(Someone who did lots of owls said this.) People like free stuff but make sure you don't give stuff out all over the place, like to just regular people looking around etc, as they won't appreciate it and you won't have got your work anywhere else- it'll just be thrown away. It's not a regular source of income so you might make loads one fair and none the other. Usually book fairs won't support you financially, even if you do them every weekend. Here are some points that I've written down. Whilst I didn't do a proper interview, I did have a few conversations that answered some of my questions. I didn't get too long to wander around but I did manage to speak to some of the people I'd already mention. BABE was awesome! As you can see in Tris's post below, the table looked lovely. La Lleca Colectiva: Project Description / Elize Mazadiego 388Įxodus to La Lleca: Exiting from "Art" and "Politics" in Mexico / La Lleca 391Ģ2.So, for those of you who didn't come, you should know that you missed out. The Tournament: Nodes of a Network Made of Undisciplined Knowledge / Juan Carlos Rodríguez 369Ģ1. Con la Salud si se Juega: Project Description / Fabian Cerejido 367 Lurawi, Doing: An Anarchist Experience-Ch'ixi / LXS Colectiverxs 343Ģ0. How Three Artists Led the Queens Museum into Corona and Beyond / Prerana Reddy 321ġ9. Of Co-Investigations and Aesthetic Sustenance: A Conversation / Colectivo Situaciones and Electronic Disturbance Theater / B.A.N.G. The Empowerment Process of Community Communication in Ecuador / Alberto Muenala 297ġ7. Interviwe with Pablo Sanaguano / Maria Fernanda Cartagena 279ġ6. Otros-Nosotros: An Interview with Ala Plastica / Grant Kester 261ġ5. Ala Plastica: Project Description / Fabian Cerejido 259 Chemi Rosado-Seijo: Project Description / Marina Reyes Franco 241Īn Interview with Chemi Rosado-Seijo / Sofía Gallisá Muriente, Marina Reyes Franco, and Beatriz Santiago Muñoz 245ġ4. Some Frameworking Concepts for Art and Social Practices in Colombia / David Gutiérrez Castañeda 220ġ3. Skins of Memory: Art, Civic Pedagogy, and Social Reconstruction / Pilar Riaño Alcalá and Suzanne Lacy 203ġ2. Interview with Mauricio Brandão of BijaRi, Octo/ Mariola V. The Becoming World of Brazil / Fremte 3 de Fevereiro 169ġ0. Kester, Suzanne Lacy, Ana Longoni, Rodrigo Martí, Elize Mazadiego, Annie Mendoza, Alberto Muenala, Prerana Reddy, Maria Reyes Franco, Pilar Riaño-Alcalá, Juan Carlos Rodríguez Alvarez, Gustavo Buntinx, María Fernanda Cartagena, David Gutiérrez Castañeda, Fabian Cereijido, Paloma Checa-Gismero, Kency Cornejo, Raquel de Anda, Bill Kelley Jr., Grant H. Introducing English-language readers to some of the most dynamic and innovative contemporary art in Latin America, Collective Situations documents new possibilities for artistic practice, collaboration, and creativity in ways that have the capacity to foster vibrant forms of democratic citizenship. Whether addressing human rights in Colombia, the politics of urban spaces in Brazil, the violent legacy of military dictatorships in the region, or art’s intersection with public policy, health, and the environment, the contributors outline the region’s long-standing tradition of challenging ideas about art and the social sphere through experimentation. This volume's essays, interviews, and artist's statements-many of which are appearing in English for the first time-demonstrate the complex relationship between moments of political transformation and artistic production. In Collective Situations scholars, artists, and art collectives present a range of socially engaged art practices that emerged in Latin America during the Pink Tide period, between 19. Labor and Working-Class History Association.Association for Middle East Women's Studies.Author Resources from University Presses.Journals fulfilled by DUP Journal Services.
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