The program of this third phase is being designed in reaction to the first phase and the conversations of the second.
In collaboration with Museo Amparo and UDLAP
Mexican non-for-profit organization that improves quality of life on rural and marginalized communities. Since its constitution, Cooperación Comunitaria aims to optimize its abilities on different aspects, such as socio-cultural, productive and territorial-environmental relations. Through community projects, it strengthens the relation between the occupant and his territory, the well-use of sustainable common goods, supporting and promoting the inter-generational transference of traditional knowledge, and the rescue of traditional ways of organization and self-building of living spaces to improve its self-management and strengthen its self-sufficiency.
Since 2003 he has been exploring and applying Narrative Practice ideas. He travelled to Australia in 2007 having won a scholarship from Dulwich Centre, where he studied under Michael White, one of the creators of Narrative Practices. He has been involved in community projects through groups in the states of Zacatecas, Puebla, Mexico, Veracruz, Oaxaca, and Chiapas, as well as communities in Australia, Canada, and the United States. He is the founder of Collective Narrative Practices. He is coordinating international workshops on narrative-therapy and community-work. He designed and coordinated a Master’s Degree Program in Narrative Practices in community education and work. He has developed jointly community projects favoring alternatives to extreme poverty situations, autonomy, territory, and measures to stop violence. He has been invited to teach classes in Canada, the United States, Chile, Sweden, Denmark, Spain, and Australia, as well as in Mexico. Currently he is also providing individual, couples, and groups therapy.
He is currently the director and chief curator of The Wattis Institute for Contemporary Art, an exhibition space and research institute in San Francisco, and he is the founding director of The Artist’s Institute in New York. Previously, he worked as chief curator of the Contemporary Art Museum St. Louis (2007–10), curator at the Palais de Tokyo in Paris (2006–7), curator at the Sculpture Center in New York (2003–6), and director of Education and Public Programs at MoMA PS1 in New York (1999–2003). He curated major solo exhibitions with artists such as Laura Owens, Sam Lewitt, Jos de Gruyter & Harald Thys, Lutz Bacher, Gedi Sibony, Bruce Nauman, and Olivier Mosset, and developed long-term research projects with artists such as Joan Jonas, Thomas Bayrle, Haim Steinbach, Rosemarie Trockel, and Jimmie Durham. He has published numerous articles in art periodicals, including Artforum, Frieze, Flash Art, Afterall, and Mousse. He was born and raised in Geneva, Switzerland.
It refers to a projected organization aimed at linking territory, culture ,and social change. The first phase (2010-2013) has taken Spain as a case study, where Campo Adentro launched an international conference producing projects from 22 artists in the same amount of villages throughout the country, including presentations and exhibitions, followed by evaluation and reflection periods which gave shape to Study Groups in Spain and Holland and promoting a series of publications. Nowadays INLAND is acting collectively as a para-institution initiating on-site collaboration, economies and practice-communities as a substrate of post-contemporary art cultural forms which are partly a social movement and partly a start-up. With different shapes in different countries, INLAND is publishing books, producing exhibitions or cheese, and performs consulting work for the European Commission on art uses for rural development processes, while simultaneously organizing a shepherd movement opposing dominant agrarian policy, and recovering an abandoned village for collective agrarian and artistic production. It was started by Fernando García Dory in 2009.
Teaches Transition Design courses to undergraduates, graduates and PhD students in the School of Design at Carnegie Mellon University. From 1998 to 2007 Gideon was programme administrator and course tutor for the MSc in Holistic Science at Schumacher College, where he also managed the College library and built its extensive collection of books, on topics relevant to the emerging ecological world view. Gideon’s research focuses on holism and the tradition of anti-authoritarian social and political thinking. He completed his PhD in design, entitled ’Holism and the Reconstitution of Everyday Life: a Framework for Transition to a Sustainable Society’, at the Center for the Study of Natural Design at the University of Dundee, Scotland. In this, he began the development of the concepts of ‘radical holism’ and Transition Design. His thesis is summarized in an article in the book Grow Small, Think Beautiful edited by Stephan Harding and published by Floris.
Holds a Ph. D. in Biological Science by the Universidad de Chile, where he also teaches at the Facultad de Ciencias. His research is focused on the neuro-ethology of sensorial systems on vertebrates, with an approximation that merges anatomical, physiological and conductual studies. He is author of essays on theoretical biology, natural history, perception and evolution
She graduated in Art History at Boston College, and obtained first her MA at New York University Institute of Fine Arts (1990) and later her PhD at University of Texas-Austin (1995). She was head curator from 1995 and 2001 for Lima’s Museo de Arte, an institution where she has been the director since 2002. The main subject of her work is Latin American art from the nineteenth and twentieth centuries. She edited the books Los incas, reyes del Perú (2005), Luis Montero. ‘Los funerales de Atahualpa’ (2011), José Gil de Castro, pintor de libertadores(2014), and co-authored catalogs and academic publications including the following titles: Elena Izcue (1999), La recuperación de la memoria. El primer siglo de la fotografía. Perú, 1842-1942 (2001), Tipos del Perú. La Lima criolla de Pancho Fierro (2008), Camilo Blas (2010), Sabogal (2013), and Chambi (2015). She has held grants from Washington D.C.’s National Gallery’s Center of Advanced Studies in Visual Arts, Canter of Latin American Studies at Cambridge University, Getty Foundation, and the John Simon Guggenheim Memorial Foundation.
She is a poet who also writes essays and works at publishing endeavors. She is the author of Trazos de noche herida (Fondo Editorial Tierra Adentro, 1993), Islario (Filodecaballos, 2003), and Hechos diversos (Ediciones Acapulco, 2013). She is currently exploring prevailing relationships between body, book, writing, and voice through her editing, writing, and performance work. She conducts the E-literature project at Centro de Cultura Digital.
It is a space with the purpose of creating and disseminating cultural projects through encounters, presentations and feedback of production processes. With the belief that creative dialog is most fertile in the context of bringing together different disciplines, we attempt to create links between visual arts, music, design, theatre, education, cinema and gastronomy in order to erase the borders dividing these disciplines, opening the path to renovating and constructive experiences. Obrera Centro is devoted to build a community of friends who provide content and proposals for the project. Obrera Centro functions as a project shelter, including a tool library, the just tool, mantra, assembly, slow-dance, open rehearsal, shared meals, and ping-pong tournaments, among other concerns.
It comprises an exhibition space and a Contemporary Art Library in Ciudad Juárez, a project born from an emergency cultural and artistic situation stemming from a lack of alternative spaces and audience orientation for art, as well as a void in specialized publications about local contemporary art. Rejecting the idea of a fixed space, it tries to reach audiences through a nomadic platform which allows for an inclusive, dynamic and attractive venue that may be available anyplace. Impala has placed a contemporary art gallery and specialized library in the interior of a large trailer dry-bed, with public access for curatorial projects, and manages spaces for socialization, learning, creation and discovery providing contemporary art bibliographical and documentary resources.
It is conformed by Hormiguero, Ilario, Súngale, Cráneo Invertido, Taller de Ediciones Económicas, Vacaciones de Trabajo and other publishing efforts; it is situated within Cooperativa Cráter Invertido.
With formation in Latin American Literature, she has a background in cultural management in various museums and foundations in Mexico. She played as a cultural aggregate of Mexico in India and Peru. With the curiosity to understand the fundamentals of the biology of the knowledge studied with Humberto Maturana and under her tutorial realized an investigation on the generative mechanism of the collaboration in the human beings and of the space-psychic-corporal-emotional or well-being that arises in them when They collaborate; research with which she obtained the master's degree in Biology-cultural. She recently completed her studies with Arawana Harashi, creator of the Social Presencing Theather method, a method that facilitates the understanding of social systems. She has developed and facilitated various spaces of conversation in Mexican companies with artists and writers to promote critical thinking and reflection around the question How do we do what we do from our doing? Currently collaborates with the TAE Foundation, art and education transformation.
He is a professor and research fellow in the field of aesthetics and art at Benemérita Universidad Autónoma de Puebla. He holds a PhD from Madrid’s Universidad Autónoma. He conducts research in contemporary art theory; art practices, authorship and new technologies; and creative work and postfordism. He contributes to publications such as Afterall, ARTnews, Culture Machine, Parse, Curare, and Revista de Occidente. He writes as a critic and reviewer for ABC daily paper and Revista de libros, both in Madrid. He is the co-editor of Propiedad intelectual, nuevas tecnologías y libre acceso a la cultura (2008), and ¿Desea guardar los cambios? Propiedad intelectual y tecnologías digitales: hacia un nuevo pacto social (2009). The title of his last book is Los comunes digitales. Nuevas ecologías del trabajo artístico (Centro de Cultura Digital, Mexico). He has been guest professor at New York’s Columbia University in New York, as well as at Goldsmiths, University of London, and conducts regular courses at Universidad Autónoma de Madrid, and also at Universidad Iberoamericana and Centro Nacional de las Artes, in Mexico City, and Universidad de las Américas, in Puebla, where he worked as post-doctoral coordinator and directed the PhD degree courses Research Group in Creativity and culture theories. He is currently a member of Sistema Nacional de Investigadores, level 1.
He was publisher of velocidadcrítica (2000-2007). Together with Alberto López Cuenca, he edited the project and subsequent book Propiedad intelectual, nuevas tecnologías y libre acceso a la cultura (CCE-MX/UDLAP, 2008). He completed his graduate studies under a grant from JUMEX (2006). He has contributed to Spain’s magazines Lápiz, ABC de las artes and salonkritik. His book Círculo de Ceniza was awarded the Nuevo León State Poetry Prize (CONARTE, 2009). He is also the author of El triunfo de la cultura, uso económico y político de la cultura en Monterrey (FENL/UANL, 2009). He participated in the Contemporary Photography Program Workshops coordinated by Javier Ramírez Limón (Monterrey, Pachuca, 2011-2015), and also in PhotoEspaña’s Researchers and Critics Encounter Trasatlántica (México, Montevideo, Valparaiso, 2011-2013). He has been fired from every university in Monterrey City. Current Director for Academic Innovation at U-ERRE, he also does consulting work for urban development projects and market research.
New York-based artist, writer, activist and founding member of Political Art Documentation/Distribution (PAD/D), REPOhistory, and Gulf Labor Coalition. His publications include Delirium & Resistance: Art Activism & the Crisis of Capitalism (forthcoming Pluto Press, 2007 with a preface by Lucy R. Lippard), It’s The Political Economy, Stupid, co-edited with Oliver Ressler (2014), Dark Matter: Art and Politics in an Age of Enterprise Culture (2010). Along with an upcoming solo exhibition at Station Independent Projects in November 2016, his recent installations include Imaginary Archive at the Institute of Contemporary Art, University of Pennsylvania and Zeppelin University, Germany, as well as the Precarious Workers Pageant performance procession in Venice, Italy, 2015. Sholette is a graduate of the Whitney Independent Study Program in Critical Theory, Associate of the Art, Design and the Public Domain program at the Graduate School of Design Harvard University, an Andrew W. Mellon Fellow at the Center for the Humanities at the Graduate Center, CUNY, as well as Associate Professor in the Queens College Art Department, CUNY, where he helped establish the new MFA Concentration SPQ (Social Practice Queens).
He is Professor of Art History in the Visual Arts department at the University of California and a leader in the international arts community. He serves as chair of the Mike Kelley Foundation for the Arts (Los Angeles) and Advisor at the Rijksakademie van Beeldende Kunsten, Amsterdam. His books on art and visual culture include Modernism Relocated: Towards a Cultural Studies of Visual Modernity (Allen & Unwin, 1995), Invisible Colours (Yale, 1997), Art After Appropriation: Essays on Art in the 1990s (Routledge, 2001), Vasco Araújo (ADIAC, 2007),Guillaume Bijl (JRP|Ringier, 2016), Paul McCarthy: Caribbean Pirates (forthcoming, 2017). He is co-author of The Dada & Surrealist Word-Image (MIT, 1989), Mike Kelley (Phaidon, 1999), On the Beyond: A Conversation between Mike Kelley, Jim Shaw and John C. Welchman (Springer, 2011), Kwang Young Chun (Skira Rizzoli, 2014), and Joseph Kosuth: Re-Defining the Context of Art: 1968–2014; The Second Investigation and Public Media (forthcoming, 2017); and editor of Rethinking Borders (Minnesota UP/Routledge, 1996) and Sculpture and the Vitrine (Ashgate, 2013). Past Realization: Essays on Contemporary European Art [XX to XXI vol. I] was published by Sternberg earlier this year, the first of a series of six volumes of his collected writings.
He is a philosopher working at the University of Johannesburg. He considers himself a heretical Platonist, an unorthodox Kantian, and a minimalist Hegelian, but is equally happy being described as a rationalist. His work focuses mainly upon the intersection between the methodology of metaphysics and the structure of rationality, but also includes foundational topics in the philosophy of value, ethics, aesthetics, and social theory. His specific interests range from the design and cultivation of artificial creativity to the fate of the concept of beauty in contemporary art. He is the author of Object-Oriented Philosophy: The Noumenon’s New Clothes (Urbanomic, 2014). His blog can be found at http://deontologistics.wordpress.com
Visual artist. She also writes and has worked as a teacher, translator and manager. As manager she has collaborated with various institutions organizing activities that blend the exhibition of works of art with academic presentations. All of them have been centered in the link between art and economy, in particular face to the "dematerialization" of the art. Some of these events are: Habeas corpus III Public Art Forum, Public Art Room Siqueiros (2004); The customer is always right, V Forum of Public Art, Room of Public Art Siqueiros (2008), The company is me, Casa del Lago, UNAM (2014). Villela has taught in various institutions including ENAP (now FAD) of UNAM, Universidad Iberoamericana, CEACO in La Curtiduria, Oaxaca. She has collaborated with various publications at national and international level. As an artist, Villela has shown her work individually and collectively in Mexico and abroad. She is currently a member of the National System of Creators of FONCA.
Artist, manager and professor. He was a visual-arts student at UDLAP (Mexico), University of Leeds (United Kingdom) and the Pratt Institute (EEUU). He has taught art courses at ENPEG La Esmeralda, Centro Nacional de las Artes, Universidad Iberoamericana in Mexico City, and at Universidad de Guadalajara, among several other institutions. He has coordinated collective self-managed art projects such as “LAALvaca” in the city of Puebla, and “La galería de comercio” in Mexico City. As an artist he’s been distinguished by grants from the Fulbright and Jumex Foundations, and FONCA. He has shown his work at independent spaces, galleries and museums in various countries in Latin America and Europe. He has done more than twenty publications in Mexico and abroad that include interviews, reviews, essays and his own works. Currently, he is coordinator of the Visual Arts Degree curriculum at University of the Americas, Puebla.
Los Torreznos are Jaime Vallaure and Rafael Lamata, from Madrid, Spain. Their work is oriented towards expressive experimentation through gestures, language, and presence, using forms available to anyone, not only specialized performers. Their humorous content reflects the day-to-day flow of life, and is developed in various formats, both in live presentations (performance or action art) and multimedia (video and audio pieces). They also conduct workshops and lectures. The project Los Torreznos started to develop in 1999. Some instances of venues hosting their shows include: Festival Do Disturb, Palais de Tokyo, Paris, 2015; Festival Verbo, Galería Vermelho, Sao Paulo, 2014; Cuatrocientos setenta y tres millones trescientoscincuenta y tres mil ochocientos noventa segundos, CA2M, Madrid; International Performance Art Turbine, Giswill, Switzerland, 2013; Rencontre Internationale d'Art Performance, Quebec, 2012; Jerusalem Show, Ramala, Palestine, 2011; Cairo Mediterranean Literary Festival, El Cairo, 2010; Paradiso spezato, Venice 52th Bienniale, Spanish Pavillion, 2007.
Writer and publisher. One of her basic concerns has been exploring aesthetic and discursive strategies to confront contemporary capitalism processes and the attendant structures for cultural production. Her latest project, Writings for the Unemployed, deals with a critical view of new working conditions (and their implicit violence) from a voluntary unemployment experience. A blend of essay, personal log, chronicle, pamphlet, critical theory, manifesto, book and web-page, these counter-essays were published by the firm Surplus under a copyleft license to encourage reproduction and on-line free downloads which recuperate hyperlinks as well as other videographic and documentary materials accumulated during the research period. In 2005, along with a group of writers and artists, Abenshushan founded the cooperative Tumbona Ediciones, an independent publishing project devoted to the crossings between art, literature and politics.
She is manly interested in aesthetics and the arts from an epistemological standpoint. She obtained a certificate for Advanced Philosophy studies at Universidad Complutense de Madrid, as well as a Masters degree in Social Science at Universidad Autónoma de Ciudad Juárez. Her work deals mostly with curricular design and management in art education programs. She also has performed research into emerging artistic ecosystems, mainly referred to those socioeconomic dynamics which furthers their prosperity, and the role played by linkage within college-level educational projects in a professional context. Currently, she is a member of the Curatorial Board at Ciudad Juárez Museum (INBA), and heads the Art Department at Ciudad Juárez’s Universidad Autónoma, where she also coordinates the Bachelor Degree Program in Art Theory and Criticism.
He is a communications and culture analyst, with a BA in Communications Sciences and Techniques (UNIVA), a MA in Science and Culture Dissemination (ITESO), and an ongoing PhD in Culture Law (Madrid’s Carlos III). He is a legislative advisor in subjects relating to communications and culture, as well as a national instructor for the Secretary of Culture. He has authored various books, including Los Anteojos de Baskerville (publishing introversions around the McRules governing art and culture); La Reforma Cultural (pending matters related to the democratic transition and political change); and El patrimonio cultural en México (strategic resources for development).
He obtained his BA in political science at the Belgrano University in Argentina (2000), his MA in philosophy from State University of New York at Stony Brook, USA, 2004, a Magister degree in Science History (Universidad Nacional de Tres de Febrero, Argentina, 2005), and a PhD in Sociology at the University of Cambridge in the United Kingdom. Since 2009, he has been Associate Professor at Universidad de las Américas in the International Relations and Political Sciences Department (Puebla), and a member of Sistema Nacional de Investigadores (Level 1) since 2011. He was named Affiliate Research Fellow at Cambridge University in 2013, where he participated in the International Cooperation in the Social Sciences and Humanities project, which provides funding for the European Union 7th Marco Program. He has authored the following works: Material Hermeneutics in Political Science (Mellen Press, 2013), Centers and Peripheries in Knowledge Production (Routledge, 2014), and The Circulation of European Knowledge: Niklas Luhmann in the Hispanic Americas (Palgrave, 2014). His current areas of interest include the epistemological bases of public policies, socio-political studies in science and technology, scientific-technological policies in developing countries, higher education in Latin America, and the international circulation of ideas and knowledge.
She holds a Doctorate in Science and Humanities for interdisciplinary development. Her work is centered on research and activities in the fields of stage arts and cultural policies. She is professor and research fellow at Universidad Autónoma de la Ciudad de México (UACM). She has taken part in national and international discussion spaces. Currently, she coordinates UACM’s Observatorio de Políticas Culturales. She holds a FONCA grant under the Programa Fomento a Proyectos y Coinversiones Culturales (2016), and received funding from Programa de Apoyo a Programas de Desarrollo Académico de la Secretaría de Ciencia, Tecnología e Innovación at CDMX and UACM (2014).
He has held individual shows at the Havana Biennale, El Clauselito, La Periferia, Museo Carrillo Gil, Museo Experimental El Eco, Casa Luis Barragán, Galerie in Traklhaus Salzburg, Sala Germán Gedovius, Galería de Arte Mexicano, Galería OMR, Galería Arte Contemporáneo, Galería Juan Martin, Galería Manolo Rivero-FrontGround, and participated in numerous group shows at museums and private galleries, such as New York’s Metropolitan Museum, Salzburg’s Museum der Moderne Galerie in Traklhaus, and Mexico City’s Museo de Arte Moderno, Museo Carrillo Gil, Museo Diego Rivera, El Anahuacalli. He is a member of CONACULTA’s Sistema Nacional de Creadores. He received the Painting Award at the 3rd National Biennale held in Yucatan. He holds the Director position at Yucatán School of Visual Arts since 2011. His work is conserved in public collections at The Metropolitan Museum of New York; Land in Salzburg; IAGO in Oaxaca; SEDECULTA Yucatán; MUAC, Museo de Arte Moderno, Colección Fundación Televisa, El Colegio Nacional, Academia Mexicana de Medicina, and Museo Nacional de la Estampa in Mexico City. His research work is directed at problems relating to painting, and art teaching.
Independent scholar and art critic based in Mexico City. Since 1998 she has published in a diversity of cultural magazines and journals (El País, Letras libres, La Tempestad, Otra Parte, among others). She has also written for numerous publications such as Drawing: The Bottom Line (S.M.A.K, 2015); Damián Ortega: Casino (Mousse Publishing, 2015); Contemporary Art Mexico (TransGlobe Publishing, 2014); En esto ver aquello (Museo del Palacio de Bellas Artes, 2014); Gabriel Orozco: Natural Motion (Moderna Museet, 2013); Patricia Dauder: The Second Image (Serralves Foundation, 2013); Archivo J. R. Plaza (JRP/Ringier, 2012); Panorama: una revisión del acervo fotográfico del MAM (Museo de Arte Moderno, 2012); Pulsión y método (Turner, 2011); Les enfants terribles (Fundación Jumex, 2010); José Clemente Orozco a contraluz (Instituto Cultural Cabañas, 2010); La revolución de la mirada (Museo Nacional de Arte, 2008). She currently prepares the edition of her book Un paseo por el arte moderno (Turner).