#microutopias

[loreleybooks]

Exposição em Buenos Aires

Em plena pandemia de 2020, driblamos os não-encontros presenciais das feiras de artes gráficas e nos reunimos para pensar e discutir as relações que envolvem o ato de publicar. Hoje inaugura a exposição Formas de la Idea, no Museo Nacional del Grabado em Buenos Aires, constituindo um acervo de livros e publicações de artistas de toda a América Latina, incluindo nossos exemplares de 96 HORAS e HAPPY beautiful People.   Essa rede de afetos foi possível pela dedicação de uma equipe incrível:  Darío Marroche [Microutopías Press],  Magdalena Testoni [Paraguay Arte Impreso] e  Ana Luiza Fonseca [Tijuana], a quem deixo meu muito obrigada! Todes convidades a ver a materialização desses encontros nessa exposição coletiva.

Estratégias criativas. Sobre como, o quê e por que publicar 

O livro é o espaço de encontro e as feiras de arte impressa são o espaço onde este encontro se multiplica. Nesses lugares onde os artistas e editores freelance entram em contato, acontecem coisas que nem sempre são visíveis; são esses gestos no corredor, as conversas entre vizinhos, que dão origem a novas colaborações, novos projetos, novas intrigas que expandem e fortalecem a rede.

Quando não foi possível realizar atividades públicas, as feiras de Microutopías (Uruguai), Paraguay (Argentina) e Tijuana (Brasil) se uniram para criar uma programação com o objetivo de traduzir esses gestos e dar-lhes continuidade. Assim nasceu Formas de la idea: como uma experiência coletiva, como uma questão inicial, como uma desculpa para o encontro.

A formação desta rede de artistas permitiu, durante três meses, a conversa e troca em torno dos processos criativos e produtivos das nossas publicações independentes, e assim colocar em comum as práticas e as dúvidas que as acompanham.

Colocar a rede em observação significa observar, ao mesmo tempo que somos observados, uma tentativa de fomentar uma atitude crítica sobre o que fazemos e nos cercar de histórias que têm a ver com nossa experiência de autogestão no contexto latino-americano.

Ao vagar pelo processo de produção, a pergunta aparece várias vezes, por que publicar? Publicar é disponibilizar, é tornar visível, é tomar decisões sobre o que pode ser lido e divulgado, isto é, o que entrará em algum murmúrio da história. Publicar é uma forma de perseverar, é um gesto ao longo do tempo.

Acreditamos que publicar e divulgar são ações que cruzam os fios desta rede. Uma teia de nós, porque nossa prática sabe insistir no insustentável, descobrir quantas coisas fazem parte de uma troca e produzir a partir da fissura. Ao mesmo tempo, é feito de desvios e linhas que se cruzam, e apostamos nessa forma de convivência.

Curadoria:  Magdalena Testoni (ARG) Ana Luiza Fonseca (BR) Darío Marroche (URU)

Participam:  +UM Coletivo [São Paulo]  Alecrim [Belo Horizonte]  Ana Paula Garcia [Belo Horizonte]  Anguloplata Editora [Buenos Aires]  A4 Mãos Zines [São Paulo]  Austral Edições [Porto Alegre]  Cuerpo presente [Buenos Aires]  Diário de pegação [Salvador]  dos filos [Bogotá]  Ediciones La Rural [San Miguel de Tucumán]  Ediciones Presente [Buenos Aires]  Ediciones Sagital [Buenos Aires]  Editorial Vortex [Valparaíso]  Esto Es un Libro [Ciudad de México]  Estudio Toro [Concepción]  Foi à Feira [São Paulo]  Fotolab Linaibah [São Paulo]  Guerrilla Zine [Concepción]   impresopormí/micropoéticas [La Plata]  Instantes Gráficos [Buenos Aires]  Kena Kitchengs [Toluca]  La Balsa Editora [Bilbao]  La Tosca [São Paulo]  Lafat Bordieu [Santiago de Chile]  Laura Moreira [Porto Alegre]  Loreley Books [Santo André]  Macabra [Montevideo]  María Arribasplata [Trujillo]  Nós, as poetas! [Rio de Janeiro]  Pequeño Pato Salvaje [Lima y Madrid]  Phonte88 [Belo Horizonte]  Policarpo Q. [Buenos Aires]  Poro [Salvador e Belo Horizonte]  Porta Aberta [Goiânia]  Proyecto Desbordes [San José y Córdoba]  PS_São Paulo [São Paulo]  Punto Rosa [Buenos Aires]  Rafaela Jemmene [São Paulo]  Rompo Todo [Buenos Aires]  Sinistra Edições [São Paulo]  Sociedad Anómica [Guayaquil]  Soma Publicaciones [Lima]  Taller Editorial Ambidiestro [Bogotá]  tefopress [São Paulo]  Titihoon [Buenos Aires]  Tipografia do Zé [Belo Horizonte]  tumbalacasa [Ciudad de México]

[tradução do original em Paraguay Arte Impreso]

[pluspluscollective]

Microutopias By Josephine Tansara

[carteltermoformado]

Recepción en Hotel Palacio, Montevideo. Colaboración (?) de @territorios.tipograficos #montevideo #ciudadvieja #multicuenta #atresbandas #microutopias #faina

[lifestylesegundaresidencia9-blog]

A/

Investigaciones

A //MICROUTOPIAS

[reflectionhousing]

The Point Is Not To Interpret Whiteness, But to Abolish It

Last week I read this talk by Noel Ignatiev (who grew up in Philadelphia, btw)

I’ve since been thinking about ways that I have inherited and internalized whiteness. But it is a hard thing to crack into. I am not white, but I still have a majority of white friends. I still engage in predominantly white institutions. I still read Wikipedia articles written in English about Thai culture. I still read and (*trust* :( ) Bon Appetit magazine food journalism, even though their (now resigned) editor has worn Brown-face. Much of the media I consume as an American is white people profiting off the labor of Black and Brown people.

I watched this video of Malcom X speak about how White men have taught hate--

One answer is to fight ~love~against~hate~. Loving your non-White features. Something I’ve struggled with since... elementary school! Loving your non-White culture! Something that is hard with a language gap. Loving yourself so much, that you are no longer afraid to speak to White people about feeling like an outsider. I need to stop wanting to be part of the club of whiteness. I need to stop wanting to be accepted into traditional markers of success for an artist--like doing residencies, having gallery shows, getting a teaching gig, whatever. I can create my own opportunities and microutopias and exist outside these systems. I can help others see that whiteness is a club that perpetuates white supremacy, the murdering of Black folks by cops, the torture of wrongfully convicted incarcerated folks, the detention of undocumented youths, the neglect of Native American populations, and so. many. atrocities. They are all connected to accepting whiteness as power, as authority.

[kh15963]

🔊SOUND ON🔊🎵NEW REMIX OUT TOMORROW🎵 (+poem below📝) ❤+ share for a chance to win a 🆓 copy of my upcoming poetry chapbook, "REWRITTEN"!📝📝📝 I poured my entire fucking soul into this shit, not merely because it's for a @skiomusic contest. I dubbed this remix (reimagination?) "bloodsweatntears". Originally "ULTRAVIØLENT" by @runcrywolf , the structure of this piece reflects both my connection to Justin's (the singer's) struggles with self-destructive mental state and health: [I. SPLINTERING (INFERNO)] [II. BREATHING (PURGATORY)] *^the one you're hearing^* [III. REBIRTHING (HEAVEN)] · A journey through hell, purgatory, then heaven A journey through splintering apart, catching one's flow of breathing, and rebirthing We are often our worst enemy but we can painstakingly try to become not our own best friend, but our "enough" friend Enough to halo-heaven our carbonblackened inferno Enough to pull us through mindscape valleys of trenches and summits Highs and lows of every magnitude possible within oneself Compared to the inferno and purgatory we might inflict on ourselves, the harsh journey to be reborn with self-acceptance... That in itself can become its own microutopia · #crywolf#ultraviolent#skio#remix#reimagined#art#photography#music#poem#poetry#rebirth#love#wow#adventure#nature#flower#flor#flowers#mentalhealthawareness#mentalhealth#musica#arte#fotografia#naturaleza#poesia#color#aesthetic#musicproducer#producers#singing (at Inferno Di Dante) https://www.instagram.com/p/B2ShUtbFpxz/?igshid=1s7gohk3zttel

[mykhiotime-blog]

12 January

Currently reading, from the Participatory Relation seminar reading list:

READING-LIST SEMINAR PARTICIPATORY RELATIONS 9.-11.1.2019

APOLONIJA

Kester, Grant H. “Aesthetic Evangelist: Conversion and Empowerment in Contemporary Community Art.” Afterimage, no. 22 (January 1995): 5–11. Also available at: http://grantkester.net/resources/Aesthetic+Evangelists.pdf.

—. Conversation Pieces: Community and Communication in Modern Art. Berkeley: University of California Press, 2004.

Fleming, Marta. http://www.marthafleming.net/artforum-vanguard-fuse-afterimage/

CAMILLA

Arendt, Hannah. The Human Condition, The University of Chicago Press 1958, Chapters to read: “The Web of Relationships and the Enacted Stories” (p.181-188) and “Power and the Space of Appearance” (p. 199- 207) http://sduk.us/afterwork/arendt_the_human_condition.pdf

Jackson, Shannon and Paula Marincola (eds.) Keywords“Participation”, “Relational”,and “Spectator" In In terms of Performance, 2016 – http://intermsofperformance.site/

OLGA

Debord, Guy. “Towards a situationist International” (1957) in Participation Documents of Contemporary Art (2004) pp.96-101

Eik, Henriette. (2MAPS) Visualization of Miwon Kwon One place after another. Rancière, Jacques. “Problems and Transformations in Critical Art” (2004) In Participation

Documents of Contemporary Craft, pp. 83-93 Those reading Norwegian, can read Olga ́s article about Rancière when he lectured in 2016

www.periskop.no/moteoffentlighet/

1

WEEK 2 2019

MASTER KUNST OG OFFENTLIGHET//ART AND PUBLIC SPACE Seminar programme 9.-11.2019 MASTER IN PERFORMANCE //

PARTICIPATORY RELATIONS – Art-Audience-Public

PARTICIPATORY RELATIONS general bibliography

Arendt, Hannah. The Human Condition, The University of Chicago Press 1958, “The Web of Relationships and the Enacted Stories” (p.181-188) and “Power and the Space of

Appearance” (p. 199- 207) Arenstein, Sherry R. “A Ladder of Participation.”JAIP35, no. 4 (July 1969): 216–

224. http://lithgowschmidt.dk/sherry-arnstein/ladder-of-citizen-participation.html

Becker, Carol. “Microutopias: Public Practice in the Public Sphere” In Living as Form: Socially Engaged Art from 1991-2011, ed. Nato Thompson. Cambridge, MA:MIT Press, 2012.

Bishop, Claire. “Antagonism and Relational Aesthetics” October 110 (Autumn, 2004): 51-79.Bishop, Claire. Artificial Hells: Participatory Art and the Politics of Spectatorship, London and

Brooklyn: Verso, 2012. Bishop, Claire. Installation Art, New York: Routledge, 2005. Bishop, Claire. Participation, Cambridge MA: MIT Press, 2006. Bishop, Claire. “Participation and the Spectacle: Where are we now?” In Living as Form

Socially Engaged Art from 1991-2011, Edited by Nato Thompson. Cambridge, MA:

MIT Press, 2012. Bishop, Claire. “The Social Turn: Collaboration and its Discontents” Artforum 44.6 (2006):

178-183. Blundell Jones, Peter, Doina Petrescu, and Jeremy Till, eds. Architecture and

Participation. London: Spoon Press, 2005

Butler, Judith. Notes Toward a Performative Theory of Assembly, 2005 Danvers, John. “The Knowing Body: Art as an Integrative System of Knowledge” Chapter 7,

in Art Education in a Postmodern World Collected Essay, Ed. Tom Hardy, (2006)

Intellect, Bristol, UK, Portland, OR, USA Debord, Guy. “Towards a situationist International” (1957) in Participation Documents of

Contemporary Art (2004) pp.96-101https://www.youtube.com/watch?v=IoUIHBSiVAY

https://www.youtube.com Partially Examined Life #170: Guy Debord's "Society of the Spectacle" (Part One) https://www.youtube.com/watch?v=F11bFaLu7kM Que-reste-t-il de la pensée de Guy

Eik, Henriette. (2MAPS) Visualization of Miwon Kwon One place after another.

Finkelpearl, Tom. “Participatory Art” In Encyclopedia of Aesthetics, Michael Kelly (eds.)Oxford University Press, 2014.

Fraser, Andrea. “From the Critique of Institutions to an Institution of Critique” In ArtforumInternational 44.1 (Sept. 2005): 278-283.

Grehan, Helen. Performance, Ethics and Spectatorship in a Global Age, Palgrave McMillan2009, chapter 1: “Situating the Spectator” (p.9-36)

Groys, Boris. “A Genealogy of Participation Art.” In The Art of Participation: 1950 to Now, Edited by Rudolf Frieling, et al. New York: Thames & Hudson, 2008.

2

Jackson, Shannon. Social Works, performing arts, supporting publics, 2011, Chapter 2: Quality Time

Jackson, Shannon and Paula Marincola (eds.) “Keyword: Participation” In In terms of Performance, 2016 – http://intermsofperformance.site/

Kaprow, Allan. Essays on the Blurring of Art and Life, 2003 Kwon, Miwon. One Place After Another, 2002, Chapter 5: The (un)sitings of Community

Mouffe, Chantal. Agonistics: Thinking the World Politically. London: Verso, 2013.

—. “Artistic Activism and Agonistic Spaces.” Art & Research 1, no. 2 (Summer 2007): 1–5,http://www.artandresearch.org.uk/v1n2/pdfs/mouffe.pdf.

—. The Democratic Paradox. London: Verso, 2000.—. The Return of the Political. London: Verso, 2005.

Petcou, Constantin and Doina Petrescu. “Acting Space, Transversal notes, on-the-groundobservations and concrete questions for us all,” in “Participation,” ed. Urška Jurmanand Apolonija Šušteršič, AB –Arhitekturni bilten [AB- Architectural magazine] XLI, no. 188–189 (July 2011): 56–59.

Rancière, Jacques. “Problems and Transformations in Critical Art” (2004) In Participation Documents of Contemporary Craft, pp. 83-93

3

- - -

The Emancipated Spectator, Translated by Gregory Elliott. London: Verso, 2009http://www.critical-theory.com/who-the-fuck-is-jacques-ranciere/https://www.youtube.com/watch?v=w4RP87XN-dI

www.periskop.no/moteoffentlighet/

Schmedling, Olga «Moteoffentlighet» About the project MOToffentlighet and Jacques Rancière ́s thought. Rancière lectured in Oslo 10.6.2016

Widrich, Mechtild. Performative monuments, Manchester University Press, 2014. Wright, Stephen. “The Delicate Essence of Artistic Collaboration.” In Third Text 18.6 (2004):

534-535. Wright, Stephen. Lexicon of Usership, 2014.

[lifestylesegundaresidencia8-blog]

B) MANIFIESTO

Investigación sobre la composición modular:

A mediados de los años 50 se empiezan a crear las viviendas modulares. En aquella época la idea de esas viviendas estaba ligada a las auto caravanas y casas rodantes que surgieron en la primera mitad del siglo XX. Estaban pensadas para moverlas de sitio fácilmente debido a su soporte con ruedas y a que las familias debían cambiar de ubicación a cada poco tiempo. Además de su modularidad, las viviendas eran prefabricadas con materiales más resistentes y con bajos costes. Pero con el pasar del tiempo hubo una búsqueda mayor hacia lo estático, haciendo con que empezasen a dejar las viviendas estáticas en una parcela determinada, tal como son las viviendas construidas in situ, diferenciándose cada vez menos de las viviendas tradicionales.

PRIMERA PROPUESTA: Se propuso una vivienda cambiante para el usuario. Una vivienda que permitiese la suma, retirada o el cambio de módulos según las necesidades del usuario. Además, la vivienda reaccionaria frente a los deseos de cambiar de estancia. Estaba hecha para ofrecer la comodidad necesaria debido a sus módulos cambiantes, es decir, módulos que se desplazaban hacia el usuario según sus necesidades de estar en determinada estancia de la vivienda. Los módulos se movían de modo que llegaban hasta la estancia que estaviese el usuario.

Investigación sobre las viviendas mínimas:

Las viviendas mínimas tienen el principio de utilidad y necesidad de ser sencillas y prácticas. Las que son tradicionales buscan principalmente la protección y el cobijo de sus ocupantes en un espacio ajustado y suficiente a las necesidades de los mismos. Responden, además de a las condicionantes del entorno, a la necesidad de cubrir un mayor número de necesidades o actividades y al problema del espacio que ya nos encontramos en algunas ciudades, así como al creciente interés por el ahorro energético y la autosuficiencia.

PROPUESTA FINAL:  Se propone una nueva visión para una forma de microutopia de espacios mínimos ya existente. Una vivienda mínima con el espacio suficiente para que los usuarios de silla de ruedas puedan moverse de manera independiente en su hogar. La propuesta también sirve para usuarios sin minusvalía.

[vickysita]

Microutopia by Francesco Ursitti

Italian architect Francesco Ursitti FuGa, from officina dell’architettura, a laboratory of research, imagined an entirely new community that supported utopian ideals. Ursitti’s utopian vision, Microutopia is a conceptual small village in Milan for living, working, chilling out, exhibiting, exploring, and meeting. The modernist, experiential place blends abstract geometric elements with an open, interchangeable environment. It delivers the promise of a future society that is self-sufficient including roads, alleys, staircases, an art gallery, a theater, a garden, a square, an office, a museum, a courtyard, and a house.

Utopian aspirations promise cities filled with more light and more spatial freedom. Unlike earlier modernists plans that seemed too rigid, Francesco Ursitti’s proposal suggests a playful space with varied lighting and plant life to help residents to reconnect with one another and experience a different artistic approach. Thanks, Francesco Ursitti to once again dreaming about the possibility of a utopia.

Photography by Stefano Bernardoni.

[escapezines]

#microutopias #montevideo #zines 

[loreleybooks]

Formas de la idea

Enquanto as feiras de publicações não acontecem de forma presencial, outras atividades estão sendo propostas. 

É o caso do programa Formas de la idea, um grupo de estudos sobre publicações independentes, organizado por três importantes feiras latino-americanas: a Paraguay Feria de Arte Impreso de Buenos Aires, a Microutopías de Montevideo e a Edições Tijuana de São Paulo. 

O programa acontece entre 29 de agosto e 05 de dezembro de 2020 e os encontros quinzenais contam com transmissão ao vivo pelo YouTube. 

A Loreley Books participa do programa e estende o convite à vocês para pensarmos juntos sobre por quê publicar... Vem conosco!

[lifestylesegundaresidencia9-blog]

M/ VIDEO

M //MICROUTOPIA

[lifestylesegundaresidencia9-blog]

J/ K/ IMAGENES INTERIORES Y EXTERIORES DEL PROYECTO

J/ K/ //MICROUTOPIA

[lifestylesegundaresidencia9-blog]

H/ MAQUETA 1:20 Final de la propuesta

H //MICROUTOPIA

[lifestylesegundaresidencia9-blog]

G/ MAQUETA 1:100

G //MICROUTOPIA

[lifestylesegundaresidencia9-blog]

F/ ISOMETRICA

F //MICROUTOPIA