is a cultural journalist and integrates an advocacy group that works human rights. Your laburo there, the transit through a seminar for Art and Politics and the need to combine everything in communication are key cocktail where his most recent essay appears " Where is Julio Lopez? Aesthetic practices in relation to the claim of a live appearance ". There, he reflects on street art activism. Lag By Nahuel Martin Photography The Nigro (1) and courtesy of Paul Russo (2)
"What is gone for a missing person? How can
his disappearance
democracy, so responsible
openly visible and challenging
not be the subject of general concern
our society? Here, finally, I felt
that we were missing. "
[Marcelo Candia]
Buenas Aires, January 21 (agency NAN-2011) .- Two weeks ago, the media opened its microphones to the desperate voices of those who thronged to the doors of the banks appeared to apply those snippets of paper supported by the National Treasury to exchange them for goods and services. The cry of these people heard a thousand times. But no one spoke of Julio Lopez, who for more than four years disappeared a second time before everyone's eyes. Among the bills that were floating around boxes of business, the portfolio of the lady and gentleman's pocket, some are an appeal to memory, a summary of how artistic aesthetics can become an effective tool of communication and resolve the dual-political art. Tickets-wheel series, "Where is Julio Lopez?" Were issued, at first by the Commission for Memory and Justice of La Paternal. This series is part of an underlying corporate culture, made speeches and artistic activism collected in the book Where is Julio Lopez? Aesthetical practices claim live appearance, Paul Russo, a journalist, a graduate in Social Communication, artists and member of the Commission.
asked not the Central Bank, but The idea came from Brazil. Russo met Cildo Meireles's work studying the Art and Politics Seminar at UBA - dictated by Ana Longoni (in charge of the book's foreword), and Fernando Vila Bassas Asumpta Davis - and is excited about the project document with which the Brazilian artist in the '70s stamped with a rubber stamp a question on the Royals: "Quem Matou Herzog?" journalist tortured and murdered by the dictatorship carioca (1964-1985), although the military to submit it as a suicide. This intervention
Meireles, ranked hand-made, the action sought to move from micro to the inclusion of a message in the macrostructure of the system, the achievement of "insertions ideological circuits. "
Russo took the idea to take to the streets with the residents of La Paternal and with outstanding results, time to reflect on them and the work of other artists on the same page, this time resulted in essays edited by Southland.
Its pages are a condensed review of interventions by Julio López (which could be extended to Kosteki Maxi and Dario Santillan, Carlos Fuentealba and Luciano Wrinkle) made by artists like Lucas Di Pasquale, Javier Del Olmo, Hugo Vidal and Martina Laborde, in context with the practices of artistic activism through the history of the country.
"You think you can take art out only people touched by a wand, academics. But there are basic and simple techniques, such as flyers, stencils, murals, stamps, allowing even those who are not artists, to circulate a message that is multiplied, "said fellow author, with Maximiliano de la Puente, the book The partner who has the House. Argentine activist cinema (Tierra del Sur, 2007).
- In the hand-made found a key to demystify the art and put it in the hands of neighbors to take him to activism?
- Since we consider the Commission never artistic, is not an argument for us but we are a neighborhood activist group that uses art tools to communicate political ideas. The way I thought the post from the investigation, which is valuable because the specific activity will not leave room for analysis.
- In the investigation, in what context it was found that framed the intervention of the Commission?
- Our actions can be read from the practices of recent urban intervention. Since the '90s, escraches repressors of the last dictatorship made by CHILDREN amalgamated with groups coming from the bottom of the avant-garde art, not seeking to relate to museums, exhibitions and academia. Among them, the Grupo de Arte Callejero (GAC) and the ETC Group. In our country, there is a whole tradition of political activism. Previously, the Siluetazo, that the book is reflected in the play "Silhouette López, Javier del Olmo.
- What is reflected is the rehabilitation of those interventions?
- Everything returns of previous actions. In the neighborhood, there is a mural painted by neighbors who are not dedicated to painting, but the technique took a group of Chilean muralist.
- In the book quotes a sentence of artist Edgardo Vigo Plata: "The present Street art is. "It was said almost 40 years, how the analysis from now?
- Since 2001, interventions on the street began to have an audience. Began to be demand for more practices that were once underground, existed but were not in sight. For example, the popular screen-printing workshops began leaving organizations and appearing at marches, for those who are mobilized may stamp their shirts with slogans. What I find interesting art in the street, always taking it as a tool to convey political ideas, is that it is the site of power. It is the place where the encounter between art and politics may have more depth than in a museum or the Internet, a virtual public space.
- Does the participation of artistic activism on the street is renewed when everything seems to happen in the virtual social networking?
- Yes, even things that happen in the street have their bouncing on the Internet. Serves to broaden the dissemination of an activity, a message, but do not stop there. The street itself is common to all space, where one can find a neighbor or friend and make a mural, for example. The meeting in public has something of life itself, the collective, the encounter with the other. That is irreplaceable, and there actions have also made another artistic value than they would in the art circuit.
- The paradox between action and inclusion in the circuit ...
- We make reference to Meireles and "insertion into ideological circuits", which proposed the opposite of Marcel Duchamp, who had everyday to the museum. However, the work of Meireles I met him through their institutionalization, their inserts led to exhibitions in museums. In 2001, militant art did something similar.
- How?
- For example, groups that showed their documentary film in parks and factories, eventually went to show his documentary film festivals such as Berlin. The institution, I say this without any value judgments, co-opts these works for display. Once inside the art scene, artists present their work as a work of authorship. When they do in the streets give their signature based on a social demand. As with the assistance of Hugo Vidal: Views on the streets many people know who did it.
- What would happen if they had tickets to a museum operated?
- For us, art is merely instrumental, a communication and educational tool for people's participation. Maybe if we were invited to be part of a sample and that we open the possibility of carrying our message to other people who would not reach, we would. Do not disown a sample. It just is not our field, we favor the message.
- art works as a teaching tool for political participation?
- Yes, especially when the art tool sociability is as high as a seal. Anyone can do it, not a Picasso. Is an intervention with an aesthetic side as it may be a stencil. The purpose is not art but is focused on communication.
- And in this If defined as a synthetic and recognizable slogan, like a stencil?
- Lee is an uncomfortable question for any democracy, so the president (Cristina Fernandez) and do not talk about the mainstream media make a dual political purpose. It is a very topical issue for the military trials, and it questions how deep is the commitment to human rights. Is a trigger, the intervention alone will not accomplish anything, but in principle is to generate social and can cause pressure to not look away. Is to keep the issue on the agenda of the street.
To get the book, write to laeditorialtds@yahoo.com.ar
that we were missing. "
[Marcelo Candia]
Buenas Aires, January 21 (agency NAN-2011) .- Two weeks ago, the media opened its microphones to the desperate voices of those who thronged to the doors of the banks appeared to apply those snippets of paper supported by the National Treasury to exchange them for goods and services. The cry of these people heard a thousand times. But no one spoke of Julio Lopez, who for more than four years disappeared a second time before everyone's eyes. Among the bills that were floating around boxes of business, the portfolio of the lady and gentleman's pocket, some are an appeal to memory, a summary of how artistic aesthetics can become an effective tool of communication and resolve the dual-political art. Tickets-wheel series, "Where is Julio Lopez?" Were issued, at first by the Commission for Memory and Justice of La Paternal. This series is part of an underlying corporate culture, made speeches and artistic activism collected in the book Where is Julio Lopez? Aesthetical practices claim live appearance, Paul Russo, a journalist, a graduate in Social Communication, artists and member of the Commission.
asked not the Central Bank, but The idea came from Brazil. Russo met Cildo Meireles's work studying the Art and Politics Seminar at UBA - dictated by Ana Longoni (in charge of the book's foreword), and Fernando Vila Bassas Asumpta Davis - and is excited about the project document with which the Brazilian artist in the '70s stamped with a rubber stamp a question on the Royals: "Quem Matou Herzog?" journalist tortured and murdered by the dictatorship carioca (1964-1985), although the military to submit it as a suicide. This intervention
Meireles, ranked hand-made, the action sought to move from micro to the inclusion of a message in the macrostructure of the system, the achievement of "insertions ideological circuits. "
Russo took the idea to take to the streets with the residents of La Paternal and with outstanding results, time to reflect on them and the work of other artists on the same page, this time resulted in essays edited by Southland.
Its pages are a condensed review of interventions by Julio López (which could be extended to Kosteki Maxi and Dario Santillan, Carlos Fuentealba and Luciano Wrinkle) made by artists like Lucas Di Pasquale, Javier Del Olmo, Hugo Vidal and Martina Laborde, in context with the practices of artistic activism through the history of the country.
"You think you can take art out only people touched by a wand, academics. But there are basic and simple techniques, such as flyers, stencils, murals, stamps, allowing even those who are not artists, to circulate a message that is multiplied, "said fellow author, with Maximiliano de la Puente, the book The partner who has the House. Argentine activist cinema (Tierra del Sur, 2007).
- In the hand-made found a key to demystify the art and put it in the hands of neighbors to take him to activism?
- Since we consider the Commission never artistic, is not an argument for us but we are a neighborhood activist group that uses art tools to communicate political ideas. The way I thought the post from the investigation, which is valuable because the specific activity will not leave room for analysis.
- In the investigation, in what context it was found that framed the intervention of the Commission?
- Our actions can be read from the practices of recent urban intervention. Since the '90s, escraches repressors of the last dictatorship made by CHILDREN amalgamated with groups coming from the bottom of the avant-garde art, not seeking to relate to museums, exhibitions and academia. Among them, the Grupo de Arte Callejero (GAC) and the ETC Group. In our country, there is a whole tradition of political activism. Previously, the Siluetazo, that the book is reflected in the play "Silhouette López, Javier del Olmo.
- What is reflected is the rehabilitation of those interventions?
- Everything returns of previous actions. In the neighborhood, there is a mural painted by neighbors who are not dedicated to painting, but the technique took a group of Chilean muralist.
- In the book quotes a sentence of artist Edgardo Vigo Plata: "The present Street art is. "It was said almost 40 years, how the analysis from now?
- Since 2001, interventions on the street began to have an audience. Began to be demand for more practices that were once underground, existed but were not in sight. For example, the popular screen-printing workshops began leaving organizations and appearing at marches, for those who are mobilized may stamp their shirts with slogans. What I find interesting art in the street, always taking it as a tool to convey political ideas, is that it is the site of power. It is the place where the encounter between art and politics may have more depth than in a museum or the Internet, a virtual public space.
- Does the participation of artistic activism on the street is renewed when everything seems to happen in the virtual social networking?
- Yes, even things that happen in the street have their bouncing on the Internet. Serves to broaden the dissemination of an activity, a message, but do not stop there. The street itself is common to all space, where one can find a neighbor or friend and make a mural, for example. The meeting in public has something of life itself, the collective, the encounter with the other. That is irreplaceable, and there actions have also made another artistic value than they would in the art circuit.
- The paradox between action and inclusion in the circuit ... - We make reference to Meireles and "insertion into ideological circuits", which proposed the opposite of Marcel Duchamp, who had everyday to the museum. However, the work of Meireles I met him through their institutionalization, their inserts led to exhibitions in museums. In 2001, militant art did something similar.
- How?
- For example, groups that showed their documentary film in parks and factories, eventually went to show his documentary film festivals such as Berlin. The institution, I say this without any value judgments, co-opts these works for display. Once inside the art scene, artists present their work as a work of authorship. When they do in the streets give their signature based on a social demand. As with the assistance of Hugo Vidal: Views on the streets many people know who did it.
- What would happen if they had tickets to a museum operated?
- For us, art is merely instrumental, a communication and educational tool for people's participation. Maybe if we were invited to be part of a sample and that we open the possibility of carrying our message to other people who would not reach, we would. Do not disown a sample. It just is not our field, we favor the message.
- art works as a teaching tool for political participation?
- Yes, especially when the art tool sociability is as high as a seal. Anyone can do it, not a Picasso. Is an intervention with an aesthetic side as it may be a stencil. The purpose is not art but is focused on communication.
- And in this If defined as a synthetic and recognizable slogan, like a stencil?
- Lee is an uncomfortable question for any democracy, so the president (Cristina Fernandez) and do not talk about the mainstream media make a dual political purpose. It is a very topical issue for the military trials, and it questions how deep is the commitment to human rights. Is a trigger, the intervention alone will not accomplish anything, but in principle is to generate social and can cause pressure to not look away. Is to keep the issue on the agenda of the street.
To get the book, write to laeditorialtds@yahoo.com.ar
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