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Tania Bruguera

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Chicago, May, 2013: I first met Tania Bruguera when I was a graduate student at the University of Chicago six years ago. We have remained in touch since, most recently crossing paths at the Salzburg Summer Academy of Fine Art last August in Austria. Over the last few months I conducted an interview with Bruguera via email asking her about the role teaching plays in her work, her ideas about formalism, and the awkward demographic known as “artist”. Her responses reveal a thoughtful and holistic approac... [more]
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A Response to the Present   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Trisha Brown, Tania Bruguera, William Forsythe, Simone Forti, Isaac Julien, Mike Kelley, Wayne McGregor, Robert Morris, Bruce Nauman, Yvonne Rainer, La Ribot, Tino Sehgal at Hayward Gallery October 13th, 2010 - January 9th, 2011
Posted 1/2/11
The challenge with participatory art practices is to elicit and motivate a physical response from a viewing body that have a “no touch” attitude ingrained in their viewing practice. Even the name 'visual art' references a distanced relationship with the object. Visual is related to the act of seeing, not touching, nor moving really. The current Hayward exhibition Move Choreographing You examines seminal works and new comissions from the last 50 years, along with performative works and actions... [more]
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Three theses on “Early Years”   Pick-button-f22fa879042524f5c7b8d2278b2983b8
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Wojciech Bąkowski, Yael Bartana, Tania Bruguera, Oskar Dawicki, Sharon Hayes, Sanja Iveković, Daniel Knorr, Zbigniew Libera, Anna Molska, Paulina Ołowska, Agnieszka Polska, Anna Zaradny, Artur Żmijewski at KW Institute for Contemporary Art February 28th, 2010 - May 2nd, 2010
Posted 3/13/10
      In his brief essay Introduction to the book of the same title, Norwegian critic Jonas Ekeberg has introduced the term “new institutionalism” to the curatorial discussion (1). Derived from new management debates, the term describes a range of experimental institutional practices that take their own conditions as a starting point for critical reconsideration of curatorial devices such as the art exhibition, the catalogue, the collection, and so on. This was in 2003. When the project “Earl... [more]
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