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Finally, one last political expression in this retrospective reading of typologies and territories. The cultural deconstruction proposed by post-feminism and post-colonialism in Latin America remains to be addressed in the reflections of the artistic field. However, these practices without doubt add to the genealogy. Unlike sociological or conceptual art, they are produced according to how we perceive the cultural from our different perspectives and how we recognize different means of masking the forms of expression within the differences of genre, gender, class and race. In the case of Public Considerations, it is not about a struggle to make a genre/gender or class explicit, but rather about working with the transversality of the same. It is about unmasking their insubordinations, subversions and pollinations and how these teach us the transpositions and semiotizations that work across genres/genders. It refers to the forms in which the structures and conventional languages governing the debarment of these hybridizations in the social and in art can be dismantled. It is about a reading that distinguishes between a vision that does not arrive at a conclusion but rather a process, or a written language that cannot be told but which we all speak.
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This essay was originally published for "Public Considerations, a Symposium in Three Acts" (2012).
NOTES:
1) In doctrinal terms, there are multiple and diverse forms, but to a certain extent they share the idea that when something is represented, the person who represents them brings with them a structure or event of the experience that is put into action via word and body.
2) The act of violation of the Pakistani sovereignty in the execution of Osama Bin Laden by the United States would be an example of this type of exceptional enactment, whose mechanism reveals old consensus and territorial-economic interests, the violation of which coincides with the skill of the sovereign state. See Giorgio Agamben's 'Che cos’é un dispositivo?' (Nottetempi, Venice, 2006).
3) What interests us about the acts of speech is their performative condition in the illocutionary act, such as the acts of 'indirect' speech shared by participants in communication. That is to say 'while we say something, we not only speak it but we also say it in an indirect manner'. See John Searle, Speech Acts: An Essay in the Philosophy of Language (Cambridge University Press, London, 1969).
4) Mimetism and camouflage in art, and particularly in performance, refer to diverse mechanisms of exhibition and concealment in which the artistic practice that is implemented survives its challengers through demonstrating or disguising the art of merchandise in the consumer market of goods and services or between the political discourses that inscribe it.
5) Laboratory for the Investigation of Contemporary Artistic Practice
6) The Argentine artists Eduardo Molinari and Azul Blaseotto have tackled the difficult relationships between banking and cultural institutions from another perspective. See 'Prácticas artísticas de crítica institucional en Buenos Aires: Eduardo Molinari / Azul Blaseotto. Casa Matriz (2007)', Revista Avances, vol. 15, Córdoba- UNC, 2008-2009. ISSN 1667-927X.
7) In the work Chat and in the proposal Alice Ville, the artist demonstrates a predecessor to these forms of conversation within the museum. In these, Herrero locates her works in commercial, recreational or administrative sites: such as the shop, the bar and the offices of public museums. The former was realized in the Boijmans van Beuningen Museum in Holland in 2001 and the latter in Argentina, in Rosario Contemporary Art Museum (MACRO) in 2005 and the Contemporary Art Museum of the National University of Misiones (MAC-UNaM) in 2006.
8) Michel Foucault, Fear-less speech, (ed.) Joseph Pearson, Semiotext(e), Los Angeles, 2001.
9) This video-performance by de Alicia Herrero was a project created specifically for the opening event of San Martín Cultural Centre's Culture and Media Space in Buenos Aires in 2006.
10) María Fernanda Cartagena, 'Speculationis'. See http:// www.aliciaherreo.com.ar. Last entry 04/07/2011.
11) Alicia Herrero, “The possibilities of art for self-alteration, in the symposium “Challenges presented by the globalization of visual arts” , panel entitled: “Globalization and Culture, is there such a place as Latin America?”, Tres de Febrero University, Buenos Aires, 26 to 29 August 2008.
http://www.untref.edu.ar/documentos/Simposio%20Artes%20Visuales.pdf. Last entry 10/07/2011.
12) Jacques Rancière, El desacuerdo. Política y Filosofía (Buenos Aires, Nueva Visión, 1996)
13) Margarita Paksa, Proyectos sobre el discursos de mi, Buenos Aires, Fundación Espigas, 1997, pp.43-46.
14) Karina Granieri, Vida Pública, (prologue), exhibition catalogue, (FNA, Buenos Aires, 09-07/05-08, 2007).
15) In Magazine in Situ Alicia Herrero has, since 2004, produced conversational situations in specific locations and in online platforms, for example turning a boat journey along the Beagle Canal into a platform that attempted to questions territorial limits, historical tales and artistic genres. http://www.magazineinsitu.com/. Last entry 10/07/2011.
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