Papers by Cuauhtemoc Medina
Theriault situates Alys’ “Last Clown” exhibition within the context of his previous works based o... more Theriault situates Alys’ “Last Clown” exhibition within the context of his previous works based on walking through the city. While focusing on the spatial characteristics of the artist’s interventions, the author draws attention to the paradoxical nature of an art practice explicitly concerned with the relationship between art and everyday life. Numerous references are made to M. de Certeau’s book “The Practice of Everyday Life.” Includes brief text by C. Medina on the subject of “the last clown.” Texts in French and English. Artist’s statement. Biographical notes. 37 bibl. ref.
Arte Historia E Identidad En America Visiones Comparativas Xvii Coloquio Internacional De Historia Del Arte Vol 2 1994 Isbn 988 36 3997 6 Pags 577 598, 1994
Arquine Revista Internacional De Arquitectura, 2003
Pasajes De Arquitectura Y Critica, 2005
Desacuerdos Sobre Arte Politicas Y Esfera Publica En El Estado Espanol Vol 5 2009 Isbn 978 84 92505 09 8 Pags 217 225, 2009
Revistarquis, Apr 12, 2013
A partir del surgimiento del "arte contemporáneo", categoría que señala la muerte de "lo moderno"... more A partir del surgimiento del "arte contemporáneo", categoría que señala la muerte de "lo moderno" en los años cincuenta, hemos presenciado "la absorción del arte en aquello que es mero presente". Tal proceso de absorción es analizado en el siguiente
We were invited by Gitanjali Dang and Christopher Schenker to participate in the Draft Project, a... more We were invited by Gitanjali Dang and Christopher Schenker to participate in the Draft Project, an initiative that explores contemporary art that produces, contributes or provokes public debate. The project involved nine teams around the world that worked for twelve months in their local contexts: Beijing, Cairo, Cape Town, Hamburg, Honk Kong, Mexico City, Mumbai, St. Petersburg and Zurich. In our case, Mexico City was conformed by Helena Chávez Mac Gregor, Cuauhtémoc Medina and the artistic collective Teatro Ojo. For us, one of the questions raised by the Draft project was how to intervene within a public sphere swamped by images of violence that unlike creating a space to produce a collective thought subdues into the effects of its own violence. The local configuration of the public sphere happens as if we are isolated, staring at the catastrophe without any words to say. The images that circulate, normalized, are no longer able to open up our eyes. Its saturation no longer lights up anything. Teatro Ojo's intervention attempts to produce a different order, sense or formation, by circulating publicly a bunch of different images. Montages trying to turn back to the public sphere –either TV or social network-and appear with the shape of lightning bolts, to establish in its sequence possible new relations. This text is the recounting of the process that lead us to At night, lightening.
Uploads
Papers by Cuauhtemoc Medina