{"id":890,"date":"2010-12-27T03:53:08","date_gmt":"2010-12-27T10:53:08","guid":{"rendered":"https:\/\/curatoriaforense.net\/niued\/?p=890"},"modified":"2013-12-28T14:49:08","modified_gmt":"2013-12-28T21:49:08","slug":"local-obscenes-%e2%80%93-overlook","status":"publish","type":"post","link":"https:\/\/curatoriaforense.net\/niued\/?p=890","title":{"rendered":"Local (Ob)Scenes – An overlook"},"content":{"rendered":"

\"\"<\/a><\/p>\n

[versi\u00f3n en espa\u00f1ol<\/a>]<\/span><\/p>\n

This\u00a0article summarizes different discussions, which we held during 2009,\u00a0related to the artworks defense clinic SPARRING TOUR held in\u00a0Argentina and Uruguay with local art managers Fernando Garc\u00eda\u00a0Delgado (Buenos Aires), Roly Arias and Mar\u00eda Laura Buccianti\u00a0(Salta), An\u00edbal Buede (C\u00f3rdoba), Germina Campos and\u00a0Lucas Mercado (Santa Fe – Paran\u00e1), Alejandra and Fernanda\u00a0Hern\u00e1ndez, Andrea and Aileen Fern\u00e1ndez (General Roca –\u00a0Neuqu\u00e9n), Lorraine Green and Mercedes Schamber (Bariloche),\u00a0Irina Svoboda (Comodoro Rivadavia), Bruno Juliano and Javier El\u00a0V\u00e1zquez (Tucum\u00e1n), Eugenia Gonz\u00e1lez and\u00a0Antonella De Ambroggi (Montevideo).<\/span><\/span><\/span><\/p>\n

We\u00a0discussed the possibility of creating a horizontal knowledge\u00a0circulation model; we tried to justify authority without allowing\u00a0authoritarianism; we analyzed discipline avoiding at all costs\u00a0disciplining; we made innovations in the way portfolios are reviewed\u00a0(over 120 contemporary artists).<\/span><\/span><\/span><\/span><\/p>\n

What\u00a0we discovered, the hypothesis that we tested and this main idea that\u00a0none of us is as smart as all of us together, compel us to transform\u00a0the clinic into what we called \u201ccloisters\u00bb\u009d and\u00a0residences; all of which we now carry on because we know that all our\u00a0conclusions are provisional; that\u00a0art inaugurates knowledge\u00a0fields, refines the satisfiers and last, but not least, tells us that\u00a0we are a flock.<\/span><\/span><\/span><\/span><\/p>\n

Nihil sapientis odiosus acumine nimio<\/em>. Seneca<\/span><\/p>\n

There\u00a0are several ways to hide things. <\/span><\/span>One <\/span><\/span>beautiful is to leave them in the naked eye, like in <\/span><\/span>The <\/span><\/em><\/span>Purloined Letter<\/span><\/em><\/span> by Edgar Allan Poe.\u00a0The inspector was used to call \u00abunique\u00bb <\/span><\/span>to all that was beyond his comprehension, and lived, therefore, among\u00a0an absolute legion of \u00absingularities\u00bb.<\/span><\/p>\n

For\u00a0those ones, who have not to be captivated by the ability of discourse\u00a0and to avoid its utterly ventriloquism capacity… for it not to\u00a0impose an objective, for not drifting it to a <\/span><\/span>telos<\/span><\/em><\/span>,\u00a0we will think about the ways of knowing.<\/span><\/span><\/span><\/p>\n

In <\/span><\/span>this article, I will circle the way a local contemporary art scene is\u00a0built, recognized and interacted and I will explain some cases by a\u00a0comparison between the art system in Chile and Argentina due to my\u00a0working experiences\u00a0in each of them.<\/span><\/p>\n

Let\u00a0us return then to the matter.<\/span><\/span><\/span><\/span><\/p>\n

The\u00a0approach to a local scene builds a relationship, it takes it as a\u00a0study subject and\/or as a collaborative involvement, it reads it,\u00a0examines and values it.<\/span><\/span><\/span><\/span><\/p>\n

This is a constituent decision, as in\u00a0love, whatever you do, modifies the other and this, yourself.<\/span><\/p>\n

Sometimes\u00a0I came to agree with the idea that a subject is constituted upon\u00a0request.\u00a0This means that the subject acts as a nebula, which\u00a0objectifies itself when required by another; at this moment, it is\u00a0structurally and discursively organized.\u00a0I think local scenes\u00a0are subjects that are available to requirement, that their own\u00a0attributes are their predispositions and predilections.\u00a0 They\u00a0are a subject available to its objectification, a syndrome (a cluster\u00a0of symptoms) that is defining its artistic production and discursive\u00a0modes.\u00a0After establishing its internal logic, they will become a\u00a0disease model.<\/span><\/span><\/span><\/span><\/p>\n

So, <\/span><\/span>what do we find when we discover a syndrome?\u00a0What do we do when\u00a0we built it?\u00a0We discursively establish a logic that describes\u00a0it.<\/span><\/p>\n

Above\u00a0all, any discourse<\/span><\/span> depends on its instrument.\u00a0The measurement tool can shape the <\/span><\/span>evidence and the evidence can force the significance.<\/span><\/p>\n

Plato\u00a0thinks, <\/span><\/span>in\u00a0Gadamer\u00b4s words, that there are two ways of measuring. <\/span><\/span>One\u00a0is establishing the measure on something and setting out how that\u00a0thing fits the measure; the other is the measure, which is within\u00a0things themselves, a <\/span><\/span>metrion<\/span><\/em><\/span>.<\/span><\/span><\/span><\/p>\n

Therefore, <\/span><\/span>the field researcher must be in a vulnerability position.\u00a0First,\u00a0he should betray himself as many times as necessary.<\/span><\/p>\n

This\u00a0is t<\/span><\/span>o\u00a0not take him to a <\/span><\/span>telos<\/span><\/em><\/span>. <\/span><\/span><\/span><\/p>\n

<\/a><\/a>Discourse<\/span><\/span> is a plan and a program.\u00a0Always. The issue is how the other is\u00a0considered, how it intends to turn a connection into a bond.\u00a0What\u00a0is its quality; what is its density; which are its\u00a0adjectives.\u00a0Discourse is a complex system that faces another one\u00a0that is in process.\u00a0What does a system want from another\u00a0system?\u00a0More system.\u00a0Always.\u00a0The question is how.\u00a0A\u00a0system can be organized as an extension of another system or as its\u00a0complement.<\/span><\/span><\/span><\/p>\n

Discourse\u00a0can staged a state of surprise.\u00a0Choreographed it.\u00a0Like an\u00a0\u201cI do not know what you do, but you are doing it well\u00bb\u009d.\u00a0Or\u00a0say: \u201cyeah yeah, I love these blacks, in fact I have a pair at\u00a0home\u00bb\u009d.<\/span><\/span><\/span><\/span><\/p>\n

Let\u00b4s go for the cases to explain the ranges.\u00a0My objection to\u00a0Argentina\u00b4s art clinic model, led me to plan a tour to test\u00a0some hypotheses.\u00a0This work -which I called <\/span><\/span>SPARRING\u00a0<\/span><\/strong><\/span>TOUR<\/span><\/strong><\/span> (March to October 2009)- acted on various research levels.\u00a0It\u00a0was -among others- a field overview of artists’ portfolios and\u00a0a way to strengthen relations (both political and artistic).<\/span><\/span><\/span><\/p>\n

Its\u00a0conclusions were accurate.\u00a0Indeed, the model misleads to errors.\u00a0There is no way.\u00a0It is the clinic that conditions the <\/span><\/span>clinicee<\/span><\/em><\/span>,\u00a0it makes him\/her speak in the language of the clinician.\u00a0The <\/span><\/span>clinicee<\/span><\/em><\/span> learns quickly (seeing other artists\u00b4s presentations) the\u00a0contingent efficiencies used to get the clinician\u00a0approval.\u00a0Efficiencies which are good for nothing, because they\u00a0respond to a diagnosis always changing (a state of things) that the <\/span><\/span>clinicee<\/span><\/em><\/span> takes as an established discourse.<\/span><\/span><\/span><\/p>\n

The\u00a0local scene, taken over by an art clinic, ends organized by the words\u00a0of the last available discourse. The artworks (but mainly the manner\u00a0of speaking about them) are subordinated to an argumentative\u00a0structure within an argumentative framework.\u00a0The colonization,\u00a0which was previously imposed by political and economical powers, it\u00a0is now more profound: it is a language colonization.<\/span><\/span><\/span><\/span><\/p>\n

We\u00a0see, then, in the Argentine emerging local scenes, periods defined by\u00a0the subsequent assimilation of the terms used in clinics. The fashion\u00a0system has been imposed on the best way it knows: the paternalistic\u00a0conviction of being collaborating in its development, acts through\u00a0the seduction of those who are unaware that seduction is also a\u00a0mechanical system.<\/span><\/span><\/span><\/span><\/p>\n

And\u00a0I say that <\/span><\/span>clinicees<\/span><\/em><\/span> appropriate the terms because what is left unknown is the structure\u00a0of knowledge, which have them as consequences. Terms as exempt\u00a0sculptures.\u00a0Art pedagogy is not art, is a divulgation and\u00a0recycling system of a thought structure.\u00a0It is a process\u00a0designed to regulate cognitive processes with their correlated\u00a0biases.<\/span><\/span><\/span><\/p>\n

Th<\/span><\/span>is <\/span><\/span><\/span><\/span>is why during the <\/span><\/span>Cloister <\/span><\/strong><\/span>\u201cPUESTA EN PR\u00c1\u0081CTCA\u00bb\u009d \/ PUT INTO PRACTICE\u00a0<\/span><\/strong><\/span>(C\u00f3rdoba, <\/span><\/span>November 2009) we declared the art clinic\u00b4s death as a system\u00a0of knowledge circulation and production.\u00a0The authority structure\u00a0that requires the discourse does not imply authoritarianism,\u00a0discipline is not disciplining.<\/span><\/p>\n

Again:\u00a0the\u00a0problem is not those who manage or run it, or those who participate\u00a0in it.\u00a0The error is induced by the model.\u00a0Its\u00a0implementation and its regulations make the falsification occur, the\u00a0frustration, false expectations and disproportionate requirements.<\/span><\/p>\n

Another\u00a0example.\u00a0Salta, in the middle of the conference called <\/span><\/span>\u201cEverything\u00a0that is not desolation\u00bb\u009d<\/span><\/strong><\/span> (September 2009), an idea that had been fairly enunciated in <\/span><\/span>\u201cART\u00a0QAEDA\u00bb\u009d<\/span><\/strong><\/span> (Bariloche, June 2009) was consolidated: any independent initiative\u00a0starts as heroic, inevitably makes\u00a0their managers\u00a0martyrs.\u00a0Martyrdom\u00b4s exit is guerrilla formations: a light\u00a0institution, economic, symbolic and financially.<\/span><\/span><\/span><\/p>\n

This\u00a0is how to go from (alleged) independence to autonomy. Independence is\u00a0a trap, an argument to win a fellowship or financial aid. There is no\u00a0independence in complex systems. What could be aspired to is to an\u00a0autonomous co-dependency.<\/span><\/span><\/span><\/span><\/p>\n

The\u00a0ringed organization, which I have proposed for the Argentine art\u00a0system, addresses to the specific developments in both artistic and\u00a0production techniques, as well as discursive.\u00a0A simplified\u00a0wording would be: in the first ring, Buenos Aires that concentrates\u00a0economic and human resources, which allows the implementation of an\u00a0influence system, which -under a caring educational plan- is\u00a0educating skilled workers who feed it.<\/span><\/span><\/span><\/span><\/p>\n

The\u00a0second ring (Rosario, C\u00f3rdoba and Montevideo) is within the\u00a0first ring irradiation area -not so close to get burned, not so\u00a0far to get cooled- receiving recurrent influences and methodological\u00a0advice. Distance allows divergences in forms and some objections to\u00a0how a career\u00b4s objectives are understood.<\/span><\/span><\/span><\/span><\/p>\n

A\u00a0third ring (local scenes such as Salta, Bariloche, Neuqu\u00e9n-Roca,\u00a0Comodoro Rivadavia, Santa Fe, among others) has the distance\u00a0privilege.\u00a0There is a feeling not so hidden that it is always\u00a0greener the neighbor’s yard, where those who have not renounced their\u00a0participation in the system, continue to see Buenos Aires as El\u00a0Dorado.<\/span><\/span><\/span><\/span><\/p>\n

In\u00a0Chile.\u00a0The Chilean feudal art system has as a binomial axis the\u00a0Academy and the government institution, where the emerging local\u00a0scenes are areas of influence dispute between intellectuals and\u00a0institutions.<\/span><\/span><\/span><\/span><\/p>\n

Concepci<\/span><\/span>\u00f3n\u00a0and Valpara\u00edso are strategically precarious local scenes;\u00a0Valdivia, Temuco, Talca and Iquique are instrumentalized fictions.\u00a0In\u00a0each of them, heroes face the NO FUTURE with the NO LOGO.<\/span><\/span><\/span><\/p>\n

Cu<\/span><\/span>ltural\u00a0interventions made by Chile\u00b4s Triennial came to consolidate\u00a0the grant and subversion model, in which the first one modulates the\u00a0second.\u00a0Few were able to understand the poisoned condition of\u00a0the offerings made by the government.<\/span><\/span><\/span><\/p>\n

Chilean-Argentine <\/span><\/span>horizontal <\/span><\/span>corridors\u00a0<\/span><\/span>exchange,\u00a0which were carried out by the Triennial (Iquique, Salta, Tucum\u00e1n\u00a0and Neuqu\u00e9n Valdivia-General Roca), are -in participants\u00a0words- disproportionate forces.<\/span><\/span><\/span><\/p>\n

Argentina\u00b4s third ring has a degree of self-management and institutional\u00a0implementation that exceeds those who were intended as their\u00a0peers.\u00a0All this was held on a promise so broad and ambiguous\u00a0that it could hardly be demanded.\u00a0In fact, what happened was of\u00a0a remarkable pragmatism, using the words of Marcos Figueroa over\u00a0breakfast at Tucum\u00e1n: \u00abWe put the party together, now you\u00a0all have to mate\u00bb.<\/span><\/span><\/span><\/span><\/p>\n

Back to the beginning.\u00a0Artists,\u00a0managers and contemporary art associated services -within the\u00a0local scenes- are read, in their actions and intentions, by the\u00a0dominant discourses, and often by themselves, as falling short\u00a0proceedings.\u00a0That is, depending on how long does it take to\u00a0become a replica that organizes the model. \u00a0What is openly\u00a0hidden is that the center is also a local mirror subjected to an\u00a0international system, where this one is the edge.\u00a0This is my\u00a0first proposal: we have to relativize the outside measurement.\u00a0Refute\u00a0its subordination verticality and use its axiomatic structure to\u00a0implement its consolidation.\u00a0Use it as a parameter and not as a\u00a0directive.<\/span><\/p>\n

To <\/span><\/span>verify that <\/span><\/span> indeed what it is happening is actually contemporary art, it is <\/span><\/span>necessary to follow and pursue development processes, document its\u00a0transformations -as an anthropologist who has found new species\u00a0and avoids making comparative anatomy (as suggested in the paragraph\u00a0above)- like\u00a0someone in love with his subject and looks for its\u00a0consolidation, consistency and deployment.<\/span><\/p>\n

It\u00a0is the <\/span><\/span>metrion<\/span><\/em><\/span> contained in each scene what has to be explored.\u00a0The metrion is,\u00a0in part, that fantasy of being able to do justice to things by the\u00a0rules that they had given to themselves to their organization.<\/span><\/span><\/span><\/p>\n

Now, <\/span><\/span>an exhaustive study requires that both measures occur\u00a0simultaneously.\u00a0How?\u00a0Trying to observe the forest and the\u00a0tree. And in this way, avoid the distortion caused by the imposition\u00a0of a knowledge model.\u00a0How is it done?\u00a0Dancing.<\/span><\/p>\n

On\u00a0my perspective, what knowledge does is to allow us to administrate\u00a0ignorance.\u00a0This would allow us to locate what is hidden in front\u00a0of our eyes.<\/span><\/span><\/span><\/span><\/p>\n

Jorge Sep\u00falveda T.
\nIndependent Curator
\nBuenos Aires, july 2009 – Valpara\u00edso, january 2010.<\/span><\/span><\/p>\n

[like]<\/span><\/span><\/p>\n

Galer\u00eda de Im\u00e1genes \/ Image Gallery<\/span><\/span><\/p>\n

ngg_shortcode_0_placeholder<\/span><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

[versi\u00f3n en espa\u00f1ol] This\u00a0article summarizes different discussions, which we held during 2009,\u00a0related to the artworks defense clinic SPARRING TOUR held in\u00a0Argentina and Uruguay with local art managers Fernando Garc\u00eda\u00a0Delgado (Buenos Aires), Roly Arias and Mar\u00eda Laura Buccianti\u00a0(Salta), An\u00edbal Buede (C\u00f3rdoba), Germina Campos and\u00a0Lucas Mercado (Santa Fe – Paran\u00e1), Alejandra and Fernanda\u00a0Hern\u00e1ndez, Andrea and Aileen Fern\u00e1ndez […]<\/p>\n","protected":false},"author":16,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"saved_in_kubio":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"ngg_post_thumbnail":0,"_joinchat":[],"footnotes":""},"categories":[5],"tags":[539,537,414,492,495,27,771,1291,543,545,1308,18,787,524,523,207,805,1283,548,538,529,415,534,815,544,1063,503,811,541,535,816,531,542,2677,810,540,253,530,827,533,1788,2676,3017,814,813,296,526,812],"class_list":["post-890","post","type-post","status-publish","format-standard","hentry","category-artistas","tag-ailin-fernandez","tag-alejandra-hernandez","tag-andrea-fernandez","tag-anibal-buede","tag-antonella-de-ambroggi","tag-argentina","tag-art-qaeda","tag-art-system","tag-bariloche","tag-bruno-juliano","tag-buenos-aires-argentina","tag-chile","tag-chile-triennial","tag-comodoro-rivadavia","tag-cordoba","tag-edgar-allan-poe","tag-english","tag-english-version","tag-eugenia-gonzalez","tag-fernanda-hernandez","tag-fernando-garcia-delgado","tag-general-roca","tag-germina-campos","tag-iquique","tag-irina-svoboda","tag-javier-el-vazquez","tag-jorge-sepulveda-t","tag-local-scenes","tag-lorraine-green","tag-lucas-mercado","tag-marcos-figueroa","tag-maria-laura-buccianti","tag-mercedes-schamber","tag-metrion","tag-montevideo","tag-neuquen","tag-puesta-en-practica","tag-roly-arias","tag-rosario-argentina","tag-salta","tag-santa-fe-argentina","tag-seneca","tag-sparring-tour","tag-talca","tag-temuco","tag-trienal-de-chile","tag-tucuman","tag-valdivia"],"_links":{"self":[{"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/posts\/890","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=890"}],"version-history":[{"count":10,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/posts\/890\/revisions"}],"predecessor-version":[{"id":2325,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=\/wp\/v2\/posts\/890\/revisions\/2325"}],"wp:attachment":[{"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=890"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=890"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/curatoriaforense.net\/niued\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=890"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}