Tania Bruguera habla sobre Cátedra de Arte y Conducta

 www.betalocal.org

Su viaje fue posible gracias a espacio 1414 quien inaugura el martes, 26 de enero a las 6:00pm la exposición IT IS IT_.  Tania Bruguera desde el 2002 ha estado trabajando con la idea de la inserción del arte en la vida diaria política. Sus proyectos recientes se han concentrado en apropiar y usar los recursos de estructuras de poder para crear situaciones.  Cátedra de Arte y Conducta, proyecto sobre el cual nos habla el SABADO 16 DE ENERO A LAS 2:00PM, es una escuela alternativa en La Habana, Cuba. Tania Bruguera describe Cátedra de Arte de Conducta como una re-formulación del performance basada en lo teórico y lo ético, en momentos en que la línea entre el performance y el entretenimiento se ha diluido.  Cree que el arte debe ser visto tanto como una experiencia física y psicológica, es decir, reconociendo su poder cognitivo. "En más de una ocasión Tania ha expresado que la parte más interesante del performance es la que trabaja con la conducta como un elemento de valor y como su herramienta de trabajo. Ella desea que las formas de expresión artística sean, a su vez, recursos sociales que puedan cambiar las maneras en que la sociedad piensa y actúa" (1).   Como menciona Paola Nicolin en su artículo y extrayendo del ensayo de la propia artista en Documenta: las fuerzas del comportamiento están basadas en comprender lo que es poder y desarrollar maneras de relacionarse pro o en contra del contexto.  Por lo que estudiar el Arte del Comportamiento podría verse como una revolución silente, enlazada a la conciencia del artista, el sistema nervioso de la sociedad.  
Bruguera ha participado en Documenta 11, la 49, 51 Bienal de Venecia, La bienal de Sao Paolo, de Istanbul, Moscow, Tirana, Goteborg, Johannesburg, Kwangju, Shangai, Havana and Site Santa Fe. Ha exhibido en Museos tales como The Kunsthalle Wien; Kunsthalle Kiel; Museo Nacional de Bellas Artes; Casa de las Americas; The New Museum of Contemporary Art; Boijmans van Beuningen; Museum; Museum Moderne Kunst; The Museum of Contemporary Art of Chicago; Helsinki Art Museum; The Whitechapel Art Gallery y The Institute of International Visual Art entre otros. Ha dictado cátedra en  Centre Georges Pompidou en Paris, The School of the Art Institute en Chicago, The Royal College of Art en Londres, The New School y The Museum of Modern Art en Nueva York. En el 1998 fue seleccionada a la Beca Guggenheim y en el 2000 y el 2007 recibió el Prince Claus Grant. Trabaja y vive entre Chicago y La Habana. 

This season, Espacio 1414 presents three exhibitions that propose reflections on the position of the artist towards the real, a confrontation of what the world is and what it could be. Both It Is It_, Swarm and the works selected for the Painting Room prove the complexity of the contemporary world and the geo-political, social and economic implications it entails. The new cartographies of power that have arisen in the wake of contemporary conflicts, have redefined new kinds of hierarchies and interests affecting civil society. Whether at a local or a global level artists generate, through their work, another kind of cultural construction that questions the universality of notions relating to territory, totalitarianisms, displacement, belonging or exclusion and, therefore, the limits of contemporaneity. Based upon the exhibited works, we state that art continues to be one of the few remaining possibilities we have to create interstices between terror and escape, room for reflection and discussion that allows both artists and public to build a critical position towards the context in which they live.
If, as writer Édouard Glissant pointed out, "the role of artists is to make certain things visible in the mind and the imaginary so that change can come about", we might add that the role of the spectator, in turn, is to assume itself as an active and emancipated player towards what the artist proposes, so that the possible change suggested by Glissant can take place.

María Inés Rodríguez.

Tania Bruguera: On the Political Imaginary is the first survey of the artist's interdisciplinary work focusing on the relationship among art, politics, and life. The exhibition features her powerful, innovative installation and performance work created for international venues over the past twenty years and will include multiple daily performances throughout the run of the show. The artist combines personal experience with a broad social and historical perspective to explore a range of issues including exile, displacement, endurance, and survival to create ephemeral, experiential works that are strongly visceral and highly poetic. Bruguera is the first recipient of the Roy. R. Neuberger Exhibition Prize awarded to an artist for a first career survey and catalogue.

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To see performance schedule:

http://www.neuberger.org/superfile/events_flyer/Bruguera@NMAPerformances2.pdf

http://www.neuberger.org/exhibitions.php?type=current

rger.org/superfile/events_flyer/Bruguera@NMA.2.pdf">http://www.neuberger.org/superfile/events_flyer/Bruguera@NMA.2.pdf

TANIA BRUGUERA

Recently settled in Paris, this artist has devised a participatory performance, Capitalisme Générique / Generic Capitalism, which she will put on in public on 1st May 2010. This event goes hand-in-hand with a series of encounters and discussions, which anyone may attend throughout the first six month of 2010.

Plusvalía / Surplus value, was conceived after the robbery in December 2009 of the sign "Arbeit macht frei" (Work makes you free) from Auschwitz. This piece deals with the moment in which ethics steps in and transforms desire into something political. The piece can be installed in two states: activated and non-activated. At the time of activation, a worker constantly transforms the object with working tools.

The essential goal of a revolution: to change life

Henri Lefebvre

Following Tania Bruguera’s research on the notion of the political in everyday life, this exhibition presents a selection of her most recent works, in which she takes to task the relationship between ethics and desire.

The work Phrónesis is conceived as an archive of actions to be done at prestigious institutions but in unauthorized ways during the month of the exhibition. Each Monday, Wednesday and Friday at 7 p.m. an action will be carried out for each place, then documented in photographs and written text and sent to the gallery to be exhibited, thus completing the exhibition piecemeal as each new documentation arrives. Direct experience of the performance will be replaced by its mediated experience. Even when the time, place and day are announced in advance, the events are highly unlikely to become a public affair; rather, it will remain an everyday experience for the natural audience of each place. This piece deals with the differences between the notions of citizenry and audience.

Impermanent Revolution is a piece that will be done for the opening in which the audience can choose a political slogan to be transformed from a reading  material into a physical experience.

EARLY YEARS

At the moment contemporary art is enjoying a resurgence in Poland. Museums are being built, and public as well as private institutions are mushrooming. Artists' names are becoming common knowledge, their practice, which was previously ignored or misinterpreted, today is widely understood and accepted. Much can be said for the fact that the most central tract of land in the Polish capital will soon see the construction of the Museum of Modern Art.

However, the "Early Years" exhibition is not a report from the construction site. On the contrary, it focuses on the field of institutional self-reflection. It searches for terms fit to describe the emergence of a museum of art in the present, artistic, political and social discourses. A museum which is being established amid the collapse of meta-narratives, is aware of the institutional critique which had put the museum's hegemonic nature in dispute for decades and, finally, acquainted with the realities of the economic crisis - such a museum must rely not only on long-term strategic planning, but also on momentary moods, uncertainties and intuitions.

The "Early Years" of the exhibition´s title describe the unique moment of an artistic biography, when one is still naïve and only beginning to learn from one´s errors, while simultaneously being at the height of authenticity, independence and heroism. The show is based on the concept of moving into the future and looking back to the great beginning and search for a history apt to become the founding myth.

For this exhibition, the Museum of Modern Art in Warsaw invited artists who collaborated with them in its early years. The Museum shared its anxieties with the group, and they reciprocated with their share of expectations for the new institution. The final product is a show which invites the viewer to retrospectively scrutinize the moment when everything was still possible. That moment of a delicate balance between hope and disillusionment, between commitment and compromise is the true hero of the show. (Text: Sebastian Cichocki)

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Further information can be found at www.promised-city.org

KW Institute for Contemporary Art
Auguststr. 69
D-10117 Berlin

WHAT IS CONTEMPORARY? ARTISTS AND CURATORS TELL

[Cos’è il contemporaneo? Artisti e curatore dicono]

The aim of Fondazione March is to present a series of meetings to promote the knowledge sharing and to stimulate the audience to compare contemporary themes and tendences, through focusing on several aspects others than common university lessons. Conference relators will be international curators and well-known mid-career artists, to answer the question “What is contemporary?” through a presentation of their researches and practices.

The Max Wasserman Forum on Centemporary Art

Examining the practices of a number of contemporary artists that create artworks in which the passage of time and the relationship to the viewer are considered the key elements of artistic production this panel will investigate a wide variety of practices, from performance art and relational aesthetics to situationist gestures and process oriented actions, many of which are ephemeral and temporal. Unlike traditional art objects that are characterized by a physical permanence, many of the works created by the panels' participants radically question and undermine the common forms of how institutions present and collect and audiences encounter most art today. 

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Residents are in dialogue with one another and with advisors (internationally active artists, art critics, exhibition makers and others). Contacts between resident artists and advisors mainly take the form of individual studio visits at the resident artist's invitation.

The make-up of the advisor group shows great diversity as to views of the arts, generation, nationality and one's position in the art world.

At the initiative of residents and advisors, discussions, seminars, excursions and workshops are held on current shared themes arising from one's own work or one's fascinations outside of this. 

From the object to the social event, the nature of artistic practices in the public realm has in some ways shifted dramatically? But what of it? Do we need to consider the spectacular versus the pedagogical? When is art in public places considered an act for political motivation or social regeneration? When is it community engagement or transformation? Does this matter? What kinds of alternatives are there? Where might the future of art in the public realm lie? 

Conceived as a "living exhibition" of documentation which will continue to grow without limit into the future, 100 Years shows the extraordinary variety of "live" performance that shaped the history of 20th century art. Reprints of Futurist and Dada Manifestos are seen side by side with photographs of Oskar Schlemmer's Triadic Ballet, films of Francis Picabia's Relâche, and Mary Wigman's Hexentanz in the first room, while unforgettable films transferred to video by Yves Klein, Carolee Schneemann, Anna Halprin, Yoko Ono, and Yayoi Kosama can be seen in the second. The exhibition follows a timeline that includes the work of Marina Abramovi?, Vito Acconci, Matthew Barney, Tania Bruguera, Adrien Piper, and Michael Smith through to the most current material by Allora & Calzadilla, Sigalit Landau, and Ryan Trecartin. Also included is a special space devoted to Electronic Arts Intermix, the pioneering resource for video and media art that began collecting and preserving artists' video in 1971, with a selection from their archives entitled 45 Years of Performance Video from EAI, that features seminal works by Joan Jonas, Stuart Sherman, and Lynda Benglis.

Public Lecture: On useful art and politics

[...As an artist I have being researching ways in which Art can be applied to the everyday political life, not only as its dispositive for self-reflection but as a way to generate and install models for social interactions that could provide new ways to engage with utopia. The concept of the ephemeral is one that presents itself in the form of the political and its effectiveness. I consider my work to be contextual art, one that subordinates any pre-conceived notion of aesthetic or
artistic strategies to the needs of the "here and now," of the currency, weight and impact of the events in relationship with specific moments of history and audiences. The ephemeral is also located in the problematic of authorship, which tends to be distributed and disseminated among the participant-performers in my work.

The goal of the work is not only to provoke ways of thinking, to spark reflection or to create a public forum to debate ideas that have been shown in their state of contradictions but to realize the possibility of working with Arte Util (Useful Art). Art is mostly accepted in its contemplative function; even when the work itself is presented in an "active" way, what is demanded at the end from the audience is mostly an activation of the mind.]

Utopia and Dystopia

The conference brings together two independent research projects by the Serpentine Gallery and the Hayward Gallery. The event is the second part of the Serpentine’s collaboration with MoMA, New York, following the conferenceTranspedagogy: Contemporary Art and the Vehicles of Education at MoMA in May 2009.

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In association with MoMA and the Hayward Gallery

The course at IUAV titled: "Discourses of Raphael Hythloday" will be working on issues regarding models of ideal societies and proposing what role art could play in them. Various modes of presentations using political platforms will be used in combination with traditional art resources. The presentations would focus on specific aspects of a society: the type and goals of education, the ecology of relationships, the status of working, aspects of pleasure, localization of laws, etc. The participants would be presenting their ideal society in action through public display / interaction and would focus on new and creative ways to distribute knowledge.

Trans-missions

The Fundación Roson de Arte Contemporáneo (Roson Contemporary Art Foundation) will participate in the Biennial with a project by artist Tania Bruguera.

Download works PDF.

Application limited to 12 persons uninitiated in art and 3 artists.

Timetable
June 3, 4 to 8 p.m.: Master class.
June 4, 4 to 8 pm.: Workshop
June 5, 10 am to 2 pm.: Workshop
June 6, 10 am to 2 pm.: Closing session

Tel. +34 986 113900 | Fax +34 986 113901 |info@marcovigo.com

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María Luisa Fraga Rivas (psichologist)

María José Cruces Durán (fine art's student)

María Antonia López del Hierro (unemployed)

Lola Villar Paiceira (teacher)

María del Valle Viso Portela (pharmaceutical technician)

Gubdega Graudina (musician)

Miriam Cidrás González (fine art's student)

André Ester Meneses (fine art's student)

Margarita Álvarez Román (housewife)

Elisabeth Carmen Metelkova (english professor)

Cristina Villanueva Sixto (unemployed)

Alfredo Reboreda Santamaría (administrative assistant)

Laura Navarrete Álvarez (artist)

Subidos de tono: Debates on XXXI Pontevedra's Biennial.
Jornada roja: Performance and Polítics.

Tania Bruguera's presentation will open the 2010 edition of the Performance Art Festival.

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Download Press Release.

IMPORTANT NOTICE
TANIA BRUGUERA REFUSE TO PERFORME AT MADRE AND CALL A PRESS CONFERENCE
JUNE 7TH AT 7 P.M. - MADRE MUSEUM

The Cuban artist Tania Bruguera few hours from the performance planned tonight at 7 p.m. at MADRE, announce the impossibility to realize her artistic project because of the big ostracism shown to her during the journey in Naples along with an irreducible difference of opinion with MADRE director.

The direction of the museum dissociate itself from Bruguera's attitude and invites public and press to take part to the encounter with the artist in which the real motivation of such an embarrassing situation will make public.

The MADRE Museum with the curators of the festival Corpus. Arte in Azione Adriana Rispoli and Eugenio Viola apologize for this sudden change of program.

Press conference June 7th 7 p.m.
sala polifunzionale - MUSEO MADRE

INFORMAZIONI
Ufficio Stampa MADRE
Costanza Pellegrini, Antonio Della Volpe: +39 081 19978024/15 - fax: +39 081 19978026 e-mail:
pellegrini@museomadre.it; dellavolpe@museomadre.it
Electa
Ilaria Maggi: +39 02 21563250 - fax: + 39 0221563314 e-mail: imaggi@mondadori.it
Carolina Perreca: + 390814297435 fax: +39 081 4297433 e-mail:comunicazione.napoli.electa@mondadori.it

On June 27 2010, the Filatoio di Caraglio (Caraglio spinning mill) hosts the preview of CeSAC updated programme, under the new artistic direction of a.titolo, in the framework of Giorno per Giorno, a calendar of daily events of contemporary art in Piemonte. Organized by Fondazione per l'Arte Moderna e Contemporanea CRT in collaboration with Contemporary Art Torino-Piemonte. 

PERFORMANCE WORKSHOP WITH TANIA BRUGUERA

Tania Bruguera is a multidisciplinary artist who works in the fields of performance, contextual, installation and video art. She has done extensive research on art and its political implications for everyday life. In her works, the audience is urged to play the role of citizens. In addition to her artistic practice, Bruguera is known for her philosophical reflections on education and knowledge building and how they are related to art. She is the founder of Arte de Conducta, the first programme for performance and political art studies.

By offering this 20-hour workshop, the CA2M continues to pursue a line of work associated with education and the potential educational applications of working with the body and the language of performance. Under the guidance of Tania Bruguera, we will reflect on education and art as political practices expressed through and from the body and the performative act.

TARGET AUDIENCE: SECONDARY SCHOOL TEACHERS AND FINE ARTS STUDENTS INTERESTED IN EDUCATION

IIP Détournement is Tania Bruguera's response to the invitation to a new series called Voir/Revoir at the Centre Pompidou, in which the institution gives carte blanche to an artist to explore and work with their archives and collection.

The project will take place the week of September 8 - 13 from 11 AM to 9 PM simultaneously at the space of Forum-1 and in the streets around the Centre.

The parameter for the selection of the works to be shown inside the Centre was the acceptance by the artists in The New Media Collection to give permission to copy their work in it to be sold for 1 Euro a piece in the streets. The source material for the reproduction have been provided by the artists and, in the cases where the participating artists can't send them, they have been bootlegged.

Once the project has ended, a digital book comprising a description of the project, the correspondence with the artists, images and video documentation of the events will be available for free download over the Internet with a link at the project page at the Pompidou website as well as at www.taniabruguera.com.

"In a world packed with countless biennials, triennials and the rest, this madcap event in Liverpool remains distinctive and entertaining. The shows are scattered all over the city, often in pretty strange places, but the overall ambition - to introduce British audiences to up-and-coming international artists and trends - is adhered to excellently."  The times

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For ten weeks every two years the city of Liverpool is transformed into the most amazing living gallery of new art, showcasing the best contemporary artists from around the world.

PAC Murcia 2010 DOMINÓ CANIBAL (Cannibal Dominoes)

The chosen curator for this edition is Cuauhtémoc Medina. Taking a completely different tack to Bourriaud, Medina is working with another exhibition format, using one single venue over a period of 12 months. In it, successive artists will address their individual work based on the work by the preceding artist at the same venue.

Explaining the implications of this way of working, Medina says "the idea behind the project has to do with positing an alternative model for an art festival, different from biennials, museums and site-specific interventions, placing it in a territory of practical continuities and discontinuities between artists and creative displacements."

"My starting point is the operation of the game of domino, which is a very widespread transcultural point of production. Based on games of Chinese dice, it was then taken to Italy, from where it spread to the new world with the Spanish and Portuguese colonisations, becoming very popular in Latin America. From a historical viewpoint, it reflects the migratory route of the game from Cathay to the Caribbean, passing through the European routes of early capitalism; it is a map of the historical process that led to the modern world. Furthermore, the ideological use of the so-called "domino effect" brings to mind the terrors of the Cold War and beyond."

Speaking about the exhibition DOMINÓ CANÍBAL to be held at Sala Verónicas in Murcia from January through December 2010, Medina explains that "the domino effect refers to the chain of historical and argumental moments that define the links between colonisation, post-colonialism and capitalist globalisation. Following the multicultural debate of the 1980s and 90s and with the expanded art globalisation, global flows and differences in cultural and economic integration were defined." All these implications are explored in the forms of artistic participation and interaction, more than in terms of any particular thematic directives.

Maintaining the integrity of individual interventions, the format suggested by the curator advocates a working method in which each artist acts on what has already been made by the preceding artist, either destroying it, appropriating it or reworking it, setting into motion a series of dynamics more closely associated with collective practices while underscoring the idea of process.

PAC MURCIA 2010, organised by the Dept of Culture & Tourism of the Region of Murcia, will be rounded off by OFF PAC, the programme organised by local art institutions, a seminar organised in conjunction with CENDEAC and artist-in-residence scholarships in Berlin and in Mexico City for artists from Murcia.

HUELGA GENERAL

Tania Bruguera: devouring the public

Tania Bruguera describes "Huelga General" [General Strike] as a work "on creating community, on participation, on citiz en intervention and on the frustrated utopia that art can represent a process as changing as politics and as volatile as public opinion in a fixed state (an image)."

In conflating two tradit ions of political production generally believed to be incompatible (contemporary participative art and the tradition of protest mural that co-opted the model of renaissance art to produce the most successful idea of "public art" in the 20th century), Bruguera wants to question the widespread social skepticism towards the public relevance of art by shifting the task of its making and activation to the actual public sphere itself.

In a space that will be presented in a state of process, Bruguera will proffer an overall vision of a design for murals for Sala Verónicas which will later be executed by professional painters and the general public. This shared task in the execution of the work is transference of the normally external process of the ironic Warholian model of "panting by numbers," contemplating this work implies that the beholder must finish it. The piece will not be fully observable until it is about to be finished, when its significance is perhaps already entering into a process of obsolescence, and on the point of being intervened by another initiative moving in the completely opposite direction.

The connotation of the religious space in this historical weave is incorporated in the intervention. As Tania Bruguera says, "in Huelga General the work is being made as it is being represented; the sacred element is the participation of the public and the mystical dimension lies in the political action."

Within the overarching conceit of Dominó Caníbal, Bruguera wants the general staging of this piece to absorb and devour the implications of the radical politics set in motion by the various artist who have already partaken in Proyecto de Arte Contemporáneo de Murcia. Her project focuses on two citations. In the centre of the church, as both relic and quotation, it sets in place a comparison between two parallel work: T.W. (Vitrine) made by Kendell Geers in 1993 and A Stone from Francois Villon's House in Paris (1996/2009) by Jimmy Durham. In both, the temptation underlying artistic and political transgression is enacted in the image of a museum display case penetrated by a racing car. For Bruguera, these two appropiations not only include Dominó Caníbal's genalogy, but also speak to contemporary artists' complex negotiation in preserving and interpreting social violence and conflict, while at once maintaining a tense negotiation with the passiveness of observation in the notion of western art on its institutional limits.

Huelga General is otherwise an intervention bringing together the internal rules of art production and the specific circumstances of its execution in the present. Both the layout of the mural, as well as the successive phases which the artist wishes to introduce in the realization of the painting, are conceived to bookend a temporal circumstance: the announcement of a general strike in Spain for the month of September 2010 with which trade unions, citizens and activists will cross-examine the series of economic and public finance policies that the Spanish government is implementing in its bid to control the variables of the capitalist crisis.

To what extent is this mural, and its process, capable of inducing a rethinking on the current moment of conflict? Working with a given circumstance, its reflective and practical effect remains in open question.

Cuautémoc Medina

Venga a colaborar con la producción del mural
LA HUELGA GENERAL
Abierto a la participación pública hasta el 31 de octubre

Sala Verónicas, Calle Verónicas s. n, Murcia

Martes a Sábado de 10 a 14 y 17-21 hrs.

Domingos de 10 a 14 hrs

Proyecto Tania Bruguera, PAC 2010, Dominó Canibal

A series of events exploring the shifting relations between performance practice and discourse through workshops, presentations, performances, discussions and screenings.

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Performing Idea is an extensive set of events and processes that investigate the shifting relations between performance practice and discourse, event and writing. New performance works and critical and creative exchanges between leading international figures in the performance studies field are being staged as part of this investigation. Through these processes we are asking a series of interlinked questions: What is the cultural status of performance these days and why has it recently become revivified and re-valued by art institutions and by the academy? Does the turn towards ad hoc, itinerant, relational and participatory art practices – always the ground of performance and live art – indicate a profound shift in the cultural value of art towards the immaterial and the social? Or is all of this just a flash in the pan? Do these changes in what art is, or what art might be, indicate a different understanding of how we come to interpret and know the world itself? If art actions and performances and social exchanges are valuable ways of knowing, what does this say about what we used to call knowledge? What does this mean for the keepers, institutions and edifices of knowledge: the intellectuals and art arbiters, the academic institutions, the archives, libraries and publications? How are artists, thinkers and writers re-conceiving their identities and relations in this context? What place can dialogue occupy within a creative process, a performance realisation or a critical investigation? To what extent does the ‘performative turn’ of critical theory represent a paradigmatic shift in cultural criticism, and in the nature of knowledge formation? Might the current forms of critical practice – of ‘creative research’ and ‘discursive events’ - represent new models of knowledge exchange, thoughtful relation and shared value? Might the embodied, affective and reciprocal operations of live work suggest more provisional and trans-active ways in which we might hold something dear?

As part of the First Bellevile Biennial.

Generic capitalism, on an idea by Cuban artist TANIA BRUGUERA, is a program of readings cum performances in public space aimed at creating a reflection on the notion of capitalism today. With the purpose of highlighting the relationships among capitalism, work, revolutionary utopias and social and human realities, each of these meetings takes a new form, stirred up by being inscribed in the town and breaking with traditional lectures.

A small sound and video archive hosted by Whitchapel Gallery looking at examples of the performance lecture as a form of artistic and critical expression, and its potential to address a broad range of cultural issues and philosophical ideas.

Co-Directors of Performance Matters Gavin Butt and Lois Keidan present and discuss  selections from thePerforming Idea Archive, a newly created  sound and video archive documenting the performance lecture as an artform.

The archive is available for public access from 2–9 October in the Gallery’s Reading Room.

Brief Exhibition Concept
Move - Art and Dance since the 1960's

Move is the first major exhibition on the interaction between art and movement from the 1960s to the present. The main focus of the exhibition will be on visual artists, dancers and choreographers who create installations that direct the movements of exhibition-goers, turning the viewer into an active participant - even into a dancer.

Earlier exhibitions have primarily explored the relationship between art and dance from the point of view of representation, collaboration and the moving image. Move builds on such shows, but takes a new approach. The exhibition investigates the extent to which the beholder - invited, or tempted, to perform certain movements by the layout and contents of installations - can be choreographed. Thus the look of the exhibition will be dominated by sculptural works and stages filled with activity.

This exhibition sets out to show that choreography may be equally implied by sculptural works and installations. The proposition here is that for an exhibition context, unfamiliar movements - inspired by often familiar-looking objects - unsettle ingrained thought processes and, in doing so, free up the mind. A different slant on one's own environment may lead to a new awareness, maybe even a new sense of responsibility towards oneself and the world at large.

The ambition is to create a show, which is as participatory and challenging as Allan Kaprow's Happenings - one that follows Kaprow's thinking in blurring the boundaries between art and everyday life. By making the visitor aware of the fact that they can be ‘choreographed' by art installations, the show aims to change the way people think about the relation between art and dance.

Move itself will act as a type of choreography, and will consist of three major sections: installations and performances in the exhibition spaces; a contextual archive in the gallery; a series of performances in different venues in London and Germany.

Installations and Performances
This section will focus on participatory artworks and performance pieces from the 1960s to the present day that are directly activated or experienced by the visitor. Visual artists and choreographers from all over the world will also be invited to develop new pieces that deal with matters of choreography and/or to create a choreography that has no set time frame. Furthermore there will be reconstructions or exhibition copies of seminal works from the last fifty years. The idea is to work in each venue in collaboration with local dance schools to activate works of art and

Realize Happenings - both as performers and as researchers, exploring their own body movements and physical responses. At the same time they shall act as mediators and interpreters to discuss and interact with the public. (In London we are collaborating with Laban Contemporary Dance school)

Contextual Archive / Time Machine
The participatory exhibition will be backed up by a contextual and interactive archive that will re-present the history of the longstanding affinity between art and dance over the last half century. Conceived as a ‘time machine' it will replace the notion of a traditional time line with a series of specially designed islands, rooms and open spaces. The archive will be designed under the premise to ensure this section also activates within the visitor a new bodily awareness - in terms of the ways visitors might explore a subject, view a video or look at an artwork. The archive will be co-curated by André Lepecki, Professor of Performance Studies at NYU.

Performances outside the Gallery
Alongside the exhibition, work will be ideally presented not only in theatres or performance venues, but also throughout the city. In London, performances will take place in the Queen Elizabeth Hall, the Purcell Room, various public spaces inside the Royal Festival Hall and even unexpected locations across the site.

Possible new commissions include works by Alain Buffard, Pablo Bronstein, Boris Charmatz and Xavier le Roy and possible reconstructions will include Allan Kaprow's ground-breaking 18 Happenings in 6 parts. This part will be co-curated by Nicky Molloy, Head of Dance, Southbank Centre, London.

Southbank Centre is pleased to have been awarded a major grant from Kulturstiftung Des Bundes in support of this exhibition.

Artists: Pablo Bronstein, Tania Bruguera, Lygia Clark, Trisha Donnelly, William Forsythe, Simone Forti, Dan Graham, Christian Jankowski, Isaac Julien, Mike Kelley, Xavier Le Roy, La Ribot, Robert Morris, Bruce Nauman, João Penalva, Tino Sehgal, Franz Erhard Walther, and Franz West.

As part of the First Bellevile Biennial.

Generic capitalism, on an idea by Cuban artist TANIA BRUGUERA, is a program of readings cum performances in public space aimed at creating a reflection on the notion of capitalism today. With the purpose of highlighting the relationships among capitalism, work, revolutionary utopias and social and human realities, each of these meetings takes a new form, stirred up by being inscribed in the town and breaking with traditional lectures.

This event brings together two leading figures from the international art world for a freewheeling discussion about the relationship between art and politics.

Tania Bruguera has earned international acclaim as one of the leading political artists of her generation; many of her performances and installations subtly reflect on the politics of her Cuban homeland as well as the nature of political power more generally. Her work has been exhibited in venues including the Venice Biennale, Documenta, and the Tate Modern. Hamza Walker is director of education and associate curator of The Renaissance Society at the University of Chicago. 

As part of the First Bellevile Biennial.

Generic capitalism, on an idea by Cuban artist TANIA BRUGUERA, is a program of readings cum performances in public space aimed at creating a reflection on the notion of capitalism today. With the purpose of highlighting the relationships among capitalism, work, revolutionary utopias and social and human realities, each of these meetings takes a new form, stirred up by being inscribed in the town and breaking with traditional lectures.

As part of the First Bellevile Biennial.

Generic capitalism, on an idea by Cuban artist TANIA BRUGUERA, is a program of readings cum performances in public space aimed at creating a reflection on the notion of capitalism today. With the purpose of highlighting the relationships among capitalism, work, revolutionary utopias and social and human realities, each of these meetings takes a new form, stirred up by being inscribed in the town and breaking with traditional lectures.

Residents are in dialogue with one another and with advisors (internationally active artists, art critics, exhibition makers and others). Contacts between resident artists and advisors mainly take the form of individual studio visits at the resident artist's invitation.
The make-up of the advisor group shows great diversity as to views of the arts, generation, nationality and one's position in the art world.
At the initiative of residents and advisors, discussions, seminars, excursions and workshops are held on current shared themes arising from one's own work or one's fascinations outside of this.

The artist will talk about her past projects as well as the current projects with Creative Time and relationship thought her work of her relationship with art and politics.

Miller Theater: 2960 Broadway at 116th Street.

Tania Bruguera's performances and social interventions question and subvert the connect ions between art and life. Freque ntly, she requires the viewer to cross the boundaries that conventionally define the role of the audience and that of the artist, and so question their own relationship to the politics of creative expression.

This discussion foregrounds dance and other structured movement systems as vehicles for political and social critique. Speakers include André Lepecki, Bojana Cvejic, Xavier Le Roy and Tania Bruguera.

Art Basel Conversations panel.

Art Basel Conversations offers audiences access to first-hand information on important aspects of the international artworld, starting the program with the traditional Artist Talk Premiere featuring a legendary artist. Topics for the following panel discussions include 'Public/Private: Museums in the Digital Age,' 'Latin America: The Collector as Catalyst' and 'Artistic Practice: The School Makers.' Distinguished artists, art collectors, museum directors, curators, critics, gallerists, publishers, and others active in the cultural sphere will take part. There is time allotted after each Art Basel Conversation for the audience to meet the panel informally.

Sunday | Dec 5 | The Future of Artistic Practice | The School Makers

Speakers | Eduardo Abaroa, Artist and Writer, Co-Founder SOMA, Mexico City

Bruce High Quality Foundation, Artist/Foundation, New York

Tania Bruguera, Political and Performance Artist, Founder and Director, Cátedra Arte de Conducta (Behavior Art Studies), Havana, Cuba

Domingo Castillo, Co-Founder of the Nomadic Artist-Run Project the end/SPRING BREAK, Miami

Piero Golia, Artist and Founder of the Mountain School of Arts, Los Angeles

Yoshua Okón, Artist, Co-Founder SOMA, Mexico City

Moderator | Hans Ulrich Obrist, Co-Director of Exhibitions and Programmes and Director of International Projects, Serpentine Gallery, London

Art Basel Conversations is located in a newly designed auditorium within the Miami Beach Convention Center (MBCC), in the auditorium adjacent to Entrance D. 

Tania Bruguera, artiste, enseignante aux Beaux-arts, entretien avec Alain Vanier.

Psychoanalysis, art and image III

For more than a century, art and psychoanalysis have been closely linked, for the best, but also for the worse. Therefore, these lectures will not offer explanations on the creative act or on the works, or on psychobiography, since “the essence of art production is psychoanalytically inaccessible” (Freud). They will be an attempt at understanding what is at stake in creative acts which fundamentally escapes from us. A hopeless didactic project but with questions one would like to pick up again when they emerge: how to read images with psychoanalysis when this can only be done through words? What is an image? What is the look and what do we look at (the status of the spectator and of the image, the presentation of the image and its representation, etc.)? How can the psychoanalyst be taught by the artist who has access to sources which are “normally closed” to us? What is the creative act (individual history and creative act, etc.)? What can an artist expect from psychoanalysis?

This series of lectures is organized by Alain Vanier, university professor and director of Centre de Recherches Psychanalyse Médecine and the Société de l’Université Paris Diderot–Paris 7.

The exotic subject, whatever it may be, is first assigned two essential qualities, namely the great distance between the analytical entity and the formal unusual/weird characteristics. But the farther an object is from the analyst, the less worthy it becomes of being examined. The proposition of knowledge is substituted by the proposition of indifference and superficiality of being known. When we talk of nation-states-societies we can easily say that pursuing naively an utopian system of values, one could imagine that exoticism implies a certain type of reciprocity between subject and analyst. Somewhere along the way a vague connection is established between the one being determined and the one that determines. Nonetheless Western society has assumed the role of absolute analyst. Thus, the type of relation towards the apparently exotic space modifies its assessment parameters… Therefore throughout history, exotic space was a locus of social, economic and political experiments, generated by utopian ideas and ideologies. The hypothesis of potential for non-Western space to transform into a social paradise was demolished by twentieth-century history through violent and traumatizing arguments. Utopia, whether a concept, an idea, a semblance or a reality can be regarded as such: the exotic can be treated as an utopian subject precisely due to the lack of reciprocity between analyst and subject. In this sense Utopia of Exotic, an inquiry into what the two terms mean nowadays, explores economic, social and political aspects of what Western society considers exotic land or culture, trying to underline the utopian character of the term exotic.

(Extras from the text "Utopia of Exotic" by Andrei Craciun, from the publication with the same title). 

Publication: "Utopia of Exotic" with texts by Anne Alexander, Tania Bruguera, Andrei Craciun, Walter Mignolo, Saviana Stanescu. Edited by PAVILION - journal of politics and culture, English/Romanian, 80 pages, B/W, 14,8 x 21,0 cm, softcover.

Book Launch of:

TANIA BRUGUERA. The Promise of Politics.

The book The Promise of Politics with 176 pages gathers the works presented in the solo show at the Fundación Rac in Pontevedra (in the frame of the XXXI Bienal de Pontevedra, *Utropicos*, Spain, summer 2010). Published by Fundación Rac,the book includes a text by Santiago Olmo, curator of the show, an interview of Tania Bruguera by Pablo España and a text on art and media by Daniel Villegas.

The book has been designed by Santiago Carballal and includes texts in English and Spanish. Will participate Carlos Rosón, Director and Founder of Fundación Rac; Agustín Pérez Rubio, Director of MUSAC; Tania Bruguera, artist and Santiago Olmo, curator of the show.

Desengaño (explicación visual) / [Dissapointment -visual explanation-] questions the viewer about the relationship between the figure of the hero and his usefulness. In this case the historical hero is taken out of his militant context to become a mere figure of surveillance. The hero is presented, in his popular transfiguration, as a historical image, as a mask used to implement certain ideals, as a moment of decadence in the action. The casual, almost accidental, encounter of the public with the exhibition hall personnel provides a estrangement between the effectiveness of the figure of the hero and his location.

This performance will be undertaken from 11 December 2010, and it will be reenacted intermittently until the end of the exhibition in January 2011.

María Inés Rodríguez

From the 11th to the 19th December 2010, the French curatorial structure le peuple qui manque presents Que faire ? Art, Film, politique - What is to be done ? Art, Film, Politics. During these days, this event want to get a fix about the new critical strategies and current reconfigurations of the bonds between Art & Politics in contemporary Art and more specifically in artists films and videos. The event consists of videos screenings - and of a critical symposium with artists and thinkers.

V.O. (french subtitles.)

Petite salle - niveau -1 / Small room - Floor -1

Place Georges Pompidou - 75004 Paris

Subway Station Rambuteau, Hôtel de Ville, Châtelet