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48
conventional spaces and/or places for art exchanges. It had, he states, no initial plan or strategy, just the “pure pleasure of improvisation and mass communication...”
91
Because e-flux has been profitable, as an owner/director, Vidokle has been able to finance, produce and curate creative projects and exhibitions independent of art institutions. As he describes it, he has been able to remain independent of the “normal power structures that are just killing every thing these days: the market, government, funding organizations, collectors and sponsors.”
92
Prior to his work on Time/Bank, Vidokle’s most recent collaborations have included the unitednationsplaza (Berlin 2006-07, Mexico City, 2008) and Night School (2008-09) in New York
93. He refers to these projects as “exhibition as school” where the audience participants become students.94
91Ibid The projects functioned as a free temporary art academy that consisted of a year of free seminars and discussions with over a hundred artists, writers, curators, philosophers and diverse publics. The “exhibitions,” including its seminars and readings, have been archived on unitednationsplaza.org and can be accessed for free.
92Ibid
93Collaborators for Unitednationsplaza were; Boris Groys, Jalal Toufic, Liam Gillick, Martha Rosler, Natascha Sadr Haghighian, Nikolaus Hirsch, Tirdad Zolghadr and Walid Raad. NightSchool included: Boris Groys, Mikhail Iampolski, Martha Rosler, Liam Gillick, Carey Young, Maria Lind, Tirdad Zolghadr, Okwui Enwezor, Hu Fang, Xu Tan, Zhang Wei, Paul Chan, Rirkrit Tiravanija, Natascha Sadr Haghighian and Raqs Media Collective
94Media Farzin, "An Open History of the Exhibition as School”," ed. Brian Sholis, in Anton Vidokle: Produce, Distribute, Discuss, Repeat (New York: Lukas & Sternberg, 2009), 31.
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 54 |
| Contributing entity | University of Southern California |
| Repository email | cisadmin@lib.usc.edu |
| Full text | 48 conventional spaces and/or places for art exchanges. It had, he states, no initial plan or strategy, just the “pure pleasure of improvisation and mass communication...” 91 Because e-flux has been profitable, as an owner/director, Vidokle has been able to finance, produce and curate creative projects and exhibitions independent of art institutions. As he describes it, he has been able to remain independent of the “normal power structures that are just killing every thing these days: the market, government, funding organizations, collectors and sponsors.” 92 Prior to his work on Time/Bank, Vidokle’s most recent collaborations have included the unitednationsplaza (Berlin 2006-07, Mexico City, 2008) and Night School (2008-09) in New York 93. He refers to these projects as “exhibition as school” where the audience participants become students.94 91Ibid The projects functioned as a free temporary art academy that consisted of a year of free seminars and discussions with over a hundred artists, writers, curators, philosophers and diverse publics. The “exhibitions,” including its seminars and readings, have been archived on unitednationsplaza.org and can be accessed for free. 92Ibid 93Collaborators for Unitednationsplaza were; Boris Groys, Jalal Toufic, Liam Gillick, Martha Rosler, Natascha Sadr Haghighian, Nikolaus Hirsch, Tirdad Zolghadr and Walid Raad. NightSchool included: Boris Groys, Mikhail Iampolski, Martha Rosler, Liam Gillick, Carey Young, Maria Lind, Tirdad Zolghadr, Okwui Enwezor, Hu Fang, Xu Tan, Zhang Wei, Paul Chan, Rirkrit Tiravanija, Natascha Sadr Haghighian and Raqs Media Collective 94Media Farzin, "An Open History of the Exhibition as School”," ed. Brian Sholis, in Anton Vidokle: Produce, Distribute, Discuss, Repeat (New York: Lukas & Sternberg, 2009), 31. |
