Visual Arts Department Visiting Artist Lecture Series Presents:
Craig Baldwin
Thursday, April 29th, 2010 :: 6:30 pm
Visual Arts Facility Performance Space
Craig Baldwin (b. 1952, Oakland, CA) is an experimental filmmaker who is best known for his eloquently provocative collage films that challenge the fine line between high and popular art. His outlandishly spectacular assemblages utter sharp, subversive commentary of contemporary consumerism and society. Baldwin pulls his digital sources from various overlooked corners of the image world and mixes with his own to construct narratives that address topics ranging from geopolitical crisis and conspiracy and copyright disputes, to mainstream media culture and the imagery of the middle class. He teaches at UC Davis and lives and works in San Francisco.
--Contributing Writer, Lesley Ma (PhD
Thursday, April 29, 2010
Friday, April 16, 2010
Tuesday, April 6, 2010
Hippopotamus
Hippopotamus
An Exhibition of Works by the MFA Candidates in the UCSD Visual Arts Department
Running in conjunction with Open Studios 2010
Visual Arts Facility Gallery
University of California, San Diego
La Jolla, CA 92093
Exhibition Dates: April 6 - April 10, 2010
Hours: Noon - 4:30 pm
Herbert Marcuse had 20-30 different figurines of hippopotamuses - a bizarre animal that embodies the reality of the absurd and the immense possibility of the imagination. Conceptually, it is the conduit between land and water. It reaps in one area and spreads itself across another. A facile metaphor for UCSD’s mission, which is to “promote and facilitate the transfer of UCSD innovations” where the capitalistic machine gleans knowledge from one area and spreads it across the global market place.
Attached is the complete curatorial statement for Hippopotamus.
Sunday, April 4, 2010
Friday, April 2, 2010
TRANSURBANIC (OUTSIDE EVENT ON CAMPUS)
T R A N S U R B A N I A C
art emotions and some city trances.
9 April > 15 May 2010
Opening reception 8 April 2010 5 – 7:30pm
Curator Talk 7 April 6:30pm Center Hall room 212
Eduardo Abaroa, Georgina Bringas, Abraham Cruzvillegas, José Dávila, Roberto de la Torre, Pedro Friedeberg, Rubén Gutiérrez, Jerónimo Hagerman, Enrique Jezik, Gabriel Kuri, Gonzalo Lebrija, Ilán Lieberman, Enrique Metinides, David Miranda, Antonio O’Connell, Edgar Orlaineta, Ricardo Rendón, Jorge Reyes, Tercerunquinto, Pablo Vargas Lugo
Things are not static. As we know from research in quantum physics, the closest landscape is a non-stop experience surrounded by contradictory aspects of surrounding objects that can be treacherous and out of control. Emerging from this awareness is the next exhibition at the University Art Gallery entitled Transurbaniac.
The exhibition, curated by Guillermo Santamarina, Chief Curator at the Museum of Contemporary Art (MuAC) at the National Autonomous University of Mexico brings together a number of important works from the museum’s permanent collection along with additional work selected by the UCSD University Art Gallery with the intention of linking the concerns of artists working in Mexico and the United States around issues of urban space and the university campus.
By using multi-dimensional approach, the exhibition recognizes the long tradition of Mexican creativity that is in the same critical discourse as surrealist artists. From pulling transgression notes into urban commodities or supporting questions about mental stability to materializing legitimate fear in based on historical and urban dysfunctions Transurbaniac aims to create a incontrovertible melodrama set in middle-class scenarios of the 21st century. From the large site specific installation of José Dávila to David Miranda’s flyer titled Legal Trades, the exhibition takes as its focus the specific circumstances of contemporary art in Mexico and raises questions that are relevant for artists working in urban contexts everywhere today.
The Museo Universitario Arte Contemporáneo (Contemporary Art University Museum) is the largest public institution in Mexico to accommodate a collection of national and international contemporary art. Aiming to promote learning and esthetic enjoyment, its contents, architecture and interpretation tools offer the public the possibility of creating their own personal tour: college students, art experts, children, young adults and visitors in general, each build and enjoy their visit as a unique experience. Located in the Cultural Center of the National Autonomous University of Mexico (UNAM), the MuAC is the first museum fully created, in its architecture, management, museology, and interpretation, for contemporary art.
On April 7 Guillermo Santamarina will talk about the exhibition and the artists represented in MuAC’s collection. The talk will begin at 6:30pm in Center Hall rm 212.
art emotions and some city trances.
9 April > 15 May 2010
Opening reception 8 April 2010 5 – 7:30pm
Curator Talk 7 April 6:30pm Center Hall room 212
Eduardo Abaroa, Georgina Bringas, Abraham Cruzvillegas, José Dávila, Roberto de la Torre, Pedro Friedeberg, Rubén Gutiérrez, Jerónimo Hagerman, Enrique Jezik, Gabriel Kuri, Gonzalo Lebrija, Ilán Lieberman, Enrique Metinides, David Miranda, Antonio O’Connell, Edgar Orlaineta, Ricardo Rendón, Jorge Reyes, Tercerunquinto, Pablo Vargas Lugo
Things are not static. As we know from research in quantum physics, the closest landscape is a non-stop experience surrounded by contradictory aspects of surrounding objects that can be treacherous and out of control. Emerging from this awareness is the next exhibition at the University Art Gallery entitled Transurbaniac.
The exhibition, curated by Guillermo Santamarina, Chief Curator at the Museum of Contemporary Art (MuAC) at the National Autonomous University of Mexico brings together a number of important works from the museum’s permanent collection along with additional work selected by the UCSD University Art Gallery with the intention of linking the concerns of artists working in Mexico and the United States around issues of urban space and the university campus.
By using multi-dimensional approach, the exhibition recognizes the long tradition of Mexican creativity that is in the same critical discourse as surrealist artists. From pulling transgression notes into urban commodities or supporting questions about mental stability to materializing legitimate fear in based on historical and urban dysfunctions Transurbaniac aims to create a incontrovertible melodrama set in middle-class scenarios of the 21st century. From the large site specific installation of José Dávila to David Miranda’s flyer titled Legal Trades, the exhibition takes as its focus the specific circumstances of contemporary art in Mexico and raises questions that are relevant for artists working in urban contexts everywhere today.
The Museo Universitario Arte Contemporáneo (Contemporary Art University Museum) is the largest public institution in Mexico to accommodate a collection of national and international contemporary art. Aiming to promote learning and esthetic enjoyment, its contents, architecture and interpretation tools offer the public the possibility of creating their own personal tour: college students, art experts, children, young adults and visitors in general, each build and enjoy their visit as a unique experience. Located in the Cultural Center of the National Autonomous University of Mexico (UNAM), the MuAC is the first museum fully created, in its architecture, management, museology, and interpretation, for contemporary art.
On April 7 Guillermo Santamarina will talk about the exhibition and the artists represented in MuAC’s collection. The talk will begin at 6:30pm in Center Hall rm 212.
Thursday, April 1, 2010
POETIC TERRORISM by Hakim Bey (PLEASE READ)
WEIRD DANCING IN ALL-NIGHT computer-banking lobbies. Unauthorized pyrotechnic displays. Land-art, earth-works as bizarre alien artifacts strewn in State Parks. Burglarize houses but instead of stealing, leave Poetic-Terrorist objects. Kidnap someone & make them happy. Pick someone at random & convince them they're the heir to an enormous, useless & amazing fortune--say 5000 square miles of Antarctica, or an aging circus elephant, or an orphanage in Bombay, or a collection of alchemical mss. Later they will come to realize that for a few moments they believed in something extraordinary, & will perhaps be driven as a result to seek out some more intense mode of existence.
Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc.
Go naked for a sign.
Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty.
Grafitti-art loaned some grace to ugly subways & rigid public momuments--PT-art can also be created for public places: poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, xerox-art under windshield-wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement...
The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is "signed" or anonymous, if it does not change someone's life (aside from the artist) it fails.
PT is an act in a Theater of Cruelty which has no stage, no rows of seats, no tickets & no walls. In order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media). Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now.
An exquisite seduction carried out not only in the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life--may be the ultimate PT. The PTerrorist behaves like a confidence-trickster whose aim is not money but CHANGE.
Don't do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don't stick around to argue, don't be sentimental; be ruthless, take risks, vandalize only what must be defaced, do something children will remember all their lives--but don't be spontaneous unless the PT Muse has possessed you.
Dress up. Leave a false name. Be legendary. The best PT is against the law, but don't get caught. Art as crime; crime as art.
http://hermetic.com/bey/taz1.html#labelPoeticTerrorism
Bolt up brass commemorative plaques in places (public or private) where you have experienced a revelation or had a particularly fulfilling sexual experience, etc.
Go naked for a sign.
Organize a strike in your school or workplace on the grounds that it does not satisfy your need for indolence & spiritual beauty.
Grafitti-art loaned some grace to ugly subways & rigid public momuments--PT-art can also be created for public places: poems scrawled in courthouse lavatories, small fetishes abandoned in parks & restaurants, xerox-art under windshield-wipers of parked cars, Big Character Slogans pasted on playground walls, anonymous letters mailed to random or chosen recipients (mail fraud), pirate radio transmissions, wet cement...
The audience reaction or aesthetic-shock produced by PT ought to be at least as strong as the emotion of terror-- powerful disgust, sexual arousal, superstitious awe, sudden intuitive breakthrough, dada-esque angst--no matter whether the PT is aimed at one person or many, no matter whether it is "signed" or anonymous, if it does not change someone's life (aside from the artist) it fails.
PT is an act in a Theater of Cruelty which has no stage, no rows of seats, no tickets & no walls. In order to work at all, PT must categorically be divorced from all conventional structures for art consumption (galleries, publications, media). Even the guerilla Situationist tactics of street theater are perhaps too well known & expected now.
An exquisite seduction carried out not only in the cause of mutual satisfaction but also as a conscious act in a deliberately beautiful life--may be the ultimate PT. The PTerrorist behaves like a confidence-trickster whose aim is not money but CHANGE.
Don't do PT for other artists, do it for people who will not realize (at least for a few moments) that what you have done is art. Avoid recognizable art-categories, avoid politics, don't stick around to argue, don't be sentimental; be ruthless, take risks, vandalize only what must be defaced, do something children will remember all their lives--but don't be spontaneous unless the PT Muse has possessed you.
Dress up. Leave a false name. Be legendary. The best PT is against the law, but don't get caught. Art as crime; crime as art.
http://hermetic.com/bey/taz1.html#labelPoeticTerrorism
UPCOMING EVENTS
This Friday,the gallery@calit2 goes green with an exhibition by Chicago-based artist Sabrina Raaf, whose custom-built robotic sculptures and site specific installations include a series of experiments that address issues of sustainable practice, the construction of social spaces, and prototyping for modular green architecture. Curated by Steve Dietz, "A Light Green Light: Toward Sustainability in Practice" opens Friday, April 2, 2010, with a 6 p.m. panel discussion moderated by UC San Diego visual arts professor Jordan Crandall, followed by a reception.
Next Thursday 8th April, is the opening of Transurbanic, art emotions and some city trances, an exhibition curated by Guillermo Santamarina, Chief curator at the museum of contemporary art (MuAC) at the National Autonomous University of Mexico.
Guillermo, will be talking about the exhibition and the artists represented in the MuAC's collection at 6.30 in Centre Hall rm 212
Next Thursday 8th April, is the opening of Transurbanic, art emotions and some city trances, an exhibition curated by Guillermo Santamarina, Chief curator at the museum of contemporary art (MuAC) at the National Autonomous University of Mexico.
Guillermo, will be talking about the exhibition and the artists represented in the MuAC's collection at 6.30 in Centre Hall rm 212
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