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Read e-book online 10,000 Francs Reward: The Contemporary Art Museum, Dead or PDF

By Cesar Antonio Molina, Manuel Borja-Villel, Yolanda Romero

ISBN-10: 8479930748

ISBN-13: 9788479930745

What's the museum's function? What may be its features and actions in cutting-edge society? What different operational and organizational versions might be proposed to aid conquer the modernist place in which the museum, as a repository of inventive essences, could make a common fact obvious in an immanent means? to discuss those questions, the organization of latest paintings administrators of Spain - ADACE - constituted as a discussion board for mirrored image and debate, held in Baeza a convention within which these answerable for Spain's museums mirrored, including their international colleagues, in addition to artists and thinkers, on those concerns in an idea-sharing consultation. the result of this assembly are released during this e-book. It gains interventions via Manuel Asensi, Mieke Bal, John Beverley, Manuel Borja-Villel, Benjamin Buchloh, Gustavo Buntinx, Jean-Francois Chevrier, Nuria Enguita Mayo, Javier Gonzalez de Durana, Beatriz Herraez, Paulo Herkenhoff, Martin Jay, Ana Longoni, Ute Meta Bauer, Simon Marchan, Antoni Muntadas, Juan de Nieves, Martha Rosler, Suely Rolnik, Yolanda Romero, Rene Scherer, Allan Sekula, Teresa Velazquez and Santos Zunzunegui.

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Fundació Antoni Tapies, Barcelona, 1997, pp. 247-248. 27 The notions of ‘cognitive’ or ‘cultural capitalism’, proposed chiefly by researchers associated to the French magazine Multitudes from the 1990s onwards, are in part unfoldings of the ideas of Deleuze and Guattari regarding the status of culture and subjectivity under the advanced capitalistic regime. In recent essays, I have developed this notion from the perspective of subjectification processes, specially the politics of creation and relationship with the other.

There is, of course, no single answer to this question, but the works collected in the forthcoming exhibition curated by Nato Thompson at the Massachusetts Museum of Contemporary Art (MASSMoCA) called ‘A Historic Occasion: The Uses of History’ help us to see possible alternatives. They present imaginative experiments in the use of history – or perhaps better put, ‘history’ – in contemporary artistic production. The need for scary quotes around the term is apparent, if we register the extent to which reflexivity about traditional modes of historical research and representation is evident in the work.

I disagree a little with your interpretation of her work, because I believe she lives more within the general violence of Colombian society and is not blaming anyone specifically, not even the army, but this culture of violence. Afterwards I´d like to bring to the fore someone from your society: Andy Warhol, The Man right to…; from Spain I would mention Equipo Crónica: the image of Franco dressed as a flamenco dancer; and Brazil, two examples as I am Brazilian: one, Cildo Meireles, with his work with the natives and the other, Cara de Caballo by Helio Oiticica, which deals with the subject of urban violence as a sort of reaction during the dictatorship.

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10,000 Francs Reward: The Contemporary Art Museum, Dead or Alive by Cesar Antonio Molina, Manuel Borja-Villel, Yolanda Romero


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