.
Literature and Entertainment
Roundtable.
Participants: Marianne Ponsford and William Ospina
Moderator: José Zuleta
September 20, 2009. Domingo. 5:30 PM. Departmental Library
- 
"Statuette of the Festival logo.
inverted colors. EVENT
Marianne Ponsford, William Ospina and José Zuleta (Chair)
+ + + +
EVENT PHOTO ALBUM:
Liiteratura or Entertainment. Round room. XIV Festival Internacional de Arte de Cali. (<-Click) http://picasaweb.google.com/ntcgra/LiiteraturaOEntretenimientoSalaRedondaXIVFestivalInternacionalDeArteDeCali #
There you can see one by one or in slideshow.
Photography and recordings: María Isabel Homes NTC ...
+ + + +
Video and Audio: Audio
: Literature and Entertainment. Roundtable. Marianne Ponsford and William Ospina. 1hr +20 min. Sept. 20, 2009.
http://www.ziddu.com/download/6656490/001_A_001_micro.mp3.html
Videos:
William Ospina Marianne Ponsford and start the table
http://www. youtube.com / watch? v = GApTVRDzELw
William Ospina involved I
http://www.youtube.com/watch?v=Lq9-L7epbMo
....
+ + + +
POINTS AND RELATED MATTERS REFERRED or:
*** Ponsford journalist, director of ARCADIA, discussed, among many other approaches to the following texts and documents:
1 .- vs spectacular scandals. true art , http://www.revistaarcadia.com/ediciones/48/arte.html . A text of his published in the Journal Arcadia No. 48 of September, 2009. We reproduce below full because we believe it contains many of the ideas and points discussed in their interventions. Featuring:
"... Without such personal grandstanding, embodied, the media can not live. And apparently, the artist either. And all these, where is the art? Here at least it is not. In the world of art, metaphor, allegory, subtlety, emotion and depth conceptual remain critical. are its pillars. (Just think of the deep and silent pain radiating chairs spreading all over the walls Palace of Justice in the work of Doris Salcedo.) ... "-----
2 .-" In Praise of difficulty "of Estanislao Zuleta. Text recommended reading or re-read. (Full text at: In Praise of the difficulty
http://medicina.udea.edu.co/SYS/paginaweb/Documentos% 20001/Elogiodificultad.doc or http://www.elabedul.net/ Articles / el_elogio_de_la_dificultad.php
----- 3 .- The interview with the philosopher Carlos B. Gutiérrez in El Espectador, September 20, 2009. ( criticizes the thought of President Alvaro Uribe and the Colombian commonplace. "We must cultivate both dissent rather than consensus" . By: Miguel Silva / Special to The Spectator
http://www.elespectador.com/impreso/filosofia/articuloimpreso162278-debemos-cultivar-el-disenso-lugar-de-tanto-consenso ).
+ + + + Two events
vs spectacular scandals. true art
The performance of the Cuban Tania Bruguera, which distributed cocaine, received a disproportionate media attention. But is this art or folly? What is art today? It was enough to get away fifty yards from the place of performance and enter the museum of the same National University of Bogota to dazzling with the response.
Marianne Ponsford * Journalist
Bogotá. ARCADIA Magazine, No. 48, September 2009.
http://www.revistaarcadia.com/ediciones/48/arte.html (There videos)
The Hemispheric Institute of Performance and Politics is a consortium based in New York University . Its slogan reads: "Working at the intersection of academia, artistic practices and political life in the Americas." The institute is a kind of laboratory research on the performance practice of contemporary art called, which basically means an artistic creation in which the artist works with his own body. It has something to do with a play but it is not. His intention is to arouse public awareness about a particular topic. And this issue has been, for decades, political. Hence the name of the institute include the words "performance" and "political." Twenty universities across the continent are associated with this institute through its faculties of arts or humanities. Since 2000, this Institute conducted in association with some of these universities, a meeting which includes lectures and performances. The first was in Rio de Janeiro, and then came Monterrey, Lima, New York, Belo Horizonte and Buenos Aires. In 2009 was the turn of Bogotá. Your partner in Colombia's National University. The title of the meeting is long and tangled, as has been mentioned above: "Staging Citizenship: entry and exit of cultural rights." Performances called acts do not exist without the public. Unlike a work of art, a video or a book, your time is all real time, and even the artists themselves tend to record their performances for posterity, perhaps an uncomfortable contradiction in these cases, the work of art happens and is unrepeatable.
While not all performances are political reporting (they were not the most beautiful performances of the late artist Maria Teresa Hincapie), undoubtedly the best known performance artists are those who work politics. Mix protest scandal need, and can include damage to the public as a means for allegedly shaking consciences. Desperately needs media attention. Without the controversy generated by the headlines, these artists often feel that their work has not "worked." In the past, this could ever have any interest. But in today's societies, in which traditional media are steeped in the most serious crisis in its history, and also desperately need to sell themselves (in the media always talk about "selling security holders"), such political performance that just wants to shock, achieves nothing more than banal itself be used by the media that they believe they are using. Everything becomes a carousel of stupidity. The uproar over the scandal. The perfect headline: "Artist of the vagina is sewn," "man cuts a finger in public," "woman eats excrement." The assumption artist and the media each and are used on the same side of the coin. On the other hand, there is only emptiness. In the case of Tania Bruguera's performance as mentioned by the media (an alleged former paramilitary, a former guerrilla and a displaced talk as an assistant to the artist dealt cocaine) she wanted to give voice to the actors and victims of the conflict and put evidence that cocaine use is linked to the conflict. A very Uribe, of course, questioning the morality of consumption. What made Bruguera was a ceremony much about politics and nothing about art, served as a policy. He skipped the law, committed an abuse of power by providing cocaine from the legitimacy given his reputation as both the space and the work, which allegedly suspended reality, and to top it off, after the scandal, has won itself the position of "misunderstood victim" that supposedly belonged to at least some of the actors in the conflict.
Without such personal grandstanding, embodied, the media can not live. And apparently, the artist either. And all these, where is the art? Here at least is not. In the world of art, metaphor, allegory, subtlety, emotion and depth conceptual remain critical. Are its pillars. (Just think of the deep and silent pain radiating chairs that littered the walls of the Palace of Justice in the work of Doris Salcedo.) At the same University, a few meters of space that took out these vacuous performances, and disap-ceived for all media (except the brilliant article by journalist Dominique Rodriguez in the magazine Cambio and the unforgivable failure of a website supposedly devoted to the art world, Sphere public, which in turn has given itself a huge deployment to the debate on Bruguera), opened on Thursday September 10 exposure of the other memory. It is an extraordinary exhibition and difficult. Requires at least three hours by the viewer, and there is absolutely nothing there that deserves a headline attraction, because works of art gathered there are impossible to trivialize. The exhibition includes six artists, all Europeans. The Polish Krystof Wodiczko has six short videos of their work. Ie, has no work but the visual documents of six of them. And is not presented because Wodiczko does not work for museums or galleries. Their job is to show giant video images on the facades of public buildings with content-laden images that yes, truly symbolic and political. In one, the image disproportionately large hands gesturing to a woman who speaks (and whose face does not see) is projected onto the facade of peace monument in Hiroshima, right on the edge of the river water that flows through the city . Impossible to think of the book Hiroshima, by journalist John Hersey, that Gabriel García Márquez is the best book on journalism in the twentieth century.
.
In it, Hersey tells how the pump burned his body wandering shreds and thrown into the river thinking that this would ease the terrible burning of his wounds, but all he did was die faster due to contact of the meat open with water also loaded radioactivity. Wodiczko speakers images are beautiful and touching and deep, able to subvert the meaning of public spaces. And, most important, question our prejudices, our narrative of history, and the dehumanization of our time. Our increasingly dramatic ignorance of the other. Art you can not ask for more. Hannah Collins is British. The work exposed here is a 56-minute video, called Current History. In the room where the video is projected, have been a few puffs to view comfortably. Collins spent fourteen days of filming in the middle of cold winter in a remote village called Beshencevo, near the city Russian Novgorod, and both places are the main scenes of the video. This is perhaps the most beautiful work of the exhibition, and all students of photography and visual arts should see it. Of course, it is not a traditional narrative. It is neither a documentary or a movie. It is a work of art. One could almost believe that Collins first thing he did was to select a delicate palette of colors: white iridescent unrelenting winter, the strange metallic gray and dilapidated infrastructure mega Soviet production, and the dull brown of winter clothing and Drinking bare of trees. There is a light, sweet poetic melancholy in this testimony of obsolescence, abandonment, and survival of a community that has been suspended in a timeless time, neither Soviet nor global, not picturesque or modern. And through it all, the lives of those others who can not forget themselves. The Neapolitan artist Francesco Jodice is an architect. His work in the exhibition is called Secret Footprints, and is a reflection of how city dwellers interact with it in their daily lives. Jodice is a philosopher of urbanism. In this exceptional museum hall, nine huge screens, placed at an angle, so that none is directly opposite another, simultaneously passed in hundreds of photographs of going from one place to another, presumably from home to office- nine people in cities around the world: Kitakyushu, Tarragona, Bologna, Ostend, Perth, Naples, Buenos Aires, New York and Milan.
The camera follows each person from behind, as a diligent and professional spy (but this track has been previously agreed between the photographed subject and artist. The only thing the person does not know is when will the photos). The first thing that comes to mind are the words of Nobel Orham Pamuk: "The other is me." Displaying the cascade of images, one has to wonder anonymity that severe compared to other role inevitably Narcissus self. Or the reverse: how we are that anonymous person, that other invisible to those who look from behind our daily routine. Antoni Muntadas both English and Rogelio López Cuenca Ursula Biemann Swiss set their sights on the Arab world, from the door so annoying to Europe is Tangier, to the refugee camps of the Palestinians. The set in the aftermath of 11 September. Without doubt, the writing of the late Palestinian intellectual Edward Said Egypt is present here, and carried more loose ends. All the clichés that make up our collective imagination about the Middle East and the Arab world were drawn to the edge of caricature after September 11 by the administration Bush. Once exhausted the rhetoric of the war on drugs, war on terror was an effective replacement for stoking a fear that gives votes. Exactly as in Colombia, once exhausted the discourse on the FARC (eight years is tiring), we reconstruct the speech the same fear about Chavez's Venezuela. Build new enemies needed to promote dangerously populist idea of \u200b\u200bnation. * Because you tell me where is the idiot Tania Bruguera's performance against the real art. The memory of the other, which was curated by the very prestigious Anna Maria Guash Catalan theory, puts his finger in the wound of the problems of modernity, a modernity in which Colombia itself is inserted, but do not acknowledge those who advocate an isolationist and parochial view. These six artists are a clear example of an art that does know a politician in the era of globalization, and proposes to rescue the man, pick it symbolically. For us, we are also others, can have different readings, alternate, opposite the discourses of power. That look sober, compassionate and loving, full of beauty on the other, can become one of the fairest ways in the necessary path to reconciliation.
"The trickle continues ..." + + + +
updated: NTC ... / degrees. September 24, 2009, 9:18 a.m.
