Papers by Laura F. Gibellini
Exit Express. Periodico Mensual de Información y debate sobre Arte, 2011
Información del artículo El Museo's Bienal: The (S) Files 2011.
Exit Express. Periodico Mensual de Información y debate sobre Arte, 2011
Información del artículo The Talent Show.
Exit Express. Periodico Mensual de Información y debate sobre Arte, 2011
Información del artículo Harun Farocki. Images of War (at a Distance).
Journal for Artistic Research, 2011
Sociedades En Crisis Europa Y El Concepto De Estetica 2011 Isbn 978 84 8181 500 9 Pags 231 237, 2011
Choice Reviews Online, 2011
Angel of the Resurrection on the Roof of Notre Dame 1853 Salted paper print from a paper negative... more Angel of the Resurrection on the Roof of Notre Dame 1853 Salted paper print from a paper negative 12 13/16 x 9 1/8" (32.6 x 23.2 cm), mounted on a 23 11/16 x 18 1/4" (60.2 x 46.4 cm) card Collection Laure Sudreau-Rippe 17.
Drawing: Research, Theory, Practice
Through analysis and codification of some images created by a 2-year-old child, the authors discu... more Through analysis and codification of some images created by a 2-year-old child, the authors discuss the performative aspect of drawing as an embodied form of thinking that creates cognitive objects rather than images. We consider an enactive form of knowledge, based on the idea that the practitioner learns and understands while doing, while executing a movement. The ‘objects’ that are obtained in such process, which are constitutive of any graphic practice, would also need the totality of the body for its understanding.
Quintana: revista do Departamento de Historia da Arte, 1970
Este artículo versa, a través del análisis de la acción vienesa Bitte Liebt Österreich de Christo... more Este artículo versa, a través del análisis de la acción vienesa Bitte Liebt Österreich de Christoph Schlingensief, sobre los dispositivos de inmunidad (nacional) que posibilitan la construcción de una mirada distanciada sobre el otro. Dicha mirada permitió, en la performance, activar una problemática capacidad de decisión sobre la vida (efectiva) del refugiado extranjero. Mediante una controvertida acción expandida en el espacio público, a modo de Gran Hermano, donde los límites entre lo auténtico y lo ficticio se diluyen, el autor alemán consiguió evidenciar los mecanismos de generación de la identidad nacional y del sentido de pertenencia del pueblo austríaco –y por analogía, de todos los demás.
Choice Reviews Online, 2010
Información del artículo Glenn Ligon: AMERICA.
La continua evolucion de tecnicas y soportes ha llevado a abordar la docencia artistica contempor... more La continua evolucion de tecnicas y soportes ha llevado a abordar la docencia artistica contemporanea no solo desde desde la maestria de un material concreto, como la cal, el oleo o el temple, sino tambien especificamente desde areas abstractas de investigacion. Asi observamos en la ultima actualizacion del programa de la asignatura Pintura Mural un esfuerzo por integrar las problematicas “que aparecen en la interaccion entre los espacios y expresiones pictorica y arquitectonica”. Sin embargo, es necesario remarcar que la Pintura Mural en el momento actual se ha expandido hacia la intervencion artistica en espacios y contextos muy heterogeneos, de tal manera que la practica artistica queda unida al contexto social y urbanistico en el cual se desarrolla, ejerciendo una importante labor dinamizadora El presente proyecto de Innovacion Tecnologica surge de la necesidad de fomentar pensamiento critico en torno a la repercusion social de las intervenciones realizadas en un espacio/arquite...
Journal for Artistic Research
Exit Express Periodico Mensual De Informacion Y Debate Sobre Arte, 2011
Acceso de usuarios registrados. Acceso de usuarios registrados Usuario Contraseña. ...
MaHKUscript: Journal of Fine Art Research, 2016
In any discussion of Spatial Practice 1 and critical approaches to public space it seems fundamen... more In any discussion of Spatial Practice 1 and critical approaches to public space it seems fundamental to consider what role time plays in the politicization of space and how the use of time can offer modes of resistance that escape the logics of normalization and productivity inherent in our society. A topological consideration of time that rejects the notion of linear progress and advocates time's multidimensional nature can be useful to help us conceive forms of resistance that oppose the technocratic and neo-liberal rhetoric within which we are embedded. Through the analysis of works by Yvonne Rainer and Philippe Parreno this text hopes to reflect on such approaches and to underscore the importance of conceptualizing time, its use and misuse. Preliminaries In 1966 Yvonne Rainer created Trio A, a dance performance that has become one of her signature pieces. In it, dancers refuse to look at the viewers, demonstrating a kind of ' alert detachment from the audience and fellow performers alike. A selfless rather than narcissistic absorption' (Rainer 2010). A chosen date of sixteen years before, January 1 1950, marks the cutoff point for radiocarbon dating and is considered as the date at which our present era begins. January 1 1950 is used in archeology and geology as the start-date to specify how far events occurred BP, before the present. The massive nuclear weapon testing in the 1950s altered the proportion of the carbon in the atmosphere, which makes radiocarbon dating after that time unreliable. By January 1 1950 the atmospheric conditions of the planet had irretrievably affected our measurement of time. Sixty-five years into our present era, in June 2015, Rainer presented The Concept of Dust, or How do you look when there's nothing left to move? at MoMA. 2 The piece included a collage of texts, some piano tuning, the music being played when the Titanic sank, 3 a painting by Rousseau and a predetermined choreographic structure within which the dancers could make choices at will. In the same month, H{N)Y P N(Y}OSIS opened at the Park Avenue Armory in New York. Philippe Parreno has described his complex installation, which included film, music, moving screens, theatre marquee-like sculptures and live performances as ' a space that will unfold into time' (Kennedy 2015). Some Thoughts on Time Scientific hypothesis and historicism both contemplate time as developing in a linear fashion. This classical theory of time is based on duration, succession and continuity. Whether cumulative, continuous, or interrupted, time always remains linear, which emphasizes progress, synchronism, eternity and repetition. All such notions mark the modern understanding of the world order and are linked to the utilitarian logics 1 The text that you are about to read is mostly presented in a notational form, as it is part of a thinking process that is not resolved yet. My fundamental intention at this point is to establish a framework that would hopefully help think through certain problems that I find fundamental in the consideration of Spatial Practice. I did, however, try to tighten the structure of the text in order to make my points clearer. I hope to have been moderately successful but I should nevertheless ask you to bear with me for the duration of your reading and to consider this as part of an ongoing thought. I should thank my peer reviewers for their useful feedback and fundamental considerations. 2 The piece is accessible through MoMA's youtube channel at: https://www.youtube.com/watch?v=AAp9S4D27V0 (Last accessed August 10 2016). 3 The Sinking of the Titanic by Gavin Bryars (c.1969).
This text is a reflection on a site.specific artistic project that I developed in EL Museo de Los... more This text is a reflection on a site.specific artistic project that I developed in EL Museo de Los Sures in Brooklyn, NY, between 2014 and 2015.
Critical Cartography of Art and Visuality in the Global Age, ed. Ana Maria Guasch y Nasheli Jiménez del Val., 2014
It is some time now that I am interested in considering artistic practice as a form of thought ... more It is some time now that I am interested in considering artistic practice as a form of thought that is projected (or thrown) onto the territory. Which brings about the inherent relationship between theory based resarch and that which happen in the studio.
This paper considers how the relationship between theory and practice can be visualized and reflects upon maps and map making as a tool to approach such relationships (as maps are a highly conceptualized and normalized form of knowledge that are devised to navigate the actual world--so they entail a performed form of understanding).
QUINTANA Nº11 2012. ISSN 1579-7414. pp. 149-157
In analysing Christoph Schlingensief’s Viennese performance action Bitte Liebt Österreich, this a... more In analysing Christoph Schlingensief’s Viennese performance action Bitte Liebt Österreich, this article discusses
the (national) immune mechanisms that construct a particular type of gaze that objectifies the ‘Other’. Such a
gaze imbues the Austrian people with the ability to decide on the (effective) lives of ‘others’, in this case, foreign
refugees. Through a controversial performance in a public space (similar to the Big Brother), where the boundaries
between real and fictional life have been diluted, the German author highlights the ways in which Austrian people
(as well as other communities) generate their sense of belonging and their national identity.
Este artículo versa, a través del análisis de la acción vienesa Bitte Liebt Österreich de Christoph Schlingensief, sobre los dispositivos de inmunidad (nacional) que posibilitan la construcción de una mirada distanciada sobre el otro. Dicha mirada permitió, en la performance, activar una problemática capacidad de decisión sobre la vida (efectiva) del refugiado extranjero. Mediante una controvertida acción expandida en el espacio público, a modo de Gran Hermano, donde los límites entre lo auténtico y lo ficticio se diluyen, el autor alemán consiguió evidenciar los mecanismos de generación de la identidad nacional y del sentido de pertenencia del pueblo austríaco –y por analogía, de todos los demás.
Uploads
Papers by Laura F. Gibellini
This paper considers how the relationship between theory and practice can be visualized and reflects upon maps and map making as a tool to approach such relationships (as maps are a highly conceptualized and normalized form of knowledge that are devised to navigate the actual world--so they entail a performed form of understanding).
the (national) immune mechanisms that construct a particular type of gaze that objectifies the ‘Other’. Such a
gaze imbues the Austrian people with the ability to decide on the (effective) lives of ‘others’, in this case, foreign
refugees. Through a controversial performance in a public space (similar to the Big Brother), where the boundaries
between real and fictional life have been diluted, the German author highlights the ways in which Austrian people
(as well as other communities) generate their sense of belonging and their national identity.
Este artículo versa, a través del análisis de la acción vienesa Bitte Liebt Österreich de Christoph Schlingensief, sobre los dispositivos de inmunidad (nacional) que posibilitan la construcción de una mirada distanciada sobre el otro. Dicha mirada permitió, en la performance, activar una problemática capacidad de decisión sobre la vida (efectiva) del refugiado extranjero. Mediante una controvertida acción expandida en el espacio público, a modo de Gran Hermano, donde los límites entre lo auténtico y lo ficticio se diluyen, el autor alemán consiguió evidenciar los mecanismos de generación de la identidad nacional y del sentido de pertenencia del pueblo austríaco –y por analogía, de todos los demás.
This paper considers how the relationship between theory and practice can be visualized and reflects upon maps and map making as a tool to approach such relationships (as maps are a highly conceptualized and normalized form of knowledge that are devised to navigate the actual world--so they entail a performed form of understanding).
the (national) immune mechanisms that construct a particular type of gaze that objectifies the ‘Other’. Such a
gaze imbues the Austrian people with the ability to decide on the (effective) lives of ‘others’, in this case, foreign
refugees. Through a controversial performance in a public space (similar to the Big Brother), where the boundaries
between real and fictional life have been diluted, the German author highlights the ways in which Austrian people
(as well as other communities) generate their sense of belonging and their national identity.
Este artículo versa, a través del análisis de la acción vienesa Bitte Liebt Österreich de Christoph Schlingensief, sobre los dispositivos de inmunidad (nacional) que posibilitan la construcción de una mirada distanciada sobre el otro. Dicha mirada permitió, en la performance, activar una problemática capacidad de decisión sobre la vida (efectiva) del refugiado extranjero. Mediante una controvertida acción expandida en el espacio público, a modo de Gran Hermano, donde los límites entre lo auténtico y lo ficticio se diluyen, el autor alemán consiguió evidenciar los mecanismos de generación de la identidad nacional y del sentido de pertenencia del pueblo austríaco –y por analogía, de todos los demás.