Acciones y performancias


Acciones y performancias
[1] / Trabajo
personal & el “colectivo del laboratorio flotante”.
[2] / Participacion,
arte & comunidad.
“estética relacional” o “arte social”
Arte relacional, es un arte que toma como su horizontes teóricos, la esfera de interacción humanas y su contexto social, en vez de la aserción de espacio sim-
Acciones y performancias
bólico autónomo y privado. (Nicolás Bourriaud)
[3] / Tactical
“medios tácticos” puede ser definida como la apropiación de los medios de
comunicación a fin de oponer o criticar un objetivo que frecuentemente ocupa determinada posición de poder.
[1] / Trabajo
personal & el “colectivo del laboratorio flotante”.
[2] / Participacion,
[3] / Tactical
& comunidad.
Acciones yarte
PARTICIPACION, significa hacerce cargo directamente de nuevas relaciones y nuevas realidades sociales, que son llevadas a cabo a traves de una experiencia cultural.
First of all, it means you deal directly with new social relationships and new social realities that are brought about
trough a cultural experience.
Del texto de Claire Bishop ‘Espectadores Como Productores”, ella define 3 características de la dimensión Socio y política del arte participativo:
[1]. Activación
Se basa:
en el deseo de crear un sujeto activo.
A través de establecimiento de plataformas para que la gente pueda interactuar,
los participantes determinara su propia realidad social y política.
En el 2001, Jeremy Deller, reconstruye ‘La batalla de Orgreave’, una masiva huelga
de mineros Británicos de 1984, que termino en enfrentamientos sangrientos entre mineros y policías.
Deller trabajo asociaciones de actores profesionales de reconstitución histórica para recrearla lo mas
ajustada a la batalla original. Así mismo, incorporo mineros y policías que actuaron en la batalla original.
Creando esta reconstitución, abrió viejas heridas y le dio a los actores originales, la oportunidad de
reflexionar sobre su rol en este agrio conflicto.
‘La batalla de Orgreave’
‘La batalla de Orgreave’
‘La batalla de Orgreave’
[2]. Autoría
Se basa:
abandonar el control de la autoría
La creatividad en forma colectiva es entendida como productora de un modelo social positivo y no
En 2002, el artista Belga Francis Alys, organizo a las afueras de Lima-Perú, un evento muy remarcable ‘Cuando la fe mueve montanas’.
El le dio a 500 voluntarios una pala, luego formaron una línea alrededor de la duna de arena.
En forma colaborativa comenzaron a mover la arena, logrando mover la duna gigante alrededor de
10 cm. de su posición original.
Esta acción se situó en la realidad socio-política del Perú: alrededor de 70.000 pobladores sin electricidad o acceso al agua viven en esas dunas, que en su composición están desplazados de otras regiones del país y refugiados políticos.
Francis Alys nunca asumio “activamente” la autoria de la accion. Solo nos deja con una imagen que
demanda narrativa, como un proceso activo para interpretar lo que una vez ocurrió.
‘Cuando la fe mueve montanas’.
‘Cuando la fe mueve montanas’.
[3]. Comunidad
la crisis en la comunidad y la responsabilidad
Se basa:
Una de las mayores motivaciones del arte participatorio es la restauración de la cohesión social, a
través de una producción colectiva de significado.
En Noviembre del 2007, el artista Estado Unidense-Coreano Paul Chan, coloco en escena la obra
‘Esperando a Godot’, en el noveno distrito de Nueva Orleáns. Este evento pretendía mas fin que la
simple producción de una obra de teatro en el espacio publico.
Mientras el Grupo de teatro clásico de Harlem, ejecuto la obra, el artista trabajo activamente con la
comunidad del distrito en la producción de la obra y el evento social.
Trabajo junto a artistas, activistas, ciudadanos, para formalizar la forma de la obra y así expandir el
ámbito significativo de la obra.
De esta forma la planificación y diseño del evento en si mismo, se transforma en la obra, llevada a
Media Contact:
Maureen Sullivan
212.206.6674 x 205
[email protected]
NOVEMBER 2 & 3, 2007
NOVEMBER 9 & 10, 2007
Lower Ninth Ward, New Orleans, May 2007. Image courtesy Creative Time
Let us not waste our time in idle discourse! (Pause. Vehemently.) Let us do
something, while we have the chance! It is not every day that we are needed.
Not indeed that we personally are needed. Others would meet the case
equally well, if not better. To all mankind they were addressed, those cries for
help still ringing in our ears! But at this place, at this moment of time, all
mankind is us, whether we like it or not. Let us make the most of it, before it
is too late! Let us represent worthily for once the foul brood to which a cruel
fate consigned us! What do you say?
—Waiting for Godot by Samuel Beckett
(September 25, 2007 New York, NY) Creative Time is pleased to announce the
presentation of Waiting for Godot in New Orleans, a project by Paul Chan, coproduced by Creative Time with curator Nato Thompson and The Classical Theatre of
Harlem with director Christopher McElroen, featuring New Orleans born actor Wendell
Pierce, and in collaboration with New Orleans’ partners: University of New Orleans,
Ejemplos de la muestra
The Art of Participation 1950 to Now en el MOMA San Francisco
Rafael Lozano-Hemmer, Microfonos, 2008
[1] Micrófonos que graban la voz de distintos participantes y que emiten
un eco mezclada con la de una grabación del pasado.
“Microphones” is an interactive installation featuring one or several 1939-vintage Shure microphones, placed on mic stands around
the exhibition room at different heights. Each microphone has been modified so that inside its head is a tiny loudspeaker and a circuit
board connected to a network of hidden control computers. When a public member speaks into a microphone, it records his or her
voice and immediately plays back the voice of a previous participant, as an echo from the past.
The result is surprising because the sound comes directly from the microphone, which “speaks back”, and because it is a memory of
what already has been said. People initially only say something short like “hello” or “I am the decider” but as they realize that the resulting echo is actually recordings from previous participants they start giving longer speeches, they sing, or the play “exquisite corpse”.
Half the time the microphones play back the voice that was just recorded, while the other half they reproduce a recording at random
from up to 600,000 that each microphone can store. This distribution allows the participant to understand the interaction but it also creates an experience that is out of his or her control. Ultimately, the piece’s content is entirely generated by the participation of the public.
Erwin Wurm, Esculpturas de un Minuto
[2] Una serie de objetos en una plataforma, en ella instrucciones y diagramas que se debe hacer para re-crear la escultura en 1 minuto.
Ejemplo: (mantente a la pata coja con una escoba bajo el brazo y un plátano
en la boca durante un minuto sin caerte; sujeta el cuerpo sobre bolas de goma
durante un minuto sin tocar el suelo¿)
Erwin Wurm, One Minute Sculptures
These sculptures present a series of objects on a platform, with text instructions and picture diagrams indicating what you’re to do in
order to enact the sculpture: for one minute. A very nice line from Kathrin Herzog at “Contrary to Duchamp, Wurm designs
not readymades, sculptures fixed into an unchanging form, but works that are constantly ready-to-be-made.“
Ejemplos de la muestra
The Art of Participation 1950 to Now en el MOMA San Francisco
Jochen Gerz, The Gift, 2000
[3] Se invito al publico a hacerce un retrato, 2000 personas accedieron a
la invitacion. La unica premisa es que al final de la muestra se le devolvera un retrato pero no el que corresponde a la persona.
SFMOMA and German-born conceptual artist Jochen Gerz invite the public to take part in Gerz’s photography project, The Gift.
During the first half of the exhibition The Art of Participation: 1950 to Now, 2,000 museum visitors had the opportunity to pose for portraits in a working photo studio in the galleries. December 19 was the last day of picture taking. Through the close of the exhibition the
studio will continue to print and frame the portraits, which will be displayed in rotation on a gallery wall at SFMOMA.
When the exhibition closes, each participant will be given a portrait and asked to exhibit it in his or her home or office. Photo documents of these exhibits can be submitted and will be made available online. As Gerz explains, the gift invoked in the work’s title is the
act of exchange itself: “It is in art as in life: what you give is what you receive.”
To extend the invitation of The Gift to the public and to highlight the participants, we are collaborating with The Examiner and its
website,, to present the portraits in print and online. Gerz will return to the museum for a special closing
reception on Sunday, February 8, 2009, to distribute the pictures to the project’s participants.[email protected]/sets/72157613589245496/
Ser singular plural
theory of French philosopher Jean-Luc Nancy,
Unos con otros»: ni «unos» ni «otros» son los primeros, sino solamente el «con» por el que hay «unos» y «otros».
El «con» es una determinación fundamental del ser. La existencia es esencialmente co-existencia.
Nancy se pregunta como se puede seguir hablando del “nosotros” o de la plularidad, sin transformar este “nosotros”
en una identidad sustancial y exclusiva. Cuales son las condiciones para hablar de “nosotros” hoy?
La Comunidad harmónica de la cual Alasdair MacIntyre habla, es una comunidad de normas y valores comunes, compartidas por gente de la misma identidad y perfil, de otra forma la comunidad no seria mas harmónica. Si tomamos esta inclinación moral para la constitución de una comunidad de gente de identidades idénticas como deseo político, uno
no estaría tan lejos de la lógica de muchos nacionalismos que están presentes en Europa
hoy. Por supuesto las intenciones son manifiestamente diferentes pero la escena política
internacional muestra que el deseo de una pura identidad social puede llevar a conflictos
‘being singular plural’
theory of French philosopher Jean-Luc Nancy,
Nancy deals with the question how we can still speak of a ‘we’ or of a plurality, without transforming this ‘we’ into a substantial and exclusive identity. What are the
conditions to speak of a ‘we’ today?
The harmonic community of which MacIntyre speaks, is a community of common norms and values, shared by people with the same identity and background, otherwise the community wouldn’t be harmonic anymore. If we take this moral inclination for a community of people with the same identity as a political longing, one
is not that far removed from the logic of many nationalisms that are still present in Western Europe today. Of course, the intentions are manifestly different but the
international political scene shows that the longing for a pure social identity can still lead to violent conflicts.
‘immanence’ means to be fully present with oneself, to be closed upon oneself.
de Jean-Luc Nancy
la comunidad sí, pero inoperante (désoeuvrée, en el francés original: sin obra, inactiva), una comunidad “en la que el
inacabamiento es su principio, pero tomado como término activo, designando no la insuficiencia o la falta, sino el tránsito ininterrumpido
de las rupturas singulares”.
La comunidad analizada no como expresión de lo único, sino como una “comunión de los seres singulares”.
La comu-
nidad ya no como el claustro de la homogeneidad, sino al contrario, como el espacio abierto de lo por venir. Pensada de ese modo, “la comunidad no nos está dada: es un don para renovar, para comunicar. La
comunidad ya no es la expresión de la mismidad, del pensamiento de lo único.
Maurice Blanchot: la comunidad no es aquello que viene a construir, sino al contrario a quebrar, a desinstalar.
Georges Bataille, sugería “la verdadera comunidad es la de los amantes”; la comunidad de la amistad, de la pasión por el otro,
del dialogo inconcluso que no tiene centro y no tiene límites.
“estética relacional” o “arte social”
Arte relacional, es un arte que toma como su horizontes teóricos, la esfera de interacción humanas y su contexto
social, en vez de la aserción de espacio simbólico autónomo y privado. (Nicolás Bourriaud)
Para el artista relacional no es la imagen lo que habría que representar o reconstruir,
sino la relación real entre nosotros.
En este sentido, la obra de arte relacional, es vanguardista porque cuestiona
algunas de las instituciones
modernas (cuestiona la academia, espacios de exposición, el circuito y mercado de arte, hasta el objeto artístico
como resultado final), aunque sin hacer un planteo político expreso de esto. (Celeste Venica)
(Karl Marx) el intersticio es un espacio de relaciones humanas que, insertándose más o menos armoniosa o abiertamente en el
sistema global, sugiere que otras posibilidades de intercambio, diferentes a las hegemónicas en dicho sistema.
Jennifer Marsh (dependencia del petroleo)
[4] Lucy Horta (video)
Operacional vs. modelo:
[1] Las obras como señal de alerta (para los medios que ignoran algo o lo simplifican).
[2] Las innovaciones en los diseños y los nuevos materiales utilizados, dan la sensación que estos son operacionales.
[3] Las formas son poéticas y crean preguntas.
[4] Cada objeto o proyecto establece un link en una cadena catalizadora (devolverse operativo).
La permuta se establece como alternativa a la imposibilidad de poder
vender la casa, objetos o comida, estableciéndose como economía informal de grandes proporciones en Cuba. Los carteles manuscritos dan
cuenta de este proceso. Proyecto realizado con los residentes de Plaza
Vieja, en una galería en la Habana.
La permuta characterizes an alternative developed in response to the illegality of selling houses, food or other
things in Cuba. However it also represents a part of a larger informal or “underground” economy that form a part
of daily Cuban life. The handwritten signs hung outside peoples homes soliciting the exchange of one house
for another epitomize not only this alternative economic system, but also form a part of an alternative graphic
system in the urban space.
The piece began with speaking with the residents of the Plaza Vieja soliciting their participation in the project
and identifying what items would they be willing to exchange and for what in return. Together we made the
traditional “permuta” signs which were later hung during the event. Ultimately I wanted to evoke not only the history of this old market square as a center for trade but also reference to the current alternative market that lacks
official infrastructure. By utilizing the instutution of art and this instutution of art I gave license to undeground
economy and transformed the gallery into a place of fluidity and fugaz.
Este proyecto toma como punto de partida el interés en
el decorado interior en casas en el Caribe, sobre todo en
mesita de sala. Este proyecto consistió en desarrollar una
animación en “stop motion” con la participación de los dueños de casa.
This project came out of an interest in the aesthetics of Caribbean interior décor and in
particular the commonly featured coffee table or mesita de sala. I found that the objects
and figurines collected on the tables revealed a peculiar discourse between the public and
private. Different from the religious altars, I saw these “decorative altars” as another type of
engagement with the sacred, the intimate and the ritual. However like the religious altars,
they were spaces full of possibility for transformation and exchange. Through the animation of these static objects, I try to show how that possibility could be achieved.
Arte y Politica (el caso chileno) (Video)
Artistas Visuales de la UNAC, Mapocho tenido de rojo 1980
Hernan Parada, Los 1000 dias (intervenciones callejeras)
Luz Donoso, accion de apoyo (intervencion de una vitrina)
Grupo CADA, Ay Sudamerica 1981
[1] Mauricio Bravo (power point)
[2] Gustavo Romano (video)
[3] Lucy Horta (video)
[4] GAC / Grupo de arte callejero (video 6.01)
[5] Nicolás Dumit Estévez (
[6] Mysterious Objects at noon, by Apichatpong Weerasethakul. (video)
:: esculptura social::
Works by Beuys:
Documenta 5: Bureau for Direct Democracy:
an installation where Beuys debated political, art and social issues with gallery visitors for 100 days. On the last day, he fought
a Boxing Match for Direct Democracy with one of his students.
What were Beuys’ assertions?
• every person is a creator/sculptor of
the larger social organism
• art is a tool for molding a better society
• communication via art as a two-way flow
• staging sculpture-- sculpture is performance
• sculpture should be in motion/in process
• art has healing potential
Social Sculpture/Social Architecture
Joseph Beuys’ term for how we mould and shape the world we live in through conscious artistic
“I Am Searching for Field Character” (1973) written by Joseph Beuys and included in Claire Bishop’s Participation: Documents of Contemporary Art.
[1] / Trabajo
personal & el “colectivo del laboratorio flotante”.
[2] / Participacion,
[3] /
& comunidad.
Acciones yarte
Medios Tácticos /Tactical Media.
Geert Lovink (teórico) / Libro: la Invención del
Cotidiano de Michel de Cer-
[+] El Uso de la tecnología para la distribución de ideas .
[+] Media tácticas: es una herramienta para crear “zonas consensúales temporales”,
basadas en alianzas inesperadas.
[+] Las formas híbridas son siempre provisionales. Lo que cuenta son las conexiones
[+] Estos nuevos recursos facilitan que la audiencia se vuelvan participantes, en acciones
contra poderes fácticos o se transforma un área donde mucha gente se pueda agrupar.
[+] “la ira es energía” los Tactical Media son unos medios de crisis, crítica y oposición.
[+] ‘happy negatives’ siempre en busca de un enemigoSus héroes típicos son; el activista,
guerreros nómadas en los medios, el pranxter, el hacker, el rapper callejero, el kamikaze
con su videocámara.
[+] Pero los tactical media se asientan en el principio, cuya responsabilidad es flexible,
de trabajar con diferentes coaliciones, siendo capaces de desplazarse entre diferentes
entidades a lo largo del amplio paisaje mediático.
‘The electronic disturbance’ de Critical Art Ensemble.
1.- El poder nomadico
1.1.- Raíz histórica : El mito de los Sakas
they always had the option of remaining
invisible, and thereby preventing the enemy from constructing a theater of operations.
La sociedad contemporánea de nómadas es a la vez campo de poder difuso sin locación
y una maquinaria fija para observar lo que se muestra como espectáculo.
Nietzsche, catatonia (muerte simulada o artificial) vs. conciencia.
La catatonia es la que hace el cuerpo sin órganos.
catatonia (simulated or artificial death) vs. consciousness .
and that the catatonic was one who made of his body a body-without-organs
Beaudelaire: Su uso del plagio como una inversión a las estrategias coloniales, fuertemente apela a
la noción que la propiedad ha sido robada.
His use of plagiarism as an inverted colonial strategy forcefully recalls the notion that property is theft.
Andre Breton, y sus primeros proyectos surrealistas: sintetizan la liberación del deseo con la liberación del trabajador. La poética del “yo” como poética privilegiada
earliest surrealist projects: synthesizing the liberation of desire with the liberation of the worker. Poetic self as privileged narrative.
George Bataille: Con “la noción de gasto” Bataille presentaba la nocividad que para la vida representa esta obsesión patológica por la racionalidad de la economía productiva y de la utilidad, a la que
oponía la lógica de lo improductivo, del derroche y el gasto.
Artaud: el cuerpo sin órganos ha aparecido (como tragedia y Apocalipsis), comedia y humor como
una forma de resistencia.
The body without organs had appeared (for tragedy and apocalypses), comedy and humor as way of resistance.
Movimientos laborales: la creencia que la clave para resistir es tener un organizado grupo de trabajadores que detengan la producción.
the belief that key to resistance is to have an organized body of workers stop production.
CUERPO sin Organo
Carlos Castaneda y uno de sus libros sobre Don Juan, Historias de poder, en donde C. establece la diferencia entre lo tonal y lo nagual. Tonal: el organismo, lo organizado y organizador; la significancia, lo susceptible de explicación, lo memorable; el Yo, el sujeto, etc.
Es el juicio de Dios. Y sin embargo, bajo esa apariencia totalizadora, es una isla. Nagual:
lo que deshace los estratos, un CsO que se construye. No hay actos que explicar, sueños
o fantasmas que interpretar, recuerdos de infancia para recordar, sino colores y sonidos,
devenires e intensidades. Ya no es un Yo, sino “una bruma brillante, un vaho amarillo e
inquietante” que tiene afectos y experimenta movimientos, velocidades. Lo tonal, sin embargo, no se puede destruir de golpe. “Porque un nagual que irrumpiera, que destruyera
lo tonal, un cuerpo sin órganos que rompiese todos los estratos, se convertiría inmediatamente en cuerpo de nada, autodestrucción pura sin otra salida que la muerte” (p. 167).
2.- En oposición al documental
El lado mas temible del documental es que puede generar una versión rígida de la historia
de la misma forma que por ejemplo Disney puede llegar a generar una significación colonial de la cultura de otros. El documental en su mayoría no crea una instancia para el libre
pensamiento, en cambio promueve autocensura en el observador quien debe absorber las
imágenes desde dentro de la estructura narrativa totalizante.
Resistencia: – Crear una estética de la confusión que revele potenciales opciones,
que colapse la estética Burgués de la eficiencia.
+ Halifax te pide perdón! De Critical art ensemble.
La coalición de acción táctica, produjo una serie de intervenciones en el espacio urbano
de Halifax (Psicogeografía). Se dejaron panfletos, letreros (PERDON), banderines, aparatos electrónicos, etc…
Las ciudades que dependen en el
, tienen la tendencia de iluminar o remarcar intensamente un set de estrecho de significados culturales y locaciones,
marginalizando, obscureciendo y silenciando otras.
Steve Kurtz
3.- El teatro viviente,
rompe con los limites de su arquitectura tradicional
al colapsar la distinción de entre Arte y Vida.
- Los Situacionistas afirman que la manifestación de poder, se encuentra en el espectáculo.
El movimiento situacionista o situacionismo
Esta corriente, cuyo planteamiento central es la creación de situaciones, emergió debido
a una convergencia de planteamientos principalmente de una especie particular de marxismo libertario y post-marxismo con vertientes artisticas de vanguardia, especialmente el
Conceptos importantes dentro del situacionismo Por Guy Debord
• El Detournement habla sobre la posibilidad artística y política de tomar algún objeto
creado por el capitalismo y el sistema politico hegemónico y distorsionar su significado y
uso original para producir un efecto crítico.
• La Recuperación (situacionismo) habla sobre la posibilidad siempre presente de que
ideas y cosas revolucionarias o radicales puedan ser incorporados a las lógicas dominantes
por medio de la comodificación o la mera exposición vaciada de contenido.
Ejemplo: la masiva exposición y uso comercial sin mensaje alguno de la imagen del Che Guevara.
• La Deriva (concepto) propone una reflexión a las formas de ver y experimentar la vida
urbana dentro de la propuesta más amplia de la psicogeografía. Así en vez de ser prisioneros a una rutina diaria, se planteaba seguir las emociones y mirar a las situaciones urbanas
en una forma nueva radical.
• En la Psicogeografía se pretende entender los efectos y las formas del ambiente
geográfico en las emociones y el comportamiento de las personas.
• La Creación de situaciones alude a una situación construida como un momento de la
vida construido concreta y deliberadamente para la organización colectiva de un ambiente
unitario y de un juego de acontecimientos, es decir tanto la realidad como los acontecimientos son fruto de una construcción previa minuciosamente preparada por poderes fácticos
y no legitimada por los medios de comunicación que juegan un papel fundamental en la
creación de acontecimientos .
El situación(ismo) rechaza la actitud pasiva y conformista ante la realidad,
el ser humano, como sujeto es el encargado de llevar a cabo la construcción de situaciones
dado que él es el fruto de su historia, proponen al sujeto lógico como único responsable del
devenir de su existencia. En un lenguaje más teórico la construcción de una situación es la
edificación de un microacontecimiento transitorio y de un juego de acontecimientos para un
momento único de la vida de algunas personas. Ella es inseparable de la construcción de
un ambiente general relativamente más durable en el urbanismo unitario.
La sociedad del espectáculo Debord argumenta que la historia de la vida social se puede entender como
“la declinación de ser en tener, y de tener en simplemente parecer”. “el momento histórico en el cual la mercancía
completa su colonización de la vida social”.
En diciembre de 1983, la artista conceptual argentina
Marta Minujin y un grupo de
colaboradores construyeron
en Buenos Aires, en plena
Avenida 9 de Julio, un modelo
del Partenón en tamaño natural. Fuera de un andamiaje
metálico, el resto, o casi, eran
libros envueltos en plástico.
Todos habían sido prohibidos por uno de los regímenes
militares más opresivos de la
historia argentina
La revolución de la vida cotidiana es un libro de 1967 escrito por Raoul Vaneigem, el libro toma el ámbito de la “vida cotidiana”, como el
terreno sobre el cual la comunicación y la participación puede ocurrir, o, como es más frecuente, pervertirse y resumirse en pseudo formas. El autor considera que la comunicación directa y no mediatizada entre “sujetos cualitativos” es el ‘fin’ a la que tiende la historia de
la humanidad, un estado de cosas todavía frustrados por la perpetuación de los modos de relación capitalista y que debe ser “atraído” a
través de la construcción de situaciones. La creación de una vida vivida en primera persona que las situaciones deben ser “construidas”.
4.- Plagio utopico, hypertextualidad, y producción
cultural electronica.
4.1- El poder del recombinacion esta en injectar esceptisimo en el texto-cultura.
Ejemplo: El Urinario de Duchamp dispuesto en la galeria acciona un momento de incertitud y reconsideración, en el
Ejemplo: The Yes Man
5.- Sobre carga de informacion (overload)
Resistencia: es la accion la cual recupera o expande soverenidad
individual o por lo contrario son las acciones que hacen el estado
mas debil.
5.1.- Informacion overload tiene una presencia en forma de spectaculo, que finalmente roba soverenidad al individuo.
5.2.- Ausencia de informacion regresa soverenidad al individuo.
Hasan Elahi
is an interdisciplinary artist whose work examines issues of surveillance, simulated time, transport systems,
borders and frontiers. His current multi-faceted project, Tracking Transience, was inspired by Elahi’s experiences being investigated by the FBI. As a result of an erroneous tip called into law enforcement authorities, he
was singled out as a terrorist suspect. After undergoing months of regular interrogations and finally nine consecutive lie-detector tests, he was cleared of any suspicions. However, this experience lead Elahi to conceive
a self-tracking device that constantly transmits and maps his exact location alongside his financial data, communication records and transportation logs. Other aspects of Tracking Transience include a database of thousands of images of airports Elahi travels through and sometimes sleeps in, food he consumes in transit, and
public toilets he uses while traveling.
Jill Magid
is a visual artist working in a variety of media including literature,
video, sculpture, and
performance. Magid
received a Masters
of Science in Visual
Studies from the Massachusetts Institute of
Technology in 2000,
her Bachelors of Fine
Arts from Cornell Univerisity 1995, was a
resident artist at the
Rijksakademie in Amsterdam 2000-2, and
currently lives and
works in both Amsterdam and Brooklyn.
She invented a company, System Azure Security Ornamentation. I called them up and said, ‘I’m a security ornamentation
professional.’ The title made all the difference, and soon she
was meeting with police administrators to discuss the public’s
relationship with surveillance.
Krzysztof Wodiczko, es un artista que durante los últimos 20 anos ha insertado tácticamente sus imágenes en el espacio publico, para que se cuestione acerca de lo que esta oculto, lo implícito, lo ambiguo, etc...
wodiczko is one of the artists who during the last twenty years has tactically placed his images in public to raise questions about what is
hidden, implied, ambigous, etc.
:: Barbie LIberation Front
:: Instituto de robotica aplicada
:: Laboratorio de investigacion del Grafiti
:: grafiti de luz
:: Gustavo Romano / Mi deseo es tu deseo
:: Fran Illich
:: Mark Cooley
Krzysztof Wodiczko
Evan Roth
Available online for free
Estetica relacional
Estetica Relacional
De Nicolás Bourriaud
de Jean-Luc Nancy
De Claire Bishop
Media Tactical
la Invención del Cotidiano
de Michel de Certeau
Critical Art Ensemble
Geert Lovink (teórico)
Varios articulos en internet
Tactical Media Network
Institute applied autonomy
Materiales para luces para grafiti.
LED Throwies
Part Number
Cost (approximate)
HB Electronic
$0.20 avg per LED
Cost reductions for
larger quantities.
Comes in red, blue,
amber, white in both
diffused and clear
CR2032 3V Lithium
# G.I. - CR2032
$0.25 per battery
Cost reductions for
larger quantities
1-inch wide
Strapping Tape
Hardware Store
10mm Diffused LED
1/2" Dia x 1/8" Thick
NdFeB Disc Magnet,
Ni-Cu-Ni plated
Conductive Epoxy
$2.00 for one roll
Amazing Magnets
EWPROD&ProdID=6 $13.00 per 25
Newark In One
One roll will make
many throwies
Cost reductions for
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$32.00 (optional)
~ 1.00 per LED Throwy
[00] / Otras
intervenciones y acciones (colectivos)
Acciones y performancias
Jefferson pinder
“The truth is the light”, Ralph Ellison
Ralph Ellison wrote the Invisible Man in 1947. In the first eight pages of his novel he eloquently
writes about his protaganist struggle to find identity in the darkness of a damp basement. In this piece I have wired the light in the room.
This represents a well-known scene from Ellison’s classic novel. In my piece I show a room “warm and full of light” in which Ellison’s
narrator lives, complete with its 1,369 lightbulbs. Energy and light, stolen from the electric company, illuminate not only the character’s
basement dwelling, but also the truth of his existence. He tells us, “Light confirms my reality, gives birth to my form…. Without light I
am not only invisible but formless as well; and to be unaware of one’s form is to live a death…. The truth is the light and light is the
truth.” In this piece, I’ve created a space based on the prologue of Ralph Ellison’s Invisible Man. Starting in darkness, I gradually am
exposed to light, one bulb at a time. The intense light becomes too much for my camera to handle and gradually I am forced into a
consequential white out in which I am engulfed by this intense blob of light. There is no visual editing. The special effects happen purely
when my camera is over exposed to the 1,369 lights on the ceiling (Courtesy of Monopolated Power).
In this piece my performance is
minimal. Similar to Andy Warhol’s Screen Tests the focus becomes an honest attempt to become one with the environment. I am not
to act. I am not to move. My job is to breathe and allow myself to be a prop in the piece. My job is to allow the lights to control my existence. Jefferson pinder
Nov. 8th 2005
I mine the media. By sifting, cutting, slicing, I am exploring the contemporary media for fragments of truth and identity. Similar to archaeology and anthropology, I’m excavating pieces of information that will later be reconstructed to form a history, narrative or story. With
my series of quilts, bound histories, films, collages and scrolls, I’m communicating the Afro-American experience. Acting as a filter, all of
this information is being processed through me. Inspired by hip-hop, slave quilts and the work of Romare Bearden, David Driskell and
Robert Rauschenburg. I’m feeding into the Afro-American continuum of art making.
I’m playing the role of scientist. Excavating and probing into the essence of black imagery, I’m searching for the heart of black identity.
My science is all about a personal search for history.
Ant Farm
Ant Farm was a group of architects who produced experimental works on the “fringe of architecture” during the period 1968-1978. The group’s works include:
Media Burn. In which a glorified cadillac was driven through a wall of burning televisions.
Cadillac Ranch. In which several cadillac automobiles were half-buried off of Interstate 40 near Amarillo,
The piece is a statement about the paradoxical simultaneous American fascinations with both a “sense of place” —
and roadside attractions, such as The Ranch itself — and the mobility and freedom of the automobile.
General Idea
was a collective of three Canadian artists, Felix Partz, Jorge Zontal and A.A. Bronson, who were active from 1969 to
1994. Pioneers of conceptual and media-based art in Canada,
General Idea’s work inhabited and subverted forms of popular and media culture, including beauty pageants, boutiques, television talk shows, trade fair pavilions and mass media. Their work was often presented in unconventional
media forms such as postcards, prints, posters, wallpaper, balloons, crests and pins. From 1987 through 1994 their
work addressed the AIDS crisis, with work that included some 75 temporary public art projects.
One Year of AZT/One Day of AZT
Both Partz and Zontal died of AIDS in 1994. Bronson continues to be active in Canadian art, and has archived much
of General Idea’s work at the National Gallery of Canada.
In the same deliberately contrarian vein, they used poodle images amidst a climate of increasing liberation from effete gay stereotype.
After 1987, General Idea focus instead on projects dealing with AIDS and its implications. Their formal vocabulary and art-making strategies, however, remained varied. In response to an invitation to participate in a major “Art
Against AIDS” benefit organized by AMFAR (the American Foundation for AIDS Research) in 1987, General Idea
resuscitated a previously discarded project based on Robert Indiana’s famous “LOVE” logo, for which they remade
the classic good-vibrations symbol to read “AIDS.” The painting compressed the letters A-l-D-S into two rows within
a perfect square, in close hues of green, red, and blue–functioning exactly like Indiana’s original painting of 1966.
They thus created “an aura of familiarity that would allow a more alarming content.”
By “inhabiting” (to use a term the group took from Barthes) a 1960s icon, they forged one for the 1980s. As with their
previous work, the AIDS logo is open to multiple interpretations, frustrating demands for explicit militancy and risking
criticism for treating such a serious issue with apparent frivolity.
Propriety and political correctness had never been General Idea’s forte. One should note that before 1987, relatively
few artworks dealt specifically with AIDS. At that time, AIDS was a charged word, more frequently whispered than
“We want to make the word AIDS normal.
One Year of AZT/One Day of AZT
Royal Chicano Air Force
The Royal Chicano Air Force (RCAF) is a Sacramento, California-based art collective founded in 1969. The initials “RCAF” originally stood for the
“Rebel Chicano Art Front”; however, confusion with the Royal Canadian Air Force prompted the name change to the Royal Chicano Air Force as a
humorous gesture.
The RCAF painted murals to throughout Sacramento, as well as several in San Diego’s Chicano Park and one in Burley, Idaho. Community art workshops included the Barrio Art Program and the Anciano Art Project, for children and the elderly, respectively. For high school and college students,
there were workshops in silkscreening and muralism.
The members of the RCAF did not restrict their activities to the arts. Inspired by the free breakfast programs of the Black Panther Party, was instrumental in implementing the Breakfast for Niños program for impoverished schoolchildren in the Sacramento area. They also ran an automotive repair
cooperative called Aeronaves de Aztlán.
The RCAF organized cultural activities such as a yearly poetry readings called “One More Canto”, and revived indigenous Mexican practices such as
celebrations of harvest (“Fiesta de Maíz”) and the rainy season (“Fiesta de Tlaloc”). The also encouraged modern aspects of the Chicano identity such
as the modification of lowriders by hosting and promoting car shows and jumping contests.
Guerrilla Girls
The Guerrilla Girls are a group of feminist artists. The group was established in 1985 and is known for using guerrilla tactics (especially guerrilla art)
to promote women in the arts.
Members of this always wear gorilla masks, miniskirts, and fishnet stockings while appearing in the “Guerrilla Girls” context. They proclaim that no
one, even their husbands, boyfriends, and families knows their identities. They also refuse to state how many Girls there are in total. Judging from
photos, there are at least six but it is commonly estimated that there are 20-30 permanent members.
In our performances for 2007-8, we will also be performing skits with the audience and sharing excerpts from our book Bitches, Bimbos and Ballbreakers: The Guerrilla Girls Illustrated Guide to Female Stereotypes. We will also speak about how we invaded the Oscars with our latest billboard
and sticker campaign on discrimination in Hollywood. And we’ll tell all about our 17-foot posters in the 2005 Venice Biennale, Istanbul, Athens and
Mexico City.
HORROR ON THE NATIONAL MALL! Thousands of women locked in basements of D.C. museums!
Blake Gopnik, chief art critic of the Washington Post, asked us to create a full page in the newspaper as part of a special section on feminism and
art published April 22, 2007.
America’s favorite feminist masked avengers (and creative complainers) reveal the shocking truth about the low, low
number of women and artists of color in our national art museums. We designed a tabloid, NOT OK!, The Guerrilla Girls’ Scandal Rag, toreveal the
shocking truth about the low, low number of women and artists of color in our national art museums. Plus, with the help of Brangelina (no tabloid is
complete without them) we show the Smithsonian how to atone for its bad behavior.
We got all our statistics from the museums themselves or from
their websites, but when the Post called to fact check, the institutions went bananas! The National Gallery hurriedly installed a sculpture by an artist
of color and the Hirshhorn suddenly found works by women and artists of color it never knew it owned! Who knows how many works they’re scrambling to install right now? Let’s all keep up the pressure!
Cacophony Society
The Cacophony Society is “a randomly gathered network of free spirits united in the pursuit of experiences beyond the pale of mainstream society.” It was started in 1986 by surviving members of the now defunct Suicide Club of San Francisco. According to self-designated members of the Society, “you may already be a member.” Particularly well known amongst its members is the novelist Chuck
Palahniuk, who has mentioned the Society in both his writings and interviews. He used the Cacophony Society as the basis for the organization Project Mayhem in his novel Fight Club. Palahniuk himself was pranked by a gang of Cacophonist waiters at one of his book
readings in San Francisco.
The anarchic nature of the Society means that membership is left open-ended and anyone may sponsor an event, though not every
idea pitched garners attendence by members. Cacophony events often involve costumes and pranks in public places and sometimes
going into places that are generally off limits to the public. Cacophonists have been known to dress as Santa Claus and drink all weekend (SantaCon), or dress in animal suits and go bowling.
The creation and deployment of outrageous, unsettling material. False flyers, and tracts, billboard alterations, toasters glued to walls,
bodies outlined in chalk on sidewalks, placement on shelves of bogus products “cement cuddlers.” and booths offering services such
as free casts for unbroken arms. Involves more work than the costumed street theater because slick presentations are needed to really
deceive the public.
Cacophony could be described as an indirect outgrowth of the Dada movement. The Society has links to the Church of the Subgenius
and the annual Saint Stupid’s Day Parade held on April 1 in San Francisco, sponsored by Bishop Joey (AKA Ed Holmes) and the nowdefunct version of Whore Church that was sponsored by Chicken John.
The Los Angeles branch of the society pushed the boundries of pranksterism with several historic events, including “Cement Cuddlers”,
an event where they filled a dozen teddy bears with cement and put them on toy store shelves, complete with bar-coded lables. The
Los Angeles group splintered in late 2000 when longtime leader Reverend Al allegedly joined an Orthodox Christian community out of
guilt over the deaths of two young Cacophonists who reportedly died in a drunken post-event car accident. (Though some believe this
sequence of events to be yet another hoax perpetrated by the leader of this controversial lodge.) In 2005 Reverend Al resurfaced as Dr.
A.P. Ridenour, leader of a safety consciousness organization, The Art of Bleeding along with several members of the Orthodox faction
of Los Angeles Cacophony.
Flash mob activities share some ideas with cacophonist theory, as well as groups like Improv Everywhere and movements like Discordianism.
Reclaim the Streets
Reclaim the Streets (RTS) is a group of people with a collective ideal of community ownership of public spaces. It has been characterised as a resistance movement to the corporate forces of globalisation, and, more significantly, as a form of opposition to the car as the
dominant mode of transport.
The Barney Rubble Mobile a recently-constructed mobile sound system used by RTS in Sydney, Australia
Reclaim the Streets often stage non-violent direct action street reclaiming events such as the ‘invasion’ of a major road, highway or
freeway to stage a party. While this may obstruct the regular users of these spaces such as car drivers and public bus riders, the philosophy of Reclaim the Streets is that it is vehicle traffic, not pedestrians who are causing the obstruction, and that by occupying the
road they are in fact opening up public space. RTS events are usually spectacular and colourful, with dancing, sand pits for kids to play
in, free food and music. All these allow a Temporary Autonomous Zone. The style of the parties in many places has been influenced by
the rave scene in the UK.
Reclaim the Streets events have also been known to be followed by the subsequent arrival and confusion of police officers and drivers.
Sometimes the parties produce enough noise to drown out the sound of the jackhammers which have been used to dig up sections of
roads, and plant over them with sod.
Reclaim the Streets is also used to denote such types of political action, regardless of their actual relation to the RTS movement.
Reclaim the Streets began in the United Kingdom in the 1990s, and was taken up as a form of protest around the world. These “street
parties” have been held in cities all over Europe, Australia, North America, and Africa. Initial instances confounded authorities, but over
the years it has become institutionalised in many places, where it occurs much like other forms of legal protest in that the march is arranged with authorities, the only difference being the form of the march itself, which involves music and dancing on roads, and involves
a period in which a road is occupied without marching.
Gelitin is a group of four artists previously known as Gelatin. Recently they attracted attention with their newly designed plush toy: a
meters big pink rabbit on “Rabbit hill” at Artesina (near Genova, Italy).
Older Projects
Previous works include:
The B-Thing, 2000, where the group added a small temporary balcony on the 148th floor of the World Trade Center.
Weltwunder, 2000, part of the Expo 2000, a hidden underwater cave was built, only accessible by diving through a pipe 5 meters
Friends With You\
::FIN:: Recoursos para taller de Estrategias Creativas
Acciones y performancias