Re-generación 1958: Discurso y prácticas de la Izquierda Cultural venezolana (1958-1971) is my doctoral project mongraph. It proposes an historiographic reading of the Venezuelan cultural field in the 1960s by analyzing discourses and practices of two main groups of intellectuals: Tabla Redonda and El Techo de la Ballena. Although the initial position of these cultural actors was marginal, they aspired to an institutional appointment or recognition. However, being on the margin was strategy of self-legitimization as they claimed the need for cultural renovation, both in aesthetic and institutional matters. They took the form of an artistic avant-garde and advocated different programs. However, they have been grouped under the name of "cultural left", an umbrella that clearly describes the ideological panorama back at the time. This research is based on a series of questions about the transformation of their discourse throughout the decade aiming to understand how the political and social was translated into cultural practices. The particularity of the Venezuelan political context, with a democracy that emerged strengthened at the end of the 1960s, did not seem to be a scenario analogous to other Latin American countries, where the radicalization of intellectual commitment occurred precisely in the 1970s. There was indeed a strong division between critical intellectuals and revolutionary intellectuals, albeit only in its discursive aspect, since the revolutionary intellectual did not see his life threatened after 1968. The book argues the thesis of a de-radicalization by institutional action while analyzing the cultural field and its cultural production, in order to better understand the past of a country today devastated.
Editors: Sara Alonso Gómez, Isabel Piniella, Nadia Radwan, and Elena Rosauro
NO Rhetoric(s): Versions and Subversions of Resistance in Contemporary Global Art focuses on a neuralgic issue which was intensely debated during the last three decades, but has rarely become a topic of its own. This collective volume derives from and develops the discussion sparked by the events that occurred at the University of Bern, the University of Zurich, the Reitschule cultural center and the art space la_cápsula. It offers an updated way which art presents itself as an agent of resistance, whether in a mere rhetorical stance or as an effective critical strategy. In the face of general discourse of revolt and insurrection that is highly fashionable today, it is necessary to ask whether the gesture of ‘negation’ still yields an emancipatory potential. Struggling between NO rhetoric and NO to rhetoric, the artistic and the political field permanently interfere with each other; sometimes they merely overlap, while at other moments they strongly insist on demarcating themselves. Nonetheless it remains to be seen more precisely of what their respective critical forces and agonality consist.
Artwork: Meriel Price
Authors: Urban Mäder, Nicolas Nova, Isabel Piniella
Curator: Isabel Piniella
Sousveillance is companion publication with essays addressing the exhibition's framework, bringing Price's work into dialogue with the understanding of daily soundscapes, rhythm and movement in the age of digital surveillance. The act of looking is an unequal relationship. To look up or to look down implies a hierarchy, as the subjects watching or being watched cannot be at the same level of reciprocity. The topic of surveillance arouses fascination and suspicion in both mainstream and academic debates. It is within the field of art that we often find creative responses and imaginative alternatives that reflect critically upon this controversial topic. Staring at the Bin moves in a broad field of tension between the struggle for social interaction and engagement in public space through autonomous actions and an aesthetic, rhythmic and choreographic reconfiguration of daily life as art. Curated under the concept of sousveillance, the exhibition reflects on the surveilled urban rhythm, as Price’s sonic and visual exploration of the everyday and her fictional scenarios result in an aesthetic experience of subtle interruption that ultimately resets the perpetual imperceptible vigilant system.