Collective Situations

9780822369264: Hardback
Release Date: 3rd November 2017

9780822369417: Paperback
Release Date: 3rd November 2017

49 illustrations

Dimensions: 152 x 229

Number of Pages: 448

Duke University Press Books

Collective Situations

Readings in Contemporary Latin American Art, 1995–2010

This volume's essays, interviews, and artist statements—many of which are appearing in English for the first time—present a range of socially engaged art practices in Latin America between 1995 and 2010 that rethink the boundaries between art and activism.
Hardback / £101.00
Paperback / £26.99

In Collective Situations scholars, artists, and art collectives present a range of socially engaged art practices that emerged in Latin America during the Pink Tide period, between 1995 and 2010. This volume's essays, interviews, and artist's statements—many of which are appearing in English for the first time—demonstrate the complex relationship between moments of political transformation and artistic production. Whether addressing human rights in Colombia, the politics of urban spaces in Brazil, the violent legacy of military dictatorships in the region, or art’s intersection with public policy, health, and the environment, the contributors outline the region’s long-standing tradition of challenging ideas about art and the social sphere through experimentation. Introducing English-language readers to some of the most dynamic and innovative contemporary art in Latin America, Collective Situations documents new possibilities for artistic practice, collaboration, and creativity in ways that have the capacity to foster vibrant forms of democratic citizenship.

Contributors
Gavin Adams, Mariola V. Alvarez, Gustavo Buntinx, María Fernanda Cartagena, David Gutiérrez Castañeda, Fabian Cereijido, Paloma Checa-Gismero, Kency Cornejo, Raquel de Anda, Bill Kelley Jr., Grant H. Kester, Suzanne Lacy, Ana Longoni, Rodrigo Martí, Elize Mazadiego, Annie Mendoza, Alberto Muenala, Prerana Reddy, Maria Reyes Franco, Pilar Riaño-Alcalá, Juan Carlos Rodríguez

Introduction / Grant Kester and Bill Kelley Jr.  1
Part I. (Un)Civil Disobedience  19
1. Lava la bandera: The Colectivo Sociedad Civil and the Cultural Overthrow of the Fujimori-Montesinos Dictatorship / Gustavo Buntinx  21
2. Interview with Caleb Duarte of EDELO Residencia / Raquel de Anda  43
3. Grupo Etcétera: Project Description / Rodrigo Martí  58
An Interview with Etcétera / Etcétera  62
4. Artistas en Resistencia: Project Description / Kency Cornejo  79
An Interview with Artistas en Resistencia / Kency Cornejo  83
5. A Long Way: Argentine Artistic Activism of the Last Decades / Ana Longoni  98
Part II. Urbanism  113
6. Galatea/bulbo Collective: Project Description / Mariola V. Alvarez  117
"Participación" (2008) and Tijueneados Anóminos (2008-2009) / Bulbo  120
7. Interview with Tranvía Cero / María Fernanda Cartagena  130
8. Art Collectives and the Prestes Maia Occupation in São Paulo / Gavin Adams  149
9. Frente 3 de Fevereiro
Project Description / Rodrigo Martí  165
The Becoming World of Brazil / Fremte 3 de Fevereiro  169
10. Interview with Mauricio Brandão of BijaRi, October 9, 2011 / Mariola V. Alvarez  186
Part III. Memory  199
11. Skins of Memory: Art, Civic Pedagogy, and Social Reconstruction / Pilar Riaño Alcalá and Suzanne Lacy  203
12. Some Frameworking Concepts for Art and Social Practices in Colombia / David Gutiérrez Castañeda  220
13. Chemi Rosado-Seijo: Project Description / Marina Reyes Franco  241
An Interview with Chemi Rosado-Seijo / Sofía Gallisá Muriente, Marina Reyes Franco, and Beatriz Santiago Muñoz  245
Part IV. Indigeneity  255
14. Ala Plastica: Project Description / Fabian Cerejido  259
Otros-Nosotros: An Interview with Ala Plastica / Grant Kester  261
15. Interviwe with Pablo Sanaguano / Maria Fernanda Cartagena  279
16. The Empowerment Process of Community Communication in Ecuador / Alberto Muenala  297
Part V. Migrations  305
17. Of Co-Investigations and Aesthetic Sustenance: A Conversation / Colectivo Situaciones and Electronic Disturbance Theater / B.A.N.G. Lab  309
18. How Three Artists Led the Queens Museum into Corona and Beyond / Prerana Reddy  321
Part VI. Institutional Critique  339
19. Lurawi, Doing: An Anarchist Experience—Ch'ixi / LXS Colectiverxs  343
20. Con la Salud si se Juega: Project Description / Fabian Cerejido  367
The Tournament: Nodes of a Network Made of Undisciplined Knowledge / Juan Carlos Rodríguez  369
21. La Lleca Colectiva: Project Description / Elize Mazadiego  388
Exodus to La Lleca: Exiting from "Art" and "Politics" in Mexico / La Lleca  391
22. La Línea: Project Description / Elize Mazadiego  403
The Morras Project / Interdisciplinario la Línea/La Línea Interdisciplinary Group: Abril Castro, Esmeralda Ceballos, Kara Lynch, Lorena Mancilla, and Sayak Valencia-Miriam García   406
Contributors  413
Index  423
 

Bill Kelley Jr. is Assistant Professor of Latin American and Latino Art History at California State University, Bakersfield. 

Grant H. Kester is Professor of Art History at the University of California, San Diego; author of The One and the Many: Contemporary Collaborative Art in a Global Context and editor of Art, Activism, and Oppositionality: Essays from Afterimage, both also published by Duke University Press; and author of Conversation Pieces: Community and Communication in Modern Art.

"Collective Situations offers an impressive survey of the artistic, activist, and collective work being done today in Latin America, making it an invaluable contribution to the intersections between Latin American studies, visual arts, performance studies, and indigenous studies. Readers will learn an enormous amount from its capacious scope."

Diana Taylor, author of
Performance

“Enormously compelling and useful. Collective Situations reveals the inadequacy of art criticism and art history as they are now conceived and will compel us to ask what role writers and scholars can play in assuring that fleeting images, oral accounts, and ephemeral acts be written into history.”

Harper Montgomery
CAA Reviews

"Each section is laden with artists, activists, and collectives that cannot live—or live well—in the constraints not only of settler colonial continuity, but also of Western art history. Instead, they catalyze, experiment, and pre-figure collectivity in the interstices of the situated—as a mode of critique and aesthetic method—to create lives worth sharing."

Sarah Richter
The Drama Review