CURRICULUM VITAE Raúl Zamudio Education Ph.D. Candidate in Art
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Are We There Yet?
ARE WE THERE YET? Study Room Guide on Live Art and Feminism Live Art Development Agency INDEX 1. Introduction 2. Lois interviews Lois 3. Why Bodies? 4. How We Did It 5. Mapping Feminism 6. Resources 7. Acknowledgements INTRODUCTION Welcome to this Study Guide on Live Art and Feminism curated by Lois Weaver in collaboration with PhD candidate Eleanor Roberts and the Live Art Development Agency. Existing both in printed form and as an online resource, this multi-layered, multi-voiced Guide is a key component of LADA’s Restock Rethink Reflect project on Live Art and Feminism. Restock, Rethink, Reflect is an ongoing series of initiatives for, and about, artists who working with issues of identity politics and cultural difference in radical ways, and which aims to map and mark the impact of art to these issues, whilst supporting future generations of artists through specialized professional development, resources, events and publications. Following the first two Restock, Rethink, Reflect projects on Race (2006-08) and Disability (2009- 12), Restock, Rethink, Reflect Three (2013-15) is on Feminism – on the role of performance in feminist histories and the contribution of artists to discourses around contemporary gender politics. Restock, Rethink, Reflect Three has involved collaborations with UK and European partners on programming, publishing and archival projects, including a LADA curated programme, Just Like a Woman, for City of Women Festival, Slovenia in 2013, the co-publication of re.act.feminism – a performing archive in 2014, and the Fem Fresh platform for emerging feminist practices with Queen Mary University of London. Central to Restock, Rethink, Reflect Three has been a research, dialogue and mapping project led by Lois Weaver and supported by a CreativeWorks grant. -
EL ARTE DE LA CALLE ENTRA AL MUSEO Exhibiciones 2º Período MAC Quinta Normal
EL ARTE DE LA CALLE ENTRA AL MUSEO Exhibiciones 2º período MAC Quinta Normal HOJAMAC2015 NACIONAL INTERNACIONAL 16 maY 19 JUL NIVEL 2 QUIÉN SOY Y QUÉ QUIERO Salas 1 y 11 MERMA Sala 2 HELL AIN’T A BAD PLACE TO BE Salas 3 y 5 El segundo período expositivo de MAC Quinta Normal se articu- la en base a dos conceptos estrechamente relacionados: lo under y lo callejero. Lo underground toma fuerza en Europa durante la segunda mitad del siglo XX, aglutinando una serie de manifestaciones artísticas y culturales surgidas fuera de la Academia y de la institucionalidad oficial. El arte callejero es uno de muchos movimientos under, que se instala como reacción o alternativa a la cultura oficial. Lo callejero se refiere al arte urbano o street art, que supone cualquier expresión ar- tística que se desarrolla de forma espontánea en espacios urbanos, públicos y/o privados, la mayoría de las veces de forma anónima e PALABRAS CLAVE ilegal. El graffiti y la pintura mural, ejemplos de arte callejero, com- parten un espíritu under con otras expresiones artísticas no forma- Dibujo les como el tatuaje, el cómic o el fanzine. Todos poseen su particular Graffiti visualidad, implican una estética, pero además, una filosofía de vida. Instalación Las exposiciones de MAC Quinta Normal incorporan este espíritu Rock de lo marginal y una frescura proveniente de una factura más alejada Street art de la academia. El dibujo juega un rol esencial, al ser desplazado de Underground su rol histórico en las Bellas Artes y ahora tradicionalmente relegado Videoanimación a la categoría de boceto. -
PDF Portfolio
2 Clunbury Str, London N1 6TT waterside [email protected] contemporary waterside-contemporary.com tel +44 2034170159 Oreet Ashery waterside contemporary Reactivating The Clean and The Unclean, the protagonists of Vladimir Mayakovsky’s revolutionary 1921 play Mystery-Bouffe, Ashery collaboratively produced a collection of ponchos and headgear. These humble forms of dress made from ubiquitous cleaning materials - dish cloths, wipes, dusters – are the uniforms of speculative purists and partisans, exploited labourers and heroes. Adorned with this couture collection, the cast expose themselves to the inevitable risk of becoming objectified fashion icons. Oreet Ashery The Un/Clean (mermaid) 2014 sculpture textile, paper, tape, metal, plaster installation view at waterside contemporary photo: Jack Woodhouse ASH106 waterside contemporary Reactivating The Clean and The Unclean, the protagonists of Vladimir Mayakovsky’s revolutionary 1921 play Mystery-Bouffe, Ashery collaboratively produced a collection of ponchos and headgear. These humble forms of dress made from ubiquitous cleaning materials - dish cloths, wipes, dusters – are the uniforms of speculative purists and partisans, exploited labourers and heroes. Adorned with this couture collection, the cast expose themselves to the inevitable risk of becoming objectified fashion icons. Oreet Ashery The Un/Clean (the world doesn't have to be as you want it to be/ pizza head) 2014 sculpture textile, paper, tape, metal, plaster installation view at waterside contemporary photo: Jack Woodhouse ASH099 waterside contemporary Reactivating The Clean and The Unclean, the protagonists of Vladimir Mayakovsky’s revolutionary 1921 play Mystery-Bouffe, Ashery collaboratively produced a collection of ponchos and headgear. These humble forms of dress made from ubiquitous cleaning materials - dish cloths, wipes, dusters – are the uniforms of speculative purists and partisans, exploited labourers and heroes. -
Howard Barker with Mikhail Karikis and Dzifa Benson
8th July 2010 at South Bank Centre Stories, Plays, Poems, Creative NonFiction Text in Context: A Cross-Genre Symposium and BRAND Shorts: Howard Barker with Mikhail Karikis and Dzifa Benson 06 Spring/Summer 2010 Text in Context: A Cross-Genre Symposium July 8th, Function Room, Level 5, Royal Festival Hall, 11am-5pm Programme Events are compered by Cherry Smyth Session 1 11am-12noon Sounding Stories: Anjan Saha, Jay Bernard & William Fontaine Chaired by: Anthony Joseph In the Frame and tablapoetry by Anjan Saha 01 Anjan Saha’s work In the Frame looks at diaspora identities and his tablapoetry brings ancient Indian rhythmic philosophy into present day focus. Poetry & comics by Jay Bernard 02 Jay Bernard will be reading three short poems, about pregnancy, childhood and pre-sexual desire, from two different books: - Your Sign is Cuckoo, Girl (“Kites” & “Eight”) - City State (“A Milken Bud”); accompanied by projections of comic strips. Diary of the Out: spoken word, sound work and 03 music by William Fontaine William Fontaine has crafted Diary of the Out, specially for this symposium, using his knowledge and synthesis of word, music, architecture and the esoteric. It is a short text (which will be expanded as a larger body of work) and soundwork, combining magical realism, non & science fi ction. Session 2 12-1pm Texted Image: Margareta Kern, Uriel Orlow, Oreet Ashery Chaired by: Cherry Smyth On being a guest by Margareta Kern 01 Kern will be discussing her current project ‘Guests’, based on the mass labour migration from the socialist Yugoslavia to West Germany in the late 1960’s. -
Cuando El Mundo Se Hace Plano Miguel Rio Branco José María Sicilia
CUANDO EL MUNDO SE HACE PLANO MIGUEL RIO BRANCO JOSÉ MARÍA SICILIA DIS BERLIN ANA MENDIETA SANTIAGO RODRÍGUEZ OLAZÁBAL CARMEN CALVO TERESA SERRANO ESTHER FERRER VIK MUNIZ JORDI TEIXIDOR MIGUEL ÁNGEL CAMPANO JESÚS ZURITA ANTONI TÀPIES FRANCISCO LEIRO ARTURO ELIZONDO PELLO IRAZU JUAN MUÑOZ NACHO CRIADO GUILLERMO PÉREZ VILLALTA SAINT CLAIR CEMIN JUAN GOPAR ROBERTO MATTA JESÚS SOTO MARTA MARÍA PÉREZ BRAVO MARCOS LORA READ CUANDO RAÚL CORDERO CRISTINA IGLESIAS EL MUNDO SE HACE PLANO RENÉ PEÑA Artistas MARLON DE AZAMBUJA iberoamericanos en la Colección CAAM PABLO PALAZUELO SAN MARTÍN CENTRO DE CULTURA CONTEMPORÁNEA LUIS GORDILLO 31 DE OCTUBRE DE 2013–2 DE FEBRERO DE 2014 JOSÉ ÁNGEL TOIRAC ADRIÁN ALEMÁN LARRY ÁLVAREZ 7 CONTENIDO EQUIPO CAAM Cuando el mundo se hace plano… CONTENT (unas notas arqueológicas para un cartografiado del arte iberoamericano en la Colección CAAM) 9 IVÁN DE LA NUEZ ¿Sueñan los museos con un GPS? 23 Adrián Alemán 34 Marlon de Azambuja 36 OBRA Carmen Calvo 38 Miguel Ángel Campano 39 EXPUESTA Saint Clair Cemin 40 Raúl Cordero 41 EXHIBITED Nacho Criado 42 Dis Berlin 43 WORK Arturo Elizondo 44 Esther Ferrer 46 Juan Gopar 48 Luis Gordillo 49 Cristina Iglesias 50 Pello Irazu 51 Francisco Leiro 53 Marcos Lora Read 54 Roberto Matta 56 ENGLISH Ana Mendieta 58 Vik Muniz 60 TEXTS Juan Muñoz 61 Pablo Palazuelo 62 René Peña 64 Marta María Pérez Bravo 66 Guillermo Pérez Villalta 67 Miguel Rio Branco 68 LARRY ÁLVAREZ 83 Santiago Rodríguez Olazábal 69 Teresa Serrano 70 EQUIPO CAAM José María Sicilia 72 When the world becomes map… Jesús -
Oreet Ashery's Party for Freedom
Oreet Ashery Party for Freedom 07.09. - 27.10.2013 Oreet Ashery: Party for Freedom | An Audiovisual Album: Geert Wilders Triptych, 2013, video still The Unfinished Revolution: Oreet Ashery’s Party for Freedom By TJ Demos In ”Geert Wilders Triptych”, track 8 of Oreet extreme-right Partij voor de Vrijheid (Party Ashery’s hour-long video Party for Freedom for Freedom). As such, her moving-image | An Audiovisual Album (2013), a man is work, constituting ten interconnected tracks, shown chasing a woman around the grass, reveals what Fredric Jameson would call the grunting “Geert” as they go. Both are naked “political unconscious” of rightwing political and on all fours. Tracking his female prey in discourse, exposing its underlying “proble- this bizarre tale of sexual experimentation matics of ideology, of the unconscious and and political theatre – “Geert” references of desire, of representation, of history, and Dutch rightwing politician Geert Wilders – of cultural production.”1 the man kicks like a donkey, and eventually succeeds in grabbing her leg and bringing Coming after two years of research, As- her down face-first on the ground, as a dog hery’s video interweaves complex elements looks on and appears miffed by the curio- of experimental performance, nude theatre us display. Reminiscent of the scene of the and political satire, punk music and trash nude chase in The Idiots, Lars von Trier’s aesthetics, in order to deconstruct, via cut- 1998 comedy-drama film in which characters ting parody, the paradoxical ideology that attempt to get in touch with their inner-idiot joins the freedoms of sexual transgression to in a related critical acting-out of European the xenophobic and murderous intolerance libertarianism-become-libertinage, Ashery’s of outsiders. -
Abdul Vas Cv
Abdul Vas 1981 Maracay, Venezuela/Surinam sYMpa 11, rue de Colomb, 46 100 Figeac liens www.abdulvasacdc.com/ www.instagram.com/abdulvasacdc/ Sélection d’expositions personelles 2017 Ride On, Proyecto H Gallery, Madrid, ES 2016 Rock The Blues Away, L21 Gallery , Madrid, SpESain 2015 Hell Ain´t A Bad Place to Be, Museo de Arte Contemporáneo (MAC) Santiago de Chile, Chile 2014 Steel Wheels, Project Rooms Art Lima, Lima, Peru. Curated By Octavio Zaya 'Postales Tras-Atlánticas' Auditorio de Valleseco, Gran Canaria, Spain Ton/Ton , Amp Space Tokyo, Japan Carlos Laszlo+Abdul Vas, Preteen Gallery At Mia&D Fair, Singapore AC/DC 40th Anniversary 2013, Senda Gallery, Barcelona, Spain 'You Shook Me All Night Long' Project At Mia Fair Milano, Milano, Italy 2013 Shoot To Thrill, Casado Santapau Gallery, Madrid, Spain 2011 Navistar Projects, Los Angeles, CA & Dallas, TX 2010 Maximum Overdrive, Casado Santapau Gallery, Madrid, Spain 2009 ANYTHING GOES, La Fresh Gallery, Madrid, Spain 2008 Playoffs, Cuarto Espacio Cultural, Zaragoza, Spain Barry Times, Street Georgetown Commonwealth, Georgetown, Guyana. Curated By Fred Parnna 2006 Blemish, Luis Adelantado Miami Gallery. Miami, FL Sélection d’exposition de groupes 2017 Performance Stickers, Shibuya Center Gai, Tokyo, Japan 2016 Languaje, L21 Gallery, Palma de Mallorca, Spain TOUCHING HANDS WITH SOMEONE SERIOUSLY BEAUTIFUL, Galeria La Esperaza, Mexico DF, Mexico Thirsty Garten, The Composing Rooms, Berlin, Germany 2014 It's Been Four Years Since 2010 Arcadia Missa, London, UK 2013 On Painting Centro Atlántico -
Memòria De L'institut Català De Les Indústries Culturals 2011
Memòria de l’Institut Català de les Indústries Culturals 2011 Institut Català de les Indústries Culturals, memòria 2011 Els continguts d’aquesta publicació estan subjectes a una llicència de reconeixement no comercial 3.0 de Creative Commons. Se’n permet la còpia, la distribució i la comunicació pública sense ús comercial, sempre que se’n citi la font. La llicència completa es pot consultar a: http://creativecommons.org/licenses/by- nc/3.0/es/deed.ca Institut Català de les Empreses Culturals (ICEC) Rambla de Santa Mònica, 8 08002 Barcelona Telèfon: 933 162 700 Fax: 933 162 829 Adreça electrònica: [email protected] Abril 2012 ISSN.- 2013-4770 Memòria anual (Institut Català de les Indústries Culturals. Internet) Producció gràfica: DG ESTUDIO [email protected] Sumari 4 1 Estructura i organització 5 1.1 Organigrama 7 1.2 Seus i adreces 8 1.3 Pressupost 2011 11 1.4 Personal 12 2 Actuacions i activitats fetes 13 2.1 Gerència/Àrea de Recursos 25 2.2 Àrea de l’Audiovisual 35 2.3 Àrea de les Arts Escèniques 38 2.4 Àrea de Música 41 2.5 Àrea del Llibre 43 2.6 Àrea de les Arts Visuals 45 2.7 Àrea de Desenvolupament Empresarial 53 2.8 Àrea de Promoció Internacional 60 2.9 Filmoteca de Catalunya 64 3 Actuacions i activitats fetes (annexos) 65 3.1 Gerència/Àrea de Recursos 75 3.2 Àrea de l’Audiovisual 106 3.3 Àrea de les Arts Escèniques 115 3.4 Àrea de Música 125 3.5 Àrea del Llibre 136 3.6 Àrea de les Arts Visuals 143 3.7 Àrea de Desenvolupament Empresarial 157 3.8 Àrea de Promoció Internacional 180 3.9 Filmoteca de Catalunya Institut Català de les Indústries -
Press Release Can Desire, Freed of All Restrictions, Really
47 rue Ramponeau 75020 Paris France T +33 (0)1 43 48 15 68 [email protected] www.balicehertling.com Press release Goswell Road at Balice Hertling Forbidden to Forbid curated by Paul Clinton With works by: Lionel Soukaz, Oreet Ashery, Giles Round, Beth Collar Archive materials from : Pierre Klossowski, Pierre Zucca, Claude Faraldo and Bazooka group May 31st | July 13th, 2018 Can desire, freed of all restrictions, really dismantle society and capitalism? The answer was emphatically yes for many involved in May 1968 and the years of civil unrest that followed, which gave birth to the gay and wom- en’s liberation movements in France. Family, morality and reproduction were seen as bourgeois and repressive by Marxists and sexual revolutionaries alike, with some declaring that it should be ‘forbidden to forbid’. This exhibition explores a counter current of artists who, while remaining committed to ending oppression, questioned the idea that desire is an inherently revolutionary force waiting to be unleashed, or that sexual freedom will free all subjects equally. This includes artists working in the immediate aftermath of ’68 – Claude Farraldo, Lionel Soukaz, Pierre Klos- sowski and Pierre Zucca – alongside recent works from Oreet Ashery, Beth Collar and Giles Round, which express ambivalence about freedom of many kinds. The ironies of the title highlight the central problems that would emerge in the liberation ethos ¬– it’s a rule against rules, a prohibition against prohibitions. Revolutionary groups would soon confront their own internal conflicts and laws. Just as the phrase implies a contradiction, so this exhibition is a speculative attempt to tease out complications in the idea of sexual and gendered freedom. -
An Unsentimental Education. on Becoming an Artist
TRANSMISSION 2014–15 AN UNSENTIMENTAL EDUCATION. ON BECOMING AN ARTIST Fine Art Lecture Series, in collaboration with Site Gallery Sheffield Hallam University PENNINE LECTURE THEATRE HOWARD BUILDING, CITY CAMPUS Sheffield S1 1WB Every Tuesday from 4.30 p.m. to 6.00 p.m., followed by an open seminar discussion at 6.00 to 6.30, or an event at Site Gallery PLEASE NOTE THAT ON 25 NOVEMBER THE LECTURE WILL BEGIN AT 4 O’CLOCK PROMPT There are no lectures on Tuesday 4 November or Tuesday 24 February THE LECTURE SERIES IS FREE AND OPEN TO THE PUBLIC Transmission is convened by Michelle Atherton, Sharon Kivland, TC McCormack, Hester Reeve, and Julie Westerman, in collaboration with Site Gallery, Sheffield www.transmission.uk.com www.sitegallery.org AN UNSENTIMENTAL EDUCATION: ON BECOMING AN ARTIST At the end of Gustave Flaubert’s great novel about love and history, A Sentimental Education, from which we shamelessly steal part of our title, the protagonist Frédéric Moreau and his oldest school friend Deslauriers reminisce about their adolescence. They remember going to a brothel together, the anticipation and excitement. Once there, thinking that the laughing prostitutes were making fun of him, Frédéric bolted from the place. But in the unconsummated experience, there lies the possibility of fantasy and happiness: ‘That was the best we ever got!’ said Frédéric. ‘Yes, perhaps so, indeed! It was the best time we ever had,’ said Deslauriers. Could this be the model for learning how one becomes an artist: A lack of satisfaction that provides a drive? An expectation of knowledge that is never fully imparted? The imaginative reconstruction of the past? We ask how artists become and why, how this is learnt (and unlearnt), how it is imagined and exemplified. -
One to One Performance a Study Room Guide on Works Devised for an ‘Audience of One’
One to One Performance A Study Room Guide on works devised for an ‘audience of one’ Compiled & written by Rachel Zerihan 2009 LADA Study Room Guides As part of the continuous development of the Study Room we regularly commission artists and thinkers to write personal Study Room Guides on specific themes. The idea is to help navigate Study Room users through the resource, enable them to experience the materials in a new way and highlight materials that they may not have otherwise come across. All Study Room Guides are available to view in our Study Room, or can be viewed and/or downloaded directly from their Study Room catalogue entry. Please note that materials in the Study Room are continually being acquired and updated. For details of related titles acquired since the publication of this Guide search the online Study Room catalogue with relevant keywords and use the advance search function to further search by category and date. Cover image credit: Ang Bartram, Tonguing, Centro de Documentacion, Ex Teresa Arte Actual, photographer Antonio Juarez, 2006 Live Art Development Agency Study Room Guide on ONE TO ONE PERFORMANCE BY RACHEL ZERIHAN and OREET ASHERY FRANKO B ANG BARTRAM JESS DOBKIN DAVIS FREEMAN/RANDOM SCREAM ADRIAN HOWELLS DOMINIC JOHNSON EIRINI KARTSAKI LEENA KELA BERNI LOUISE SUSANA MENDES-SILVA KIRA O’REILLY JIVA PARTHIPAN MICHAEL PINCHBECK SAM ROSE SAMANTHA SWEETING MARTINA VON HOLN 1 Contents Page No. Introduction What is a “One to One”? 3 How Might One Trace the Origins of One to One Performance? 4 My Approach in Making -
Artist Abdul Vas Loves AC/DC More Than Anyone on Earth | VICE United States
9/5/13 Artist Abdul Vas Loves AC/DC More Than Anyone On Earth | VICE United States United States HOME VIDEO NEWS MUSIC FASHION PHOTO TRAVEL SPORTS TECH FOOD NSFW MAGAZINE DOS & DON'TS ARTIST ABDUL VAS LOVES AC/DC MORE THAN ANYONE ON EARTH By VICE Staff 13 Like 42 Tweet 3 submit StumbleUpon CONNECT Like 1.4m Follow 438K followers YouTube 3M Follow 838k DOS & DON'TS DO DO DON'T MOST POPULAR View full slideshow >> Abdul Vas is an artist who loves AC/DC. I know you’re thinking: hey who doesn’t love AC/DC? But he really loves AC/DC. In fact he’s such a fan that’s his most recent collection of occasionally pornographic work is almost exclusively inspired by their seminal 90s album The Razor’s Edge. Considering his first book For Those About To Power sold out in Australia people obviously like his message. We tried to delve into the artist’s subconscious a little further but it turns out that when it comes to Abdul’s work, it really begins and ends with the great Acadaca. Oh yeah and he hates U2, what a cool guy. LIL BUB & FRIENDZ: LIL BUB & FRIENDZ - VICE: So what’s this second book all about? PART 1 Abdul: This second book is fully inspired by the 90s. Particularly 1990 because it was the year in VICE Loves Magnum: which the album The Razor’s Edge by AC/DC was launched. I used to go crazy every time I David Alan Harvey's listened to the single “Thunderstruck”.