[-empyre-] an 'ethico-aesthetic paradigm' - in France and Argentina

[brian whitener]

i would frame the discussion about going outside in
these terms, to broaden them. to go outside, carefully, all boundaries.
becuase "declasificar" is a 70s strategy, to me. 


But they are also maps
that can help us to situate ourselves in this hyper-fragmented
landscape, to identify a point of departure and a link where the
production of knowledge and subjectivity converge in the construction
of the common, shaking the real.


Pero también mapas que nos ayuden a situarnos en ese paisaje
hipersegmentado, a definir un punto de partida y de decantación,
un lugar donde producción de conocimiento y producción
de  subjetividad converjan en la construcción de lo común,
sacudiendo lo real.

Common notions, part 1: workers-inquiry, co-research, consciousness-raising
            Marta Malo de Molina




> Date: Tue, 13 May 2008 16:55:39 -0700
> From: archivocaminante at yahoo.com.ar
> Subject: Re: [-empyre-] an 'ethico-aesthetic paradigm' - in France and	Argentina
> To: brian.holmes at wanadoo.fr; empyre at gamera.cofa.unsw.edu.au; empyre at lists.cofa.unsw.edu.au
> CC: 
> 
> Dear Timothy,
> 
> when I read your mail
> I think that is really not a big contradiction
> between your words and Brian ones.
> 
> Is very difficult to do the kind of art work that you
> put as examples without destroying bounderies of class or comfort.
> 
> I like very much your idea of reflective critical thinking as activism.
> Is true, if we don't do this, we are in danger.
> 
> In Argentina is very difficult to make real the articulation between artits and teory. Our education system is poor on this, we need more!
> Also, the conservative mentality of our middle / high classes is pathetic.
> They don't expect an artist with a reflective critical practice.
> 
> in the 90, the hegemonical practice don't talk about context or history.
> The human righst fight (asking for memory, justice) was an important space for reflective critical practice, but all the artists that we were there,
> needs more.
> 
> On this sense, the international dialogue that began in 2001, when many activists / militant artists came to our country, have manyyyyyyyy
> valious for us. Expanded space! Expanded time!
> we need to protect this space.
> 
> all the best for all.
> eduardo
> 
> 
> 
> Eduardo Molinari / Archivo Caminante
> Aramburu 880, Dto.1 (1640) Martínez
> Provincia de Buenos Aires – Argentina
> 0541 1 47 98 48 35
> 
> 
> --- El lun 12-may-08, Timothy Murray <tcm1 at cornell.edu> escribió:
> 
> > De: Timothy Murray <tcm1 at cornell.edu>
> > Asunto: Re: [-empyre-] an 'ethico-aesthetic paradigm' - in France and  Argentina
> > Para: brian.holmes at wanadoo.fr, "soft_skinned_space" <empyre at gamera.cofa.unsw.edu.au>
> > Fecha: lunes, 12 de mayo de 2008, 10:32 pm
> > >Brian,
> > 
> > I'm concerned that it's a little presumptuous to
> > assume that activist 
> > artists were not also activating politically in the
> > nineties and well 
> > before, whether in demonstrations, alternative political 
> > organizations, or even in mainstream organizations such as 
> > universities and political parties  (I suppose what you
> > call middle 
> > class organizations) whether against racially organized
> > political 
> > systems, for feminism, for AIDS activism, against
> > globalism, against 
> > international human trade, against war, for the
> > environment, etc.
> > 
> > Of course activism might involve some risk of getting
> > arrested or 
> > being beaten by the police.  But many of us who have spent
> > years of 
> > our lives  being beaten by and threatened on and off the
> > streets  by 
> > the police also might have come to understand the value of
> > additional 
> > reflective critical practice (in contrast to simple
> > reactive 
> > action--which is certainly necessary and justified on
> > occasion) which 
> > also can entail not only the traversing of class and
> > comfort 
> > boundaries but also engagement in activities of critical
> > spatial 
> > practice and conceptual activism whose aim might be to
> > question the 
> > very notions of the comfortable "middle class"
> > that underlie your 
> > assumptions.
> > 
> > Without wishing to distract us from the addditional issues
> > posed by 
> > this week's -empyre- guests, I wish to caution against
> > the 
> > assumptions of your premises that this is an all or nothing
> > equation 
> > and to counter your suggestion that activist artists of the
> > nineties 
> > somehow failed to be politically active while also being
> > critically 
> > reflective.  The reason that I questioned the avant-gardist
> > logic of 
> > your proposition was because of my concern that it carried
> > with it an 
> > implied assumption that we can progress only  by looking
> > forward to 
> > "real conflict" rather than backward to
> > artististic circles for whom 
> > politics was retrograde.    Is it a coincidence that Steve
> > Kurtz of 
> > Critical Art Ensemble (active since the mid-nineties) has
> > faced up to 
> > 5 years in prison for his critical art practice that
> > clearly rubbed 
> > American Homeland Security forces the wrong way?  Or what
> > about the 
> > artistic activism in the early nineties of Teiji Furuhashi
> > of Dumb 
> > Type who died of AIDS before being able to perform his
> > response to 
> > the AIDS pandemic in the performance, "S/N,"
> > which his troupe took to 
> > Brazil?  Dumb Type understood itself to engage in political
> > activism 
> > by extending  its audiences "to an ever wide range of
> > people, to 
> > connect theater and festival staff, AIDS-concerned groups,
> > and 
> > gay/lesbian communities."  Or what about the recent
> > bravery of the 
> > performance artist Pippa Bacca who was raped and murdered
> > while 
> > rather quietly hitchhiking  to Israel with the "Brides
> > on Tour" 
> > project in an appeal for peace?
> > 
> > Although the streets of France might have been quieter in
> > the 
> > nineties than they were in the sixties or more recently,I
> > suspect 
> > that you'll agree that similar commitments to sexual
> > and political 
> > activism were indeed important to the critical community of
> > artists 
> > and theoreticians.  I simply don't want us to lose
> > sight of this 
> > history nor to downplay the radical significance and
> > critical lessons 
> > of so many of these earlier interventions for the sake of
> > delivering 
> > deserved credit to current activist projects.  Call it the
> > academic 
> > in me!
> > 
> > All my best,
> > 
> > Tim
> > 
> > 
> > -- 
> > _______________________________________________
> > empyre forum
> > empyre at lists.cofa.unsw.edu.au
> > http://www.subtle.net/empyre
> 
> 
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