Tania Bruguera, one of the leading political and performance artists of her generation, researches ways in which Art can be applied to the everyday political life; focusing on the transformation of the condition of "viewer" into one of active "citizenry" and of social affect into political effectiveness. To define her practice she created and uses the terms arte de conducta (Conduct/Behavior Art), Arte Útil (Useful Art), political-timing specific, and aest-ethics. She is curating a survey exhibition and book on Arte Útil at the VanAbbemuseum for autumn 2013 and is working on a book about her art terms incollaboration with Claire Bishop to be published by the Colección Patricia Phelps de Cisneros’s book series “Conversations.” She is currently working on the politicalrepresentation of migrants through her long‐term project Immigrant MovementInternational (conceived in 2005 and initiated in 2010).
Bruguera has participated in Documenta 11; Performa; the Venice, Gwangju, and Havana Biennales, and in exhibitions at museums around the world including: Tate Modern, The Whitechapel Gallery,KunsthausBasselland, Van Abbemuseum, Queens Museum of Art, PS1, Kunsthalle Wien, and The New Museum of Contemporary Art among others. Her work is in the collections of the Tate Modern; Museum fürModerneKunst; Daros Foundation;Museo del Barrio; Bronx Museum; IVAM; National Museum of Wales and MuseoNacional de BellasArtes, Centro de Arte ContemporáneoWifredo Lam.
Her work is featured in seminal books like “Art Since 1900: Modernism, Antimodernism, Postmodernism” by Hal Foster and Rosalind Kraus, Yve‐Alain Bois, Benjamin H. D. Buchloh and David Joselit; “Performance Art: From Futurism to the Present” by Roselee Goldberg (both Thames & Hudson); “Artificial Hells ‐ Participatory Art and the Politics of Spectatorship,” by Claire Bishop (Verso), “Art Today” by Eleanor Heartney, “Cream 2” (both Phaidon) “Art School (Propositions for the 21st Century)” by Steven Madoff (MIT); and “Art Now. Vol 2” by UtaGrosenick (Taschen).
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