A text on feminist 1970s avant-garde performance for the camera (Hannah Wilke, Birgit Jürgenssen, Ana Mendieta, Eleanor Antin) and the implications of the “wall” (lense) for the relationship between work and audience, as well as a text on VALIE EXPORT’s Touch Cinema (1968).

The present article seeks to dig into Gustave Doré’s (1832-1883) vision of the Wood of the Suicides from his illustrations of the Divine Comedy (d. 1861), establishing a comparison between its critical reception, the works that have illustrated the chant over the centuries and Doré’s works themselves. A goal here is to glimpse if negative criti…[Read more]

A short note describing the difficulties that surround the definition of “art.”

Adding to the long list of “post” conditions, the term “post-internet” offers a fairly recent attempt to characterize a certain social, political, historical, and material condition that artists, curators, educators, and critics are currently working with. For some, it provides a language to articulate the complex entwinements between online…[Read more]

As art educators, we have accustomed fight for our survival in educational systems where often our job isn’t valued or resourced or both. We know (or, at least, we are taught to know) that we are needed in this world, perhaps now more than ever. However, it is also important to critically investigate how is this need for art and education c…[Read more]

This talk offers a collection of vignettes that position the relation between life and death as a central but unsolvable question for theorization in art and politics. Indeed, what to think of death in times when, yet again, the end of the world as we know it seems to be near?

Adding to the long list of “post” conditions, the term “post-internet” offers a fairly recent attempt to characterize a certain social, political, historical, and material condition that artists, curators, educators, and critics are currently working with. For some, it provides a language to articulate the complex entwinements between online…[Read more]

As art educators, we have accustomed fight for our survival in educational systems where often our job isn’t valued or resourced or both. We know (or, at least, we are taught to know) that we are needed in this world, perhaps now more than ever. However, it is also important to critically investigate how is this need for art and education c…[Read more]

Adding to the long list of “post” conditions, the term “post-internet” offers a fairly recent attempt to characterize a certain social, political, historical, and material condition that artists, curators, educators, and critics are currently working with. For some, it provides a language to articulate the complex entwinements between online…[Read more]

As art educators, we have accustomed fight for our survival in educational systems where often our job isn’t valued or resourced or both. We know (or, at least, we are taught to know) that we are needed in this world, perhaps now more than ever. However, it is also important to critically investigate how is this need for art and education c…[Read more]

This talk offers a collection of vignettes that position the relation between life and death as a central but unsolvable question for theorization in art and politics. Indeed, what to think of death in times when, yet again, the end of the world as we know it seems to be near?

Contemplates the exclusion of illustrators from art theory; critiques Harold Rosenberg’s position in light of his own work in the culture industries; matches illustrator Robert Weaver’s arguments with Rosenberg’s in a posthumous debate.

Contemplates the exclusion of illustrators from art theory; critiques Harold Rosenberg’s position in light of his own work in the culture industries; matches illustrator Robert Weaver’s arguments with Rosenberg’s in a posthumous debate.

Contemplates the exclusion of illustrators from art theory; critiques Harold Rosenberg’s position in light of his own work in the culture industries; matches illustrator Robert Weaver’s arguments with Rosenberg’s in a posthumous debate.

Discussion about the relation of Juan Muñoz works, Volker Schlöndorff film “The Drummer boy” and Günter Grass novel “Die Blechtrommel”.