María Valdez, curator of the international meeting, organized by the National University of the Arts / Photo: Prensa.
He 3rd international congress Revueltas del Arte will take place from October 10 to 12 in seven Buenos Aires venues where artists, researchers and educators from all over the world will meet to develop presentations, talks, workshops and shows that will reflect on the present, framed in the 40 years of the recovery of democracy in Argentina, and with the human rights, the production of knowledge and science in its connection with technology as guiding axes.
The research, artistic training and thinking of prominent international leaders can be followed throughout those days, with free admission, in different parts of the city of Buenos Aires through activities that do not leave aside childhood, and that include presences such as that of the actresses Rita Cortese y Lola Berthetwriters Félix Bruzzone, Monica Zwaig and Raquel Robles; the former director of the Public Activities sector at the Reina Sofía Museum in Spain, Ana Longoniand the Nobel Peace Prize, Adolfo Pérez Esquivel.
Art: work force and joyful power
The atypical and one of the vital points of Revueltas del Arte, the congress organized by the National University of the Arts (UNA)is its condition open to the community, “we have worked on it so that people circulate, that they come to see what is happening with art, inviting them to participate free of charge in more than 300 activities, all very heterogeneous,” he points out. María Valdez, curator of the meeting – The university not only develops symbolic capital, but also makes art understood even in a sense of enjoyment and as a work force: there is a lot of body, territory and construction made through art.
These proposals include guests such as the writer, Conicet researcher and Argentine professor Ana Longoni, former director of Public Activities at the Reina Sofía Museum in Madrid between 2018 and 2021, who will present “Giro Gráfico, como en el corazón la hiedra”, a collective work on display in that museum, one of the most important in Spain, in 2022 post-pandemic.
Also the Mexican Cristina Hijar, member of the Art and Politics group of Clacso and the Híjar Collective, dedicated to aesthetic-political actions for historical memory; and the Argentine visual artist Gabriela Golderwho will give the present with the project “Tear out the eyes”, currently exhibited at the Andreani Foundation in Buenos Aires, where he reflects on institutional violence, repression and collective trauma focusing on the pattern of ocular attack by the security forces of the Chilean and Colombian state.
There will also be a poetry recital by Jaime Huenún and Silvia Mellado and numerous activities aimed at children. The complete schedule is available at this link.
An atypical and vital proposal
“It is essential to understand that this congress is the first to be held after the pandemic, after a hiatus since 2017, and it is held at a complex moment where the right to culture and inclusive, quality education is also put in check. and intersectional where ‘everyone’ fits equally. That’s why it is a substantive commitment,” Valdez points out.
That is also why “the greatest expectation is to demonstrate that universities basically uphold the logic of having rights that are, among many others, human rights and the right to work,” he says about the congress that will open on Tuesday October 10 at 5:30 p.m. at the Teatro Picadero, led by UNA rector Sandra Torlucci, along with Pérez Esquivel, Robles and Berthet, after which Rita Cortese will present “Con el alma en suspense”, a show of tangos, poems, songs.
The congress will run from Tuesday to next Thursday in different parts of the city of Buenos Aires such as the Borges Cultural Center in the center or the House of Culture of the National Arts Fund in the north, but it will have a preamble next Monday, October 9, in the dome of the Kirchner Cultural Center (CCK), with a collective intervention by the group “Open Dance”, curated by Susana Tambutti.
Open Dance It was not only a cultural phenomenon but also a social, community and political fact. Participants of the group between 1981 and 1983 will share their experiences, memories, testimonies (and also forgetfulness) of an artistic event that affected the entire field of Argentine dance. And this intervention attempts to rescue something from that undocumented memory that will not only always be unfinished, but will never be the same.
Surf the situation
The main challenge of the event, in the eyes of Valdez “is to be surfing on the situation: we are just a few days away from an election, it was an extremely complex year and to commit to continuing to develop science, technology and art activities, especially artistic ones from the “research, it is almost a patria. While many activities retreat, we decided to continue acting with the territory – he emphasizes – like all national universities.”
The proposals of the Congress, articulated through the 40 years of democratic recovery, have to do with urgent objectives of the national and global agenda: technological developments 4.0 and 5.0, sustainable development, environment, gender, feminisms, dissidence, diversity , ethnicity, the brown question and the indigenous peoples and their presence as fundamental actors of this culture.
“It is about building a broad democratic fabric where everyone fits. This is key, the topics on our agenda are the urgent issues that call for a democratic review, inclusion and awareness on the part of citizens,” says Valdez.
The artificial intelligence (ai) is going to have a place in this congress because “we are immersed in a lot of uses of AI in very small devices and from the arts we have to talk about it, not to demonize it, but to think about what we do with this, always from practice, not thinking from speculative speculation, but from situated action,” says the curator.
“Technological development has operated almost since the beginning of humanity, the point is not the device itself, with the complexity that this has, but the ideological matrices, the postulations that are made around it, how it is used, for for example, by big capital; reflect on whether this builds a new type of hegemony that must be paid attention to to see where the interstices are where we can erode it,” he emphasizes.
The key, he notes, “is to think about our way of constructing knowledge, experiencing and relating to the environment, which is why we like to talk about fabric, the body and collective effort. It is an ideological position that at this moment is extremely urgent.”
And, beyond that, it is also about “discussing and thinking together how to promote situated research that speaks of an artistic practice as symbolic capital, work development, development of cultural and creative industries, increase in GDP and all that that drives the fact of making arts.
Where?
The conference will be held at the Sagai Foundation, on May 25, 586; in the UNA headquarters from Miter 1869; in it Borges, Viamonte 525; he Provincial Bank Museum, on Sarmiento 364; in the House of Culture from Rufino de Elizalde 2831; he Picadero Theater, located at Pasaje Santos Discépolo 1857; and the CCKlocated at Sarmiento 151, “institutions that are committed to ensuring that culture continues to be a haven to think about the present and bet on the future, a haven of collective work,” summarizes Valdez.
“It sounds like a contradiction,” he warns, “to say backwater in a congress called Art Revolts, because the logical thing is to think that art is always a revolt, because it mobilizes, because there is nothing that does not reverberate from affection when something affects you. it excites, but at the same time you think about it, you catalyze it, you remember it, you think about it again and again and possibly it transforms your practices somewhere.”
“So, the revolts of art are almost a construction in a historical discursivity, since they began in 2014, where the National University of the Arts is always saying that we continue to revolt, that is, we continue to rethink ourselves about the function we have within a social context. And that is it, moving to see oneself and betting on the future. Working and thinking is always a collective effort,” he says goodbye.
2023-10-07 07:43:05
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