The University of California Institute for Research in the Arts supports embedded arts research through critical exchange

Arrhythmias: Narrative, political imagination & (im)possible archives (ONE-DAY CONFERENCE at UCSD)

January 13, 2012 > 10:00am – 5:30pm

UCSD VAF Performance Space

Please join the University Art Gallery (UAG) for a one-day conference that brings together scholars and practitioners from Buenos Aires, San Diego, LA and New York who are working in and across various disciplines: visual arts, history, literature, theater, media art, documentary film, sound art and architecture. This conference explores artistic investigations into narrative as it shapes social and political imaginaries, as well as creative work in and on archives: from the archive’s proliferate contingencies, its silences, to the possibilities of counter-public archives.

This is the closing conference for Arrhythmias of Counter-Production: Engaged Art in Argentina, 1995-2011, on view at the UAG through January 20, 2012. It will feature keynote presentations by two of the artists in the exhibition who are visiting UCSD from Buenos Aires: Eduardo Molinari, founder of El Archivo Caminante / The Walking Archive, and Julian D’Angiolillo, who is a visual artist, land artist and award-winning documentary filmmaker.

The morning session on narrative will also feature a panel and roundtable discussion with Teddy Cruz, an architect and scholar of trans-border urban dynamics and alternative urbanisms; artist and filmmaker Steve Fagin; Fran Ilich, a media artist + activist and writer; and artist and scholar Mariana Razo Wardwell (aka Botey).

The afternoon’s session on archives features LA artist Sandra de la Loza, the founder of the Pocho Research Society; Grant Kester, a leading scholar on dialogical and relational art; literary scholar and writer Rosaura Sánchez; and members the sound art collective Ultra-red whose work bring together audio investigation and social justice organizing.

This event is organized by Jennifer Flores Sternad, a scholar of militant and activist art and performance in the Americas and curator of the Arrhythmias of Counter-Production exhibition.

Schedule of Events

9:30 AM                         Arrivals (coffee & pastries provided)
10:00 AM                       Opening remarks and Presentation by Julian D’Angiolillo
10:50 AM – 1:00 PM     Narrative & political imagination
Panel and roundtable discussion with Teddy Cruz,

Steve Fagin, Fran Ilich and Mariana Razo

Wardwell (Botey)

1:00 – 2:30 PM              Break for lunch

2:30 PM                         Presentation by Eduardo Molinari / The Walking Archive
3:20 – 5:30 PM              From archives and their elisions toward counter-public

Panel and roundtable discussion with Sandra de la Loza,

Grant Kester, Rosaura Sánchez and Ultra-red (Elizabeth

Blaney, Dont Rhine, Leonardo Vilchis)
Participant Bios
Teddy Cruz has been recognized internationally for his urban research of the Tijuana-San Diego border, and in collaboration with community-based nonprofit organizations for advancing new paradigms in civic participation, affordable housing and public infrastructure at the scale of neighborhoods. He received the prestigious Rome Prize in Architecture and was the first recipient of the James Stirling Memorial Lecture On The City Prize. His work has been profiled in important publications including The New York Times, Domus and Harvard Design Magazine. Most recently, he represented the US in the Venice Architecture Biennial and his work was included in the exhibition Small Scale, Big Change at the Museum of Modern Art in New York. He is currently a Professor in public culture and urbanism in the Visual Arts Department at UCSD, where he founded CUE / Center for Urban Ecologies.
Julián d’Angiolillo is a Buenos Aires-based artist whose work is featured in the Arrhythmias of Counter-Production exhibition. His work has also been seen in museums and galleries throughout South America and Europe and his feature-length documentary, on exhibit at the UAG, has received prizes from numerous international film festivals. In 2006 D’Angiolillo’s published a “biogeography” of a park in Buenos Aires titled La desplaza – Biogeografía del Parque Rivadavia. This multi-media essay deciphers configurations and mutations of a public space across time. That same year he used found objects to replicate the monumental axis of this park in a massive environmental installation inside an abandoned factory. At the first Ushuaia Biennial in 2007 D’Angiolillo introduced his character “The Real Estate Wanderer” who is armed with a customized tricycle upon which his drawing board is affixed. This “operator of territories” appears throughout D’Angiolillo’s later works, including the video-installation Dirección de paseos in which the Wanderer embodies landscape architect Carlos Thays. During his involvement in the international project Post It City (2007-10), D’Angiolillo created three documentary videos: Suite Matanzas, based on various river voyages; Overlock Collection, which is about clandestine textile sweatshops in Buenos Aires; and Tu Parte Salada, which explores the huge informal market known as La Salada. Building on these investigations he produced his first feature-length film Hacerme Feriante. In 2011 D’Angiolillo designed and executed the massive land artwork Antropolis by parasitizing materials and resources from the construction of the state-sponsored fair Tecnopolis.
The work of Sandra de la Loza offers critical investigations of power and representation within the contemporary political, social, and cultural landscape. She is the founder of the Pocho Research Society (PRS), an ongoing collaborative project dedicated to the systematic investigation of place and memory through archival and curatorial projects and public interventions. Her first book, The Pocho Research Society’s Field Guide to Erased and Invisible Histories (2011), is now available through the University of Washington Press. Her solo exhibition currently on display at LACMA is part of the Getty’s Pacific Standard Time initiative. Entitled Mural Remix, it focuses on Chicano Murals from the 1970s. De la Loza’s other recent exhibitions include Phantom Sightings: Art After the Chicano Movement, organized by LACMA; Invisible City at Arco Madrid; and Citizen/Participant at Darb 1718 in Cairo. She has also collaborated with other artists and activists to generate artist-led spaces for community activism and critical dialogue. De la Loza has taught cultural studies, contemporary art seminars and studio art courses at various colleges and universities in Los Angeles. She received her B.A. in Chicano Studies at UC Berkeley and her MFA in Photography at Cal State Long Beach.
Steve Fagin ( is a Professor of Visual Arts at UCSD, and has produced a series of feature length videos including The Amazing Voyage of Gustave Flaubert and Raymond Roussel, The Machine That Killed Bad People and TropiCola. These films have been featured prominently at museums, international film festivals, art biennials and have been screened on Bravo International in Latin America, Canal + in Europe and PBS in the United States. His work has had a retrospective at the Museum of Modern Art, New York and is the subject of a book from Duke University Press, Talkin’ With Your Mouth Full: Conversations with the Videos of Steve Fagin. The work has been presented at both the Museum of Modern Art, New York and the Whitney Museum of American Art, New York in many contexts including both of their summary shows of the essential art of the twentieth century. From 2005-9 he worked as Creative Consultant for the haudenschildGarage and Commissioning Editor of the hG, Spare Parts projects. The Last Book, an hG, Spare Parts project, was conceived and directed by him. Currently he is working on a feature film, A Cloud of Hope, and has recently completed a series of “smart phone pieces”, both as Commissioning Editor and as one of the artists for LACMA.
Grant Kester is Chair of the Visual Arts department, Professor of Art History, and Director of the University Art Gallery at UCSD. Kester is one of the leading figures in the emerging critical dialogue around “relational” or “dialogical” art practices. His publications include The One and the Many: Contemporary Collaborative Art in a Global Context (Duke University Press, 2011), Conversation Pieces: Community and Communication in Modern Art (University of California Press, 2004) and Art, Activism and Oppositionality: Essays from Afterimage (Duke University Press, 1998). His essays have been published in The Blackwell Companion to Contemporary Art Since 1945 (Blackwell, 2005), Theory in Contemporary Art Since 1945 (Blackwell, 2004), Poverty and Social Welfare in America: An Encyclopedia (ABC-Clio, 2004), Politics and Poetics: Radical Aesthetics for the Classroom (St. Martins Press, 1999), the Encyclopedia of Aesthetics (Oxford University Press, 1998), and Ethics, Information and Technology: Readings (McFarland, 1997), as well as in numerous scholarly journals. His curatorial projects include Groundworks: Environmental Collaborations in Contemporary Art at Carnegie Mellon University in 2005 and Unlimited Partnerships: Collaboration in Contemporary Art at CEPA Gallery in Buffalo, New York in 2000. He is currently completing an anthology of writings by art collectives working in Latin America, in collaboration with Bill Kelley.
Eduardo Molinari is a multidisciplinary artist who lives and works in Buenos Aires. His installation El Camino Real and his book El Libro Plateado y Real / The Unreal Silver-plated Book are on view at the UAG in Arrhythmias of Counter-Production. Walking as an aesthetic practice, research using artistic means and interdisciplinary methodologies are the basis of his practice. His broad body of work includes paintings, drawings, photographs, collages, installations, interventions in public spaces, films and publications. In 2001 he founded the Archivo Caminante [Walking Archive], a visual archive-in-progress that delves into existing and imaginary relations between art, history and politics. The Walking Archive develops critical reflection on hegemonic historical narratives and on the processes that “mummify” social memory. In 2006 he was part of the team of artistic and conceptual direction for LaNormalidad, which was the final stage in the multi-year international project ExArgentina. Since 1997 Molinari has taught at the Prilidiano Pueyrredón National School of Fine Arts and since 2000 in the Visual Arts and Fine Arts Departments of the Instituto Universitario Nacional de Arte (IUNA) in Buenos Aires. In 2010 he and artist Azul Blaseotto founded La Dársena Platform for Thought and Artistic Interaction, a cultural space in Buenos Aires the artists direct.

Fran Ilich is a writer and media artist working in creative practices of hacktivism, investment banking and narrative media. He is currently a Fellow at Eyebeam Art and Technology Center in New York. Ilich is the creator and CEO of the cooperative media conglomerate Diego de la Vega, which includes the virtual community investment bank Spacebank, a community newspaper and cultural space in Tijunana, initiatives in sustainable energy, the Brooklyn Stock Exchange, a publishing house, among other enterprises. Ilich is the author of the novels Metro-Pop (1997), Tekno Guerrilla (2007) and Circa 94 (winner of the bi-national Mexico-USA “Border of Words” award in 2010); and Otra narrativa es posible (2011), which is forthcoming in English as Another Narrative is Possible: Political Imagination in the Internet Era from the Institute of Network Cultures. He is also the creator of many works of and audiovisual and literary works made for the internet. He was the editor at large of Sputnik Cultura Digital magazine, screenwriter for Interacción (Discovery Channel), researcher at Centro Multimedia del Centro Nacional de las Artes in Mexico City, and manager of the literature department of Centro Cultural Tijuana. His work has been presented in such venues as the Berlinale Talent Campus, Documenta 12, Transmediale, MIT Media In Transition, the Walker Art Center, the Economist 2011 Conference in Mexico City, and the EZLN’s Festival Mundial de la Digna Rabia (by personal invitation of Subcomandante Insurgente Marcos). He also directed the festivals Cinemátik 1.0, <> (MOCA and CalArts), and founded and directed Borderhack.

Jennifer Flores Sternad is a scholar and curator whose research focuses on militant and activist art, performance, and artistic practices within or aligned with left social movements. Her research in these fields since 2001 has included extensive work in Argentina, Brazil and Chile, as well as on Chicano/a and Latino/a art and theater in the U.S. Her work has been published in Art and Activism in the Age of Globalization, ed. by Lieven de Cauter, et al (NAi, 2011); Zona de Poesia Árida, Coletivos de Arte (U. of São Paulo, forthcoming); Live Art in LA, 1970-1983, ed. by Peggy Phelan (forthcoming); MEX/LA: Mexican Modernisms in Los Angeles (Hatje Cantz, 2011); Haciendo Tiempo: Arte Radical, 1999-2004 (Universidad Autónoma de la Ciudad de México, 2010); and The Oxford Encyclopedia of Latinas & Latinos (Oxford U. Press, 2005), as well as in the journals GLQ: A Journal of Lesbian and Gay Studies, Contemporary Theatre Review, The Journal of American Drama and Theater, Aztlán and Interreview. She has directed and curated symposia, public art events and seminars in U.S., Mexico, Argentina and Chile, and she is co-founder with Fran Ilich of the research/media art project Collective Intelligence Agency. She holds a BA in Literature from Harvard, an MA in Art History from UCLA and she is currently pursuing a PhD in the Department of Social and Cultural Analysis at NYU.

Founded in 1994, the international sound art collective Ultra-red conduct sound investigations within different audiences and constituencies. While the visual image serves as the foundation for much of our understanding of political art, Ultra-red turn the focus to the ear: the sound of communities organizing themselves, the acoustics of spaces of dissent, the demands and desires in our voices and in our silences, pedagogy of dialogue, and the echoes of historical memories of struggle. Investigations utilize the forms of audio recordings, exhibitions, videos, performances, or walking tours. Today, the ten members of Ultra-red conduct sound investigations in New York, London, rural southwest of England, and Berlin. In Los Angeles, Ultra-red members have long-term engagements with a variety of communities including the social justice organization Union de Vecinos, the education access organization Woodcraft Rangers, and the AIDS activist movement.
Mariana Razo Wardwell (aka Botey) is an Assistant Professor of Visual Arts at UCSD. She is the academic director for the interdisciplinary graduate seminar Zonas de Disturbio, a collaboration project of the Art History Graduate Program and the Campus Expandido Program at the University Museum for Contemporary Art (MUAC) in Mexico City. She is also a research fellow at the CENIDIAP-INBA (National Center for Research, Information and Documentation of the Visual Arts at the National Institute for the Fine Arts) where she is the academic director for the design and development committee of the Ph.D. Program DETA: Doctorado en Estudios y Teoría del Arte. Her work has been exhibited broadly, including at exhibitions at the National Museum of Art Reina Sofía in Madrid, Disney Hall in Los Angeles, the San Diego Museum of Art (2002); the Guggenheim Museums in Bilbao and New York, and Track 16 Gallery in Santa Monica. Wardwell is a founding member of the editorial and curatorial committee of The Red Specter, a phantasmal agitation and conspiratorial organization working at the intersection of art, politics and theory. The Red Specter is based in Mexico City and is at the center of a wide web of international collaborations with artist, critics, designers and curators. She holds a Ph.D. with an emphasis in critical theory from the Visual Studies Department and an MFA in Studio Art from the University of California, Irvine, as well as a B.A.H. from Central Saint Martins School of Art and Design in London.

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