The Far and The Near: Replaying Art in St Ives exhibition

This exhibition reinvestigates the histories of the St Ives colony in the contexts of international modernism and contemporary practice. Examining the changing legacies of British and international modernism, with a particular emphasis on artists associated with the colony in St Ives, the exhibition will present new perspectives on St Ives as a space for art, locating them within a contemporary culture that is still profoundly influenced by many of the innovations and ideologies of the time. 

Drawing on important and recently acquired works from the Tate collection, as well as archival material, this exhibition will reposition many of the artists and works associated with St Ives in a contemporary context in which they find new resonances and relevance. Looking at modernist artistic practice and our relationship to this fertile period of British art, the exhibition includes new acquisitions of both contemporary and modern works, giving some familiar historic connections alongside some alternative contemporary relationships.

Works are juxtaposed in challenging, often unexpected ways, addressing an unstable relationship between location and identity. As the art of post-war St Ives is still so resonantly bound to our view of the place, The Far and The Near offers an alternative perspective of this twenty-first century Cornish resort.

An evening on use with Stephen Wright, Tania Bruguera and Charles Esche

Introductory Comments by Nick Aikens / Charles Esche

Tania Bruguera: Arte Útil (Useful Art)

Tania Bruguera will introduce 'Arte Útil', a term the Cuban artist has coined for forms of art practice that foreground affect and implementation over representation. Tania Bruguera is currently collaborating with the Van Abbemuseum, Eindhoven and the Queens Museum, New York on the Museum of Arte Útil, a multi strand project that will culminate in the old building of the Van Abbemuseum being transformed into the Museum of Arte Útil in Autumn 2013. 

Stephen Wright: Usership

Theorist Stephen Wright will expand on ideas in his recent essay 'Here Comes Everybody: Towards a Politics of Usership', where he outlines the political, theoretical and artistic implications of 'usership' - for artists, institutions, audiences and political subjects. Wright suggests some speculative 'exit strategies' from which he sees as the outdated and restrictive conceptual edifices on which contemporary art currently rests. 

Arte Útil (Useful Art) / from month to month

DAI WEEK 4

The day in the Van Abbe will be the first session focusing on the final project of the Useful Art Project in DAI. The day will be broken up into three sessions - a review of the evening's talk the night before, a session led by Nick Aikens and one led by other Steven ten Thije.

The start of the day will be a a discussion on 'An Evening on Use' form the evening before, analysing the main areas of interest for the group.

Following the series of discussions and seminars in the Autumn, which sought to introduce students to the terms and frames of thinking around 'Useful Art', the focus will now turn to the final project in the summer. For this first session, students have been asked to bring something as the starting point for a discussion. This could be a work of art (of their own or an image). Students will be asked to talk for five minutes. From this the workshop will look at potential key areas or themes.

The purpose of the day is to begin to formulate some areas of thinking from which to develop. By the end of the day specific tasks will also be set for the next session.

Superreal: alternative realities in photography and video

Social Art, Social Cooperation: A Conversation with Tania Bruguera, Tom Finkelpearl, and Mierle Laderman Ukeles

. Access PODCAST (RSS) 

. Access PODCAST (ITUNES - Nr.4: Social Art, Social Cooperation)

Socially cooperative art is a field not well understood by many, indeed even in the art world. Why is it art? Where does art end and social action begin? Who is the author of a cooperative project? In this lecture recorded on February 3, 2013, at the National Gallery of Art, Tom Finkelpearl celebrates his latest publication, What We Made: Conversations on Art and Social Cooperation, by providing an overview of socially cooperative art-where it comes from, what its artistic roots are, and why it can be considered valuable.

Tania Bruguera and Mierle Laderman Ukeles, two of the most important artists working in America today in this field, then describe their work, focusing on a single project. Bruguera, Finkelpearl, and Ukeles take a careful look at how art can intersect with life and how artists are reimagining this intersection in the new avant-garde of participatory, activist, community-inclusive art.

. Tania Bruguera, artist

. Tom Finkelpearl, executive director, Queens Museum of Art

. Mierle Laderman Ukeles, artist

Flash théorie Art : "Artist Run Spaces"

Moderator:

. Rozenn Canevet and Guillaume Leblon, Responsible of Master Art, ESAD.

Participants:

. Tania Bruguera, Artiste, professor, Ecole nationale supérieure des Beaux Arts.

. Julien Amicel, Co-director, artist residence, Dar Al-Ma'mûn.

. Massimiliano Mollona, Anthropologist and Senior Lecturer at Goldsmiths College.

. Jason Hwang, Artist and Curator, Co-founder of the independent exhibition space Shanaynay in Paris.

The Life of Others. Repetition and Survival

This project brings together the works produced on basis of artistic strategies of appropriation, citation, translation and recreation of historical pieces and events. It follows Deleuze's concept of repetition, which he deems as the power standing against singularity, as a violation and exception of special qualities covered by Law. In this regard, the project aims to provide new insights into understanding of repetition-based modern art applications. While it is trying to move away from the parameters of the act of appropriation, it is placing these parameters into affirmation of the political status of singularity. This singularity stands against the domesticated paradigm that stipulates equivalency and alterability to another thing.

. Access E-FLUX REVIEW

Penny W. Stamps School of Art & Design at the University of Michigan

The University of Michigan School of Art & Design (A&D), located in Ann Arbor, Michigan, offers graduate and undergraduate degrees in art and design. Established as an independent unit in 1974, A&D is one of 19 schools and colleges at the University of Michigan. A&D is fully accredited by the National Association of School's of Art & Design (NASAD).

Academic programs

The Penny W. Stamps School of Art & Design's academic programs and projects focus on generating new creative work, integrating the cultures of art and design, and engaging with the University, region, and national and international communities.

Undergraduate

The Penny W. Stamps School of Art & Design offers four undergraduate programs: a BFA in Art & Design, a BA in Art & Design, Dual Admission / Double Degree Programs with eight other university schools and colleges, and the Interarts Performance BFA, jointly offered with the School of Music, Theater and Dance. A&D also offers a Minor in Art and Design.

Beginning in Fall 2010, all undergraduate students will be required to engage in a substantive international experience. Local and regional engagement is also a priority, and BFA candidates are required to complete at least one "engagement studio" working directly with individuals or groups in Southeastern Michigan.

Graduate
The Penny W. Stamps School of Art & Design offers three graduate level degrees: a three-year MFA in Art & Design, a PhD in Design Science offered cooperatively by the School of Art & Design, the Department of Mechanical Engineering, the Ross School of Business, and the Department of Psychology, and a MFA in Art & Design / MBA in Business Dual Degree Program.

Through a short presentation around each panelist´s work in non-monetary forms of exchange, participants will discuss what is effective for them, commenting on issues of ownership, relationship-building and will respond to questions about how these exchanges are valued and who is evaluating the results.

Moderator:

.Gregory Sholette 

Panelists:

.Sol Aramendi

.Tania Bruguera

.Deborah Fisher

.Caroline Woolard

Rusell Lecture Featuring Tania Bruguera

The Museum of Contemporary Art San Diego (MCASD) and UC San Diego (UCSD) will present its annual Russell Lecture at MCASD's La Jolla location. The 2013 Russell Lecturer is internationally acclaimed artist Tania Bruguera.

For many years, MCASD and UCSD have partnered to bring contemporary artists to the city through the annual Russell Lecture program. The Russell Foundation was established in the will of Betty Russell, one of MCASD's founding docents and a long-time supporter of UCSD. She specified that funds from the foundation should help "foster the appreciation and study of the modern visual arts and creativity of young artists" through support to the Museum and the University. 

In addition to this public lecture, Bruguera will have a chance to meet and interact with students in UCSD's Visual Arts Department as part of the Russell Foundation program.

Collecting the Performance

The interdisciplinary Cuban artist Tania Bruguera will discuss a range of questions about her work in relation to performance and activism with Annie Fletcher (Curator Van Abbemuseum, Eindhoven) and Catherine Wood (Curator Contemporary Art & Performance TATE, London).

This event is cohosted by the Van Abbemuseum and TATE, as part of the research network Collecting the Performative. This research network will examine emerging models for the conservation and documentation of artists' performance and will draw upon the practices of dance, theatre and activism in order to identify parallels in the concept of a work and related notions of authorship, authenticity, autonomy, documentation, memory, continuity and liveness.

.Register for the lecture HERE (Free Entrance)

Spiraling Time

Spiraling Time is a day-and-a-half symposium bringing together artists, scholars, and curators to investigate how various "time-based" art practices are pressed into service in a Latin American context to think through questions of history, memory, and temporality. The event will focus on interactive conversations between participants (and audience members), punctuated by three keynote addresses from the perspectives of art history and performance studies.

Program

2:20pm

Conversation

Moderator:

.Favianna Rodriguez, artist, Oakland

Panelists:

.Tania Bruguera-artist/curator
.Mariana Wardwell-artist/critic/curator

3:20 p.m.     

Break

3:30

.Roundtable

Participants:

.Tania Bruguera

.Sergio Delgado

.Leda Martins

.Nuno Ramos

.Mariana Wardwell

Come In, We're Open

.Access STREAMED LIVE ON FEBRUARY 24, 2013 WITH CAROL ZOU

.Access INTERVIEW TRANSCRIPTION

COME IN, WE'RE OPEN is a show that brings together a range of voices and texts from the emerging field of social practice. We -- Edith Abeyta, Carol Zou, and Owen Driggs -- are inviting artists, curators, and writers who work in the field to make a 5-minute video using Google+ Hangout, with the following questions as guidance:

- How do you define social practice?
- Please describe one of your recent projects and how it intersects with social practice.
- What are some of the challenges facing social practice artists as you see it?
- How do you envision social practice evolving in the future?

The videos will be available online in a Youtube playlist, and on view in the Los Angeles Community College (LACC) gallery. Additionally, the gallery installation will offer texts on social practice, and hands-on student engagement events. After the show, the videos will be used as an educational archive for LACC.

4th FORMER WEST: DOCUMENTS, CONSTELLATIONS, PROSPECTS

Dissident Knowledges -Prospective Statements-

Artworks, talks, discussions, rehearsals, and performances in various constellations of documents and prospects offer a multitude of encounters with the public for negotiating the way of the world from 1989 to today, and thinking beyond.

Documents, Constellations, Prospects is organized into five currents. Each day, students are involved in Learning Place realized in collaboration with international cultural institutes, universities, and art academies-folded into contemporary negotiations on Art Production, Infrastructure, and Insurgent Cosmopolitanism. In addition, Dissident Knowledges contributions propose dynamic interventions into the ongoing program with artworks, performances, and statements.

Defying conventional fictions and their established doctrines and institutions requires tapping into knowledges that offer new archives from which to read our contemporary moment. Often kept hidden in the cracks of our attention economy, this current uncovers and formulates knowledges that, by being at once embedded and excluded, have the power to both resist the known and propose new imaginaries of how things could be otherwise.

Persona Ficta

Persona Ficta presents performances that inhabit formal spaces of law as vehicles for poetic political action. A legal person, or persona ficta, is by definition a proxy, a representational "vehicle" charged with powers to act. In the institutional domains of art and law, the document masquerades as the artist. Taking up this elusive designation of personhood, the exhibition instigates a more nuanced perception of art as immanent threat to power.

Interventions into the space of law, both symbolic and real, allow artists expanded political agency. With gestures ranging from parody to protest, Kristin Lucas, Tania Bruguera, and Dread Scott alter perceptions of what it means to perform by exploiting courtroom procedures and documents. A legal name change allows for self-transformation and plants possible loopholes in the system. A partnership agreement tests the limits of future creative license. A tactical public spectacle leads to both a summons and institutional support for free expression. Adjacent to the exhibition, arts lawyer Sergio Muñoz Sarmiento will perform legal consultations.

These challenges to legal definitions of personhood, partnership, and institutional practice encourage us to reconsider the conditions of performance art in the exhibition space, a civic forum with its own codes and possibilities. Procedure is performative. Bureaucracy is rendered otherwise.

Artists:

. Tania Bruguera & Jota Castro

. Kristin Lucas

. Dread Scott

. Sergio Muñoz Sarmiento

Four performances occupy formal spaces of law and become vehicles for poetic political action.

Office Hours at LA><ART

Office Hours are occasions for extended in-person dialogues between artists and their publics. Taking from the academic tradition of "office hours," participating artists offer scheduled one-on-one meetings to follow up on aspects of their work and further pursue open questions, in a setting apart from the lecture hall or classroom. As an ongoing program, Office Hours fosters reception of artistic interests through enquiry, exchange, and reflection.

Individuals may sign up for one 50-minute meeting by emailing one of the available dates and times listed below to: officehours@laxart.org. All meetings are held at LA><ART. The program is free and open to all publics.

. Available appointments:
Tuesday, April 2, 2013
3pm - 3:50pm
4pm - 4:50pm
5pm - 5:50pm

Tania Bruguera's participation in Office Hours is coordinated with USC Roski's Chelle Barbour, a 2013 Master's candidate in the MA Art and Curatorial Practices in the Public Sphere program. The program emphasizes the practice and history of art, curating and critical theory. In addition to realizing an individual work of advanced research in a thesis, Master's candidates produce a curatorial practicum and related programs as a means of raising social questions about art and art's publics. Barbour's work with Bruguera precedes the artist's free open public evening lecture at USC Roski on April 3rd (7pm), at the University Park Campus, 850 West 37th Street, Los Angeles, CA 90089.

Special acknowledgement is extended to Connie Butler, Visiting Professor in the M.A. Art and Curatorial Practices in the Public Sphere program at the Roski School of Fine Arts at USC and Chief Curator of Drawings at The Museum of Modern Art, New York, for her efforts in making Tania Bruguera's participation in Office Hours possible.

Graduate Lecture Series: Tania Bruguera, artist

The Graduate Lecture Series, or Visiting Artist Forum, is a required course in the MFA program each semester. This weekly lecture series, open to the public, consists of a two-hour, in-depth presentation by a prominent artist, writer, or curator, followed by a group discussion that allows MFA students and faculty to raise questions, ideas, and problems. In addition to gaining exposure to a cross section of relevant contemporary artists and thinkers, students have the opportunity for one-on-one studio visits and discussions regarding their individual practices.

The Arte Útil Lab

The Lab will host public workshops testing hypotheses critical to formulating the principals of Arte Útil including questions of aesthetics, ethical responsibility, sustainability, reproducibility and accessibility under these four sections: Aest-ethics: Moral Aesthetics in Arte Útil; Access & Replication Mechanisms; Project Ecosystem Management; and Usefulness as Ideology. Hypotheses will be tested by bringing experts/practitioners in to challenge or support these questions and by analyzing the case studies in the Lab. The events will be recorded in a lab book that will enter the archive.

Panelists:

.Tania Bruguera

.Stephen Duncombe

.Randy Martin

.Lucía Sanromán

Meadows Prize

. Register for the workshop HERE by March 18.

. Access Division of Art Lecture Series: Tania Bruguera

. Access Meadows Prize Winners, 2013-2014 Spring Residency

Tania Bruguera will will work with Meadows students and other faculty. Meadows Prize winner, Tania Bruguera will teach a special workshop for students in April. “The Use of Art” workshop will be held on Monday, April 8 through Friday, April 19.

The purpose is to discuss the ways in which art can be of social or political use, the challenges that arise from being evaluated aesthetically and politically and the art world in relation to the social and political sphere. A maximum of 12 Meadows students will be able to attend. Students from the art, art history, theater, dance, music, film, political science and social science are eligible to participate. Graduate students and undergraduates with permission are welcome to apply.

In the workshop, students and Bruguera will review resources to develop communication tools appropriate for use in the contemporary public sphere. Additionally, the course will involve analysis of case studies for “arte util,” or useful art and develop related projects. Bruguera often defines her own practice through the terms “arte util” and “arte de conducta,” which means conduct or behavior art.

Students will also examine texts by Claire Bishop, Carrie Lambert-Beatty, Shannon Jackson, Stephen Wright and Grant Kester. Among the addressed themes from these texts are social practice, the relationship between reality and fiction in art, the relationship between art and performance, the utility of art, public art and site specificity and the relationship between art and activism. Over the course of the two-week workshop, students will present and develop one personal project.

The workshop will be completed with student participation in the production of a new public art commission for SMU in Sept. 2013. Tania Bruguera won the 2013 Meadows Prize for her work as a political and performing artist. Her work researches ways in which art can be applied to everyday political life. She accomplished this through her creation of a public forum to debate ideas shown in a state of contradiction and by transforming the condition of “viewer” into “citizenry.” Bruguera has previously lectured at The New School in New York, the School of Art Institute of Chicago, the Royal College of Art in London and The Museum of Modern Art in New York.

The Museum as Hub

The Museum as Hub initiative supports art activities and experimentation; explores artistic, curatorial, and institutional practice; and serves as an important resource for the public to learn about contemporary art from around the world. Both a physical site and an expanding network of international art spaces, initiatives, and artists, the Museum as Hub investigates the potential for mediation and exchange realized through residencies, exhibitions, and public programs. The Museum as Hub founding partners include: art space pool, Seoul; Insa Art Space, Seoul; Museo Experimental El Eco, Mexico City; Museo Tamayo, Mexico City; New Museum, New York; Townhouse Gallery, Cairo; and the Van Abbemuseum, Eindhoven.

Donaufestival

The ninth edition of the festival augments its focus on performative art forms that operate beyond the boundaries of theatre, in realms of visual arts and actionism, between installation and media art, between daring assertions and camouflage - driven by a deep craving for an art that has impact on society and politics. This pursuit is also mirrored in this year's music programme, which boasts an uncompromising commitment to radical innovation, both in form and in content. We explore reciprocities between experiment and subculture, between sound art and club culture, from the past to the present.

IM International built upon the real and exemplary situation of the multi- and transnational community in Corona and has since expanded around the world. This led to IM International's campaign in Krems, which will utilise donaufestival's infrastructure and media presence to draw attention to its objectives. Additionally, the office of IM International, represented by Tania Bruguera and Camilo Godoy, will temporarily be set up in the Kunstraum Stein. The office not only provides information about the organisation, it also functions as a hub for communication with local NGOs, activists, and other protagonists who are active in the realm of civil rights for migrants and for the planning and realisation of a series of performative interventions and actions at diverse locations throughout the festival.

What left of Cuba? Culture, Politics and Civil Society

This Distinguished Speaker series addresses where Cuba is now in the geopolitical imaginary that once heralded Cuba as the exemplar of radical left projects in Latin America. In recent years, Cuban culture has challenged the projects of the revolution and has recast the cold war frames of embargo, exile, and exceptionalism. A new generation of writers, bloggers, visual and performance artists, and political activists and dissidents have insisted on freedom of expression, the rule of law, the politics of remembering, and the notion of civil society. Both on and off the island, many campaign "for an other Cuba" (Por Otra Cuba), reclaiming the nation and challenging the state. From a burgeoning presence in social media to smaller, poignant acts of reclamation such as political tattoos and graffiti, these social actors are creating spaces of expression and action that open fissures and apertures in the discourse of the revolution and the control of the state. Although they vary in political philosophies, these new voices demand both universality and contingency: an agenda that mixes the politics of human rights, Cuban values, and the unfinished projects of both the republic and the revolution.

Elles: Mulheres Artistas na Coleção do Centro Pompidou (Elles: Women Artists from the Centre Pompidou Collection)

Elles: Pompidou is a landmark exhibition of more than 130 works of art made by 75 women artists from 1907 to 2007. Organized by the Centre Pompidou in Paris, home to the Musée National d'Art Moderne-one of the largest collections of modern and contemporary art in Europe-this exhibition is an unforgettable visual experience that will challenge visitors' assumptions about art of the past century. This ambitious survey of daring painting, sculpture, drawing, photography, video, and installation by innovative women artists offers a fresh perspective on a history of modern and contemporary art. With vision, humor, sensuality and ambiguity, these women represent the major movements in modern art-from abstraction to contemporary concerns, including identity politics.

Artists include Sonia Delaunay, Frida Kahlo, Dora Maar, Diane Arbus, Marina Abramović, Louise Bourgeois, Atsuko Tanaka, Cindy Sherman, Sophie Calle, Hannah Wilke, Nan Goldin and Tania Bruguera, among others. An exhilarating exhibition that has already become a milestone in the history of exhibitions, Elles: Pompidou will excite the casual viewer as much as the hardboiled expert.