Puerto El Morro 2009


Art in Social Context: Memory, Planning and Community *
By Maria Fernanda Cartagena

Maria Fernanda Cartagena
With high intensity for more than a decade, a large number of artists in Latin America are putting their work in the public sphere or the social context. A wide range of independ lowing initiatives promoted by the cultural institution, academia or social organizations mark different places of enunciation, aesthetic-political senses, strategies, methodologies and scope. It warns that a genealogy of "public art" and its different meanings would be drawn by, identifying the different types of work as well as theoretical and empirical referents without necessarily being registered within the visual arts have been significant examples of interaction experimental with the social fabric, from the The particular artistic, social, economic and political conditions which emerge from such practices, and the consequences of the geopolitics of knowledge production and visibility deserve special attention. During the 90s and especially in the last decade, critical studies have conceptualized in this vast and complex spectrum of work arrangements, lines of action committed to the social. Paloma White traces his genealogy in the United States, naming as art in the public interest that integrates cultural practices converge where art, political activism and community organizing.
(1) In a similar vein, the theoretical Grant H. Kester American has researched the type of communication that art facilitates to trace an intersubjective, dialogic and collaborative line, informed by conceptual art, relates to the political or social activism. (2) research the Di Tella to "Tucumán Arde":

During the 90s and especially in the last decade, critical studies have conceptualized in this vast and complex spectrum of work arrangements, lines of action committed to the social. Paloma White traces his genealogy in the United States, naming as art in the public interest that integrates cultural practices converge where art, political activism and community organizing. (1) In a similar vein, the American theoretical Grant H. Kester has researched the type communication that art facilitates to trace an intersubjective, dialogic and collaborative line, informed by conceptual art, relates to the political or social activism (2) research the Di Tella to "Tucumán Arde". Artistic and political Vanguardia in Argentina '68 (2000) by Ana Longoni and Mariano Mestman is an important reference for understanding the conditions of emergence and convergence of art and radical politics, in this mythical Latin American action. In general, these and other research focuses on the work undertaken since the artists or social movements, minority groups, grassroots organizations, communities or groups subordinate to accompany their struggles, their demands visible and / or provide the tools involved communication, subjectivity and alternative knowledge. A theoretical corpus construction is crediting the recognition of the specificity of this aesthetic-political practice, methodologies (interdisciplinary) and especially the political and social effects of their doing.

In the late 90s, Latin America a large number of mostly collective proposals linking art and activism and renew the traditional ways of doing politics on the left surface. The neoliberal policies, the consequences of dictatorships, the coloniality of power, individualism and weakening of public space have been your battlefield. Through the making of public space and in close collaboration with grassroots organizations, social movements and human rights, these groups practiced the inseparability of aesthetics and politics behind the official Haunt artistic medium. (3) have emerged parallel proposals for more immersive nature initiatives that activate the medium to long term with groups or communities (4) and similarly point to motivate resistant micro-subjectivity to grading and subjective administrations "capitalistic culture."
It is within this second line of art in social context, specifically in community settings, which will focus me to reflect on the experience only with Natura, which has been brewing in Ecuador since 2007, (6) annual residency program for artists in rural communities in the Ecuadorian coastal region devised by artist Larissa Marangoni Guayaquil. From the critical review of its first two editions, which led to a rethinking of its objectives, Solo Natura conducted in November 2009 its third edition in Puerto El Morro, commune in the province of Guayas, about 1500 inhabitants , settled on the banks of a creek and mangroves, the main source of livelihood of the people. For this edition I worked as a conceptual coordinator.

Working from contemporary art to people and communities in Ecuador, involves entering a complex web of power relations traversed by inequalities and exclusions that date back to the colonial period, and remain updated and the most diverse ways. A draft State has not provided basic services to many towns, a developmental discourse that marginalized forms of indigenous knowledge as obstacles to its promises of economic progress, (7) the demagoguery of the policy shift, or extractive projects conducted by market economy that have operated usurpándoles their territories and affecting their lifestyles. This proliferation also adds training from NGOs or from the State which largely rely on technocratic logic of productivism inclined to often face their own vision and methodological limitations. The developmental, paternalistic and interventionist speech patterns and the type of underlying communication and action that communities establish with external partners, which in turn is questioned and resisted. In this landscape, community arts initiatives in Latin America, for enrollment in social life, are not outside the "colonial difference" (8) and subjectivations caused by the confluence of racial, ethnic, gender, class, sexuality, etc.. These conditions make a radical difference to similar initiatives by art collectives that are held in the "First World." But precisely, inequality and injustice have been the engine of historical struggles and resistances that different peoples and nations have mobilized with great force in Ecuador, to claim their rights, with a long history, are guaranteed especially in the New Constitution 2008 where a plurinational and intercultural state is established, emphasizing the political and relational dimension on purely culturalist recognition.

The Residence conceived an "experimental community" (9) from symbolic exercises five artists, with sustained experience in this line of work, provided in the commune. This exchange allowed the emergence of a "mean between-" "third space" or where polarities are disrupted or dualisms such as art / politics, tradition / modernity, inside / outside, and from which sprout positions and strategies of identity from the colonial difference . (10) These initiatives, experimental, collaborative, collective and participatory were based on the exchange of knowledge from listening and dialogue, and took effect with the appropriation of their senses by the community.

Memory, territory and community were vital themes that emerged and converged genuinely from villagers in Puerto El Morro from this "third space" turned from art. Ear Wild Experimental Centre launched a community radio, a sound laboratory that amplified the voices of the community; Fernando Falconi (Falco) convened leaders, representatives of grassroots organizations and various stakeholders to provide content to a "living map"; Ana Fernandez promoted a sewing workshop where women and children participated shaping their personal stories; Josie worked with adolescents Cáceres placing the body as a memory and communication medium; and Alexander Meitin of artistic and eco-environmental organization Ala Plastic, catalyzed dialogues with community leaders, authorities and experts around environmental issues, eco-tourism and territorial recovery. He also appeared as a key interlocutor for his vast experience and sustained development of dialogical art methodologies in social contexts that involve knowledge of various actors.
The presentation will address how memory, territory and community were weaving and articulating from the various platforms, reflections and ethical, political and methodological aesthetic of the artists and the project in general positions, the impact and effect of their work in the community , the problems related to the production and circulation of documentation, as well as future projections of open channels for this experience.

January, 2010.
* Summary of paper to be presented at the Earth Project in AlhondigaBilbao Cultural Centre (May 2010) www.alhondigabilbao.com

Quotes:

(1) White Dove, "Exploring the dump" Know how: Art critic, Public Sphere and Direct Action, White Dove, Jesus Carrillo, Marcelo Exposito Claramonte and Jordi (editors), Spain: Ediciones Universidad de Salamanca, 2001, pp . 39-44.
(2) Grant H. Kester, Conversation Pieces: Community and Communication in Modern Art, University of California Press, 2004
. (3) Former Argentina project (2002-2006) and its different stages activated in Germany and Argentina, visibilizaron activist work of artists and Latin American and European groups. See> http://www.exargentina.org
(4) Plastic Ala organization based in La Plata, Argentina, from the 90s develops a wide range of artistic projects focused on local and regional issues, in close consultation and collaboration with other artists, scientists and environmental groups. See> http://www.alaplastica.org.ar

Health itself is played (2001-2002) was a community service project in a neighborhood in Caracas to stimulate discussion about public health from psychosocial perspectives, artistic and popular. Its makers, Zurisaday Cordero, Juan Carlos Rodriguez and Victor Cardenas, Cuni, published a book documenting the experience. See the overview Playing seriously with the art of José Antonio Navarrete published in LatinArt.com:> http://www.latinart.com/spanish/aiview.cfm?id=405 Mapa Teatro in Colombia is a laboratory for interdisciplinary artists led by Rolf and Heidi Abderhalden conducted the Cúndua project: Pact for Life (2002-2004), a series of platforms with symbolic exercise boundary communities in the city of Bogotá. For an interview critic David Gutiérrez Castañeda Rolf Abderhalden see> http://www.latinart.com/spanish/aiview.cfm?id=399 http://tupblog.wordpress.com/about/ http: // arteurbanosur. blogspot.com +

(5) The production of "capitalistic subjectivity" in terms of the subjective economy is analyzed by Félix Guattari and Suely Rolnik in Micropolitics: cartographies of desire, Buenos Aires. Tinta Limón, 2005
(6) See Only with Natura> http://www.soloconnatura.org/
(7) For a map of the development discourse in Latin America, see Arturo Esccobar, The Invention of the Third World, Bogotá: Norma, 1979
. (8) Walter Mignolo from epistemic project modernity / coloniality proposes the notion of "colonial difference" and "border thinking". See Walter Mignolo, Local Histories / Global Designs: Coloniality, subaltern knowledges and border thinking, Madrid: Akal, 2003
. (9) The theory of art Reinaldo Laddaga characterized the emergence of these experimental communities as part of the new conditions of production, conceptualization and visibility of artistic practices. See Reinaldo Laddaga Aesthetic Emergency. The formation of another culture of the arts. Buenos Aires: Adriana editor, 2006 Hidalgo
. (10) The concept of "third space" is Homi K. Bhabha theorized in The Location of Culture, Buenos Aires. Manantial, 2002

References:

BHABHA Homi K., The Location of Culture, London: Spring, 2002

. WHITE, Paloma, CARILLO, Jesus, and Jordi CLARAMONTE EXPOSITO, Marcelo (editors) Know how: Art critic, Public Sphere and Direct Action, Spain. Ediciones Universidad de Salamanca, 2001

ESCOBAR, Arturo, The Invention of the Third World, Bogotá. Norma, 1979

FOSTER, Hal, "The Artist as Ethnographer," The Return of the Real. The leading end of the century. Madrid:. Akal, 2001

Guattari, Felix and ROLNIK, Suely, Micropolitics: cartographies of desire, Buenos Aires. Tinta Limón, 2005

KESTER, Grant H. Conversation Pieces Community + Communication in Modern Art, University of California Press, 2004.

Laddaga, Reinaldo, Cosmetic Emergency. The formation of another culture of the arts. Buenos Aires: Adriana editor, 2006 Hidalgo

. LONGONI, Ana and Mestman Mariano, the Di Tella to "Tucumán Arde" artistic and political Vanguard in '68 Argentina, Buenos Aires: The sky assault, 2000

. MIGNOLO, Walter, Local histories / global designs: Coloniality, subaltern knowledges and border thinking, Madrid: Akal, 2003