Call Fictions
2011 Photography Biennial Meeting
NEW / PUBLIC
In our previous edition embarking on a path from the fiction: different positions from the increasingly ubiquitous photography and new practices. It is conceivable that these new practices configured platforms that house, among others, to new audiences and to ruin the visual arts can not be indifferent to them.
is true that the word is new about a known problem for modern art. Is no stranger to avant-garde art or its universal proposition. We can understand the systematic breakdown of the artistic movements of the twentieth century, as a break with precedent, with the immediate past and the past that part, contained in the idea of \u200b\u200bprogress, art history. This myth needs to categorize the artistic practices is the same that produces the need for immediate rupture with the past. Is one that modern art was the ability to incorporate practices from otherness to a more permissive political reconfiguration.
From another place, problematize the development has been an axis of tension in the world art in the last 50 years. Appropriationists practice, simulation, hyper, have served to demonstrate the hegemony of historicism in the visual arts, becoming a necessary holding his own artistic practice. These strategies of representation in the first place, confronted the idea of \u200b\u200bmimesis, plagiarism and intellectual property, emerged from an explicit renunciation of the original novedoso.1 even including those that have been proposed to art as a tautological process and its practices as a desestetizador pamphlet. Explicitly, by omission or voltage references of the past have been necessary as a myth founding.
Without doubt, our relationship with the images has changed since the invention of photography in this part and the legitimacy and the effective use of photography within the visual arts has been a minority in this universe. Ie the medium of photography not only transcend our references, but have also taken place in various constructions of identity.
Moreover, we think the second part of this freedom, the public. Beyond subcategorizarlo2, think the public is thinking about access in interpretive possibilities, the receptor as a project in itself. say new public art institutions circuit is that children and adolescents, students, guided tours. In short, a group viewed as lacking in speech, historical references, trial.
happens not as massive or cinema advertising, where Superman comes back every five years if the first vez3, and aesthetic pose shown are reinstated and a new target suitable for consumption. Somehow, this does not happen in the visual arts explicitly reaffirms its territory. However, from this instance we can think of this new configuration Photo increased media as a chance to think of others not so far made public. Here are relational practices, new media, interdisciplinary, and contemporary practices presented in various formats. Not explore this raised the waiver of the myths of art but to the possibility of producing from its invisible elements.
present publications, including curatorial proposal for this biennial event which opens the spectrum for papers, productions, artistic and educational practices. Open this call to make visible the possibility of integrating practices from the means of photography, to celebrate both the opportunity for the meeting.
1 Example of this are jobs such as Sherry Levine, Richard Prince and Chuck Close.
2 It is ridiculous to speak of a public educated and uneducated own system of nineteenth century art, not only because it seems more accurate to do it from a configuration of art contained in the notion of country or network such as Bourdieu, Cauqueline or Mouline but because this idea is presented to the public as an observer, as the receiver inactive. We prefer to think of the receiving agent as an active participant in shaping the practice of art.
3 Although the remake idea is not alien to the visual arts, the difference between film and television is Some of these do not produce tension with its historical reference. By contrast the presence of its referent appears in many cases the underlying and not participate as a key part of the new production. In this case, producers will focus on new target groups, better public still lacking critical attitude, unable to compare any of the wolfman who have appeared on screen since 1941.
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