¿El arte de demoler? /

¿El arte de demoler? /

Saved in:
Bibliographic Details
Author / Creator:Oliveira, Graciela De, 1967- author.
Edition:1a ed.
Imprint:Córdoba, Argentina : Ediciones DocumentA/Escénicas, 2020.
Description:218 pages : color illustrations, facsimile ; 21 cm
Language:Spanish
Subject:
Arts, Modern -- 21st century.
Art, Argentine -- Argentina -- Córdoba -- 21st century.
Art, Argentine.
Arts, Modern.
Argentina -- Córdoba.
History.
Format: Print Book
URL for this record:http://pi.lib.uchicago.edu/1001/cat/bib/12623202
Hidden Bibliographic Details
ISBN:9789874445124
9874445122
Notes:Includes bibliographical references.
Summary:An artistic five-year testimony of shared works on the possibility of building an artistic platform from demolition -as an idea- associated with an architectural projects in Córdoba, Argentina between 2008 and 2012. D/C (Demolición/Construcción (ÓN/ÓN)) was created in 2007 by architect and artist Graciela De Oliveira (Oberá, Misiones 1967). in a dwelling intended for demolition: the house on the street 12 de Octubre 433 of the Barrio Ducasse in Córdoba. It is an interdisciplinary artistc project that operates from and for the field of contemporary art with various collaborators and guests in each project. Currently the projects under development are: Casa/EStudio B'ataz' residence of the Foundation D/C ; "Ejercicios Nidales" started in 2010 in Cabana, Córdoba; 2011 en Residencia "desegno" CEIA, Belo Horizonte; 2015 Tolhuin, Tierra del Fuego in residence of "ArteInSitu"; "Nómadamente" horizontal participation of authors from Mexico, Brazil, Spain and Argentina (started in 2010) and diverse open design and sustainability workshops. "We are, as we publish this book, in the midst of a pandemic with unpredictable endings. It is once again a human fabrication product of the lack of respect for the world and its inhabitants. When it is over, the effects will make us rethink the problem of how to carry a baggage that history condemned as being ethically unacceptable, how much memory is kept and how much is rewritten to improve the future. One position is that memory is untouchable, you have to keep the visual part with the traces and their monuments because it describes the criminals with their environment, that serves as a warning. The other is to erase as much as possible, to do a cleaning in order to build a future crystalline empty of interference. The questions are still present today because autocracies are once again lurking. This time not locally but globally and in response to a simple virus. It is a virus that surpasses the old ideologies and that will accentuate all the problems over which the ideologies had faced. The art of demolishing? De Graciela de Olivares is a diary of activities that deals with these questions, of how the step works in the present. Objectively narrates the opinions and data accumulated during the Demolition/Construction project. By discussing the effects of memories-evaluating what things are kept, what things are demolished, what is constructed-he also keeps them alive." (HKB Translation) --Verso Cover.
Table of Contents:
  • Escuchar la demolición, 2007
  • Casa-demolición, 2008
  • ¿El arte de demoler?
  • Proyectos realizados en la Casa-demolición, 2008-2009
  • La Perla, 2009
  • De la demolición privada a la de los centros clandestinos de detención, 2009
  • Sobrevivencias, tiempos postergados y tiempos presentes
  • Archivo Provincial de la Memoria, 2009
  • Artistas y espectadores activados en el APM, 2010
  • "Referentes vivos" en la Bibliotecade los Libros Prohibidos, 2010
  • Campo de La Ribera, 2010
  • Afuera del arte, adentro del ex Centro Clandestino de Detención
  • Prácticas artísticas tras y sobre el muro de La Ribera
  • Qué llevarse de La Ribera, 2010
  • La "previa" de La Perla", 2011
  • Encuentros entre prácticas artísticas y prácticas militares
  • Presentarse en el Centro Cultural, 2011
  • Hacerse presente en el ex Centro Clandestino de Detención
  • Del silencio en La Perla al debate en el Centro Cultural
  • Los tres ex centros más oscuros del mapa, 2011
  • Llegar a La Perla sin tener nada que hacer, 2011
  • Experiencias en tiempos personales
  • La Perla vivida desde adentro y desde la distancia
  • "Entre" actividades/ disciplinas/ tiempos
  • Un mapa impreciso, 2011
  • Arte político, filiaciones y disidencias de ÓN/ÓN
  • Epílogo. Demolición-Polinización / Diego Tatián.
The Joel Spitz Memorial Fund bookplate

Similar Items