From the feminist upheaval to public art The Far West of opportunities An open dialogue with Suzanne Lacy

Elena García-Oliveros

Resumen


In the last decades, women’s artistic practices have questioned the places to create, contemplate and show art. Women have thus contributed substantially to the evolution of the concept of ‘art’ and its institutions.

Why is the feminist movement essential in the definition of today’s public art? What were women artists looking for, what were they escaping from when they experimented with these new trends? What relation does feminist cyberart have with the proposals initiated in the 1970s? Why do artists in this field redefine the concept of authorship?

These are some of the questions that shaped the encounter between Toxic Lesbian and the American artist Suzanne Lacy on May 6, 2014, in conjunction with Intermediae Matadero, Madrid. Gloria G. Durán’s and Lila Insúa’s students, from the Faculty of Fine Arts, Universidad Complutense de Madrid, participated in this encounter.


Palabras clave


new genre of public art; activist art; cyberfeminism; cyberactivism; collaborative art; process art; community art

Texto completo:

PDF

Referencias


Aibar, E. (2008), Las culturas de Internet: la configuración sociotécnica de la red de redes. Revista Ciencia, Tecnología y Sociedad, vol. 4, nr. 11.

Aliaga, J. V. (2007), Orden fálico, Madrid, Ed. Akal.

Butler, J. (2001), El género en disputa, Barcelona, Ed. Paidós.

Callejo Gallego, J. (2008), El esquema espacio temporal en la sociedad digital, Madrid, Universidad Nacional de Educación a Distancia.

Castells, M. (2001), Internet y la Sociedad Red La Factoría nrs. 14-15, Retrieved May 22, 2014 from http://www.lafactoriaweb.com/articulos/castells15.htm

Castells, M. (2009), Comunicación y poder, Madrid, Alianza Editorial.

Cheang, Shu Lea (2011), IKU, retrieved between April and May, 2014 from http://en.wikipedia.org/wiki/Shu_Lea_Cheang

http://www.u-k-i.co/

Cilleruelo, L. (2000), Arte de internet. Génesis y definición de un nuevo soporte artístico (1995-2000). Doctoral Thesis, Facultad Bellas Artes Universidad del País Vasco.

Halberrstam, J. (2008), Masculinidad femenina, Madrid, Egales.

Haraway, D. (1991), Manifiesto Cyborg, Santa Cruz, University of California.

Hine, C., (2004) Etnografía virtual, Barcelona, Editorial UOC.

Jones, A., et al. (2008), Feminismo y arte de género, Exit Book nº 9.

Kester, G. H. (2011), The One and the Many, Contemporary Collaborative Art in a Global Context. Durham and London, Duke University Press.

Krüger, K. (2006), El concepto de la Sociedad del Conocimiento. Revista Bibliográfica de Geografía y Ciencias Sociales (XI. 683) Universidad de Barcelona. Biblio 3W.

Lacy, S. (Ed.) (1995), Mapping the Terrain. Seattle, Washington, Bay Press.

Lacy, S. (2013) “Between the door and the street” con el Brooklyn Museum y Creative Time. Retrieved April 26, 2014 from http://creativetime.org/projects/between-the-door-and-the-street/

Maldonado, T. (1994), Lo real y lo virtual, Barcelona, Ed. Gedisa.

Martínez-Collado, A. (2008), Tendenci@s. Perspectivas femeninas en el arte actual. Murcia, CENDEAC.

Toxic Lesbian, (2014) “Del levantamiento feminista al arte público: el Far West de las oportunidades. Diálogo abierto con Suzanne Lacy”. Retrieved May 25, 2014 from http://www.toxiclesbian.org/id/images/_pdf/Lacy_6_5_2014_esp.pdf

Wilding, F. & Critical Art Ensemble, “Notas sobre la condición política del Ciberfeminismo” Retrieved June 12, 2014 from http://www.estudiosonline.net/texts/cae_politic.html

Zafra, R., (2001) “Femenino.net.art: feminización de la cultura y red Internet” Mujeres en Red. Retrieved June 20, 2014 from http://www.mujeresenred.net/spip.php?article1534


Enlaces refback

  • No hay ningún enlace refback.


Licencia de Creative Commons
Este obra está bajo una licencia de Creative Commons Reconocimiento-NoComercial-SinObraDerivada 4.0 Internacional.

 
 

Re-visiones - ISSN 2143-0040
 
HAR2013-43016-P I+D Visualidades críticas, reescritura de las narrativas a través de las imágenes