|
resistance
sitac 2004 |
| participants: |
| Ole Bouman. Writer, designer, and curator, Bouman works in the fields of architecture, visual culture, and politics. He is the editor-in-chief of the Amsterdam-based journal Archis. He teaches architectural history at the Amsterdam Academy of Art. He has co-edited the encyclopedic manifesto The Invisible in Architecture, an interdisciplinary study of the social circumstances surrounding contemporary architecture. He was co-curator of the third Manifesta. |
| Jota Castro. Born in Peru and of French-Peruvian nationality, Jota Castro has lived in Latin America, Haiti, the United States, Northern Ireland, Spain, France, and Belgium. He arrived in France after winning the Young Poetry Award in Peru. He holds a masterÕs degree in Political Science, and he is currently preparing a dissertation on art and politics. He has worked for the European Economic Community and the United Nations. Recently he has taken part in exhibitions such as: Continental Shift, Ludwig Forum, Aachen, Voici, Palais des Beaux Arts, Brussels, Lines and Mobility, Kunstverein, Nuremberg, Hardcore, Palais de Tokyo, Paris, Lovehotel, Maisonneuve Gallery, Paris, and Zone of Urgency in the last Venice Biennial. |
| Olivier Debroise. (B. 1952) is one of the best-known curators and art critics in Mexico, and a member of the Sistema Nacional de Creadores de Artes del Fondo Nacional para la Cultura y las Artes. In exhibitions and monographs, he has explored the work of numerous 20th century Mexican painters, including Abraham Angel, Mara Izquierdo, Alfonso Michel, and Roberto Montenegro. His major curatorial projects include El corazón sangrante/The Bleeding Heart, for The Institute of Contemporary Art, Boston, 1991; Portrait of a Decade: David Alfaro Siqueiros 1930-1940, for the Museo Nacional de Arte, Mexico City, 1996; and InSITE97: A Binational Exhibition of Site-Specific Installations, San Diego-Tijuana, 1997. He has also worked extensively in the field of modern and contemporary photography; his most important book on the topic, Fuga Mexicana, un recorrido por la fotografa en Mxico (Mexico City, 1994) was recently published by the University of Texas Press under the title Mexican Suite: Photography in Mexico. Debroise is the author of Diego de Montparnasse (Mexico City, 1979), Figuras en el trópico (Mexico City, 1984), and three novels. Crónica de las destrucciones, his most recent novel, won the Premio Colima in 1998. He wrote and directed Banquet at Tetlapayac (released 2000), an experimental feature length film based on Sergei EisensteinÕs Mexican years that has traveled to numerous film festivals in Mexico and abroad. As Director of Curare: Espacio Crítico para las Artes from 1993 to 1997, and in subsequent projects, Debroise has played a crucial role in the debates on Mexico's role in global culture in the 1990s. In 2003, he founded CANAIA (Cámara Nacional de la Industría Artística or National Chamber of the Art Industries, which acronym means "Scoundrel"). He is part of the Teratoma think tank and a member of the Mexican System of Art Creators, a branch of Fondo Nacional para la Cultura y las Artes. |
| Hal Foster. Critic and scholar. His essay "The Crux of Minimalism" published in his book The Return of the Real is a seminal work on the subject of Minimalism. He is also the author of Richard Serra: Compulsive Beauty; Recordings; Vision and Visuality; Discussions in Contemporary Culture and editor of The Anti-Aesthetic: Essays on Postmodern Culture. Foster has been the editor of numerous specialized periodicals such as October, Zone Magazine, Diacritics, Documents, Art in America, and Artforum. He is the author of numerous articles and essays and has received a number of academic honors. Foster's work brilliantly links the domains of artistic practice and academic criticism. He is now Townsend Martin Professor of Modern Art at Princeton University. |
| Daniel García Andujar. This artist's trajectory began in the mid-eighties with videos and intervention projects in public spaces revolving around themes such as racism, xenophobia, and the abuse of technology in security systems. In 1996, he begins to develop the project Technologies to the People, which until now has been presented on the Internet, in CD-ROMs and installations. In Technologies to the People, Daniel García Andujar questions, through irony and the use of strategies of presentation of new communication technologies, the democratic and egalitarian promises of these media while criticizing the will to control hidden behind their apparent transparency. Starting with the statement that new communication technologies are transforming our everyday experience, García Andujar creates a fiction in order to makes us aware of the reality surrounding us and of the deceit underlying some promises of free choice that irremissibly become new forms of control and inequality. In addition to one-man exhibitions, García Andujar has participated in a number of international exhibitions, including Banket, metabolismus und kommunikation organized by the ZKM Center for Art and Media, TechnoSkeptic, Culturas de archivo, Manifesta 4, Re: Duchamp during the 49th Venice Biennial, transmediale.01, LetÕs Entertain: Life's Guilty Pleasures, and Dystopia and Identity in the Age of Global Communications. He has also given workshops in different cities, mainly in Europe. |
| María Inés García Canal. Professor and researcher in Social Psychology at the Universidad Autónoma Metropolitana, she holds a master's degree in Political Science. An untiring reader of Michel Foucault, her areas of concern revolve around power, aesthetics, and questions of genre. She has published El loco, el guerrero y el artista. Fabulaciones sobre la obra de Michel Foucault; El Señor de las Uvas. Cultura y género; El tiro de gracia. Repetición y muerte en la fotografía (co-authored with Humberto Chávez) and Foucault y el poder. La llave. She has also published numerous articles in journals in Mexico and abroad. |
| Boris Groys. Born in Germany and trained in the Soviet Union, Groys has developed philosophical research in numerous universities around the world, including the University of Moscow, where he was researcher in the Institute of Structural and Applied Linguistics, the Department of Language and Literature at the University of Pennsylvania, and the Institute of Philosophy at the University of Munster, where he received his doctorate in 1992. Since 1992, he has been a member of the International Association of Art Critics. He has been the rector of the Academy of Fine Arts in Vienna and since 1994, he has been professor of Aesthetics, Art History and Media Theory at the Zentrum fr Kunst und Medientechnologie (ZKM) in Karlsruhe, Germany. In addition to numerous articles on aesthetic art and philosophy and new technologies, Groys has published several books, including Gesamtkunstwerk Stalin which has been translated into five languages; Die Kunst des Fliehens and Die Kunst der Installation in collaboration with Ilya Kabakov; Unter Verdacht. Eine Phänomenologie der Medien and Logik der Sammlung, among many others. |
| Salah Hassan. He is a scholar
in the Department of Art History and Associate Professor of African Studies
at Cornell University. He is the editor of Nka: Journal of Contemporary
African Art and consultant to African Arts. He contributes regularly with
specialized publications and has edited a number of anthologies. Among his
publications as author and/or editor are Unpacking Europe, co-edited with
Iftikhar Dadi; Gendered Visions: The Art of Contemporary African Women Artists;
co-editor of The Muse of Modernity: Essays on Culture as Development in
Africa. Hassan has curated the exhibitions Unpacking Europe, Museum Boijmans
Van Beuningen, Rotterdam; Authentic/Ex-Centric, 49th Venice Biennial; EV+A
2001 Expanded, Limerick, Ireland; |
| Thomas Hirschhorn. Born in Switzerland, he has lived and worked in Paris since 1984. In 2000, he received the prestigious Prix Marcel Duchamp, the French version of the Turner Prize. He has exhibited his work in numerous art centers, museums and galleries all over the world. He has also participated in major events, such as the Venice Biennial, the Lyon Biennial and Documenta 11. |
| Alberto López Cuenca. (Nerja, Málaga, 1973) is full-time professor of the History and Theory of Contermporary Art in the Department of Philosophy and Letters at the University of the Americas, Puebla (Mexico). His work on contemporary art arises from the Philosophy of Art and Epistemology and aims at delving into the mechanisms of symbolic production and meaning in contemporary visual creation. His work tends to focus on sociological, critical, economic and institutional aspects of the configuration and reception of art today. He received his doctorate in philosophy at the Universidad Autónoma de Madrid and he is a regular contributor to the cultural supplement of the newspaper ABC and the magazine Revista de libros. His articles have appeared in international publications such as ARTnews, Lápiz, Curare, and Revista de Occidente. He has given lectures in different locations, including the Faculties of Philosophy and Architecture of the Universidad Nacional Autónoma de Mexico and has given summer courses at El Escorial organized by the Universidad Complutense de Madrid. He has been professor at the Universidad Iberoamericana and the National Center of the Arts, both in Mexico City. |
| Cuauhtémoc Medina. (Mexico City, 1965) Art critic, curator and historian, lives and works in Mexico city. PhD in Art History and Theory from the University of Essex, UK. Researcher at the Instituto de Investigaciones Estéticas at the Universidad Nacional Autónoma de México and Associate Curator of Latin American Art Collections at Tate Gallery in London . He is also member of Teratoma a group of curators, critics and anthropologists based in Mexico City. In 2002 he organized Francis Alÿs's action Where Faith Moves Mountains in Lima, Peru and curated the exhibition 20 million Mexicans can't be wrong at the South London Gallery. Among his recent publications are: "Gerzso and the Indo-american gothic: From Eccentric Surrealism to Parallel Modernism", in: Diana C. Dupont, Risking the Abstract: Mexican modernism and the Art of Gunther Gerzso. (Santa Barbara, Calif., Santa Barbara Museum of Art, 2003) and "Aduana/Customs" in: Rosa Martínez et. al., Santiago Sierra. Pabellón de España. 50a Bienal de Venecia (Madrid, Ministerio de Asuntos Exteriores, 2003). |
| Gustav Metzger. Born in Nuremberg, he went to England in 1939 as a refugee of Nazi Europe. During the sixties and seventies, he developed the theory and practice of Self-Destructive Art, an art that was offered as the equivalent or metaphor of the destructive forces within society. In 1966, Metzger organized the International Destruction of Art Symposium (DIAS), which attracted Viennese actionists and several artists of the Fluxus movement as well as poets, musicians, and psychologists, who visited London to create and discuss the social implications of Self-Destructive Art. The participants also referred to political themes of the time, such as the Vietnam War. This attracted the attention of the press, while also serving to promote the development of kinetic and performance art in the United Kingdom. |
| Yves Michaud. Born in Lyon, Michaud studied at the École Normale Suprieure de Paris and at the Sorbonne. After teaching at the universities of Montpellier, Rouen, Berkeley, Sao Paulo and Paris, he became director of the École Nationale Supérieure des Beaux Arts de Paris, undertaking a complete overhaul of the institution. In addition to six philosophy books on Hume, Locke, and violence in politics, Yves Michaud has written extensively on art and aesthetics and has contributed as a critic to several art magazines. On par with his activities as writer and scholar, Michaud conceived of and organized the Université de Tous les Savoirs, a series of 366 published lectures given by prominent specialists, one for each day throughout 2000, related to all aspects of human knowledge (science, technology, techniques, and humanities). The lectures were widely acclaimed and have been published in six volumes. In July 2001 he began a new cycle of lectures under the same title. Number 500 took place in October 2003 and they still continue. |
| Antoni Muntadas. The works of Spanish artist Antoni Muntadas, who has lived in New York since 1971, allude to themes related to society, politics, and communication, the relationship between public and private space in social structures, in addition to research on channels of information and ways that may be used to censor information and spread ideas. He works in different media and on different surfaces, including photography, videos, publications, the Internet and multimedia installations. He has given classes and directed seminars at the University of California at San Diego, the cole des Beaux Arts of Bordeaux and Grenoble, MIT, the San Francisco Art Institute, the École Nationale des Beaux Arts of Paris, the University of Sao Paulo and many other institutions. He has received numerous awards and grants, including those of the Guggenheim Foundation, the Rockefeller Foundation, and the National Endowment for the Arts. He has created specific works for the Centre Nationale des Arts Plastiques of Paris, the Public Art Fund of New York, and the Fonds d'Arts Publiques of Marseilles. He has been resident artist and consultant to several research centers such as Arteleku, Banff or the Visual Studies Workshop. His work has been exhibited throughout the world and has been included in the Venice Biennial, Documenta VI and X, the Sao Paulo Biennial, the Lyon Biennial and the Havana Biennial, the Museum of Modern Art of New York, the Centro de Arte Reina Sofía, and the MACBA in Barcelona. |
| Tobias Ostrander. Born in 1970 in Boston (USA) and currently lives and works in Mexico City. He has been a Senior Curator at the Museo Tamayo Arte Contemporáneo since 2001. Prior to coming to Mexico he worked as Associate Curator of inSITE2000 in San Diego and Tijuana. He received a Masters Degree in Curatorial Studies and Art in Contemporary Culture from Bard College, New York in 1999. He worked as a Curatorial Associate on the XXIV Bienal de Sao Paulo in 1997-98. From 1993-1997 he worked as a Museum Educator in New York at El Museo del Barrio and at the Brooklyn Museum of Art. |
| Giuseppe Patella. Associate professor of Aesthetics, he teaches Art Theory at the Facoltà de Lettere e Filosofia at the University of Rome. He has collaborated with numerous Italian and international journals. He is the correspondent editor of the American journal Differentia, Review of Italian Thought and chief editor of Agalma. Rivista di studi culturali e di estetica directed by Mario Perniola. He has participated in a number of national and international congresses and has lived abroad establishing relations with different cultural institutions and study centers, particularly those pertaining to the area of Hispanic-Italian and German linguistics. Among his numerous publications are: Sul postmoderno. Per un postmodernismo della resistenza; Senso, corpo, poesia. Giambattista Vico e lÕorigine dellÕestetica moderna; translation, introduction, and coordination of the book by George Santayana, The Sense of Beauty (1896), Il sense della Belleza; editor of Simbolo, Metafora e Linguaggio nella elaborazione filosofico-scientifica e giuridico-politica; Gracián o della perfezione; "Filosofía en forma. Escultura, estilo y metáfora en filosofía" in J.M. Sevilla and M. Barrios (eds.), Metáfora y discurso filosófico; Bellezza, arte e vita. L'estetica mediterranea di George Santayana. |
| Francisco Reyes Palma. Historian, a founding member of CURARE, Espacio Crítico para las Artes, of which he is president and contributor to its journal Curare, as well as co-coordinator of the electronic journal Panoramas (Artes plásticas en la ciudad de México y algunas excepciones). A CENIDIAP-INBA researcher, he is the author of numerous analyses on curatorship, museums, collecting, education, and artistic training in Mexico. He has participated in different curatorial projects, books, and exhibition catalogues. Some of his recent publications include: Julio Galán. El juego de las profanaciones; Mariana Yampolsky. Imagen-Memoria; "Bébeme, Cómeme", in Mona Hatoum and "Otras modernidades, otros modernismos" and "Exilios y decentramientos", in Hacia otra historia del arte en México. He has also published books and studies on artists such as Leopoldo Méndez, José Clemente Orozco, Diego Rivera, David Alfaro Siqueiros, Pablo O'Higgins, and Mathias Goeritz. |
| Anton Vidokle. Born in Moscow, Russia and currently based in New York. His work has been featured in exhibitions including: Utopia Station at the 50th Venice Biennale, Form-Specific at the Moderna Galerija/Museum of Modern Art, Ljubljana; Made in Mexico at ICA Boston/UCLA Hammer; Urgent Painting at the Musee d'Art Moderne de la Ville de Paris; Greater New York at P.S.1 Museum, Chelsea Rising at the Contemporary Art Center of New Orleans; Do It, curated by Hans Ulrich Obrist at the Museo Carrillo Gil, Mexico D.F.; Instantcity at the Instituto de Mexico, Paris; Without You I Am Nothing at the Platform Garanti Contemporary Art Center,Istanbul; among other. Vidokle's work has been the subject of several publications including Here, There, Elsewhere, with texts by Hans Ulrich Obrist, Jens Hoffman, Kurt Finsten, published by Krabbesholm Skive, Denmark 2003; Three views of Salto del Agua, texts by Lauri Firstenberg and Peter Zellner, Gabriel Kuri, Gilbert Vicario, published by Revolver. Archiv für aktuelle Kunst, Frankfurt 2003; Popular Geometries - Anton Vidokle, text by Joshua Decter, TRANS Publications, New York 2001. |
| Director: Issa Ma. Benítez Dueñas is an art historian by the Universidad Iberoamericana who has specialized in art theory and contemporary art. She has followed graduate courses at the Universidad Nacional Autónoma de México and at the Universidad Carlos III of Madrid. She regularly collaborates with specialized publications, both in Mexico as well as abroad, including Flash Art, temaceleste, and ArtNexus, of which she is also an editorial consultant. In addition to teaching and research focused mainly on questions of contemporary art, theory, and art historiography, she has given lectures on these subjects in different forums, both academic and institutional. She is a member of CURARE, Espacio Crítico para las Artes, where she coordinated volume 4 of the collection Hacia otra historia del arte en México. She is currently doing research on the ties between art and travel. |