Welcome to Scribd. Sign in or start your free trial to enjoy unlimited e-books, audiobooks & documents.Find out more
Standard view
Full view
of .
Look up keyword
Like this
0 of .
Results for:
No results containing your search query
P. 1
Killer Text on Art

Killer Text on Art

|Views: 120|Likes:
Published by Jules Rochielle

More info:

Published by: Jules Rochielle on May 07, 2012
Copyright:Attribution Non-commercial


Read on Scribd mobile: iPhone, iPad and Android.
download as PDF, TXT or read online from Scribd
See more
See less





5/2/12 9:07 AMArrhythmias of Counter-Production : UC SAN diego Art Gallery - Artillery Mag: Killer Text On ArtPage 1 of 2http://www.artillerymag.com/mini-reviews/entry.php?id=arrhythmias-counter-production-uc-san-diego-art-gallery
Mailing List
Email Address
june/julyvol 6 issue 5in this issuefeatured articlesmediareviewsweb exclusivesubscribephoto galleryvideoscalendareventspressemploymentBlogs
Grupo de Arte Callejero (GAC),documentation of
againstJorge Rafael Videla, Buenos Aires,Argentina, 2006, photo courtesygrupo de arte callejero
Arrhythmias of Counter-Production
UC SAN diego Art GalleryThe works in "Arrhythmias of Counter-Production: Engaged Art inArgentina, 1995-2011," curated by Jennifer Flores Sternad, were madein the national context of "recovery" from the economic crisis of 1999-2002 and the so-called Dirty War conducted by Argentina's militarydictatorship between 1976-1983. But the works speak directly to theNorth American present, and suggest a significant role for artists in theincreasingly precarious economic future. Focused on the period ofneoliberalism and financial collapse that followed the "disappearance" of30,000 Argentinian civilians, "Arrhythmias" presents activist strategiesboth familiar and surprising.Reviving the sloganized T-shirt, for example, Taller Popular deSerigrafía (The People's Screen Printing Workshop) develops graphicswith popular assemblies. Julian d'Angiolillo's
Hacerme Feriante 
Become A Stallholder 
) (2010) documents Latin America's largest informal market,but avoids exegesis by refusing a voice-over. La Tribu is an independentradio station. The Iconoclasistas (Iconoclasts) conflate poster and comicforms to make visual representations of collective knowledge, which thegroup gathers via community mapping workshops.In the context of Argentina's autonomous social movements, the projects engage the creation ofcollective meaning by separate but equal voices. Why then contain heterogeneity inside media andinformation distribution methods that appear mono-vocal and are frequently used for propaganda andsloganeering?The contradiction highlights the role of storytelling in post-
Argentina, where a history of swifttransition from state terrorism to free-market democracy served a neoliberal agenda. Striving to rupturethat agenda, the "Arrhythmias" artists make "disappeared" information visible, and bring justice tootherwise silenced parts of a brutal history. Their most pointed works take their own bodies into thestruggle.Grupo de Arte Callejero (Street Art Group) uses "
" made with the group H.I.J.O.S (Childrenfor Identity and Justice Against Forgetting and Silence), hurling paint at the homes of un-punishedtorturers, identifying ex-detention centers, and outing organizations that hide murderers in plain view.Etcétera...'s
Mierdazo (Poop Attack)
(2002) saw people lobbing turds in baggies at Congress on theday of its annual budget discussion. The Errorist International, an offshoot of Etcétera..., enacts guerillawar performances with photocopied "weapons" and deflects actual Argentinian security force attentionby inviting police participation/collusion in the "film shoot."By using the Situationist strategy of détournement to address the culture of fear, scratching the coverof anonymity, and performing collective "justice and punishment" when the state produces none, theactions of the artists featured in "Arrhythmias" interrupt a national narrative that denies individual lossand collective trauma. Shown in the U.S., they also prompt reflection on the role of U.S. military aid tothe
($63.5 million in 1977, for example). At the same time, they offer tools by which to exposeNorth America's parallel narrative strategies, which whitewash a devastating but less acute"disappearance" of poor, mostly non-white and uninsured civilians.Two other works of note include Eduardo Molinari's
Walking Archive 
(2001-2011), which "refigures" anational identity that, quoting Sternad, encompasses "fugitive events and experiences" by simplywalking the city, documenting its underrepresented stories through places. Finally, Ala Plastica's
Who Designs Territories? For Whom? 
(2011) approaches the dissolution of statehood caused byglobalization. Both Molinari and Ala Plastica's works propose responsive dialogues that develop in ahorizontal, socially equitable environment. Anyone care to
Janet Owen Driggs & Jules Rochielle Sievert 
Share Article!
Recommend this
Current Issue
Now available at mostartgalleries in LA and NY

You're Reading a Free Preview

/*********** DO NOT ALTER ANYTHING BELOW THIS LINE ! ************/ var s_code=s.t();if(s_code)document.write(s_code)//-->