Alicia Herrero's PC, by Teresa Riccardi

PUBLIC CONSIDERATIONS, interview
with Pablo Helguera

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Exhibitions:

- It’s the Political Economy, Stupid

Austrian Cultural Forum NewYork January 24 to April 22/2012
Centre of Contemporary Art Thessaloniki /June 27/September 30/2012
Pori Art Museum, Finland /February 1/May 26 2013
Center for Cultural Decontamination in Belgrade
organized by Rosa Luxemburg Foundation
(South Eastern Europe branch)
, September 23 /2013
Gallery 400/Univ. of Illinois Chicago
Nov. to 1/ Dic. 14/2013
Galerija Nova, Zagreb Croatia
March 12/ to May 03/2014
NeMe Arts Centre
Limassol, Cyprus
November 10 /December 6/2014 

DAAP Galleries at the University of Cincinnati 
Cincinnati / USA
14 February / 10 April 2016


- La chispa que incendia la llanura. (L'étincelle qui met feu à la plaine) Othe visible things, curator Mabel Tapia
/March/May 2012
Centro Ecuatoriano de Arte Contemporáneo-CEAC
Quito
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Book presentation 2012:

It’s the Political Economy, Stupid, New York
Eyebeam - Art + Technology Center, New York
The Diego de la Vega Experimental Economics + Finance research group
Eyebeam - Art + Technology Center
New York
El Ranchito Matadero Madrid
Medialab Prado Madrid
Traficantes de Sueños Madrid
CCRRojas-Universidad de Buenos Aires, Buenos Aires

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Other publications of the project:

Art and Politics Now
by Anthony Downey Thames & Hudson (UK) 2014



It´s the Political Economy, Stupid:The Global Financial Crisis in Art and Theory
publicado por Pluto Press (UK) y Pori Art Museum (FI), 2013, lanzamiento en Austrian Cultural Forum New York, Home Workspace Ashkal Alwan Beirut y College Art Association New York



Praxistest.Künstlerische Projekte Zur Vermittlung Aktueller Kunst
(2011) /Book series of the Schoeppinger Forum für Kunstvermittlung, Germany


Rethinking Marxism (2013), # 25/3, Association for Economic and Social Analysis /Routledge/Taylor & Francis, USA