Tania Bruguera Named First Artist-in-Residence for NYC Mayor’s Office of …

14 Jul 2015 | Author: | No comments yet »

Bruguera’s Passport Returned, USC Dropouts Get Gallery Show, and More.

For most artists, news that the Museum of Modern Art had acquired one of their pieces for the first time would be more than sufficient for a good week. Embattled Cuban artist Tania Bruguera has been tapped by Cultural Affairs Commissioner Tom Finkelpearl and the Mayor’s Office of Immigrant Affairs to participate in a newly created, yearlong artist-in-residence program aimed at educating undocumented residents about NYC’s recently established municipal ID program.The nonprofit Electronic Frontier Foundation announced today that the filmmaker Laura Poitras, who recently won an Academy Award for her documentary film about Edward Snowden and who spoke with artist Hito Steyerl in the May issue of Artforum, is suing the United States’ Department of Justice, the Department of Homeland Security, and the Office of the Director of National Intelligence as part of a Freedom of Information Act lawsuit to demand they release records documenting the six years of searches, questionings, and long security screenings at US and international airports that she experienced from 2006 to 2012. But for Tania Bruguera — a New York-based Cuban artist who has been in legal limbo in Havana since December, when she was arrested to prevent her from staging a provocative open-mike performance — the week was just beginning.

The yearlong residency will involve Bruguera helping the agency with their efforts to recruit undocumented immigrants for the city’s new municipal identification card program, IDNYC. However, the artist says she will not leave the country until she obtains separate legal documents that guarantee her safe return to the island. “I’m not going to leave Cuba until I have an official document in my hands that legally guarantees that I can come back without any problems,” the artist said in a statement. Bruguera was originally prevented from leaving her home country in December 2014 for trying to stage a public performance piece with strong political overtones, and has since continued to protest and spread word about her situation. The residency is supported with private money from the Shelley and Donald Rubin Foundation as well as public money through the city’s Department of Cultural Affairs.

The piece was originally created and shown at the Havana Biennial in 2000 at La Cabana, a fortress that was a penitentiary during the Cuban Revolution. Bruguera was previously arrested earlier this year in Havana for creating a “public disturbance” when she attempted to restage her 2009 performance, Tatlin’s Whisper #6. He’s also held positions on the boards of the California State Bar Board of Governors, and of New Directions, an organization supporting veterans and their families. “After careful selection and review of nationwide candidates, Davis’s three months as CAAM’s interim executive director proved he was the best candidate for this position,” said board president Todd Hawkins. For the work, the artist covered the location’s floors with sugar cane, and asked naked male performers to walk the area while a film of Fidel Castro played in the background. I am also filing this suit in support of the countless other less high-profile people who have also been subjected to years of Kafkaesque harassment at the borders.

In January, before she was abruptly arrested and then rearrested, Brugera planned to restage the performance in Havana’s Revolution Square, which involves participants to take the stage and speak freely for one minute each. In New York, in 2011, the artist established Immigrant Movement International, a collaboration with the Queens Museum and nonprofit public arts organization Creative Time.

But, she is still awaiting a guarantee that she will be able to return to Cuba if she leaves, which authorities said they would provide in the next two weeks. Just months after authorities discovered the illicit collection of more than 1,200 European masterworks amassed by his father under Nazi rule in his Munich apartment, the 81-year-old died, leaving his paintings to Kunstmuseum Bern in Switzerland. The work is a community space in Corona, Queens that offers educational programming and health and legal services for the immigrant population of the neighborhood. According to MOIA, if the Cuban authorities do not provide said guarantee and Bruguera thus remains in Cuba, New York City will still fully support and implement Bruguera’s residency project, executing her collaboration with IM International by following her detailed instructions. My argument has never been about leaving Cuba; my argument is about working so there is freedom of expression and public protest in Cuba, so that violence against those who think different politically will be penalized accordingly.

In Cuba people should feel free to say what they think without fear of losing their jobs or university standing, without fear of being marginalized or imprisoned. The evaluation is not expected before October. [AP] — Met Makes a Statue Speak: After a 15th-century marble statue of Adam crashed to the floor of the Metropolitan Museum of Art in October in 2002, the work has come to life as an interactive video installation at the Venetian Sculpture Gallery. His paintings often explored landscape-based abstraction, with one series documenting “sky that could once be seen through the window, and as the window became blocked what possible compensations there might be,” as he once wrote.

The card makes a variety of city services available to holders, including the ability to access checking accounts at major financial institutions, enter hospitals and schools, and receive discounts at cultural institutions. “This project provides a unique opportunity to enhance the notion of art as a useful tool to materialize a vision of a more inclusive society,” said Ms. The gregarious statue employs the same technology found in computer-generated characters in movies like “The Lord of the Rings” and “Avatar.” Meanwhile, over in Paris, an interactive Mona Lisa is also coming to life with digital technology. My argument proposes amnesty and the elimination of the concept of the political prisoner, so that no one is ever again imprisoned for thinking for themselves.

The digital Mona Lisa paintings will be sold for “a few hundred euros,” some embedded on a pendant or jewels. [WSJ, NYT, Telegraph] — UNESCO World Heritage List Grows: “The threat is global and our response must be global,” said UNESCO’s director-general Irina Bokova at the World Heritage Committee. “It requires better co-ordination among national services, the exchange of information among states. Nothing can replace, in this area, the action of governments.” The committee also adopted the Bonn Declaration, which condemns “the destruction and looting of cultural objects used as a tactic of war and as a source to fund terrorism.” [TAN] — Detroit Gets Outdoor Sculpture Center: A sculpture park in Detroit’s Midtown neighborhood has opened on formerly vacant lots restored by the artist Robert Sestok. “I’ve wanted for a long time to do something that would be lasting,” the 68-year-old said. “Then my neighbor who used to cut the grass here died, so I started. But a widely circulated petition asking for executive intervention apparently saved the day; it was reportedly instrumental in convincing Obama to act. I got the idea that this would be a good location for an art park, and who needed one more than me.” [NYT] — After source at the Smithsonian disavowed Bill Cosby’s now-proven history of sexual assault last week, the museum has officially announced that it will keep the actor’s collection: “First and fundamentally, this is an art exhibit.

Robin Pogrebin reports in the New York Times that Frank Gehry’s design for the National Eisenhower Memorial got final approval yesterday from the National Capital Planning Commission. Bruguera had been one of the first artists who came to mind when city agencies began talking early this year about creating artist residencies to bring new kinds of thinking to city programs. “Tania is obviously at the forefront of this kind of art,” said Mr. According to a report from The Art Newspaper, she was also arrested on two separate occasions between June and July for participating in protests with the group Damas de Blanco. It’s about the artists,” said Richard Kurin, the Smithsonian’s undersecretary for art, history, and culture. (Also, in case you’re having trouble keeping track, here’s a list of just who is standing by Cosby and who isn’t.) [WP, Guardian] — Here’s outgoing National Gallery head Nicholas Penny’s rant on phone-toting teenagers taking up bench space intended for the elderly. (You’re welcome.) [Telegraph] For more than 30 years, Mierle Laderman Ukeles has served as an unsalaried artist in residence at the city’s Sanitation Department, helping to bring greater attention not only to sanitation workers but also — through projects like a visitors center she established at a spot where garbage is loaded onto landfill-bound barges — to conservation, consumer and labor issues. “The Sanitation Department has really been the leader in thinking about what artists and art could do,” said Mr.

Carrion-Murayari is currently the Kraus Family Curator at the New Museum while Gartenfeld is founding deputy director and chief curator at the Institute of Contemporary Art, Miami. At ICA Miami, Alex Gartenfeld has organized solo exhibitions of the work of Virginia Overton, Pedro Reyes, Ryan Sullivan, and Andra Ursuta, in addition to forthcoming monographic exhibitions of work by Alex Bag, Shannon Ebner, and John Miller. Stuart Comer, the museum’s chief curator of media and performance art, described the piece as “a watershed transition in her work, about activating a social and political space for the viewer.” Ms.

In honor of Wade Thompson and his family, the spaces within the Armory building dedicated to its arts programming will be named the Thompson Arts Center at Park Avenue Armory. Thompson—an executive and founder of Thor who revamped the Airstream trailer—first began donating to the Armory because he lived across the street, saw its deteriorating condition, and became interested in saving it. There are, apparently, consequences for those who don’t obey: George Hunter is reporting in the Detroit News that street artist Shepard Fairey was arrested on Monday. According to Douglas Baker, chief of criminal enforcement for the Detroit Law Department, customs agents at Los Angeles International Airport took the artist famous for creating the Obama “Hope” poster—and the creator of the “Obey Giant” campaign—into custody on Monday, just as he returned from a trip to Europe.

Wayne County prosecutors last month had charged Fairey with maliciously destroying property, though each instance of damage was valued at less than twenty thousand dollars. Several weeks ago, The Independent reported that Fairey called the outstanding arrest warrant issued by Detroit prosecutors “hilarious” in light of the fact that he’d been commissioned to do a mural in the city. The new building—a thirty-six-million-dollar construction—will be designed by Pei Partnership architects, and will give the institute fifty thousand square feet of space (and a three-thousand-square-foot gallery). Established in 1966, the China Institute “calls itself the nation’s oldest educational institution devoted solely to Chinese culture,” Pogrebin writes. One of ten Florida-based artists participating in the prize’s three-month show, Aguilar was born in Nicaragua and grew up in Miami, graduating from Florida International University. “My work deals with the underbelly of American history,” said Aguilar, who explains that he tries to depict “the violence of socialization” and the urge to conform to overwhelming societal norms.

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