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33
CHAPTER 4: CAROLINA CAYCEDO: LIVING DAY TO DAY
“I understood that what I have been doing in this city so far is weaving together a tapestry of experiences and persons. And I don’t mean weaving a new tapestry all together, but more like weaving a new color, a new thread into an already rich and multiple layered fabric of community networks, non profit organizations, conscious individuals, creative collectives, anarchist city dwellers and revolutionary thinkers that share. Yes that’s it, that simply share. What do they share? Well, first of all the public space of Los Angeles, second, their time and resources, and finally but not less important ideals and ideas and actions on how to relate to others and inhabit the city in a way that allows less dependency on the system.”64
– Carolina Caycedo
In the summer of 2009, Carolina Caycedo traversed the city of Los Angeles with La Cholota (Big Chola), a 1979 Chevrolet “Chevy” Van she acquired while in the city for a five-week artist residency at the g727 gallery. La Cholota served as Caycedo’s major asset that enabled her to get to know the city and its social and cultural networks. Additionally, along with the hospitality of g727 gallery, La Cholota served as her main resource for negotiating non-monetary exchanges, which were the primary artistic strategy of her project entitled Daytoday.
Caycedo began her art practice of informal economies and non-monetary exchange in the street in 1997, while an art student in Bogota, Columbia.65
64 “Daytoday in L.A. Blog” Daytoday 2002-2009, (ed. Carolina Caycedo) She collaborated with Adriana García, Raimond Chaves and Federico Guzmán in an art collective called Cambio Cambalache, and in 1998, they created Museo de la Calle (Museum of the Streets). This was her first social practice experiment in direct exchange
www.Lulu.com (2009), p. 55
65 Pablo Leon de la Barra, “Existing Outside The Art Economy: Carolina Caycedo’s Daytoday Project” in Daytoday 2002-2009, ((ed. Carolina Caycedo) www.Lulu.com (2009), p. 67
Object Description
| Title | Mejor vida/better life and day-to-day exchanges: Networks of social exchange in contemporary arts practice |
| Author | Anderson, Joy Angela |
| Author email | joy.anderson@usc.edu; majikalnature@gmail.com |
| Degree | Master of Public Art Studies |
| Document type | Thesis |
| Degree program | Public Art Studies |
| School | School of Fine Arts |
| Date defended/completed | 2011-03-08 |
| Date submitted | 2011 |
| Restricted until | Unrestricted |
| Date published | 2011-05-06 |
| Advisor (committee chair) | Decter, Joshua |
| Advisor (committee member) |
Owen Driggs, Janet Gonzalez, Rita |
| Abstract | The current economic crisis has brought attention and criticism to a dominant global economic system that is characterized by the goal of exponential expansion in pursuit of private monetary profit. In this thesis I explore the possibility for social and participatory art to invoke, inspire and mobilize action towards alternative sustainable systems of economic exchange. Generosity and non-monetary exchange as a social practice and artistic strategy provide a space for artists and audiences to perform models of alternative economies in the social/public sphere. While they also cultivate a network of social and cultural capital that values shared time and resources for mutual benefit. Using tactics evocative of feminist artists of the 1970s, the art projects considered in this text experiment with ways to live independent of, and in resistance to, the corporate market. My discussion focuses on the socially engaged art projects of artists Minerva Cuevas and Carolina Caycedo, and the Time/Bank initiated by artists Anton Vidokle and Julieta Aranda of e-flux. I reveal how their art projects perform creative models towards an economic paradigm shift, while positioning social and participatory public art practice as models towards sustainable lifestyles. |
| Keyword | social practice; generosity and non-monetary exchange in contemporary art; non-object art; Latin American artists; Mexican artists; Interventionist art; public art; public practice; feminist art; participatory art; alternative economies; barter; time bank; time currency; environmental sustainable lifestyles; economic sustainability; global corporate capitalism; global economic paradigm; art activism; paradigm shift; environmental and social justice; temporary autonomous zone; relational aesthetics; social capital; conceptualism; DIY; globalization; gift economies |
| Coverage date | 1970/2010 |
| Language | English |
| Part of collection | University of Southern California dissertations and theses |
| Publisher (of the original version) | University of Southern California |
| Place of publication (of the original version) | Los Angeles, California |
| Publisher (of the digital version) | University of Southern California. Libraries |
| Provenance | Electronically uploaded by the author |
| Type | texts |
| Legacy record ID | usctheses-m3921 |
| Contributing entity | University of Southern California |
| Rights | Anderson, Joy Angela |
| Repository name | Libraries, University of Southern California |
| Repository address | Los Angeles, California |
| Repository email | cisadmin@lib.usc.edu |
| Filename | etd-anderson-4448 |
| Archival file | uscthesesreloadpub_Volume44/etd-anderson-4448.pdf |
Description
| Title | Page 39 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 33 CHAPTER 4: CAROLINA CAYCEDO: LIVING DAY TO DAY “I understood that what I have been doing in this city so far is weaving together a tapestry of experiences and persons. And I don’t mean weaving a new tapestry all together, but more like weaving a new color, a new thread into an already rich and multiple layered fabric of community networks, non profit organizations, conscious individuals, creative collectives, anarchist city dwellers and revolutionary thinkers that share. Yes that’s it, that simply share. What do they share? Well, first of all the public space of Los Angeles, second, their time and resources, and finally but not less important ideals and ideas and actions on how to relate to others and inhabit the city in a way that allows less dependency on the system.”64 – Carolina Caycedo In the summer of 2009, Carolina Caycedo traversed the city of Los Angeles with La Cholota (Big Chola), a 1979 Chevrolet “Chevy” Van she acquired while in the city for a five-week artist residency at the g727 gallery. La Cholota served as Caycedo’s major asset that enabled her to get to know the city and its social and cultural networks. Additionally, along with the hospitality of g727 gallery, La Cholota served as her main resource for negotiating non-monetary exchanges, which were the primary artistic strategy of her project entitled Daytoday. Caycedo began her art practice of informal economies and non-monetary exchange in the street in 1997, while an art student in Bogota, Columbia.65 64 “Daytoday in L.A. Blog” Daytoday 2002-2009, (ed. Carolina Caycedo) She collaborated with Adriana García, Raimond Chaves and Federico Guzmán in an art collective called Cambio Cambalache, and in 1998, they created Museo de la Calle (Museum of the Streets). This was her first social practice experiment in direct exchange www.Lulu.com (2009), p. 55 65 Pablo Leon de la Barra, “Existing Outside The Art Economy: Carolina Caycedo’s Daytoday Project” in Daytoday 2002-2009, ((ed. Carolina Caycedo) www.Lulu.com (2009), p. 67 |
