INTI GUERRERO, NEW ARTISTIC DIRECTOR OF TEORETICA IN COSTA RICA

Inti Guerrero, new artistic director of Teoretica


Fundación Ars TEOR/éTica is pleased to announce that it has appointed Inti Guerrero as its new Associate Artistic Director and Eduardo Faith as its new Executive Director.

It is with great pleasure that Fundación Ars TEOR/éTica welcomes them and wishes them great success at the forefront of the institution. These appointments conclude the restructuring process begun last September, while they also initiate a new stage in TEOR/éTica's history after the passing away of its founder Virginia Perez-Ratton in 2010.

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Inti Guerrero
Associate Artistic Director and Curator
"The introduction of Colombian curator Inti Guerrero in TEOR/éTica heralds a new perspective for the institution, giving continuation to the legacy of founder Virginia Perez-Ratton. With an extremely open spirit, Guerrero's curatorships articulate historical and contemporary questions, through transversal paths including art, visual culture, and contemporary behaviors. With a lighthearted spirit, Guerrero, nonetheless does not dismiss a rigorous theoretical approach. He knows how to bring together experimental risk and qualitative discernment, two characteristics for working with art. In addition, his preoccupations recognize the multiplicity of cultures in the global world, the procecess of exchange, and the necessity to expand the acknowledgement of the production standing on the margins of hegemonic systems. Mr. Guerrero will know how to guide TEOR/éTica to face the new challenges in art, maintaining a dialogue with the context of San Jose and with artists from Central America, whose role in the international scene must not be delayed" - Paulo Herkenhoff, Founding member of TEOR/éTica

Inti Guerrero (Colombia, 1983) has worked as an independent curator and art critic in Latin America and Europe. His most recent curatorial projects include: Man Up!, Tate Film, Tate modern, London; A cidade do homem nu, Museu de Arte Moderna de São Paulo; Flying Down to Earth, MARCO, Vigo and FRAC Lorraine, Metz; and Duet for Cannibals, Royal Tropical Institute, Amsterdam, 2010. He co-curated the exhibitions: Eppur si muove, Fondazione Sandretto Re Rebaudengo, Turin, 2009 and Yo no soy esa…, Galeria Santa Fe, Bogota, 2005. His texts have been published in Art Nexus, Ramona, Afterall, metropolis M and Manifesta Journal.

Guerrero Studied History and Theory of Art and Architecture at Universidad de Los Andes in Colombia and Universidade de Sao Paulo in Brazil, and fulfilled the Curatorial Program of De Appel in the Netherlands. Currently he is a member of the Advisory Committee of Cisneros Fontanals Art Foundation.

"I feel honored to be part of TEOR/éTica's new team. I'm excited to share my international experience in order to rethink its role within the local, regional and global sceneries. The inspiring work of Virginia Perez-Ratton positioned TEOR/éTica as a critical platform with a high relevance for contemporary art 'produced in' and 'thought from within' a region as diverse as Central America and the Caribbean. The current ecology of the art field in this region has created a different context to which TEOR/éTica must now respond, in order to rethink itself as an institution that forms part of a new and expanded cartography" - Inti Guerrero

As Associate Artistic Director and Curator, Mr. Guerrero whom is currently based in Hong Kong, will work from San José during intensive periods throughout the year. Abroad he'll strengthen the institution's relationships and collaborations with diverse platforms and international networks.

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Eduardo Faith
Executive Director
"Eduardo Faith's professional trajectory has been fruitful, both in initiatives and in achievements. Many are the public and private institutions that have benefited from his talent and have been able to take advantage of his efficiency and his systematic and organized work ethic. Without a doubt, his incorporation to TEOR/éTica as executive Director is promising. For this reason, this appointment brings great joy to those of us who have been committed to continuing and enriching the Foundation's work. I am sure that I speak on behalf of all members of the administrative board when I welcome him with an enthusiastic feeling" - Manuel Picado, member of TEOR/éTica's Board of directors

Eduardo Faith (Costa Rica, 1956) is a person with a renowned trajectory in the Costarican and Central American cultural scene. In San Jose, he has been the director of Museo Banco Central, Museo de Arte Costaricense, and Museo Nacional. Moreover, through his consulting company Mondrian S.A. he has carried out multiple museological projects in Central America, amongst them The children's Museum and INBioparque (San Jose), Museo de Arte de El Salvador-MARTE (San Salvador), the installment of previous Arte Paiz Biennials (Guatemala City) and the traveling exhibition 60 Obras de Arte Costaricense, shown at several museums of the region.

He studied Architecture at Universidad de Costa Rica. Later on he specialized in Museology at the University of Florence in Italy as well as in La Sorbone and the École du Louvre in Paris, France.

"Twelve years of development have made TEOR/éTica a central axis for the contemporary artistic movement of the Central American region. Likewise, its international projection makes the institution a mandatory point of reference. Based on the work of Virginia Perez-Ratton we now aim to take TEOR/éTica into a new stage of further consolidation and growth, without losing sight of the mystic and spirit that gave rise to it" - Eduardo Faith

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About TEOR/éTica
Located in San José, Costa Rica, TEOR/éTica is a non-profit, independent, private project dedicated to the investigation and promotion of contemporary art practices from Central America and the Caribbean. TEOR/éTica’s endeavors can be grouped into four major categories: exhibition production, at both national and international levels; the promotion, documentation and support of regional artists; a strong editorial project (40 bilingual publications); and the organization of conferences and symposia. Throughout its existence, TEOR/éTica has created an international cultural network and has gained recognition for generating new ways of thought. Virginia Pérez-Ratton (1950–2010), a Costa Rican curator and investigator, founded the project in 1999. After a brief hiatus, TEOR/éTica will resume its activities in February 2012.
www.teoretica.org

See also the Coleccion Patricia Phelps de Cisneros and ICI's 2012 curatorial travel award to Central America in collaboration with Teoretica here. 

PEDRO FRIEDEBERG, A HOUSE STUDIO VISIT AT HIS HOUSE IN COLONIA ROMA IN MEXICO CITY BY INTI GUERRERO

Images of house/studio/installation visit to Pedro Friedebrg in Mexico City by curator Inti Guerrero (Bogotá/Amsterdam). Amongst his diverse and obsessive cabinets du curiosités, stand out his well known golden hand arm chair, sofas and coffee tables.


"I was born in Italy during the era of Mussolini, who made all trains run on time. Immediately thereafter, I moved to México where the trains are never on time, but where once they start moving they pass pyramids. My education was first entrusted to a Zapotec governess and later to brilliant mentors such as Mathias Goeritz, who taught me morals, José González, who taught me carpentry, and Gerry Morris, who taught me to play bridge. I have invented several styles of architecture, as well as one new religion and two salads. I am particularly fond of social problems and cloud formations. My work is profoundly profound.

I admire everything that is useless, frivolous and whimsical. I hate functionalism, post modernism and almost everything else. I do not agree with the dictum that houses are supposed to be 'machines to live in'. For me, the house and it's objects is supposed to be some crazy place that make you laugh.

North Americans do not understand Mexicans and viceversa. North Americans find Mexicans unpunctual, they eat funny things and act like old-fashioned Chinese. When André Breton came to Mexico he said it was the chosen Country of surrealism. Breton saw all kinds of surrealist things happen here every day. The surrealists are more into dreaming, into the absurd and into the ridiculous uselesness of things. My work is always criticizing the absurdity of things. I am an idealist. I am certain that very soon now humanity will arrive at a marvelous epoch totally devoid of Knoll chairs, jogging pants, tennis shoes and baseball caps sideway use, and the obscenity of Japanese rock gardens five thousand miles from Kyoto.

I get up at the crack of noon and, after watering my pirañas, I breakfast off things Corinthian. Later in the day I partake in an Ionic lunch followed by a Doric nap. On Tuesdays I sketch a volute or two, and perhaps a pediment, if the mood overtakes me. Wednesday I have set aside for anti-meditation. On Thursdays I usually relax whereas on Friday I write autobiographies."

Pedro Friedeberg

More info:
www.pedrofriedeberg.com
http://en.wikipedia.org/wiki/Pedro_Friedeberg

THE NUDE MAN'S CITY: 'A CIDADE DO HOMEM NU' CURATED BY INTI GUERRERO AT MAM SAO PAULO

Parque Ibirapuera, Museu de Arte Moderna, São Paulo, Brasil


Claudia Andujar, Rua direita, 1970


Entrance to black box, Daria Martin, Soft Materials, 2004 - C. Andujar, Rua direita, 1970


Egle Budvytyte, Secta, 2007 + Miguel Angel Rojas, Faenza, 1979

Miguel Angel Rojas, Faenza, 1979

Miguel Angel Rojas, Faenza, 1979 and Santiago Monge, Burlesque, 2007

MAR, Faenza, 1979 + Cristina Lucas, You can walk too, 2004

C. Lucas You can walk too, 2006 and Santiago Monge, Burlesque, 2007

Santiago Monge, Burlesque, 2007


Flavio de Carvalho, New Look, 1956. Vintage magazines, drawing and photographs

A verdade andava nua, 1949. Photographs of collective protest in Copacabana and Flavio de Carvalho, New Look, 1956


A verdade andava nua, 1949. Photographs of collective protest in Copacabana

Ney Matogrosso/Secos e Molhados, Flores Astrais, 1975 e A verdade andava nua, 1949


Secos e Molhados, Flores astrais, Video-clip + Traje metálico disenhado por [Metallic dress designed by] Mari Yashimoto

Ney Matogrosso, Traje metálico disenhado por [Metallic dress designed by] Mari Yashimoto

Ney Matogrosso, Água do Céu-Pasaro LP, 1975


S. Monge, Burlesque, 2007 & fotografias de [photographs of] Brasilia, 1960


Fotografias do ultimo dia de construção e abertura de [photographs of last day of construction and opening of] Brasilia, 1960

A verdade andava nua, 1949. Fotografias de protesto coletivo [Photographs of collective protest], Copacabana


A Cidade Do Homem Nu

In 1930, Brazilian multidisciplinary artist and cultural agitator Flavio de Carvalho (1899-1973), introduced a master plan for a new city to be built in the tropics. His proposal, ‘A cidade do homem nu’ (‘The Nude Man’s City’), idealized a metropolis for what ought to be the man of the future: a man without god, without property and without marriage. A nude mankind that had stripped itself from its cultural constructs - or in de Carvalho’s words, "without scholastic taboos, free for reasoning and thinking". Within this new city, a Laboratory of erotica was to be constructed as a place against all socio-cultural fixations to the individual’s desires: “the nude man would select for itself its own forms of erótica, where no restriction whatsoever will enforce this or that sacrifice […] where it will project its loosen energy without repression, where it will realize its desires, discover new desires” (de Carvalho, 1930).

Bringing together artworks by contemporary international artists, archives and other cultural artifacts engaged within acts and forms of self representation and civil disobedience, the exhibition A cidade do homem nu seeks to instigate the radical and countercultural significance of de Carvalho's early century thinking found in his transgressive formulation to construct such a new urban landscape. With works by Claudia Andujar, Egle Budvytyte, Flavio de Carvalho, Cristina Lucas, Daria Martin, Santiago Monge and Miguel Angel Rojas. Also featuring visual material from Brazilian rock singer Ney Matogrosso and a documentary by Tatiana Issa and Raphael Alvarez on the 1970's tropical-queer theatre group Dzi Croquettes. Curated by Inti Guerrero.

A bilingual publication including a curatorial essay and archive texts written by Flavio de Carvalho in the 1930's is being released at the exhibition.

Images reposted from, and more information and images available from: www.acidadedohomemnu.blogspot.com

A cidade do homem nu
16 April - 13 June, 2010
Museu de Arte Moderna de Sao Paulo
Teu - Sun: 10h - 18h
Parque do Ibirapuera, portao 3 - s/nº
04094-000, Sao Paulo - SP Brazil.
Tel: +55 11 5085-1300

'DUET FOR CANNIBALS' A TROPICAL PROGRAMME CURATED BY INTI GUERRERO IN AMSTERDAM

Opening of Colonial Institute in Amsterdam, HM Queen Wilhelmina, 9 October 1926 © KIT, Amsterdam.


Duet for Cannibals
15 January, 18 February, 31 March, 28 April 2010
Films, videos & talks at the Theatre of the Royal Tropical Institute of Amsterdam

Duet for Cannibals is a monthly screening and discussion program on colonialism and cannibalism as forms of cultural appropriation. It brings together a selection of works by contemporary artists and filmmakers as well as footage from the Tropical Museum's archive. Comprising videos, films, slideshows and performative talks by Raimond Chaves, Dominique Gonzalez-Foerster, Ossama Mohammed, Wendelien van Oldenborgh, Christodoulos Panayiotou, Jose Alejandro Restrepo, Andy Warhol and Ming Wong among others. Curated by Inti Guerrero

Anthropological and ethnographic institutions in European colonial power centers, like the former Colonial Institute of Amsterdam (nowadays the Royal Tropical Institute) were founded to study and exhibit the culture of 'overseas people'. Their role was to appropriate, classify, and display cultural artifacts and sometimes even human beings. Though they claimed to reveal the pre-supposed cultural essence of the non-European other, such displays further entrenched the stereotypes of a eurocentric scientific and cultural status quo. In other words, it was by means of inclusion of other cultures rather than their exclusion, that the colonial power constructed and affirmed itself within the enlightened modern institution, enhancing a privileged position from where it could unilaterally represent the rest of the world. The works in Duet for Cannibals present a wide range of approaches to this debate by departing from historical strata of colonial archives, post-war cultural imperialism and countercultural forms of approaching metropolitan creole-subcultures. The screenings are accompanied by Q&A sessions with guest artists, lectures and discussions.

The title Duet for Cannibals is borrowed from a 1969 film directed by American author and critic Susan Sontag.

Program

15 January 2010, 20.00 hrs
Encounters with Empires:

Jose Alejandro Restrepo (CO), Traveler's Diary, 1992, 15 min. video
Dominique Gonzalez-Foerster (FR), Gloria, 2008, 15 min. video
Wendelien van Oldenborgh (NL), Instruction, 2009, 30 min. video


18 February 2010, 20.00 hrs
Cannibalizing Popular Culture:

Christodoulos Panayiotou (CY), Wonderland, 2008, 10 min. slideshow
Ming Wong (SG), Life of Imitation, 2009, 20 min. video-triptych
Raimond Chaves (PE), El Toque Criollo, 2005, 45 min. performative talk

For more information on the works please visit: www.agentur.nl/DuetForCannibals.html

Duet for Cannibals
Theatre of the Royal Tropical Institute, Linnaeusstraat 2, Amsterdam
Time: 20.00 hrs
Entrance: 7,50 Eur inclusive one drink
Reservation for tickets at: theaterkassa@kit.nl

This project is produced by Agentur; a project space for international curators and artists to identify new artistic tendencies within and beyond Europe.
It is realized thanks to the generous support of the Tropentheatre, Mondriaan Foundation and Amsterdam Fund for the Arts.

For more information contact: pers@agentur.nl

'TROCA-TROCAS, DISSIDENT SEXUALITIES' IN RIO DE JANEIRO

sign announcing the event!



auditorium in the State University of Rio de Janeiro before the conference began


Guissepe Campuzano, Inti Guerrero, Victor Manuel Rodriguez, Daniela Labra


Pablo Leon de la Barra, Inti Guerrero


State University of Rio de Janeiro, brutalist architecture built during the dictatorship


TROCA-TROCA
Dissident Sexualities
Presentations by Artists and Curators

Troca-trocas is a two-day series of public talks in Rio de Janeiro with artist and curators from Latin America, whom in their practice deal with dissident sexualities and their context-specific cultural significance.

At a historical moment where the Gay International’s globalizing formats of ethics and identification - such as "Gay pride" and "LGBT” as a uniforming label - are adopted in different local contexts around the world, troca-trocas deals with practices that deal with the construction of gender and sexuality in the public sphere in a micro-political experience.

“Troca-trocas” is Portuguese for "exchanges". In the male gay slang of Brazil it refers to "fucking equally", where he who receives also gives and he who gives also receives. However, in the general Brazilian slang, "troca-trocas" also describes the experiences of sexual discovery and experimentation during childhood.

25-26 November, 2009 (19h-21h)
Centro Latino-Americano em Sexualidade e Direitos Humanos
Universidade Estatal do Rio de Janeiro
www.clam.org.br

Giussepe Campuzano
Museo Travesti del Peru (The Peruvian Transvestite Museum) by Giussepe Campuzano is a research platform which hosts tangible and intangible memoirs (archives, artworks, oral history) which bear witness to the visibility and social mobility of travesties throughout the country's national history. The Museum gathers material dating from the foundational myths of Incan society to the neo-liberal post Fujimori present; further helping to construct a new travesty (trans-cultural) historiography.
Giusseppe Campuzano was born in Lima in 1969, Studied Philosophy and since 1990 he cross-dresses as an art practice. Since 2003 he has carried out research on the origins, contexts and significance of travestism in Peru. His Museum has been shown in different formats at numerous international exhibitions including (selection): En todas partes; Politicas da diversidade sexual na arte, Centro Galego de Arte Contemporanea, 2009; Trienal de Chile, Santiago, 2009; Staging Citizenship Hemispheric Institute, Bogota, 2009.He has also published Reclaiming Travesti Histories (Bulletin, 2006); Gender, Identity and Travesti Rights in Peru, Development with a Body: Sexualities, Development and Human Rights (Zed Books, 2008)
http://www.ids.ac.uk/go/about-ids/news-and-commentary/january-2008-news/the-peruvian-transgender-museum
http://www.youtube.com/watch?v=g8hjIMTQ21Q

Victor Manuel Rodriguez
Scholar, cultural agent and curator based in Bogota. He served as the City’s cultural chancellor for five years. Trained in Art History at Goldsmith's University of London, he earned his Phd degree on Cultural Studies at Rochester University, having Professor Douglas Crimp as his thesis director.
He has curated numerous exhibitions, those to be acknowledge are Un Caballero no se sienta asi, Galeria Santa Fe, 2003 and Yo no soy esa, Galeria Santa Fe, 2005 which brought to the art field of Colombia questions upon queer representation. He also participates in symposia on GLBT policies, which he has worked with as being part of the local district government. He is currently a Professor and researcher at National University in Colombia.

Maria Galindo
The artistic-activist practice of Andean femenist María Galindo, challenges directly the racial and social hierarchies that render sexism and homophobia in Bolivia's idiosyncrasy. By means of activism, street performance and television appearances, she has created a true politically engaged practice that takes place in the public sphere.
Galindo is co-founder and director of Mujeres Creando, a feminist organization based in Santa Cruz, Bolivia that seeks justice against physical and symbolic violence to women and homosexuals in Bolivia. The manifesto of Mujeres Creando has also helped understand that indigenous heritage has been violated by a patriarchal oppressive colonial society. It researches the complex construct of sexuality and gender inequality in a multicultural and multiracial and multilinguistic society like Bolivia’s.
http://www.mujerescreando.org/
http://es.wikipedia.org/wiki/Mar%C3%ADa

Pablo Leon de La Barra
Artist and curator based in London for the past 9 years, where he has developed numerous experimental exhibitions and events. His cult magazine Pablo’s International Magazine, Macho not rough, men art and architecture, is an on-going series of a publications dedicated to masculinity and its relation with the collective and urban anthropology.
De La Barra has curated To Be Political it Has to Look Nice, Apexart, New York, 2003; Glory Hole, Architecture Foundation, Londres, 2006 and his work has formed part of the exhibitions (selection); Localismos, Mexico City, 2004; Tropical Abstraction, Stedelijk Museum, Amsterdam, 2005; BMW-9th Baltic Triennial, CAC-Lithuania and ICA-London, 2005; Globos Sonda/Trial Balloons, MUSAC, Leon, 2006 and Nothing Really Matters When You Wear A Big Moustache, Locus, Athens 2006.
For troca-trocas, Pablo León de La Barra will carry out research to publish a new issue of the magazine devoted solely to “men art and architecture” in Rio de Janeiro. For this he also plans to research homosexual magazines produced in Brazil during the dictatorship.
www.centrefortheaestheticrevolution.blogspot.com
www.pablointernacionalmagazine.com
www.apexart.org/exhibitions/delabara.htm

Artist-in-residence
Juan Pablo Echeverri (Colombia, 1978. Lives and works in Bogotá)
Studied his BFA at Pontificia Universidad Javeriana in Bogotá and has fulfilled artist-in-residency programs in the UK at Site Gallery and Braziers International. His photographs, films, videos and performances explore and disturb notions of individual identity, image and gender in private fantasies, challenging their representation in the collective. Through reenactment, humor and parody, Echeverri reproduces the celebration of narcissism. His work has been shown at The Photographer’s Gallery, London 2008; Site Gallery, Sheffield, 2009; Galeria Santa Fe, Bogota; Museum of Modern Art of Bogotá, 2009; Bienal de La Habana, 2009.
http://www.troca-trocas.blogspot.com/

With the kind support of:
Prince Claus Foundation, Arts Collaboratory, Capacete Entretenimentos, CLAM

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TROCA-TROCA com Giuseppe Campuzano do Museo Travesti del Peru, Maria Galindo, Pablo Leon de La Barra e Victor Manuel Rodriguez
Centro Latino-Americano em Sexualidade e Direitos Humanos- CLAM da UERJ
www.troca-trocas.blogspot.com
www.clam.org.br

Durante duas noites um grupo de artistas e curadores vindos do Peru, Colômbia, México/Inglaterra e Bolívia apresentarão palestras sobre pesquisas em arte e cultura visual que indagam as sexualidades dissidentes nos seus contextos. Num momento histórico em que os formatos de ética e de identidades globalizantes da Gay International - tais como o Orgulho Gay e a sigla LGBT como etiquetas uniformizadoras – têm sido adotados em diferentes contextos ao redor do mundo, o encontro Troca-troca procura apresentar e debater as experiências micropolíticas de representação na esfera pública das sexualidades dissidentes em relação às hierarquias sociais, historiografias pós-coloniais e os contextos políticos particulares de diferentes países da America Latina.

O encontro troca-troca é coordenado pelo curador Inti Guerrero (Colômbia/Holanda), recebe apoio do Fundo Prince Claus, Arts Collaboratory e Capacete Entretenimentos e está sendo organizado pelo Centro Latino-americano em Sexualidade e Direitos Humanos (CLAM/IMS-UERJ).

Como chegar: Metrô Maracanã. O auditório fica no bloco F, 3o andar do prédio principal da UERJ, na Rua Sao Francisco Xavier 524

PROGRAMAÇÃO e PALESTRANTES

25 de Novembro – quarta-feira

19:00-19:10h: Mesa de abertura CLAM e Inti Guerrero

19:10-19:40h: Giuseppe Campuzzano - "Museo Travesti del Peru"

O Museu Travesti do Peru é uma plataforma de pesquisa que abriga um acervo de documentos, artefatos, imagens, obras de arte e mitologias que atestam a existência e participação social dos travestis na Historia Nacional do país andino. O Museu pesquisa tradições travestis indígenas que permanecem na cultura visual contemporânea do Peru, entendidas por Campuzzano como reflexo de uma mesma historiografia travesti (transcultural) da concepção pós-colonial do Estado-Nação.

Giuseppe Campuzano (Lima, 1969) Estudou filosofia, e desde 1990 registra o seu corpo travestido como projeto estético. Desde 2003 desenvolve uma pesquisa sobre as origens, realidades e significados do travestismo no Peru. Tem apresentado o seu Museu em diversos formatos nas exposições: En todas partes; Politicas da diversidade sexual na arte, Centro Galego de Arte Contemporanea, 2009; Trienal de Chile, Santiago, 2009; Staging Citizenship Hemispheric Institute, Bogota. Tem publicado Reclaiming Travesti Histories (Bulletin, 2006); Gender, Identity and Travesti Rights in Peru, em Development with a Body: Sexualities, Development and Human Rights (Zed Books, 2008)

19:40-20:10h Victor Manuel Rodriguez (Colombia) - "En el ojo del huracán: Prácticas artísticas y estudios queer latinoamericanos"

A palestra apresentará duas exposições que Rodriguez organizou em Bogotá: Un caballero no se sienta asi (2003) e Yo no soy esa. (2005) as quais reuniram práticas artísticas contemporâneas e produção de cultura visual que indagavam as experiências de homossexualidade e travestismo na cidade.

Victor Manuel Rodriguez é um acadêmico e agente cultural que trabalha em Bogotá. É doutor em Estudos Culturais pela Rochester University e mestre em História da Arte pela Goldsmiths- University of London. Participou do governo distrital da cidade de Bogotá dirigindo a área de fomento cultural. Já foi curador de várias exposições em Bogotá e organizou o foro Prácticas artísticas. Enfoques contemporaneos, Universidad Nacional. Foi o tradutor para o espanhol do texto Images (1977) do acadêmico queer Douglas Crimp.

20:10-20:25 Coffe-break

20:25-20:55 Pablo Leon de La Barra (Mexico-Inglaterra) - "Pablo’s International Magazine; Macho not rough - art, men and architecture"

Apresentação da pesquisa que contribuiu para a publicação dos volumes da revista “Pablo’s International que relacionam a sexualidade masculina com experiências contraculturais em diferentes contextos urbanos.

Pablo León de La Barra (Ciudad de Mexico, 1972) formado em arquitetura e urbanismo, é artista, editor, curador morando em Londres. Foi curador das exposições To Be Political it Has to Look Nice, Apexart, New York, 2003; Glory Hole, Architecture Foundation, Londres, 2006 e participou de mostras como Localismos, Cidade do Mexico, 2004; Tropical Abstraction, Stedelijk Museum, Amsterdam, 2005; BMW-9th Baltic Triennial, CAC-Lithuania and ICA-London, 2005; Globos Sonda/Trial Balloons, MUSAC, Leon, 2006; Nothing Really Matters When You Wear A Big Moustache, Locus, Athens 2006. Pablo León de La Barra planeja publicar um novo volume da revista dedicado ao Rio de Janeiro, fazendo associações com as contraculturas sexuais dos anos 1970 representadas na época tanto pelas artes visuais como na cultura vernacular e uma possível contracultura sexual hoje. Paralelamente realizará uma pesquisa para compor um arquivo pessoal de revistas gay impressas no Brasil durante a ditadura.

26 de Novembro – quinta-feira

19:00-19:40 Maria Galindo (Bolivia) - "Feminismo nos Andes"

A palestra apresentará diferentes projetos controversos realizados pela Galindo junto com o coletivo Mujeres Creando em espaços públicos na Bolivia. Seja este espaço físico (a praça) ou midiático (a televisão), as intervenções realizadas são uma reação à experiência micropolítica do machismo, homofobia e racismo da sociedade multicultural de seu país. Um caso específico discute o seu protesto contra a visita do presidente Irani Mahmud Ahmadineyad a Bolivia, convidado por Evo Morales.

A prática de Maria Galindo não esteticiza ‘o político’, mas trata-se justamente de um agenciamento cultural que atua diretamente sobre as injustiças dos governos racistas e sexistas na Bolívia. Através de ativismo, performance urbana e processos legislativos, ela criou uma proposta engajada em sua esfera pública. Maria Galindo é co-fundadora da organização feminista Mujeres Creando, que procura justiça contra a violência física e simbólica infringida às mulheres e aos homossexuais na Bolívia. O manifesto das Mujeres Creando tem ajudado a compreender o abuso do poder patriarcal e latifundiário que tem apagado a herança indígena de seu país, através de pesquisas de experiências locais de desigualdade de gênero em uma sociedade multicultural. Galindo participou igualmente de mostras como a 27a Bienal de São Paulo; Como viver Juntos e Espacio Uno, Centro de Arte Museo Reina Sofia, Madrid.

19:40-19:55 Coffe-break

19:55-21:15 Mesa Redonda "Troca-troca com Maria Galindo, Victor Manuel Rodriguez, Pablo Leon de La Barra e Giussepe Campuzzano Campuzano. Moderador: Inti Guerrero"

21:00 Encerramento - Inti Guerrero

Inti Guerrero é curador Colombiano morando em Amsterdã. Foi Curador-em-Residencia de Capacete no Rio de Janeiro (Oct 08-Jan 09). Formado pelo Programa Curatorial do De Appel na Holanda, estudou História e História & Teoria da Arte na Universidad de Los Andes em Bogotá, Colômbia e na FFLCH e na ECA da Universidade de São Paulo. Curador e co-curador de exposições como When the bough breaks-On myth and religion, MARCO, Vigo e FRAC, Lorraine, 2010; Light Years - Cristina Lucas, Centro de Arte 2 de Mayo, Madrid, 2009; Eppur se muove-Danger to fall in the sea, Fondazione Sandretto Re Rebaudengo, Turin, 2009 e Despistando al Enemigo, Laboratorio Interdisciplianrio para las Artes, Bogota, 2008.

'AFTER THE FINAL SIMPLIFICATION OF THE RUINS' CURATED BY COSMIN COSTINAS AT MONTEHERMOS

Image: LOTTY ROSENFELD, Art Action: crosses marked over the Panamerican Highway, Atacama Desert, Copiapó. Chile, 1981, 66,66 x 44,63 cm


AFTER THE FINAL SIMPLIFICATION OF RUINS
Forms of historiography in given places
September 18th - January 3rd

Flavio de Carvalho, Wilson Diaz, Sung Hwan Kim, Maria Lassnig, Erlea Maneros Zabala, Ania Molska, Anu Pennanen, Lotty Rosenfeld, Katerina Seda, Apichatpong Weerasethakul

Curated by Cosmin Costinas

“I see Brasilia as I see Rome: Brasilia began with a final simplification of ruins”. Those were the words of the writer Clarice Lispector (1920-1977) during her visit in 1962 to the recently-built federal capital of Brazil. Brasilia, like Rome. Modernity nostalgically revealing itself through an archetype of grandeur and failure. It is with this proclaimed analogy that this exhibition begins, but rather than ruminating excessively on the analogy itself, it aims to pay a closer look at the poetic seduction that such an utterance entails.

In the last decade or so, an enormous amount of artistic production, which takes history as its subject-matter has imposed itself as a genre in international art. In close connection, another genre of contemporary art has adopted an endless number of local contexts as its subjects. But what form of history is being understood through these practices and what meaning of localities is being worked with? How do these practices approach their central issues and, perhaps more importantly, how do the exhibitions which put together these positions imagine their narrative function, in the specific language of exhibition-making? In many cases, history became an escapist fetish in which we are invited to indulge in order to avoid formulating the politics of today and consequently of tomorrow, and to remain there, in an exhausted future described as a ruin of our present, as in the sub-genre of modernist memorabilia art. These practices came with an ostensibly anti-disciplinarian accumulation of historical material, of often personal, micro-historic souvenirs, fuelled by an archival reflex from an era when the accumulation of symbolic capital moved at a different pace. Are these attemptsat bringing to light subaltern histories or endless formulations of specificity and alterity that compromise any potential for universal or internationalist narratives of solidarity and emancipation? And is the endless reformulation of minimalism in many of these practices a denial of realism and its potentials?

"After the final simplifications of ruins" aims to structure itself in awareness of these circumstances, in the same way in which it remains aware of the histories and localities that make up its immediate institutional and geographical context. It puts together positions from a number of artists working in seemingly irreconcilable conditions throughout the second half of the 20th century and the cloudy beginnings of the 21st. The research on Flavio de Carvalho and the accompanying historical material has been developed by Inti Guerrero. This exhibition developed from and as a consequence of working for "Like an Attali Report, but different. On fiction and political imagination" show that took place at Kadist Art Foundation in 2008. It is thus a natural continuation of that exhibition.

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