LARMAGAZINE.016

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Snobbism. Communication in Arts No016 路 nov dec 2014

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In Memoriam Genoveva Utrera

Snobbism. Communication in Arts No016 · nov dec 2014

Ana Sofia Ayarzagoitia, Can You Hear the Horses, 2014

DIRECTOR / ADVERTISING Catalina Restrepo Leongómez catalina@lar-magazine.com EDITOR / TRANSLATOR Daniel Vega serapiu@hotmail.com ART DIRECTOR / DIGITAL PRODUCTION Judith Memun judith@lar-magazine.com EDITORIAL COORDINATOR Valeria Castro info@lar-magazine.com WRITER AT LARGE Emireth Herrera emi.heva@ gmail.com EDITORIAL ASSISTANT Daniela González dany.gova@gmail.com. Contributors Violeta Celis, Gonzalo Ortega, Octavio Avendaño Trujillo, Galamot Shaku, Daniel Vega, Homero V. Campos Reyna. Aknowledgments Gonzalo Ortega, Roberto Pulido, Moon Rider / Radio Efímera. Photography & Video Courtesy of the artists, Radio Efímera, 31st Bienal de São Paulo (Pedro Ivo Trasferetti, Leo Eloy), Museum für Kunst und Gewerbe Hamburg (MKG) (Michaela Hille), Diana Beltran, Residency Unlimited (RU).

FOUNDERS Catalina Restrepo Leongómez & Judith Memun.

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EDITORIAL

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Snobbism. Communication in Arts I think, without fear of being mistaken, that of all the subjects we have chosen for the different issues of LARMAGAZINE, this one is the most taboo of all. There is a scenery created in art where any person may pretend to be the most cultured, the richest, the one with the finest taste, the most transcendental one, in order to belong to a very small elite that decides what makes history as art, and what does not. However, up until now, this idea had always seemed like a cliché to me.

I recently had the chance to take part in a workshop for young curators in the context of a very important international forum.

Experts offered talks and speeches that surprised me a lot, since they questioned things that have always seemed clear to me in my profession. And before taking the stance of emphatically negating what they were saying, I decided to question and enquire if this had any sense for other people, if they agreed or not; particularly one of the speakers’ posture, who is a very active and renowned curator that claimed that art is not communication, and that neither the curator nor the artist have the responsibility to explain to the audience what the exhibit is about. Even the wall text is only a formality.

I agree that art is not a massive communication media, and that it is a language far different from the journalistic or the commuDOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE

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That statement surprised me, and I remember I said: “now I really don’t understand a thing!” Inevitably, this idea took me back to the cliché of snobbism in art, and I realized it wasn’t so much a cliché; it is something that directly concerns the art field and questions the relevancy of the works and investigations of all of us who are involved in art.

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nicational; however, its main function is to transmit knowledge, reflection, feelings… something, and not in the romantic sense where I see a painting and I want to cry (that is also a cliché). But there must be visual codes in the piece that define a road through which one can tie up loose ends and think about something. The curator has to help in turning literal something that is not so in the work, in order to comprehend —or at least have a notion— what the artist is talking about, and its context.

From my perspective, the roots of snobbism in art derive from the following questions: Is art communication, or is it not? As an agent, do I share my knowledge, or do I not? And in that respect, art has a meaning, or it does not? Just like in any other professional field, there are some who have no idea of what they are doing but are good at public relations and get positions of power within that field. It happens in politics, in medicine, etc., and art is no exception. There are people of great power within the field who have no idea of what is art, or what it is for, and they end up creating alliances with those who pretend to understand the baroque languages that are frequently used, that say nothing but sound very clever.

Fortunately I know the work of many that do not think like that, and I believe this idea has been changing, but it is important to address the subject. That is why we invited Gonzalo Ortega, curator of Monterrey Contemporary Art Museum MARCO, to give us his opinion; his work is known for a clear, critical and significant language. On the same line of curators Octavio Avendaño and Willy Kautz, who have a conversation about the Mexican outlook on this sense.

A key article for this LARMAGAZINE.016 is a text from Violeta Celis, who I personally admire deeply and whose work I have followed closely, since she brilliantly stands out for being an agent that, from the trenches of education, has managed to transmit knowledge —conjointly with artists, curators and institutions she has worked for— and to generate a critical reflection in the spectator.

There are not many people like her in the art field. Her labor goes beyond the typical children activities organized around a museum exhibition. Her point of view is essential in this issue; I consider that in education, it is the accurate answer to the question I pose

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from the beginning, and I am sure that to encapsulate education and close it to a small group is a reflection of the snobbism that encircles the elitist art field.

Also, Emireth Herrera introduces us to one of the greatest residency networks there are: the New York-based Residency Unlimited (RU). It is a project with the objective, among other things, to share information about opportunities for artists from around the world to promote their works through its networks. Nowadays, residencies have turned into an essential experience in building projects and career internationalization. As these networks grow, the conceptual and technical levels of artistic projects raise and, at the same time, they become more competitive. This is another move to thwart the snobbish strategies that pretend to keep opportunities amongst a few, always the same ones.

In this issue we present the portfolios of Mauricio Limón, David Gremard, Jorge Carrera, Sofia Ayarzagoitia and Leo Marz. We also present an interactive game from artist Alejandro Cartagena’s famous series, Carpoolers, an interactive section with illustrations from Galamot Shaku and programming from Homero V. Campos, an artsy way to see the already known photos in the series and those that were panning shots or unclear the first time around.

There is another interactive content, a game in which the readers will put to test their knowledge of the names and faces of the big celebrities and influential characters of the international art field.

We hope you enjoy this magazine and spread the word so this publication, which is free, can reach more and more readers.

Catalina Restrepo Leongómez Director and Co-Founder

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EDITORIAL

BACK TO ENGLISH

Esnobismo. Comunicación en las Artes Creo, sin temor a equivocarme, que de los temas que hemos seleccionado para los diferentes números de LARMAGAZINE este es el más tabú de todos. En el arte se crea un escenario donde cualquier persona puede aparentar ser la más culta, la más rica, la más refinada en gustos, la más trascendental, para pertenecer a una élite muy chiquita desde donde se decide lo que pasa a la historia como arte y lo que no. Sin embargo, esta idea hasta el momento me había parecido un cliché.

Con ese statement me quedé fría y recuerdo que dije: “¡ahora sí no entiendo nada!”. Inevitablemente esta idea me llevó de vuelta al cliché del esnobismo en el arte y me di cuenta que no era tan cliché; que sí es algo que afecta directamente al medio y deja entonces en tela de juicio la relevancia de nuestro trabajo y la investigación de todos los que nos dedicamos al arte.

Estoy de acuerdo en que el arte no es un medio de comunicación masivo, o en que es un tipo de lenguaje muy diferente al periodístico o comunicacional; sin embargo, su principal función es transDOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE

DESLIZAR HACIA ABAJO

Recientemente tuve la oportunidad de participar en un taller para curadores jóvenes en medio de un foro internacional muy importante. Expertos ofrecieron charlas y conferencias que sorprendieron mucho, pues cuestionaban cosas que para mí siempre han sido claras en mi profesión. Y antes de ponerme en el papel de negar rotundamente lo que decían, decidí cuestionar e indagar si para otras personas esto tenía algún sentido, si estaban de acuerdo o no; en particular con la postura de una de las ponentes, una curadora muy activa y reconocida en el medio que aseguraba que el arte no era comunicación, y que ni el curador ni el artista tenían la responsabilidad de explicar al público de qué se trataba una exposición. Incluso que el texto de sala era sólo una formalidad.

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mitir conocimiento, reflexión, sentimientos… algo, y no en el sentido romántico en el que veo un cuadro y me dan ganas de llorar (eso también es un cliché). Pero deben existir en la obra códigos visuales que marquen un camino por el cual uno pueda atar cabos y pensar en algo. El curador tiene que ayudar a que lo que no es literal en la obra pueda serlo un poco, para así comprender —o por lo menos tener una noción— de aquello de lo que el artista está hablando, y su contexto.

Desde mi perspectiva, la raíz del esnobismo en el arte recae en las siguientes preguntas: ¿El arte es o no comunicación? Como agente, ¿comparto o no conocimiento? Y en ese sentido, ¿el arte tiene o no un sentido? Al igual que cualquier otro medio profesional, hay quien no tiene idea de lo que hace pero es buen relacionista público y consigue puestos de poder dentro de su campo. Pasa en la política, en la medicina, etc., y el arte no es la excepción. Existen personas de mucho poder dentro del medio que no tienen la más mínima idea de qué es el arte y para qué sirve, y terminan creando alianzas con quienes aparentan entender los lenguajes barrocos que son usados con frecuencia, que no dicen nada pero suenan muy inteligentes.

Afortunadamente conozco el trabajo de muchos que no piensan igual, y creo que esta idea ha ido cambiando, pero es importante tocar el tema. Por esta razón invitamos a Gonzalo Ortega, curador del Museo de Arte Contemporáneo de Monterrey MARCO, a darnos su opinión. Su trabajo se reconoce por su lenguaje claro, crítico y significativo, por la misma línea de los curadores Octavio Avendaño y Willy Kautz, quienes conversan entre ellos y nos hablan del panorama mexicano en este sentido.

Un punto clave de esta LARMAGAZINE.016 es el texto que nos comparte Violeta Celis, a quien en lo personal admiro profundamente; he seguido su trabajo de cerca ya que de manera brillante se destaca por ser un agente que desde la trinchera de la educación ha logrado transmitir conocimiento —en mancuerna con los artistas, curadores e instituciones para las cuales ha trabajado— y generar reflexión crítica en los espectadores. Como ella no existen muchas personas en el arte; su labor va más lejos que las típicas actividades para niños organizadas alrededor de una exposición en un museo. Su punto de vista es indispensable en esta edición;

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considero que en la educación, está puntualmente la respuesta a la pregunta que planteo desde un principio, y estoy convencida que encapsular la educación y cerrarla para un grupo pequeño es el reflejo del esnobismo que circunda el medio del arte elitista.

Por otra parte, Emireth Herrera nos presenta una de las redes de residencias más grandes que existen y que tiene base en Nueva York: Residency Unlimited (RU). Es un proyecto que tiene como objetivo, entre otras cosas, compartir información sobre oportunidades para artistas de todo el mundo y promover sus trabajos a través de sus redes. Las residencias se han convertido en una experiencia indispensable en la construcción de proyectos y la internacionalización de las carreras de los artistas hoy en día. A medida que estas redes crecen, el nivel conceptual y técnico de los proyectos artísticos se eleva, y al mismo tiempo se vuelven cada vez más competitivos. Esta es otra movida que pone en jaque a las estrategias esnobistas que pretenden mantener las oportunidades entre unos pocos, y siempre los mismos.

En esta edición presentamos los portafolios de Mauricio Limón, David Gremard, Jorge Carrera, Sofia Ayarzagoitia y Leo Marz. También presentamos un juego interactivo de la famosa serie del artista Alejandro Cartagena, Carpoolers. Un interactivo Ilustrado por Galamot Shaku y programado por Homero V. Campos, una ingeniosa manera de ver no sólo las fotos que ya se conocen de la serie, sino las que no alcanzaron a salir bien o salieron movidas.

Otro de nuestros contenidos interactivos es un juego en el cual el lector pondrá a prueba qué tanto reconoce los nombres y caras de las grandes estrellas y personalidades influyentes en el medio internacional.

Esperamos que disfruten esta revista y que pasen la voz para que esta publicación, que además es gratuita, logre llegar a más y más lectores.

Catalina Restrepo Leongómez Directora y Co-fundadora DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE

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CONTENTS

TAP ARROWS TO GO

 Editorial

 Interactive Game

Snobbism. Communication in Arts

Alejandro Cartagena. Carpoolers

 Article

 Interview

Knowledge Exchange in the

Curatorship and Discursivity.

Museum. New Ways of Thinking

Interview with Willy Kautz

and Doing. By Violeta Celis

by Octavio Avendaño Trujillo

 Article

 Recommended

Snobbism and Theatricality

 How to Celebrate Things

in Contemporary Art

by Gonzalo Ortega

 Artist Portfolios

that Don’t Exist 31st Bienal de São Paulo São Paulo, Brazil  Rich Pickings. Displaying

 Mauricio Limón

 David Gremard

Museum für Kunst und

 Jorge Carrera  Ana Sofia Ayarzagoitia  Leo Marz

 Interview Leo Marz

by Catalina Restrepo Leongómez

 Article

Wealth

Gewerbe Hamburg (MKG) Hamburg, Germany

 Article The Challenge of the New Operating Systems in Art

by Emireth Herrera

 Special Guest Diana Beltran

Alejandro Cartagena. Behind the Book Carpoolers

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"IF I SAW THE ART AROUND ME THAT I LIKED, THEN I WOULDN’T DO ART" JOHN BALDESSARI

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PUBLISHED IN MUSEUM GAZETTE I Collaboration: Violeta Celis. 2012

Knowledge exchange in the museum New ways of thinking and doing

by Violeta Celis DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE

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“…there is a need to forget in order to keep building schools, programs and pedagogies, but maybe also, in certain moments, there is a need to hear again so the act of teaching does not completely lose the consciousness of the paradoxes that give sense to it.”1 Educational projects are so incarnated in the life of cultural institutions that it is hard to distance them from their conceptualization and effectiveness. In the US, at least, museums may obtain more resources from people and private foundations for educational activities, than for any of their other areas. In 1780 John Adams, the second US president, wrote: “I shall pay attention to politics and war so that my children can have the freedom to study math and philosophy”, and years later he said: “My children should study mathematics and philosophy, geography, natural history and naval construction, navigation, commerce and agriculture, in order to provide their children the privilege of learning painting, poetry, music, architecture, sculpture, upholstery and porcelain.”2 Despite the staggering American economy, the state subvention for the development, spreading and activation of arts from education has not decreased; in fact it has increased the civic perception that art is necessary for different aspects of day to day life. On a recent public opinion poll, it was found that around 80% of American citizens believe that arts make the community a better place, they stimulate quality of life, and are an important resource for business and the economy of their communities.3

However, the situation in Latin America implies not only resources from the state or private sector given for a country´s educational and cultural development, or the effectiveness of policies implemented and possible subsidies destined to benefit the constant updating of education and culture professionals, but to instill in the collective consciousness that education and art should infiltrate as a virus in all aspects of public life.

The false nature of this desire summons us to rethink the educational practices in the institutions that teach art and museums and/or cultural houses of our country; that is, the spaces that are developing the artists and cultural managers, and those dedicated to the conservation, exhibition and spreading of all the cultural objects that were produced in the past, or that are being created today. From which place do both territories understand, question and activate the educational processes?

It is evident that, in the case of museums, there is a persistent dynamic that keeps favoring the systematization of the pedagogical exercise, keeping it under a soft stillness through programs that time and again replicate certain strategies. In this sense, what does the art museum has not been able to fissure?

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of a series of proposals —coordinated by artists and specialists stemming from other fields of study— that were developed with communities unaffiliated to art, general culture and the museum.

“The museum should be discovered as a different kind of space, more flexible, of meeting and socialization, of exchange of knowledge and experiences...”

What are the contributions of these types of initiatives? A very remarkable one is the openness to relate to audiences and the recognition of their critical condition, not only towards the cultural objects offered by the institution, but to “trespass” the marked frontier between the territories of art and everyday life. These projects, thought up and made on Latin American territories where similitudes are greater than differences with Mexican audiences, have the knack to provoke multiple affections between the museum and other self-managed places with different features, just like between art community and groups of people unlike and alien to it. Meaning that, the importance is to create a space of dialogue to initiate relationships of knowledge with the otherness, whose origin is the experience of people, and where artistic processes function naturally as central or peripheral catalysts. Paulo Freire had already proposed that no one learns alone and nobody teaches anything to anyone, and that we learn amongst ourselves influenced by the world.

Another feature of creating these types of platforms are the links produced between art and the social field. Brazilian theorist and educator Ana Mâe Barbosa8 understands Latin American geographies and cultural mediation as a social exercise and an agent of change and incidence for a country’s development. Can a museum become a device that is truly influential in society?

Fortunately, the answer is always positive, but not so easy to activate in the real world.

Again, the self-reflective critique takes us back to the beginning, making us see that it is not necessary to cancel traditional practices employed up until now, but to reconsider them, and redirect the focus. The museum as a place of exchange of different knowledge and experiences has unsuccessfully confused the communicational intention with the educational one, giving —most of the times— timely information and elaborate or simplified content from the exhibits and projects its produces for the audiences. To inform, explain and conduct —no matter what discourse or format is employed— are still synonymous of teaching, forming and learning. José Vasconcelos wrote in the early 20th Century: “…the pedagogue is required not to obstruct the spontaneous flow of the artistic conscience. Since it destroys, not only obstructs, the deep sense of art, with its pragmatic pretension of turning the aesthetic taste in an extension of the industrial work.”9 The dominant verticality in the teaching-learning processes is what highlights this quote from Vasconcelos, “interference” is mistaken for mediation in the museum space. From this perspective, another reason to work consistently inside the museum institution is for the understanding that the production of knowledge in this space differs from

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Radio Efímera One of the educational missions of the contemporary museum is to tirelessly explore the possibilities in favor of creating new ways of doing and relating to its spectators. It is interesting to review what can be done and what is done today in some museums in México City. Some efforts that are worth noting are those implemented over the last few years by the Museum of Art, since contemporary art curator Osvaldo Sánchez took charge of the museum’s direction.

The vision of the institution’s management, and the integrated coordination with the work team have been reflected in the growing interest MAM projects have raised on different audiences. One of the spaces created specifically to show and activate educational strategies is Se Traspasa.

Proyectos Nómadas, located in a place that for a long time accommodated the museum´s library (to the left of the main entrance).

The proposal was created precisely with the intention of generating closer and livelier dialogues with audiences, accommodating projects that usually would not be part of the museum’s

schedule, and that active and discursively intertwine different artistic disciplines and public life spheres. A quality of the “host” projects is that they are inserted in the daily happenings, and that the impact of their contents and processes is visible in the contexts that generated them or that they are related to. The final intention is to generate an interaction with the visiting (or peripheral) audience through unusual activities.

The set up of each project, as well as every activation or relationship strategy with the audiences, is a collaborative work between the space’s curator and the guest. The goal is to creatively expand the host’s work processes.

Created little more than a year ago, Se Traspasa.

Proyectos Nómadas has presented 5 projects in this small space: Radio Efímera, Taller Ditoria, La fábrica de papel de Etla, Re-Sonar. 8 relatos de disqueras mexicanas, and currently Taller 75°Grados Color.

The first proposal presented in STPN partly resignified the functionality of the old library by hosting an Internet Radio Station called Radio

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Alberto Ayala Blanco, JM Servín, Carlos Martínez Rentería, Guillermo Fadanelli, Yuri Herrera and Alberto Chimal; visual artists José Luis Sánchez Rull, Morelos León and Lorena Marrón; philosophers and theorists Fabián Giménez Gatto and Naief Yehya; film directors Robert Fiesco and Gerardo Delgado; the musical and spoken word poetry projects like Los ositos arrítmicos de Lemuria, La Diablesa & Low Sistem, and the rock band Vicente Gayo, among many others.

The presence of Radio Efímera at the MAM created a playful and open dialogue from the museum and the virtuality of the Internet, with hybrid audiences in interests and communicational habits, involving the visiting audience with spectators that, in any other way would still be thinking that educational proposals in museums could not be so dynamic and attractive for them.

Violeta Celis Violeta Celis. Majored in Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda” and got a Master´s Degree in 17, Instituto de Estudios Críticos, in México City. She contributed to the Museo Antiguo Colegio de San Ildefonso, was director of the Education Department in Museo Tamayo Arte Contemporáneo, and in early 2010 organized a study group with curators and artists involved in educational projects funded by the Jumex Collection/Foundation. She is a permanent collaborator about art and exhibits in El Fin del Mundo II, a radio show from Reactor 105.7 FM, as well as curator of Se Traspasa. Proyectos Nómadas, a space dedicated to invite projects that create livelier approaches with the visiting public of the Modern Art Museum.

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of Oxford, the Tate Gallery and London.

5. http://www.bienalmercos 6. http://www.mde11.org 7. MDE11 involves other space such as Casa Imago, Casa Tres sarrollo Cultural de Moravia, T plus an extensive list of interlo 8. Barbosa, Ana Mâe, Arte/ E SCROLL FOR MORE

QUOTES AND FOOTNOTES

1. Rancière, Jacques, El maestro ignorante. Cinco lecciones sobre la emancipación intelectual, Libros del Zorzal, Bs As, Argentina, 2007; p. 1.

2. Menand, Louis, El club de los metafísicos. Historia de las ideas en América, Ed. Destino, Barcelona, España, 2001; p. 137.

3. http://www.usembassy-mexico.gov 4. English curator. Former director of the Whitechapel Gallery, the Museum of Modern Art

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Snobbism and Theatricality in Contemporary Art Sine nobilitate

by Gonzalo Ortega

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as virtues of the contemporary art society. Despite this I prefer to keep my not-so-innocent vision, since deep down I know that only the passage of time will reveal some worth in the artistic scene of the 21st Century, as much in artistic production as in its sociocultural contributions.

I would like to say that one of the things that intrigue me the most about this type of arrogant behavior, so spread within the art

It’s as if being a snob was kind of an entry ticket to the contemporary art social circle. community, is the absurd association between snobbism and that which is collectively perceived as “cool”. How are both concepts linked? It would seem that, in that need to outshine the others or to stand out among the crowd, only few have control of “cool”. How does this behavioral logic operate? Suddenly everyone wants to define styles, even though the majority will fail shamefully. What then defines the codes that will be established to separate only a few from the disdained massification? Apart from the aspirational factor to belong to that small circle of modernites, there should seemingly be a certain element capable of stimulating the crowd.

Without that element, the snob machinery would not be able to function. Without the danger of masses closing in on the elite, trying to copy their codes, nothing would have meaning to them.

That is why they need to persistently renovate, reconsider their interests, modify their habits and opinions; because the most important thing is to differentiate, distance, stand out, etc.

It is, without a doubt, a neurotic behavior.

hipster phenomenon

The social codes of cool are manipulated in strange ways, and it is hard to identify which of the booming tendencies may indicate access to a certain group. But there is a risk: when those behavioral codes surpass a certain level of social exposition, they are massively copied immediately. It is not hard to imagine the level of frustration in those who used to brag about being the “first ones” to follow a particular ideology, tendency or behavior, when thousands of individuals pervert this initial code and become degraded clones. There is suddenly an excessive and deformed proliferation DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE

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to anyone eager to show off publicly. It is not an exaggeration to say that there are very few people there who are really interested in art. An apparent air of lightness is breathed through the halls of the fairs, although deep down the environment is tense and hostile. All fairs are exactly the same one; identical, cloned, replicated around the world; the same gallery owners, artist, collectors, with jet lag and champagne glasses in their hands.

Conversely, the snobbism of artists exists equally among those that are successful and those that are not. For the very few that already have an international recognition it is almost an order to transform their attitude towards stinginess. Curiously, many artists from different generations who aspire to this kind of success usually tuck themselves in that same pedantry. Terrible emotional conflicts and frustrations come to play in that unlawful competition for success. Envy is undoubtedly one of the most common driving forces of the snob. In very few occasions, however, the bold perversion of the aspirational snob emanates a halo of conviction that allows him to cross the limits of simulation and find channels of validation within those circles he yearns. Maybe there lies the so-recurrent attitude in the emerging generation of creators.

ridicule the opponent

Envy is undoubtedly one of the most common driving forces of the snob.

Finally, the academic snob is probably the typology that irritates me the most; and I´m sure I´m not the only one who thinks so.

Their aspirations, personified in the figure of the curator or art critic, have nothing to do with money or showing off a cool outfit, but with the desire to become part of a small group that validates and legitimizes that which will go on in history, that which will get spaces of dissemination and will be discussed socially. In his insecurity and paranoia, the snob curator uses an unjustifiably complex language to seem intelligent. He always works in function of his own image, not in virtue of the project he dedicates to. When an academic snob debates, his intention is to ridicule the opponent by juggling pseudo-conceptual and obscure ideas. The last thing he

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David Gremard USA

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primero que r铆a (fragment), 2012. Video HD 8:20 min.

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Mauricio Limón

Buscando Ia sombra del árbol Looking for the Shade of the Tree

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In México we have a lot of sun and it hits hard! Especially at midday when people, stifled by the heat, become irritable and stop thinking calmly. The traditional and most common way to escape the sun is to get close to the shade of a tree.

In one of the verses of a song by Los Tigres del Norte, (one of the most important and powerful “corridos” bands in México) entitled, Jefe de jefes “Boss of Bosses”, it says that: “han buscado Ia sombra del árbol, para que no les de duro el sol!”, “they have sought the shade of the tree so as to escape the heat of the sun.” Symbolically I wonder who he is and where that tree is.

I think that it is an open question, at least for me. If anything, it gives rise to several unconvincing answers. Let us say that it is a question that is latent in daily life, in the walk of a certain type of Mexican, leaving behind him a veil of anguish and uncertainty.

SCROLL DOWN Look for the shade of the tree is the premise to disappear, to be covered in darkness. No wonder that in such circumstances there is a notion of the macho. A fantastic mask that vainly covers a contrary interior, that remains empty when it collides head-first with reality.

The violent voice, bravery, horses, guns, trucks, balls, and the Mexican pun are among the thousands of words that can be awarded to this once again fantastic and contradictory notion of the male role in Mexican society.

At the root of all this, there is something more that is not being said clearly, which can be seen between the lines, between laughs and screams; a profound and violent ambivalence of the self and desire. Precisely this part that is not understood, not thought about but acted out in daily life, is what I decided to explore through various media, principally video, drawing and painting.

In the production of this body of work I put special emphasis on not showing this underworld in a frivolous or superficial way; in other words, without falling into exoticism. My intention was to create a series of images, maps and memorabilia, giving rise to questions relating to a specific context analysis, particularly with El primero que ría, 2009-2012 DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE regard to the relationship of a central character and his inner ENTIRE ISSUE

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Mauricio Lim贸n

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El flama, 2013 6/14

Mauricio Lim贸n

And a Big Fellow too! Con todo el respeto que usted

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Mauricio Lim贸n

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Divinatory Meanings (detail), 2011

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David Gremard

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Colote贸tl, 2014 DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READAlmanaque THE ENTIRE ISSUE

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David Gremard Romero

About the Tonalamatl Ollin and Fejérváry Almanac

The Tonalamatl Ollin opens with the Fejérváry Almanac. This almanac is perhaps the most complex in the Tonalamatl, describing as it does numerous embedded counts and systems.

It functions as an introduction to a Mexican conception of time and space.

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The complete 260 days of the Tonalamatl are individually represented in this almanac, as are the 20 Trecenas, the Nine Lords of the Night, the Four Years, and the cardinal directions.

The shape the almanac takes is that of an intersecting Saint Andrews and Maltese cross, when described in Western terms, or of an eight-lobed flower, symbolic of the expanse of the universe. Each side is painted a different color, simultaneously representing a cardinal direction, a quadrant of space, and a unit of time, thus rendering time and space indivisible. The order is; East, in yellow, at the top, North, in black, to the left, West, in red, at the bottom, and South, in blue, to the right, while at the SCROLL DOWN center is a jade disk. This order is horizontal as well as vertical; East is the rising sun, North the underworld, West the setting sun, and South the heavens, thus encompassing the totality of being, space, and time.

The count of the full 260 days begins at the upper right corner of the central square, with the sign Cipactli. A series of white dots, representing each day, runs around the arms of the intersecting crosses, while on every thirteenth day is painted the first sign of a new Trecena, at the corners of the crosses. The days run completely around the crosses in a counter-clockwise direction, ending where it began, at Cipactli, whereupon the cycle begins again, perfectly illustrating the Mexican conception of cyclical time.

At the corners of the Saint Andrew’s cross appear the four year signs, carried on the backs of four heavenly birds, while between its arms appear rows of 5 day-signs each, dividing the 20 days and assigning each to a cardinal direction.

Concurrently, an almanac of the Nine Night Lords is represented. These lords govern the underworld, the liver, and the subconscious. This cycle begins with Xiuhtecuhtli, the TurquoiseAlmanaque Fejérváry, 2013 VISIT and OUR continues WEBSITE WWW.LAR-MAGAZINE.COM Lord, at the center, by assigning gods in groups of

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David Gremard Romero

Imagen devocional de Xochipilli y Xochiquetzal, 2014

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David Gremard Romero

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El nacimiento del maíz, 2013

Jorge Carrera

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Jorge Carrera

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Jorge Carrera Astromozaics is a locative art project that metaphorically tackles the geography of México City as a stellar map, it modifies the public space with physical interventions that build an astronomical cartography that locates the position of the project partners and make constellations from their physical, historical and social interactions.

The project tackles and reflects concepts like physical and virtual space, traces, public art, locative art and maps. 

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Astromozaics, 2009-2014

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Jorge Carrera

Mapa estelar I, II and III, 2013 DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE

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Jorge Carrera

Street Interventions The street interventions of the project are star-shaped tiles, which are placed near the domicile of the collaborators, subsequently are pinpointed and ranked to fort the stellar cartography. 

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Intervenciones callejeras, 2009-2014

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Ana Sofia Ayarzagoitia

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Can You Hear the Horses, 2014

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Ana Sofia Ayarzagoitia

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Can You Hear the Horses, 2014

Ana Sofia Ayarzagoitia

Cephalonia, 2013

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Ana Sofia Ayarzagoitia

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Kena, the Girl with Red Pijama, 2014

Ana Sofia Ayarzagoitia

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Ana Sofia Ayarzagoitia

Monterrey, 2014

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Leo Marz

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Trampa Macabra, 2014

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Leo Marz

Trampa Macabra, 2014

In Trampa Macabra a curator turns into a detective and starts the hunt for an assassin who removes and collects Dr. Lakra tattoos. The project is a reflexion about the life span of cultural products and, above all, of cult films in the post-Internet era. The potential of the fullfilment of the movie is suspended to analyze their development in the mediatic resources offered by new technologies. Its deterioration, fragmentation, dismemberment, recomposition, possible translations, dubbing, supports, etc. are recovered as creating platforms and to analyze an overflow of products generated by consumers of pop culture.

Interested in the genre and of its production forms, I play with aesthetic and conceptual elements that allow me to travel between production resources of 70s cinema and the mediatic platforms and broadcasting nowadays. 

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Trampa Macabra (video stills), 2014

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Leo Marz

Bailout, 2014

A Million of Good Reasons to Become a Millionaire was a 2006 drawing project by Damián Ontiveros in which he depicted Adam Smith while performing actions to produce wealth. It consisted of 563 master drawings that were copied 1776 times (first print of The Wealth of Nations) by manual labor of people from different contexts: art students, blue collar workers, even communities of migrants. His intention was to complete a million of drawings each of them costing a dollar to create a million dollar art work.

The production process, through which the foundations of modern capitalism and the mechanism of free market were satirised, clashed into a series of misfortunes, provoking its demise. Damián quit working on it in 2010.

With Bailout, Leo Marz has gathered funds from Instituto Zacatecano de Cultura and CENART to rescue the project. He rearticulates the machinery of A Million of Good Reasons to Become a Millionaire to talk about the collapse of the economic system, through a reenacment of the use of public funding to try to keep it running (TARP, Fobaproa, etc.). 

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Leo Marz

CHATS E04, 2011

CHATS E05, 2011

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Leo Marz

Enjoy the Silence, 2012

The project consists in the confrontation of the spectator with a series of videos in which accidental events are not distinguished from mise-en-scènes, protagonists from extras, and fiction from reality. Narrative silence detonates suspense and revolutionizes possibilities.

Tunnel Mountain, the first of them and adquisition prize of Reseña Nuevo Leon 2013, was recorded in Banff, Canada with the support of the Residencies Program from FONCA. 

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Tunnel Mountain, 2012

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LEER EN ESPAÑOL

INTERVIEW WITH

LEO MARZ

BY CATALINA RESTREPO LEONGÓMEZ

Dead Ringers is a piece that reviews the essential in the object of art, I mean, where is the relevant thing at an art piece displayment? Could you tell us more about this piece and the thoughts behind it?

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http://paisajesocial.org/

"WHATEVER YOU DO, DO SOMETHING ELSE" HANS ULRICH OBRIST

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Alejandro Cartagena behind the book

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routine trip time story

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homeownership people work

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upper class suburbs

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the book construction

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Photography by Alejandro Cartagena Animation by Galamot Shaku Developed by Homero V. Campos Song “Password“ by Go Gadget freemusicarchive.org

Specially produced for LARMAGAZINE www.lar-magazine.com

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"A HIGHBROW IS THE KIND OF PERSON WHO LOOKS AT A SAUSAGE AND THINKS OF PICASSO" A.P. HERBERT

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CURATORSHIP AND DISCURSIVITY Interview with

Willy Kautz

by Octavio Avendaﾃｱo Trujillo

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OCTAVIO AVENDAÑO TRUJILLO: IT WOULD SEEM THAT OVER THE LAST FEW YEARS, IN THE MUSEUMS IN MEXICO, INSTITUTIONS HAVE MANAGED TO GET A HOLD OF AND BLUR THE JOB OF THE CURATOR. IN THIS SENSE, I BRING ABOUT BORIS GROYS, WHO IN MANY OF HIS TEXTS EMPHASIZES THAT THE CURATOR’S JOB IS TO SAFEGUARD HIS PUBLIC CHARACTER AS THE AUDIENCE’S REPRESENTATIVE. WHAT DO YOU THINK OF THIS? WILLY KAUTZ: He believes the curator is a public servant and that the artist seeks to occupy the public space through a private agenda, and the curator must defend this public space; there is always this relationship with the artist. What the curator really cares about in that negotiation is how to make public something private, that is, the critical discursive space of art. I think that is the negotiation, the interest. It’s not just to suppress the private interest, whatever the private goal of the artist’s agenda is, because he obviously wants it to become public with a public servant’s institutional agenda. We would need to define if we, public servants working for public institutions, are following clear regulations that are dictated from cultural politics that don’t seem very clear. We cover the curator’s somewhat hard and annoying function, because the curator always has one foot in and one out of the institution. And often having a foot out, working with artists that don’t belong in the institution but that support the whole sense of its existence, means operating outside of the logistics and to negotiate things that don’t belong to the institutional dynamics.

A good curator is precisely one who knows how to negotiate all this and to make the artistic project, that private dimension, gain a critical dimension within the public institutionalism that contemporary art represents. I think that is the way.

OAT: ALTHOUGH THE CURATOR IS THE ONE THAT NEGOTIATES BETWEEN INSTITUTION AND ARTIST, WHERE DOES THE RELATIONSHIP OF THE CURATOR WITH THE PUBLIC SPACE FITS? THERE ARE SOME WHO ACCUSE THE CURATORIAL DISCOURSE, DISCURSIVITY IN PUBLIC INSTITUTIONS, TO SOMETIMES BEING DIRECTED TO THE COLLEAGUES, MORE THAN TO NONSPECIALIZED AUDIENCES. WK: We are seemingly questioning an audience of the art world; that seems to be the first point of the agenda. But to me, the discursive use in public institutions has always seemed too complicated, even outlining the audiences SCROLLaccurately; FOR MORE because there is a specialized audience that is very important because it’s made up WWW.LAR-MAGAZINE.COM of the colleagues,VISIT and OUR thereWEBSITE is a language, as in any profession,

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"MAKING MONEY IS ART AND WORKING IS ART AND GOOD BUSINESS IS THE BEST ART" ANDY WARHOL

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31ST BIENAL DE SÃO PAULO HOW TO CELEBRATE THINGS THAT DON’T EXIST PARQUE DO IBIRAPUERA, SÃO PAULO, BRAZIL SEPTEMBER TO DECEMBER 2014 Pedro Ivo Trasferetti / Fundação Bienal de São Paulo DOWNLOAD LARMAGAZINE IN THE iPAD APP©STORE TO READ THE ENTIRE ISSUE

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Éder Oliveira. © Pedro Ivo Trasferetti / Fundação Bienal de São Paulo

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Turning a Blind Eye, Bik Van der Pol. © Pedro Ivo Trasferetti / Fundação Bienal de São Paulo

Histórias de aprendizagem, Voluspa Jarpa. © Leo Eloy / Fundação Bienal de São Paulo

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© Pedro Ivo Trasferetti / Fundação Bienal de São Paulo

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The Challenge of the New Operating Systems in Art

by Emireth Herrera

The art circle has turned into a space in which artists are included and excluded based on luck, relationships and the right moment to stand out. This sense becomes absurd when the artist finds out he can learn a different game that involves other forms, not only of art making, but of inserting himself in this art world. The attraction of this game is more and more challenging, since they are opportunities that favor the activation and development of artistic production. Just like the traditional formats have been transforming with time, the means of participation and diffusion have evolved too.

It would seem that it is a much more effective method, but it also requires other kinds of abilities in a frame of proposals, residencies and networks of connections. It is here that the substance that gives life to that methodology is precisely the provocation of situations and exchange of ideas, where dialogue is essential.

Is it a reaction towards a limited area of opportunities? I would rather consider it a revelation that seeks the way to use the options at hand, the point where individuality becomes collaboration and intertwines with the institutions. These spaces are platforms Lu Yang in discussion with Xin Wang DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE

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types of strategies are successful because they bring to light opportunities that are now reachable. Through the identification of codes, of knowing how, when and to where is the process headed, the applicant uses tools that give him the ability to activate his production in a more prolific and diverse way, with greater quality.

Residency Unlimited (RU) is precisely a virtual space that offers residencies and the alternative to be part of dialogues in a community that carries ideas and texts, with the purpose of creating knowledge through the exchange of critical and analytical thoughts.

Programs like Visual AIDS promote the materialization of innovative contemporary art ideas through a month-long stay in New York. It is a public program aimed towards the research of the Visual AIDS’ Archive, where the curator is invited to create an online exhibit in the virtual gallery, which includes discussion panels, films, performances, lectures, among others.

MARIA LAET and AUNG MYAT HTAY ENCOUNTERS, 3rd edition of the JARO series of exhibitions developed each year by RU and Rooster Gallery

I believe it is not about a magical recipe, but about understanding the operation the system gives us; diversification and strategies reside in knowing how to take advantage of what is at hand.

RU’s Monthly Lunch Feb 2014 DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE

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Residency Unlimited (RU)

The creation of highly customized residencies for artists and curators and the development of innovative approaches to the residency model through strategic partnerships with collaborating institutions.

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Anna Skladmann, Vadim on his Rooftop, Moskau, 2009, Series Little Adults, 2008-2010 © Anna Skladmann

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Lamia Maria Abillama, Arilda, 2007, Series Ladies of Rio, 2006-2007 Courtesy Galerie Tanit, München © Lamia Maria Abillama

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Rich Kids of Instagram

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Max Scheler, Mrs McLendon liebt Silber, Porzellan und Antiquitäten, Atlanta, USA, 1964 Max Scheler Estate, Hamburg © Max Scheler

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"I THINK IT’S PRETENTIOUS TO CREATE ART JUST FOR THE SAKE OF STROKING THE ARTISTS EGO" LOU REED

SPECIAL GUEST

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DIANA BELTRAN DOWNLOAD LARMAGAZINE IN THE iPAD APP STORE TO READ THE ENTIRE ISSUE

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"I GREW UP WITH THIS INFORMATION IN THE BACK OF MY HEAD, ALWAYS INTERESTED IN OTHER TYPES OF LIFE. JUST TRYING TO FIND OUT THE CAPABILITY OF BODIES AND HOW THOSE DEVELOP IN SPECIFIC CONDITIONS. I CAN JUST TALK ABOUT MY HUMAN EXPERIENCE, BUT I ALWAYS FELT CURIOUS ABOUT HOW OTHER SPECIES DEVELOP, EVOLVE, AND HAVE EXPERIENCES, SO SINCE I WAS REALLY YOUNG I USED TO SPEND LONG PERIODS OF TIME LOOKING AT THOSE THINGS (ANIMALS, PLANTS, ELEMENTS...) AND JUST IMAGINING WHAT COULD IT BE TO BE THEM."

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"I STARTED TO CREATE, TO REFLECT MY THOUGHTS IN CONCRETE OBJECTS OR IMAGES THAT TURNED INTO THE MIRROR OF MY IDEAS, AND BY LOOKING AT THEM FOR LONG PERIODS OF TIME I COULD UNDERSTAND WHAT I WAS ACTUALLY THINKING. I WAS INTO THE VISUAL LANGUAGE, THE IMAGE AS AN ELEMENT OF COMUNICATION, IMAGES WILL ALWAYS GIVE ME A LOT MORE INFORMATION THAN TEXTS AND WORDS BECAUSE THEY ACT AS A CONCRETE PICTURE OF SOMETHING THAT I CAN RELATE WITH IN A MORE PHYSICAL WAY."

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"I USE ILLUSTRATOR TO MEASURE THE SIZE OF EVERY PIECE, LIKE A PUZZLE. THEN I START TO CUT EVERYTHING — TAIL, WINGS, FEATHERS, EYES AND BEAK— BEFORE I PAINT IT AND LEAVE IT TO DRY."

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Snobbism. Comunication in Arts No016 路 nov dec 2014

A Different Kind of Feminism No015 路 sept oct 2014

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