"Tactics are the New Strategy"
    Chair: Pilar Tompkins Rivas, UCLA Chicano Studies Research Center, Artist Pension Trust
    Panelists: Nao Bustamante, Independent Artist; Carolina Caycedo, Independent Artist; Sandra de la
    Loza, Independent Artist

    Tactical stratagems in contemporary art may serve as devices that enable women artists to weave
    threads between multiple layers of public and private settings, feminist and post-colonialist discourse, and
    to navigate the complexities of a socio-political landscape. This panel discussion focuses on women’s
    artistic practices that are rooted in activist strategies and which address the nature of power structures
    throughout the Americas. Whether through guerilla-style tactics, institutional critique, urban intervention or
    subversive participation in mainstream media, artists examine radical politics, the effects of American
    policies and popular culture, institutionalized racism, and gender and economic inequities. Aligned with
    contemporary discourse about public practice, these artistic dialogs address participation in the
    economies of the art world leveraged by an engagement in alternative and informal economies.

    Shares & Stakeholders: The Feminist Art Project Day of Panels at the 100th Annual College Art Association Conference
    The Museum of Contemporary Art, Los Angeles (MOCA)
    February 25, 2012
    Organized by Audrey Chan and Elana Mann

    # vimeo.com/49739214 Uploaded 98 Plays 0 Comments
  2. Spaniards Named Her Magdalena, But Natives Call Her Yuma, 2013
    Carolina Caycedo
    2 channel HD video installation
    Sound and Color.
    27 min.

    An on-going set of questions relative to the nature of dams and power structures.

    -How does the Anthopocene premise relate to hydroelectruc mega-infrastructural construction around the world?

    -How do dams and reservoirs become an integral part of our image of nature?

    -Are dams built decades ago remnants of obsolete technology?

    -What is the difference between modern dams and postmodern mega-infrastructural dams?

    -If hydroelectric architecture and infrastructure are part machine culture, could police be considered part of power machinery? How do they [dams and police] represent power?

    -Both in contemporary dam planning and social repression strategies, what remains underwater? What is submerged or invisible?

    -Is police the face, the facade, the frontality of established power? Are they walls that protect a ‘structure’ or system?

    -What is the role of scale in police repression and dam construction?

    -If social promise and development are distraction techniques of mega-infrastructures today, could security be a distractor in military/police social repression?

    -Is corporate construction of dams in Latino-america a continuation of the colony?

    -Is a dam a siege of nature? Is security a siege of community?

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