Voces Cubanas: blogueiros cubanos unidos

A Cuba Libre do século XXI começa aqui:

VOCES CUBANAS es un espacio abierto a todos los cubanos residentes en la isla que quieran tener un blog en internet. Este sitio no recibe ningún tipo de financiamiento ni pertenece ni está relacionado con ninguna organización política, fraternidad, religión, firma comercial o tendencia.

Cada bloger será responsable de lo que se coloque en su bitácora, así como de los enlaces que determine. Sólo se rechazarán aquellas propuestas con un contenido evidentemente pornográfico, racista o que exhorte a la violencia.

La presencia de un blog en la plataforma Voces Cubanas, no excluye a su autor de tenerlo colocado en otros sitio.

http://vocescubanas.com/

DIAGNÓSTICO DAS ARTES VISUAIS

excerto do:

COLEGIADO SETORIAL DE ARTES VISUAIS

– DOCUMENTO 01/2008 –

I. DIAGNÓSTICO DAS ARTES VISUAIS

As Artes Plásticas – como foram, até há pouco tempo, conhecidas – ganharam nova dimensão, passaram a ser chamadas como Artes Visuais abrangendo todas as formas de expressão artística que, tendo como centro a visualidade, geram – por quaisquer instrumentos e ou técnicas – imagens, objetos e ações (concretas ou virtuais) – e ampliam seu universo para a percepção sensorial. Visto sob esta ótica as Artes Visuais estão presentes em todas as dimensões de nossa existência: nos objetos que nos circundam, nas paredes, nas ruas, praças e espaços arquitetônicos.

Ela estabelece permanentemente a conexão entre nós e o meio urbano, político e social. Não é mais apenas um objeto palpável, absoluto. Envolve um universo ilimitado incluindo desde a pintura de uma tela até o eletrodoméstico e as relações estéticas subjetivas.

A definição sobre os campos das artes visuais tem sido matéria de reflexão e debates sofisticados devido à sua amplitude e à agregação de questões filosóficas. É necessário antes de qualquer diagnóstico, redefinir as Artes Visuais como um território que incorpora hoje diversas áreas de expressão, além das Artes Plásticas, consideradas linguagens tradicionais, como: pintura, escultura, desenho, gravura, objeto. Temos a chamada Arte Contemporânea que faz uso de diversas linguagens abarcando campos tão diversificados pelos seus usos e por funcionamentos próprios, e que, em geral, se relacionam com pesquisas científicas e técnicas, e/ou investigações sócio-culturais e de práticas que produzem objetos, ações, propostas e reflexões, e que, assim, delimitam o campo das artes visuais, a saber:

Atividade Artística Visual no Campo Simbólico: Práticas estéticas que vão desde as atividades em suportes tradicionais até as atividades que visam linguagens e experimentos materiais, corporais, espaciais e ou virtuais; pesquisas de suportes e tecnologias:
Desenho, colagem, gravura, pintura, escultura, cerâmica, objeto, assemblage, fotografia, vídeo-arte, body-arte, performance, instalação, instauração, happening, intervenção urbana, arte e tecnologia (1), eco-arte, arte ambiental, land-art, grafitti, artes interativas, inter-territorialidade entre outros campos das e do saber.

Atividade Artística Visual Economicamente Orientada: Agenciamentos estéticos mistos que se inscrevem em atividades industriais ou comerciais, com meios específicos de circulação que apresentam intersecções ocasionais com o campo simbólico:
Design gráfico, design de produtos, design de moda, web design, design de interiores, arquitetura, decoração, urbanismo, fotografia, quadrinhos, artesanato, cenografia, humor gráfico, ilustração, light design, paisagismo, tapeçaria, tecelagem, animação.

Atividades discursivas no campo das artes visuais: Práticas de re-simbolização da atividade estética no registro de linguagens escritas e outras articulações, visando à atualização de significados. Significados esses que são propostos por obras, objetos e ações artísticas na perspectiva do pensamento e da reflexão (história da arte, crítica de arte, antropologia e psicologia da arte, teorias da arte, curadoria, ensaios).

Observações:

(1) Arte-Tecnologia é um termo genérico usado para descrever a arte relacionada com tecnologias surgidas a partir da segunda metade do século XX. Exemplos que podemos citar: arte em rede, arte robótica, arte com videogames/game art, hipermídia, net art, arte telemática, comunidades virtuais e ativismo artístico, ambientes imersivos, ambientes interativos, projetos de realidade aumentada e congênere, nano arte, arte computacional, bio-arte, arte transgênica, vida artificial, visualização de efeitos físico-químicos, arte digital, web-arte, arte wireless, arte cibernética, etc.

O conceito de Arte Cibernética é significativamente mais restrito, pois exige a interação constante entre o observador e a obra – e/ou entre os subsistemas da obra – num processo de causalidade circular que pode acarretar mudança de objetivos tanto para o espectador como para a obra. Obras que contemplem a interação contínua, cibernética, entre o observador e a obra – e/ou entre os subsistemas da obra –, bem como projetos de pesquisa que discorram sobre ou desenvolvam conceitos relacionados.

(2) Inter-territorialidade – inter-relação das artes com outros territórios do conhecimento humano.

convocatoria ARTE E INVESTIGACIÓN

CENTRO CULTURAL MONTEHERMOSO KULTURUNEA
Fray Zacarías Martínez, 2. 01001 Vitoria-Gasteiz. ARABA
www.montehermoso.net
[email protected]

Montehermoso publica las bases de la convocatoria ARTE E INVESTIGACIÓN, destinada a la producción, exhibición y difusión del arte y el pensamiento contemporáneo. El objetivo de esta iniciativa, promovida por el Ayuntamiento de Vitoria-Gasteiz, es facilitar la producción de trece proyectos (entre las categorías de producción de proyectos, comisariado, investigación y guión cinematográfico), seleccionados por un jurado experto entre todos los trabajos recibidos.

El plazo de recogida de proyectos permanecerá abierto hasta el 31 de marzo.

Ténot Fondation Bursary for artists

Camac Centre d’art marnay art centre
Ténot Fondation Bursary for artists: Call for application
Application deadline: March 15st, 2010

Camac
1 grande rue
10400 marnay sur seine
France
http://www.camac.org
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Since 1999, camac art centre with Fondation Ténot aims to promote creativity and international exchange in the artist community.

Camac and Fondation Ténot offer each year a residency bursary to one visual artist, one writer and one musician or composer in order to create new career prospects for artists.

Camac is located 60min away from Paris in the village of Marnay sur Seine within the scenic Region of Champagne-Ardenne. This multi-disciplinary creative centre offers a unique environment for visual artist, writers or musicians. Camac aims at fostering communication and creativity among individuals and groups working on the evolution of ideas or realization of works.

Nature of the bursary :
2 month residency (dates to be arranged by mutual agreement between the
artist and the institution)
Return ticket, board and lodging
Private bedroom with bathroom, individual studio.
The laureate must provide his/her own visas and health insurance .

Visual arts :
Eligibility :
Professional artists of established ability. The candidate must be motivated
and open to discussion on contemporary art practice and the challenge of
visual arts. He/she will be willing to conduct workshops or make a
presentation of his/her work to the public. Working knowledge of French,
English or Spanish required.
The selection of applicants will be based on project proposals.
The recipient will be requested to contribute one of his works to camac’s
permanent collection.

How to apply :
Send a filled-out application form to be found on camac’s website with the
mention “Fondation Ténot Bursary” directly to camac together with the
following documents :
– a curriculum vitae
– a recent photograph
– a project proposal for the residency period (3 – 5 pages + visuals)
– two testimonials
10 images of recent work, materials such as press articles, catalogues, etc.

Creative writing :

Eligibility :
Established poets, novel writers and playwrights with demonstrated ability in French, English or Spanish. The laureate will be requested to contribute published texts to the camac library.

How to apply :
Send the application form from camac website with the mention “Fondation Ténot Bursary” directly to camac together with the following documents :
– a curriculum vitae
– a recent photograph
– a project proposal for the residency period (3 -10 pages)
– two testimonials
– Press Clippings
– clear good quality copies of published work or magazine publications.

Music :
Professional musician of established ability.
He/she will be willing to make a presentation of his/her work to the public. Working knowledge of French, English or Spanish required.
The selection of applicants will be based on project proposals.
Send a filled-out application form to be found on camac’s website with the
mention “Fondation Ténot Bursary” directly to camac together with the
following documents :
– a curriculum vitae
– a recent photograph
– a project proposal for the residency period (3 – 5 pages + visuals)
– two testimonials

————
Please note that applications and accompanying material will not be returned unless a self addressed envelope with sufficient postage is included in your initial application package.

Closing dates for applications : March 15st, 2010
For more information and to apply:
Camac
Jean-Yves Coffre
[email protected]
Camac
1 grande rue
10400 marnay sur seine
France

LÚMEN_EX 2010 << Premios de Arte Digital

JURADO LÚMEN_EX 2010

<< Premios de Arte Digital/ Digital Art Awards – Universidad de Extremadura

10.000 € en premios, repartidos en dos categorías:

> GRÁFICA DIGITAL en soporte físico -incluido fotografía digital-.
> ANIMACIONES DIGITALES (interactivas o no) de corta duración.
Participantes: podrán presentarse de forma individual o colectiva, sin límites de edad o nacionalidad.
> PLAZO DE ENTREGA hasta el 12 de FEBRERO de 2010 <

Inscripción y bases: www.unex.es/premiosartedigital

+Información: [email protected]
Organiza: Vicerrectorado de Extensión Universitaria de la UEx.

5º Edital do Programa de Especialização em Patrimônio

O Instituto do Patrimônio Histórico e Artístico Nacional está lançando o , para selecionar candidatos à turma 2010. Este Programa de bolsas destina-se aos profissionais recém-graduados em diversas áreas do conhecimento, para sua especialização no campo da preservação do patrimônio cultural durante um ano, renovável por igual período.

Os candidatos selecionados serão especializados por meio de sua integração nas unidades do Iphan, distribuídos conforme tabela do 5º Edital do PEP, disponível no Portal do Iphan: www.iphan.gov.br.

As inscrições estão abertas até o dia 4 de março de 2010 e as atividades do Programa terão início em 2 de agosto de 2010.

What is contemporary art?

What is contemporary art?

First, and most obviously: why is this question not asked? That is to say, why do we simply leave it to hover in the shadow of attempts at critical summation in the grand tradition of twentieth-century artistic movements? The contemporary delineates its border invisibly: no one is proud to be “contemporary,” and no one is ashamed. Indeed, the question of where artistic movements have gone seems embedded in this question, if only because “the contemporary” has become a single hegemonic “ism” that absorbs all proposals for others. When there are no longer any artistic movements, it seems that we are all working under the auspices of this singular ism that is deliberately (and literally) not one at all . . .

Widespread usage of the term “contemporary” seems so self-evident that to further demand a definition of “contemporary art” may be taken as an anachronistic exercise in cataloguing or self-definition. At the same time, it is no coincidence that this is usually the tenor of such large, elusive questions: it is precisely through their apparent self-evidence that they cease to be problematic and begin to exert their influence in hidden ways; and their paradox, their unanswerability begins to constitute a condition of its own, a place where people work.

So it is with the contemporary: a term we know well enough through its use as a de facto standard by museums, which denote their currency through an apparently modest temporal signifier: to be contemporary is to be savvy, reactive, dynamic, aware, timely, in constant motion, aware of fashion. The term has clearly replaced the use of “modern” to describe the art of the day. With this shift, out go the grand narratives and ideals of modernism, replaced by a default, soft consensus on the immanence of the present, the empiricism of now, of what we have directly in front of us, and what they have in front of them over there. But in its application as a de facto standard this watery signifier has through accumulation nevertheless assumed such a scale that it certainly must mean something.

If we pursue it further, however, and try to pin it down, it repeatedly escapes our grasp through a set of evasive maneuvers. And perhaps we can say that the ism that is simultaneously not is its evasive maneuver number one: the summation that does not admit to being critical or projective (in the grand tradition of modernist ideological voices), to denoting an inside and an outside, a potential project, but that is simultaneously there, saying nothing. So why the extra qualifier? Why insert an extra word into “museum of art”? Like any evasive maneuver, this one works by producing a split: between the term’s de facto usage, which momentarily holds your attention by suggesting the obvious parallel with the “current,” with its promise of flexibility and dynamism, while simultaneously building a museum collection along very specific parameters—masking ideology. To follow the self-evidence of the question at hand, we could note the morphological Frank Gehry walls of a spectacular contemporary museum to be in fact made of concrete and steel—their suggestion of formless flexibility, their celebration of the informal, is frozen in some of the heaviest, most expensive, and burdensome institutional public sculpture around. The contemporary suggests movement, yet it does not itself budge.

This contemporary museum is acutely aware of other contemporary museums in other places. It is a node in a network of similar structures, and there is a huge amount of movement between them. Evasive maneuver number two could be the one that shifts your focus to a presumably de-centered field of work: a field of contemporary art that stretches across boundaries, a multi-local field drawing from local practices and embedded local knowledge, the vitality and immanence of many histories in constant simultaneous translation. This is perhaps the contemporary’s most redeeming trait, and we certainly do not miss the old power centers and master narratives.

In many ways, this is an evasive maneuver worth making. And we can even avoid the conservative critique that this horizontal movement cheapens what it encounters, reducing it to spectacle. Certainly the quantity of work placed on display can become an issue, but networks now spread much wider than ever before—much has been made available, and it is up to you to sort through it. The contemporary as a cacophonic mess gives us enormous hope.

But let’s not underestimate how the contemporary art system can atomize with some degree of cohesiveness. True, many peripheries have been mobilized not as peripheries, but as centers in their own right. But, seen from the so-called peripheries and centers alike, does this system really learn, or does it merely engage with its many territories by installing the monolithic prospect of hyperspectacle? If we are indeed aware that something is lost and something is gained in any process of translation, are we as certain that the regime of visibility installed by contemporary art functions by placing various local vernaculars into contact with each other on their own terms (as it promises to do), or is it something like the international biennial circuit, asserting its own language distinct from center and periphery alike?

In this way, the contemporary starts to reveal itself to be something like a glass ceiling, an invisible barrier that seals us together precisely by its very invisibility. We acknowledge one another, individual artists, certain cities, social scenes, a few collective tendencies that seem to arrive more as common interests than social projections, but nothing attains critical mass under any umbrella beyond “the contemporary.” It’s not so different from how we understand capitalism to work, through one-to-one relationships that are seemingly too small-scale to be complicit with anything, masking the hidden ultimatum of an innocuous protocol—if we begin to discern its shape, either it shifts, or we become obsolete: uncontemporary. But then perhaps that would not be such a bad thing . . .

—Julieta Aranda, Brian Kuan Wood, Anton Vidokle

e-flux journal – issue #12
“What is Contemporary Art?” Issue Two
January 2010

Available online:
http://e-flux.com/journal