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46
the specific frame of e-flux, an online announcement distribution service that functions as a space of common interest for the international contemporary art world.
Julieta Aranda is a multimedia artist from Mexico City who lives and works in New York and Berlin. She is co-founder, with Vidokle, of e-flux, an online network that distributes announcements about and around the art world. Her latest project, part of the first of the Solomon R. Guggenheim Museum’s “Intervals” emerging art series in 2009, was an installation of time-keeping mechanisms.85 In a conversation with Sarah Hromack published in Art In America, Aranda state that those works grouped under the title There Will be Time reflect her “interest in the notion of subject formation -- how this is tied to a politicized subjectivity and, in turn, to the assertion of one's dominion over one's time as a condition for individuation...I like to think that the group of works at least describes the possibility of claiming sovereignty over one's experience of time, and not to have it inexorably linked to an authority.”86
Aranda’s interest in disassociation from authority leading towards a self-sustaining and independent subjectivity has also been explored in her collaborations with Vidokle. With Vidokle and Liz Linden for example, she organized PAWNSHOP, and with Vidokle, e-flux video rental (EVR). Both projects began at the e-flux storefront in
85Julieta Aranda, "Alternative Economies" (Presentation, Creative Time Summit: Revolutions in Public Practice, New York Public Library, New York City, October 2009), accessed December 18, 2010, http://creativetime.org/programs/archive/2010/summit/WP/2010/09/28/julieta-aranda/.
86Sarah Hromack, "There Will Be Time: A Conversation with Julieta Aranda - Conversations - News & Opinion," Art in America, September 4, 2009, section goes here, accessed February 2, 2011, http://www.artinamericamagazine.com/news-opinion/conversations/2009-04-09/there-will-be-time-a-conversation-with-julieta-aranda/.
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 52 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 46 the specific frame of e-flux, an online announcement distribution service that functions as a space of common interest for the international contemporary art world. Julieta Aranda is a multimedia artist from Mexico City who lives and works in New York and Berlin. She is co-founder, with Vidokle, of e-flux, an online network that distributes announcements about and around the art world. Her latest project, part of the first of the Solomon R. Guggenheim Museum’s “Intervals” emerging art series in 2009, was an installation of time-keeping mechanisms.85 In a conversation with Sarah Hromack published in Art In America, Aranda state that those works grouped under the title There Will be Time reflect her “interest in the notion of subject formation -- how this is tied to a politicized subjectivity and, in turn, to the assertion of one's dominion over one's time as a condition for individuation...I like to think that the group of works at least describes the possibility of claiming sovereignty over one's experience of time, and not to have it inexorably linked to an authority.”86 Aranda’s interest in disassociation from authority leading towards a self-sustaining and independent subjectivity has also been explored in her collaborations with Vidokle. With Vidokle and Liz Linden for example, she organized PAWNSHOP, and with Vidokle, e-flux video rental (EVR). Both projects began at the e-flux storefront in 85Julieta Aranda, "Alternative Economies" (Presentation, Creative Time Summit: Revolutions in Public Practice, New York Public Library, New York City, October 2009), accessed December 18, 2010, http://creativetime.org/programs/archive/2010/summit/WP/2010/09/28/julieta-aranda/. 86Sarah Hromack, "There Will Be Time: A Conversation with Julieta Aranda - Conversations - News & Opinion," Art in America, September 4, 2009, section goes here, accessed February 2, 2011, http://www.artinamericamagazine.com/news-opinion/conversations/2009-04-09/there-will-be-time-a-conversation-with-julieta-aranda/. |
