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ALICIA HERRERO
selected works (1997-2019) |
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| date |
title /dimension /institution |
description |
| 1997 |
MI BOTÍN [MY BOOTY]
7 polyptych / paintings on canvas (variable measures), printed document, self-adhesive sticker on the wall
Curator Alfredo Londaibere
Centro Cultural Rojas /Universidad de Buenos Aires |
My booty asks what is valuable and how an object can become a status symbol. It re-appropriates, by means of painting on canvas, of images and data from famous bowls, vases, guacos, porcelains, ceramics or glasses. All the pieces are from different collections and museums and their origins range goes from imperial collections to Bauhaus objects. |
| 1998 |
UN PAISAJE HECHIZADO [ENCHANTED LANDSCAPE]
aluminum and enamel
Number of pieces: 18
Measures variables
Curator Laura Bucchellato
ICI and Museo de Arte Moderno Buenos Aires
Grant Taller de Barracas Fundación Antorchas 1996/97 |
Series of works on art market themes. The artist creates Errata method, by which is possible to perceive the price of artistic objects and artworks auctioned by Chistie’s or Sothebys, on themselves. |
| 2000/2001 |
CHATTEN
Intervention
20 X 10 mts
Curator Chris Dercon
Boijmans van Beuningen Museum
Rotterdam |
Chatten creates visual and sound conversations between objects of the same species from the Rotterdam community members and from the collection pieces of Boijmans Museum Art Apply Department. Explore the question of what is valuable or how an object or a group of objects transformed its status. |
| 2002 |
SUCCESS (The archive like factory)
VHS archive |
This project is the record in VHS of the moment in which the phenomenon of deconstruction / construction of the social fabric in Buenos Aires erupts and develops during February, March and April until May 1, 2002. That moment was called by some intellectuals as “insurrectionary phenomenon”: debates in assemblies, follow-up and interviews with members of the recovery process of Textile Brukman, congresses of recovered factories, publicly prepared petitions in direct democracy, mass demonstrations, interventions, scratches, spontaneous aesthetics. |
| 2003 |
ELIPSE [ELLIPSE]
video & sound installation
Curators Andreas Fanizadeh and Eva Meier
NGBK and Bethanien Berlin Shedhalle Zurich |
Realized with Success (archive of artist), audiovisual captures from the Argentinean political-economic conflict during the first four months of 2002. Elipse focuses in Brukman company occupied by their women workers. |
| 2004/2008 |
MAGAZINE IN SITU
Buenos Aires (AR), Quito (EC), Beirut (L), Sao Paulo (BR), Reggio Emilia (IT), Bilbao (ES), Rotterdam (HO), Montevideo (UR), Ushuaia (AR). With Lara Almarcegui, Alejandro Cesarco, Antoni Muntadas, Carla Zaccagnini, Ricardo Basbaum, Margarita Paksa, Francis Alys, Azier Mendizabal, Nina Montam, Katharina Schlieben, Rana Hamadeh, Fran Ilich, Tony Chakar, among others. |
Eventual spaces dedicated to the investigation and production of specific situations, non-standard and economically possible, focused on re-examining postulates of the avant-garde concerning the relationship between art and society. Many collaborators. |
| 2005/2006/2009 |
CONVERSATIONS
performative installation, printed pieces and documents.
MACRO - Museum of Contemporary Rosario (AR)
MAC-UNaM, Museum of Contemporary Art - National University of Misiones (AR)
Dispari & Dispari & Collectivo Sototetto Reggio Emilia (IT) |
Explore the question of what is valuable or how an object or a group of objects transformed its status. The structure of a museum/non-profit art gallery and social sectors of the city are exposed to a series of changes and conversations to a long of the exhibition. |
| 2005 |
IMPERIO-THE THINGS
installation / mise-en-scène /video
MACRO- Museum of Contemporary Rosario (AR) |
It is composed of a dark room for a video and a hidden room in which it is possible to spy through a small hole in the wall. There you can see the daily dynamics of a pottery workshop in activity, in real time and in parallel to the time of the exhibition, outside the regime of the museum. Two parallel realities. Every day during the time of the exhibition, the ceramist repeats her daily work as actress of a mise-en-scène without a previous script. |
| 2007 |
THE PARADIGM CONFINES TOUR
performative symposium
I The End of the World Biennial
Curator Florencia Battiti
Ushuaia - Patagonia
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A new situation from Magazine in situ navigates a boat, over three hours, in the Oceanic Beagle channel, boundary of Chile/ Argentina, and the same circuit that Charles Darwin sailed in 1831, while culminating his Theory of evolution. |
| 2007/2013 |
LiPAC
LABORATORY OF RESEARCH IN CONTEMPORARY ARTISTIC PRACTICES
concept and coordination
Centro Cultural Rojas -Universidad de Buenos Aires
With the collaboration of Ivon Aramberri, Minerva Cuevas, Catherine David, Raimond Chaves, Joep von Lieshout, Dora García, Stephen Wright, among others. |
The laboratory develops a device for types of emancipated practices of the existing categories known so far - an ambitious and extreme topological turn -, ways of working and research between heterogeneous possible universes. A FANTASTIC engineering that encourages horizontal involvement between practices, knowledge and experiences. |
| 2008 |
AUCTIONS, MARKET & MONEY
performative online consultancy |
Series of works on art market themes. It develops resources of investigation and imagination to explore the impact that the market, the money and the business have on our perception of art. |
| 2008/2010 |
SUITE AUCTION DRAWINGS
actions, graphite drawings on paper and videos
at Christie´s and Sotheby’s auction houses
London and Milano. |
Series of works on art market themes. Actions in several art auction houses by mean of to drawing alive during the time of contemporary and modern art auctions. |
| 2009/2010 |
ART & CAPITAL
exhibition
Curator Silvia Litardi
Dispari & Dispari project
Reggio Emilia (IT)
performative-workshop
Cittadellarte
Pistoletto Fondazione
Biella (IT) |
First solo show in Italy. Art & Capital presents the potentiality of the dialogue between Errata series, Conversations and Suite Auction Drawings.The operations grouped under the name of Art & Capital promote a series of investigations that compromise an ontological corpus, a field and an institutionality. An explicit discussion about the substantial attributes of art and its condition in capitalism. |
| 2010 |
EL VIAJE REVOLUCIONARIO! [THE REVOLUTIONARY JOURNEY!]
Curator José Ignacio Roca and Pablo Helguera
Mercosul Biennial, Essay in Geopoetics
Porto Alegre (BR) 2011
A navigated novel
Informe País, GAM, Santiago (CH) 2011
Documents for an Imperfect Future
Curator Esteban Álvarez
El Parqueadero, Bogota (CO) 2011
Fondo Nacional de las Artes, Buenos Aires (AR) 2010 |
TRJ creates a progressive topology of chapters/ports constructed on the basis of:
- drawings of hydrographic tables showing the paths of navigable rivers in South America (based on photos developed by NASA).
- a virtual itinerary, cross-referenced with statements from the road diaries of Ernesto “Che” Guevara (diagnostic)
- the status of the 'revolutionary', understood as a practice and a continuous process.
- the exhibition as public capital, cartographic progress and inclusion of new chapters/ports.
It is an exercise that activates processes of recognition of space, turns of unity and drift that drag the perception of the territory as a common good. |
| 2010 /2016 |
CSP/PUBLIC CONSIDERATIONS, A SYMPOSIUM IN THREE ACTS
performative talks and enactment at Public University, National Bank and Parliament forums, three films and a book.
The exhibition It’s the Political Economy, Stupit
Curators Gregory Sholette and Oliver Ressler included the video, at
Austrian Cultural Forum New York /
Centre of Contemporary Art Thessaloniki /
Pori Art Museum/
Center for Cultural Decontamination in Belgrade
organized by Rosa Luxemburg Foundation/
Gallery 400/Univ. of Illinois, Chicago/
Galerija Nova, Zagreb/
NeMe Arts Centre, Limassol/
DAAP Galleries at the University of Cincinnati/
It´s the Political Economy, Stupid: The Global Financial Crisis in Art and Theory Pluto Press and Pori Art Museum/
Art and Politics Now , Thames & Hudson/
Rethinking Marxism, Association for Economic and Social Analysis /Routledge/Taylor & Francis/
Praxistest.Künstlerische Projekte Zur Vermittlung Aktueller Kunst.
During 2016 a new edition of CONSIDERACIONES SOBRE LO PÚBLICO, UN SIMPOSIO EN TRES ACTOS was realized in Montevideo (Uruguay) at Instituto Escuela Nacional de Bellas Artes y Facultad de Derecho, Paraninfo - Universidad de la República.
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It presents a double status of existence, creating a form of public sphere within the city’s political scenarios and enabling these scenarios to transform themselves into mechanisms of investigation.
The project proposes entering into a debate and a sensible dimension on what constitutes 'the public', organizing in three acts, in three auditoriums of notable and iconic public institutions of the City of Buenos Aires.
Within each respective context diverse participants introduce and activate different perspectives: political analysts; artists; activists; investigators in the fields of philosophy, art and sociology; economists; musicians; journalists; town planners; actors; filmmakers.
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| 2011 |
ACTION-INSTRUMENTS BOX
box containing 10 printed pieces
edition of 10
35 x 25 x 14 cm
performance and video-performance / 3:20 min
MUSEO DE LA ECONOMÍA POLÍTICA DEL ARTE
[Museum of the Political Economy of Art]
Henrique Faria gallery /
MALBA |
Series of works on art market themes. ACTION-INSTRUMENTS BOX is based on the critical and ironic potential of art, and brings together 10 pieces focused in visibility conditions of artworks auctioned by Sotheby's and Christie's during the year of the last major global economic crisis 2008.The box includes:
Auction Catalogue Pages (second version), Posters, File Cards, Graphics, Instruments, Journalistic Article, Notary Documents, Instructions and Tutorial (DVD).
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| 2012/2013 |
MUSEO DE LA ECONOMÍA POLÍTICA DEL ARTE
[Museum of the Political Economy of Art]
Henrique Faria gallery / Buenos Aires
Text by Teresa Riccardi |
It brings together two research interests of my work, the series on art market themes and explore the question of what is valuable or how an object or a group of objects transformed its status. |
| 2012 |
ERRATA CATALOGUE
auction catalogue and cabinet
300 x 260 x 30 cm
[from Museum of the Political Economy of Art]
Henrique Faria gallery / Buenos Aires
First Prize winner “New Media and Installations”, 103º Salón Nacional de Artes, Buenos Aires |
It is a new version of contemporary art catalogue from all the pieces sold by Sotheby´s and Christie´s during the year of big crisis: 2008. Errata-Catalogue proposes to visualize—by means a system of calculations and correspondence between dollars and centimeters—the sale price on the images of the artworks themselves, therefore the pages and the works are deformed, some very deployed, others very folded. |
| 2012 |
PLUS-VALÍA [SURPLUS VALUE]
polystyrene, acrylic, vinyl, wood and painting
110 x 110 x 90 cm
[from Museum of the Political Economy of Art]
Henrique Faria gallery / Buenos Aires |
The piece is about interacting processes in the construction of economic/symbolic value dimension in art.
The piece exhibits the diverse roles, percentages and domains of the 200 most representative art collectors in the world. The research is based on that in the same year the magazine Artnews presents as the "top 200 collectors", in turn included in the list of the 700 richest people in the world published by Forbes. The piece shows his participations in the field of art, his foundations or private museums, his philanthropic centers, his positions in boards of public museums, as sponsors of biennials, etc. |
| 2014 |
INFORME CAPITAL
online publication
Group Grant from Fondo Nacional de las Artes
Launch at Museo del libro y de la Lengua, Argentina National Library 2015 |
It involves an artistic, critical and action perspective to the power of political economy. Online publication about thought, research, practices, promulgation and evidence. It includes txts from Judith Butler, Doreen Massey, Maurizio Lazzarato, among others. |
| 2015 |
MUNDUS FINANCIAL CORPORATION – EVIDENCE
diorama and lesson plans
Commissioned art program
DordtYart / Mondriaan Fund |
It is a financial landscape organized on top of the conglomerate algorithm pattern that concentrates 85% of global capital flows, and constructed through visual resources of the “diorama technologies”. It materializes and stages numbers, accumulation, projection, magnitude of the phenomenon and the catastrophe. |
| 2016 |
ALGO (of) RHYTHMS, SECRETS AND EN-TROPIES
Winning project of the Bicentennial Grant for the Creation of the Fondo Nacional de las Artes
Installations, sculptures and sound pieces. |
Conglomerate diagrams of corporations and their algorithms migrate to new versions of "celebrated Marcel Duchamp works" made during the time or after of his stay in Buenos Aires city. This operation offers me to re-examine the supra values of the historical avant-garde, proposing filters of readings from the perspective of Latin America social histories. Duchamp's stay in Buenos Aires (1918/19) coincides with the dramatic events and symbolic violence of the "Tragic Week", a radical political episode, carried out by anarchist workers in demand of better working conditions, which left a balance of 700 dead workers. “an inaugural episode of the twentieth century and its biopolitics of extermination " Raul Antello |
| 2017 |
A VISUAL THEORY OF DISTRIBUTION
individual exhibition
Henrique Faria gallery
Text by Gonzalo Aguilar |
A solo show dedicated to the perception of inequality, but also it invites to reflecting about the gravitational weight of economy on our existential conditions, their ways of being between our bodies, their infinite material and symbolic capacity of enchantment.
The color and materials used highlight the visual and constructive condition of what these graphics represent, highlight it. They endow it with such a magma that some pieces can dispense with numerical data. |
| 2018 |
GLOBAL CONCENTRATION II (2017)
wood, metal, paint
140 x 57 cm
international group exhibition Democracia en Obra
CCK /Buenos Aires |
It is part of “A visual theory of distribution”. A pie chart of the Global Wealth Report from Credit Suisse Institute is presented like a proto-table. |
| 2018 |
MISE À NU
[ALGO (of) RHYTHMS, SECRETS AND EN-TROPIES]
intervention at PROA Foundation
Mise à Nu and other pieces, are the Winning project of the Bicentennial Grant for the Creation of the Fondo Nacional de las Artes 2016. |
Mise à Nu crosses the celebrated work of Marcel Duchamp known as The Big Glass (La mariée mise à nu ses ses célibataires, meme) with the Cartesian representation of a bar graph that presents the distribution of the world's wealth of 2016 (source of the Research Institute of Credite Suisse).
Mise à Nu naked spectacle of distribution in its transparent materiality shows the great inequality, its magnitude on the unfinished gaze of Duchamp. |
| 2019 |
ESSAY ON A TRIBUNAL. The Power of Political Economy on Trial
CONCENTRATION STRUCTURES (drawings)
PUBLIC HEARING (enactment and video 45 min)
OPENING STATEMENT (video 9 min.)
INDICTMENT (video 24 min.)
individual exhibition at Parque de la Memoria Buenos Aires
Text by Eduardo Grüner |
The spatial structure of an oral tribunal, its octagonal, symmetries, dividing fences (people / judges) and various artifacts, is displaced by another structure, Therefore, drawings, pictorial interventions and videos will be displayed embraced by this virtual and emblematic figure.
ESSAYS ON A TRIBUNAL. The Power of Political Economy on Trial is a long-range project and aims to gather evidence and testimonies in different contexts. |
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