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Lippard reported from the trenches, not only providing context and arguments, but also offering contemporary examples of activist art and cultural resistance.
This piece has been co-created with Orlando Rodriguez, and its research began in Vilnius (Lithuania) at the Arts Printing House during the summer of 2017 and continued theretofore at UCSD’s Dance & Theater program.
Conception & Dance Maker – Verónica Santiago Moniello Dance Maker – Orlando Rodriguez Creative Consultancy – Javier Fresneda Scenic Designer – Samantha Rojales Costume Designers – Barbara Byers, Verónica Santiago Moniello Sound & Projections Designer – John Burnett Vocalist – Barbara Byers Percussionist – Ben Rempel Assistant Lighting Designer – Mextly Almeda Assistant Sound Designer – Mae Ann Ross Production Stage Manager – Kasson Marroquin Assistant Stage Manager – Willie Mae Michiels Parking Passes Required: Monday through Friday. Note: Machines take all major credit cards except Discover and when paying with cash you must use exact change, NO CHANGE GIVEN.
General Admission: $20 UCSD Faculty/Staff/Alumni Association, and Seniors (over 62): $15 UCSD Students/UCSD Alumni Association (with ID): $10 Please note: No late seating; no refunds.
Lucy Lippard’s famous essay on activist art should need no introduction or art historical contextualization; what’s more, “Trojan Horses: Activist Art and Power” published in the seminal 1984 anthology Art After Modernism, represents but one entry point into a truly impressive body of work dedicated to the politics of art and representation from the 1960s up to today.
Moreover, the 1980s now appear to have witnessed a much larger movement of artistic activism than, say, the 1990s and its often heralded return to the social and political in art, not to mention our present decade . Like the Trojan Horse, activist art enters hallowed halls where it does not properly belong by way of a disguise—by being an alluring aesthetic object, it pushes into the institution of art, both concretely and metaphorically.
But unlike the Trojan Horse, activist art is not instrumental in the violent overthrow of a regime, but works rather by subverting the very idea of an aesthetic object.S.), Bauhaus (w/ Andrea Canepa, Dessau, Germany.) Previous works have been presented in Mexico, Venezuela, Belize, Germany, Czech Republic, Lithuania, Spain and the U. is part of her ongoing research “The Body that has Been Possessed” awarded by Tinker Fellowships, CILAS: Center for Latin American and Caribbean Studies and The Friends of California.In 2017 Verónica founded Habitual, a platform-based studio that explores the possibilities of movement.As an interstice between given narratives that understood the figure of the horse as either a donor of life and the harbinger of death.This suspended space allows us to share the unknown, the intimacy of our personal paths; turning the private into a collective realization of the act of sharing.As such, the essay can be situated both in an ongoing debate—making it ripe for revisitation—and in the trajectory of Lippard’s oeuvre as a whole.Indeed, the author of “Trojan Horses” has long grappled with the relationship between art and activism, both in terms of activist art and with regard to how the two categories inform each other as general forms of power and empowerment.As a result, we are less interested in depicting apocalyptic landscapes that acknowledging the tectonic texture of a silent earth.The trope of a stumbling horse will be told as an image of the majestic in its encounter with failure, with realness, with dirt.is a piece that reflects on the concept of territory —the description of a space— by using complementary bodily approaches: chants, music, percussion, dance.The piece introduces these notions to the audience through the construction of a plural zone, a scenography conceived as an archipelago where every performer has its own autonomy while keeping a shared sense of kinship.