Esta es una versión editada del ensayo de Ortiz Campo. para leer la version completa oprima aqui to read the english version II. Toda escritura sobre arte tiene que luchar con el vacío de la distancia. De las distancias, para ser más preciso: la distancia que separa la obra del texto; al artista que del que…
This is an edited version of the Ortiz Campo essay. To read the complete version click here to read the spanish version II. Writing about art is a struggle with the void of distance. Of distances, to be precise: the distance between the work and the text; the distance between the artist and the writer (a critic,…
Lecture presented on 16 Apr 2010 in collaboration with The University of Glasgow and the Association of Art Historians as part of the 36th Association of Art Historians Society Conference || Jan Verwoert is a writer, critic and curator who is based in Berlin. 1. Conceptuality versus medium specificity What continues to give an edge…
“Mi lengua, la única que me escucho hablar y me las arreglo para hablar, es la lengua del otro”. -Jacques Derridá ¿Cómo hablar sobre la ciudad? ¿Cómo establecer un diálogo en torno a la memoria? ¿Cómo preguntar lo que significa si estamos inmersos en ella? ¿Cómo se representa la historia? ¿Cómo hablar sobre el pasado?…
Tino Sehgal. “Kiss” (performance) Guggenheim Museum 2010 In 1998, Paul Schimmel organized what is now considered to be one of the definitive exhibitions on performance art. Out of Actions: Between Performance and the Object was the first major museum survey of performance art, covering practices in the US, Europe and Japan, and opening up the door for…
“Contemp(t)orary”* es un juego de palabras intraducible entre comptemt (desdén, desprecio) y contemporary (contemporáneo)”. Contemp(t)orary: Eleven Theses 1. It would appear that the notion of “the contemporary” is irredeemably vain and empty; in fact, we would not be entirely mistaken in suspecting “contemporary art” to be a concept that became central to art as a…
Arte y Pensamiento Contemporáneo 