April 6, 2013
Arte Útil makes certain propositions about the goals, methodologies, and values that pertain to it. We assembled particular questions in four key areas to be tested throughout the laboratory. Key figures in artivism and related academic fields were invited to publicly present various positions vis-à-vis these hypothesis areas.
Usefulness as Ideology
What are the potential new roles of art in society? What is the function of the utopic and propositional in art? What are the differences between generating visibility and novel framing of an issue versus actual problem-solving? How does one measure the importance of implementing the project in the realm of the real and how is that impact evaluated? What is the role of harmony or congeniality in Arte Útil, while at the same time generating a subversive or challenging position towards existing systems?
• Tania Bruguera
• Stephen Duncombe
• Randy Martin
• Lucía Sanromán
Tania Bruguera is a leading political and performance artist researching ways in which Art applies to everyday political life by transforming social affect into political effectiveness. Her long‐term projects have been intensive interventions on the institutional structure of collective memory, education and politics. To define her practice she uses the terms Arte de Conducta (Conduct/Behavior Art), Arte Útil (Useful Art) and political timing specific.
Stephen Duncombe teaches the history and politics of media at New York University, where he is an Associate Professor. He is the author and editor of six books, including Dream: Re-Imagining Progressive Politics in an Age of Fantasy, and writes on the intersection of culture and politics for a range of scholarly and popular publications. Duncombe is a life-long political activist, and is presently co-founder and director of the Center for Artistic Activism.
Randy Martin is founding director of the graduate program in Arts Politics at Tisch School of the Arts at New York University, and is chair and professor of the Department of Art and Public Policy. He is the author of Under New Management: Universities, Administrative Labor, and the Professional Turn; Performance as Political Act: The Embodied Self; Socialist Ensembles: Theater and State in Cuba and Nicaragua; Critical Moves: Dance Studies in Theory and Politics; On Your Marx: Relinking Socialism and theLeft; Financialization of Daily Life; An Empire of Indifference: American War and the Financial Logic of Risk Management; and editor, with Mary Schmidt Campbell, of Artistic Citizenship: A Public Voice for the Arts. Martin serves on the editorial board of Social Text. His research interests include cultural studies, performance studies, political economy and theory, and financial crises.
Lucía Sanromán is an independent curator and writer. From 2006 to 2011, she served as Associate Curator at the Museum of Contemporary Art San Diego, where curated numerous exhibitions and led editorial projects. Her current focus lies in investigating aesthetics in relation to efficacy and public practice, and in testing the limits between aesthetics and positivist models of thought. Recent projects include participation as curator for Political Equator 3 (2011), Proyecto Coyote for Encuentro Internacional de Medellin 2011 (MDE11), and Anomalia for the University Art Gallery at UC San Diego (2012). She is the editor with Cesar Garcia of Marcos Ramírez ERRE published by INBA and Museo de Arte Carrillo Gil (2012). Sanroman has been awarded the 2012 Warhol Foundation Curatorial Fellowship for Citizen Culture: Art and Architecture Shape Policy, an exhibition and research project organized by the Santa Monica Museum of Art for September 2014.
For more information: arteutil.net/submit/hypotheses-events/