Mona Hatoum. Hot Spot, 2006 (detail)
Series of talks on Contemporary Artistic Production
Lecturer: José Antonio Navarrete, art critic and independent curator
Each Wednesday starting on
April 20 - May 11, 2011
7-9 PM

This series of four talks about artistic production today, will introduce the participants to a comprehensive framework about the way the contemporary artistic field functions, will examine the artist’s place and role in the field, and present ideas about related notions, such as project -proposal-work of art. The discussion will also include the specific links existing between artistic production and the art institutions, with a focus on systematic concepts and field application and how it is linked to the way the art institutions are organized and how they function.

As a whole, the talks propose a reflective approach to the themes in question. These talks will be of interest to artists, curators, gallerists, collectors, students, and other art related fields of study, including actors from diverse cultural areas who may be interested in the current discussions and problems regarding contemporary art.

Talk #1
The artist of contemporary art: a new model of artist
Criteria of the notion of an artist in the institutional system of art

Benjamin, Walter. “El autor como productor”. En: Walter Benjamin. Tentativas sobre Brecht. Iluminaiones III. Edit. Taurus, Madrid, 1998, pp. 115-134.
Bourriaud, Nicolas. Estética relacional. Adriana Hidalgo Editora, S.A. Buenos Aires, 2006, pp. 110-120; 135-136.
Bourriaud, Nicolas. Post-producción. Adriana Hidalgo Editora, S.A. Buenos Aires, 2004, pp. 7-17.
D'Alembert, Jean-Baptiste Le Rond. "Discurso preliminar de la Enciclopedia". Publicado originariamente en: Enciclopedia o diccionario razonado de las ciencias, de las artes y de los oficios, por una sociedad de hombres de letras, puesto en orden y publicado por M. Diderot, de la Real Academia de Ciencias y de Bellas Letras de Prusia, y en cuanto a la parte matemática, por M. D'Alembert, de la Real Academia de Ciencias de París, de la de Prusia y de la Real Sociedad de Londres, t. I, París, 1751, con aprobación y privilegio del Rey. Tomado de: Jean Le Rond D'Alembert / Denis Diderot. Discurso preliminar de la Enciclopedia/Investigaciones filosóficas sobre el origen y la naturaleza de lo bello. Eds. Orbis, S. A., Barcelona, 1984.
Denis Diderot. “Sur le Génie". En: Miscellanea Philosophiques. Garnier, 1875-77 (p. 26-27). Tomado de: http://fr.wikisource.org/wiki/Sur_le_Génie
Eco, Umberto. “Dos hipótesis sobre la muerte del arte". En: Umberto Eco. La definición del arte. Eds. Martínez Roca, S.A., Barcelona, 1970, pp. 250-267.
Enciclopédie ou Dictionnaire Raisonné des Sciencies, Arts et Métiers… "Art", "Artisan", "Artiste". En:http://fr.wikisource.org/wiki/L’Encyclopédie/Volume_1#ART;http://fr.wikisource.org/wiki/L’Encyclopédie/Volume_1#ARTISAN;http://fr.wikisource.org/wiki/ L’Encyclop-édie /Volume_1 #ARTISTE.
Foster, Hal. El retorno de lo real. La vanguardia a finales de siglo. Madrid, Ediciones Akal, S. A., 2001, p. 177.
Gillick, Liam. “Contemporary art dos not account for that which is taking place”. E-flux Journal, #21, 12/2010.
Groys, Boris. “Politics of Installation”. e-flux Journal #2, 1/2009. También en: Boris Groys, Gong Public, E-flux Journal - Stenberg Press, New York, 2010, pp. 50-69
Schuster, Aaron. “The Man Who Made Art Works in His Head”. Metropolis M, N° 1, 2011, February-March.
Williams, Raymond. Culture and Society. 1780-1950. Aylesbury, Penguin Books, 1977, pp. 15-16.

Talk #2
Project- proposal- work of art
Similarities, identifications, and discordances between these notions and their application into the system of contemporary art

1. Alÿs, Francys. “A thousand words: Francis Alys talks about When Faith Moves Mountains – Brief article”. ArtForum, Summer, 2002.
2. Bourriaud, Nicolas. “La obra de arte como intersticio social”. En: Estética relacional. Adriana Hidalgo Editora, S.A. Buenos Aires, 2006, pp. 13-17.
3. Buren, Daniel. “The Function of the Studio” (Translated by Thomas Repensek). October, The MIT Press, Vol. 10 (Autumn, 1979), pp. 51-58. In: http://www.djk.nu/aktiviteter/filer-aktiviteter/danielburenthefunctionofthestudio. pdf
4. Burgen, Victor. “Situational Aesthetics”. In: Situational Aesthetics. Selected Writings by Victor Burgin (introduced and edited by Alexander Streitberger.) Leuven University Press, 2010. Also in: http://www.ubu.com/papers/burgin_situational.html
5. Groys. Boris. “The Loneliness of the Project”. New York Magazine of Contemporary Art and Theory (www.ny-magazine.org), Wednesday, March 18, 2009. Also in: Boris Groys, Gong Public, E-flux Journal - Stenberg Press, New York, 2010, pp. 70-83
6. Kaprow, Allan. “[Once, the task of the artist was to make good art...]”. In: Dick Higgins, Emmett Williams (eds.), Manifestos, A Great Bear Pamphlet. Something Else Press: New York 1966, pp. 21-23.
7. Kosuth, Joseph. “Art after Philosophy”. Studio International, London, Vol. 178, n° 915, October, 1969, pp. 134-137. Also in: http://www.ubu.com/papers/kosuth_philosophy.html
8. Piper, Adrian. “Concretized Ideas I’ve Been Working Around.” In: Talking to Myself: The Ongoing Autobiography of an Art Object. Hamburg: Hossmann, 1974. Also in:http://foundation.generali.at
Talk #3
and #4
Artistic production and the institutional system of art

Talk #3
Notions such as system and field applied to the institutional organizational forms of contemporary art
Artistic production: Is it the center of the art institution system?


1. Buchloh, Benjamin H.D. “Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions”. October 55, Winter 1990, pp. 105-143
2. Buren, Daniel. “Sur le fonctionnement des expositions, à propos de Documenta 5”. Documenta 5 (catalog), Kassel, 1972. Also inhttp://www.danielburen.com
3. Buren, Daniel. “Fonction du Musée”. Sanction of the Museum, Oxford: Museum of Modern Art, 1973 (catalog). Also inhttp://www.danielburen.com
4. Fraser, Andrea. “From the Critique of Institutions to an Institution of Critique”. Artforum. New York: Sep 2005. Vol. 44, Iss. 1; pp. 278ss
5. Haacke, Hans. “Lessons Learned”. Tate Papers-Tate’s Online Research Journal), Iss. 12, Autumn 2009.http://www.tate.org.uk/research/tateresearch/tatepapers/09autumn/haacke.shm
7. Sheikh, Simon. “Notes on institutional critique”. [transversal / EIPCP multilingual web-journal], eipcp – European Institute for Progressive Cultural Policies, Vienna, 2006, http://eipcp.net/transversal
8. Smithson, Robert. “Cultural Confinement”. Documenta 5 (catalog), Kassel, 1972. Also in Artforum, October, 1972, p. 39. From http://www.robertsmithson.com/essays/cultural.html

Talk #4
Artistic production and art institutions

1. Dillemuth, Davies, Jakobsen (Stephan, Anthony, Jakob). “There is no alternative: the future is self-organized”. Munich-London-Copenhaguen, June 12, 2005 (free distribution)
2. Doherty, Claire. “New Institutionalism and the Exhibition as Situation”. Protections Reader. Adam Budak (ed.), Kunsthaus Graz, Graz, 2006 (Published on the occasion of Protections. This is not an exhibition, Kunsthaus Graz, Graz, September 23-October 22, 2006). Also in Situations, University of the West of England, Bristol, 2007 (http://www. situations.org.uk/media/files/New_Institutionalism.pdf)
3. Esche, Charles & Maria Lind. “Destroy the Museum”. Kaleidoscope, Spring 2011, Issue 10. http://www.kaleidoscope-press.com/magazine/
4. Frock, Christian L. ”Invisible Venue(s): Alternatives to the Institution”. Art&Education, Papers, March, 2010.
5. Tom Holert. “Join Ventures: The State of Collaboration”. ArtForum, February 2011. http://www.artforum.com/inprint/issue=201102
6. Möntmann, Nina. “The Rise and Fall of New Institutionalism. Perspectives on a Possible Future”. http://eipcp.net/transversal/0407/moentmann/en

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