What Is Puss Inside My Mouth

Crisis and imperial onslaught
John Saxe-Fernández, The Day, Thursday January 27, 2011. Saved
proportion, disturbing similarities observed today with the dynamic economic-policy between 1929 and 1939: since the bubble burst in 2007 U.S. housing frenzied swings are financial, stock, production, high unemployment and underemployment rates Chronic; also insufficient for the payment of sovereign debt exchange and conflict between the United States, China and Europe, which some see as the prelude to war trade and foreign exchange. In 2010 the United States persisted in bank closings, foreclosures, evictions bulk and symptoms of marked economic decline and hegemony in the short, medium and long term, reflected in coupling and uncoupling also monetary, commercial and geopolitical.

For Martin Feldstein of Harvard, the stimulus of federal spending in 2011 will be diluted by the deterioration of state and local finances, while the drop in home values \u200b\u200breduce household spending. This is confirmed by the Case-Miller index of S & P today (26-I-2011). The mega bailout for Wall Street weaken the real economy and result in an offensive against the class popular media and, in a vicious circle present in the warning given by Ben Bernanke, head of the Federal Reserve (Fed), the Senate budget committee on the need to control the deficit: to do so, he said, the economic and financial statements would be severe. According to Paul C. Roberts, former Reagan Secretary of the Treasury, it means the Fed can not continue indefinitely by printing banknotes to finance wars and bailouts for the mega rich, but yielded to Obama and tax cuts for higher income, and Congress approved the never assigned mostly military in history.

The dynamics that led to World War II shows that use the letter military to confront economic weakness is very risky. Albert Speer, Hitler's armaments minister, in his testimony before the Nuremberg court certainly recognized the need for oil and other resources were central motif in Hitler's decision to invade its neighbors, today the U.S. war and occupation increases in Iraq, Afghanistan and expands to Pakistan and Colombia to Mexico and Central America. Iraq is still occupied with mega bases, 40 000 troops and tens of thousands of contractors managed from an embassy bigger than the Vatican, while the risks are globalized and intensified war blowback. Contain by military or covert operations dependence oil and the falling dollar as a reserve currency (Republican Ron Paul says that wars and conflicts in oil producing states happen to maintain the hegemony of the dollar) is an invitation to chaos and the general war as documented by W . Clark Petrodollar Warfare (2005).

The American free trade is strange. Operates from a monumental spending more than 40 percent of GNP (in 1929 was 11 percent), beware of the invisible hand and leans on the handle military and the CIA: when it invaded Iraq the first thing I did was convert to dollars all oil transactions in euro, and was ongoing when the 2002 coup in Venezuela and Chavez was a prisoner, the rebels, at the request of the United States, proposed take Venezuela out of OPEC and increase by 400 thousand barrels of crude oil supply to bring down the price. Paul Roberts (The End of Oil, 2004) writes that according to the oil cartel's president, shortly before the coup were circulating operating bets against OPEC in the markets, but when people foiled the putsch, speculators lost their shirts.

that the Bolivarian Revolution today manages the largest reserves of conventional oil and unconventional world, from the Potomac a multimillion-dollar political war raging against him, led by the CIA, Newsweek, CNN ("Colonial News Network?) and the sepoys as always.

http://jsaxef.blogspot.com

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EXPOSURE DEVICE exit strategy


VIP ART FAIR: until 30/01/1911
RMS, SPACE: 'Impossible THE SHOW' : until 04/02/1911

I

art is not against what sometimes could be a sensible analysis, place of contradictions and heirs of the Enlightenment. Nor, incidentally, an educational body and even less ornamental with which to better digest our daily drama. Art has a very special logic, though in part the above, not anywhere near complete. His dialectical logic is here her not to meet in a synthesis, but not therefore be entirely encrypted in its non-concept. Always located in between which lies between the intension and extension is encrypted the epochality of its concept, the art moves to the beat of strange dialectic.

The vaunted art deaths are only moments in the development limits of the very concept of art: if at first it suggests a regulation of what would become the artistic practice efficiently, in a second stage, in a twist, shift analyst decides that far from the works of the time give a good account of what the actual concept demands and, therefore, is postulated as a finishing of the body art. Not otherwise be understood famously by Hegel that "art is and remains for us, by the side of his ultimate determination as a past." And hence, too, that strategies such as recoding, resemantization, recollection, or the allegory as a way of connecting the past and the new, never cease to be outdated for a progress-based art to escape from himself.

Generally, these epochality boundaries coincide with development limit the autonomy signed art. Thus, for Danto , if the autonomy of art is its open character, the fact that the existence of art is finished (in the embodiment of the boxes Warhol brightness) to involve its own concept, the fact that From that moment everything can be art is a radical autonomy of such a degree that what happens is that it has declared the end to give some narrative to begin another, the post-history of the very concept of art. So we would have more than a series of deaths of art, a concatenation of different narratives with which to delineate the history of the concept of art.

Adorno , always more tragic, the death figure in a betrayal of art than art itself, at the time of the avant-commits against himself. Renouncing the autonomy, the avant-garde art and life merge intend thus falling into a totalitarian model of identity thinking. Appealing to a mysterious' il faut continuer ', Adorno argues that, despite the betrayal of art against itself, despite having dropped this in the networks of mass industry, we are forced to do' as if 'cupiese some redemption, "in view of the threat of barbarism is always preferable that art mute before go to the enemy. " Le

list of thinkers can be in this dense point all you want, but with these two examples we can point out two recurrent symptoms at the time to reflect on the history of art: one, that the regulations required to art is altogether circumstantial - Why glossy boxes and not for example, Duchamp's urinal ? Why Adorno saw in the vanguard of breaking the historical place from which to think the contradictions of bourgeois society art? - And, two, that despite being the progress of these breakpoints quite random and problematic yes it is true that leave behind a progressive enlargement of the artistic field which is increasing the concentric circle of what might be called 'art'.

Adorno, again, it could see this strange dialectic that marks the development of art and desartización call for strategies that art itself mobilized for development. Among the negative moment of the movement, one that would appeal not to give up the promise of autonomy, and positive momentum, one that, by contrast, would have no qualms about flooding left by life, the history of the concept of art answers and a series of movements are refusing to go strangely overcome. Adorno himself concludes that "art is desartiza" because "is presented as part of that adaptation to contradict his own principle."

is, as mentioned, in this 'between' where distilling art goes against the concept itself. And, taken as a matter of all, both points are false, it goes without saying that the alleged autonomy of art as a separate sphere is an illusion when establishing a legacy of the Enlightenment was a perfect example is the inanity critical in any movement falling clinging to l'art pour l'art- tasteless, like all claims of life is given, rather than with the aim of safeguarding the art, with the intention of going reified 'worlds of life 'til then open.

In this regard, Rancière , perhaps the latest addition to the aesthetic reflection from the primates theorists of this constant movement back and forth, it is clear that while the goods you want to be art and after its beautification is the dissolution of art itself, does not make it menso true that "when art is only art disappears. "

no intention to be exhaustive, they are pretty well known that both strategies as part of another exercise their domain: in front of commodity fetishism, the dematerialization of the art object, in front of the spectacle , introspection and self-referentiality maximum, compared to the glamor of the badness of the artist, the author's death in front of the cultural industries, the self as a champion of artistic autonomy, compared to the profusion of hipervisible, the scopic hiding, facing the hiperestetización d elo visible, a radical absence object-art, against the logic of hyper figure in the entertainment, some duplication machines which, as representing not-present sinister, leads to boredom and tedium.

In general, if the former is postulated as commercialization of the art object, the latter are understood as political resistance

The core of this dialectic of desartización operating inside art is a paradox inherent in the inability encrypted intractable that the development of the concept art pair tilt to one side or another. In this regard, what we said at the beginning of that art is not the place to resolve contradictions must be taken as axiomatic foundation. As many say, in an adjectival impossible merges Deleuze and Adorno , that art itself escaping strategises: if it resolves the aporia, art, this time it would be dissolved disappear immediately.

This impossibility of resolution is understood, Lacan, and the inability to get into the Thing, in the Real, so that when art gets too close, the art itself desartiza, or the same as saying that when subject is very close to look at the subject itself is de-attached. In this regard Miguel A. Hernández-Navarro emphasized plausible connectivity, following the Seminar X of Lacan, which is between the feeling of anxiety that occurs in the subject at the sight of the sinister with the dimension of the Real. Thus, the sinister, quasi-equity category is for much of contemporary strategies, would be the way out, the signal that the subject is too close to the Real.

Thus, rhetoric of resistance, blindness effect in contemporary art, and a siniestralización and disturbance of the eye are the three negative moments of this strange dialectic with which art operates.

II

reaching here may well think and ask: What now?, Now where are we? Certainly the time seems, at least, important hated by some, misunderstood by many, unlucky for others, the art moves through the path of history blows that come from all sides. Because if it is well familiar contempt that art awakens in, shall we say well, the average citizen, for the vast majority of those who are part of the artistic fabric of the situation is no less regrettable.

By way of simple examples, Perniola not hesitate to describe the current situation as "the approval of cultural products, spreading a climate of consensus around plebiscite stars The disappearance of the critical capacity, coming within the conditions for appearance of the original works, the collapse of excellence ", and Fernando Castro Flórez not hesitate to point out accurately that this aesthetic its disappearance is a transbanalidad contraréplica the obscene that, seeing as fertile ground near the sinister with the abject, "launched its latest round in a long 'disappearance' which seeks to recover the power of fascinating and what happens is that gestures are prisoners of the comedy of obscenity and pornography. " That is, if the weather is not too buoyant, almost insoluble inability of art to escape their own nonsense seems to leave the field open for the marketing and spectacle.

However, the excitement of art is seen under the microscope these fluctuations to realize that, if it is true that the race towards industrialization of culture and denounced by Adorno has accelerated its pace in recent years almost giddy, it is also true that the forms of resistance are beginning unanimously to understand the legacy of the avant-garde as a simplistic model understanding of ideology, on the one hand, and as in open disbelief, pretend Foster pointed redefinition and re-encoding the chosen strategies when carrying out an artistic practice of resistance, and, moreover, stress, as claimed Rancière, these aesthetics of resistance to understand them as highly political practices in relation to the need "to create a new disorder," questioning the current political division, the sensible.

Thus, we could say that currently, any practice of resistance artistic vocation is to be understood as a political reaction that questions the status of sensitive and that primarily question the 'given to see ', what is tolerable to the eye, and who chooses to bury her in their own way autorelexión before us given, the visible. Reflection sovereign art, reflection on the political and reflection on the visual system to precisely meet here.

III

This microscopic view to the vagaries of art, reflecting on the exhibition, the exhibition event, has articulated in recent years own discourse has brought to it an exaggerated role. As far that could not be otherwise: if the aesthetics of resistance to the current arrangements have the visual your perfect target, then that is normal then the device itself visibility of art, the exhibition, there to where basis emergency has to be aimed any reflection.

The increasingly important role of the Commissioner, the successful joint exhibition, reflections on the "white cube", scratching it in almost ideology in favor of complete autonomy of the work- , its drift toward the "black cube" collide (or in addition, who knows by how much) with the pathological condition biennial as art system, with the fondness of many art centers to program all sorts of "isms "guaranteeing ticket sales, or the insane pleasure to have the manage political culture.

These days, almost one might say that in a plot typical of these strategies of escapism that surprising art, have coincided with two events attest that this unspeakable tension between art and non-art, this dialectic of desartización, far from understood as large singularities in the historical process of concept art, provide an effective 'here and now' to ensure that, far from being stranded, the art is, in this more radical serving in the meaninglessness of their future.

If art has become, in this game to speculate in which we have been insisting on the one hand, big business, the other has been transformed into art theory, and this, as touching the exposure device is about as brutal as contrary effects: if the RMS , Space is is mulling over these days in the exhibition made at the same time, in a place as close as you can be the virtual dela network is holding the first fair cyber art, VIP ART FAIR.

Between

"almost" nothing to do and an almost "nothing" to do that separates the two samples, mean the great abyss of artistic practice around the 'art world'. Both are necessary, fundamental, because even with a somewhat Hegelian, both devoted to art that it is saved, both represent a point of contradiction that, pending impossible to meet a new synthesis will expand the field of art.

think the role of the commissioner, to explore the explanatory format that usually accompany the exhibition, make art eminently a place of dialogue, self-centered and whose greatest guarantee is that the art work-and terminates start-and perhaps explain itself, are first theorist to collide squarely with the exhibition pandemic pushed to the limit of his histrionics, all with their pajamas and out of bed at a click.

However, that does not escape anyone that the art is and should be, a market is obvious, that the recession, crisis, and we want to call is doing great damage to art Meridian is also clear, and, more philosophically speaking, these events, as we argue, are essential to give an alibi to the escapism of art, do that only under certain assumptions can be criticized an exclusive sample-collectors, remember, like this.

Our mission with this text is not to criticize the initiative, just the opposite. Just note that, at this stage of the game, things are so disfigured in the dialectic between the two inclinations is played the game of art that emphasize them by foot in two events as those referred blows away any clinging to the speech Manichaeism resistance theoretical innocent or short haul.

Perhaps, to be brief, as you said Carlos Urroz in the latest issue of ABCCultural , although any initiative to invigorate the market is good, there are three lakes that are almost insurmountable: cancel the experience of the work, make art something like a secret club and end the meeting in the aisles, looking and being seen.

But here is essential, and not stick too close to the exhibition event, is that if all busy aesthetic dignity to the art from as close as possible to its alleged autonomy, but not so selfless as tasteless as uncritical, it must be understood as an aesthetic of political resistance, what can one do when they offered us the comfort of his robe, the glamor of the select and fetish insatiable on-line transaction?, what strategy take art to maneuver another exercise in escapism?

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MEMORY-FETISH: CANCELLATION OF POLITICAL ART BUILDING TASK

Daniel Silva: 'NOSTALGIAS OUTSIDE' Marta Cervera Gallery
: 01/11/1911 to 02/12/1911

If something can be said that we is saturated with history. No longer just for the drive schizoid to the file you want to negotiate with the charm of the fleeting moment since Baudelaire praised , but because the abuse of history to which we are accustomed to contemporary art produced a surfeit, a hypertrophy of historical memory that it is not, most of the time, more than a fetish or beautification of the history without any other grace that serve the dish warm melancholic and nostalgic. So, ready to eat, the story is presented adorned with hedonism and good intentions, not knowing that, as Adorno argued , "all hedonism is false in a false world."
If for the whole aesthetics of Frankfurt was built on a philosophy of history whose central theme was the role of art in the historical process, today, when the art functionality has been fixed in 'political function', the story has become the thing that brought hand to, from and against it as valid to all types of speech. So, sitting in the idioticia of recurrence for a political speech made from the body-art, the story is the substrate that make all sorts of excesses.
But is that in the current state of affairs, when every act of resistance is to advance the art in its infinite wisdom, the effects are so innocent, so candid prevailing laws of cause and effect, that everything has bitter taste of it too well. If Benjamin said that "a form of art can never be determined with regard to the effects it produces, with the current recurrence of historical memory, the art is so badly that, generally, are the typical effects of anger or guilt as it arrives.
In this sense, Rancière points out that the problem of political art, although described to him all art is inherently political, "lies more in the same approach in the budget of a sensible continuum between the production of images, gestures or words and the perception of a situation that involves the thoughts, feelings and actions of the audience. " That is, between what could and what occurred there and away: the effects are to be, because ... for something is political art!
But maybe not all the fault of art: postmodernism being as a time of crisis for the notion of progress, normal then never guess another way of thinking the world is not out of nostalgia.
The problem, we think, is that this recollection is left in the game stores in the 'look back', without further dialectical interplay between the different tempos. The artistic image, dialectic itself to be understood, Benjamin , "as the new in the context of what was always there", is cut off from all its temporalities resolved in express commodification of memory and history. Daniel
Silvo is not at all immune to this problem. So much so I do not hesitate to say that what the exhibition has until next February 12 is shown in Marta Cervera Gallery is "a series of works that make a fetish of socialist and revolutionary memory, looking backward and aestheticized uncritically. "

from such budgets, right there where the majority of the works returned to the band of failure on their heads, a gesture, on the edge, denoting that the same artist's deep concern by the need to address these issues from another perspective, leaves little room for the emergence of other political experience, an experience that opens, as he says, "a space for politics in aesthetics." Tan
leaves little room, we think, not wanting to be that achieves its intention to implement it. And is that policy aestheticize thanks to a melancholic and aestheticized into the past, reify the utopian potential assumed by certain ideologies, is not at all create a disconnect in the policy-art network that will enable some kind of disagreement between the two, ie that breaks with the continuum to which we referred earlier.
not, and that if we are with him, he does an art who opts for an "immediate political effect through art." Because the effect can not be, or at least should not be a calculable transmission between artistic shock sensitive, intellectual awareness and political mobilization: the power of merchandise, reified and fetishized memory, turns against itself and plays with the same undecidability of their device.
But leaving things in ellipsis, go back in time with an uncritical eye and reified, not supposed to create optimal conditions for the emergence of any experience of rupture and dissent to reorganize the distance between art and politics. And if the aesthetic experience falls squarely within politics is, as Rancière says, "because it is also defined as an experience of dissent, as opposed to mimetic adaptation or ethics of artistic production for social purposes," which will "redefine what is visible, which can say it and what patients are able to do "
Therefore, we think, despite being well marked an attempt to Daniel Silvo to create a disconnect in the recurrent effects pursued by the continuum of boring and political art, art must operate a deep disconnect that is not satisfied with the suspension through beautification of the story, but a dare real disconnect.

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ISIDRO BLASCO
Gallery is showing: 12/11/1910 to 01/22/1911

(original article in the magazine 'Art Keys':

http:// www.revistaclavesdearte.com/critica/20917/Isidro-Blasco-en-la-Galeria-Fucares )

Whoever approaches to see this exhibition at the Gallery Fúcares thinking it will meet the same artist that just makes one year he exhibited at the Sala Alcalá 21 with remarkable success, not going to take a minute to realize his error. Because, yes, the artist, Isidro Blasco (Madrid, 1962) is the same, but the coordinates in which moves are very different.
If in fact last year's exhibition and architecture come together in a constructive, very critical on the other hand with perceptual processes with which we face the reality, now the discourse has become more intimate and, in short, more powerful. Now is the space, the construction of space and place, which is in the spotlight Blasco. Removing any reference
scenic, erasing any trace of life, subtracting the idea that the home is one safe place that mediates between the inside and the outside, now the artist has chosen to stay with the substance, armed with a skeleton from which all construction is built to show how wrong they are.
Now, when everything is settled in the hyper-hypervisibility, hypervigilance, hiperbunkerización-Blasco is right to raise issues relating to space and live in a less showy but, undoubtedly, more effective. Small plaster and wood models show us that, far from the safety of the cement and the beam, everything rests on a fragile such that the balance of the collapse not seem difficult to save.
Based on the limited space, others are added until all Living what seems achievable. Apparently it's a living space, there is communication between each other, but the feeling of orphanhood and desproteguimiento is total. Whence comes the discomfort to view nudity archaeological rests our living and our security? Vattimo
encrypted the current time as the passage of utopia to heterotopia, these being the continuous alteration of space caused by the introduction of aberration within the real. And obviously, the aberrant is given, the inescapable presence of what is always present, a reified surplus, available to our use, but now more than ever become the teleinmediatez of simulation. Ie precisely what blocks the way we live in the open at all utopian. Heidegger If the concept of living associated with the technique, it is now that our notion of architecture, living and building are protected from, as noted above, the hiperbunkerización and hypervigilance, but also security of the spectacular postmodern. Now is the time, as argued by the German, the world has become absurd image-yes-the world.
contrast, Blasco us back to the problem of the inability to locate a source for all building, if the issue of architecture is in fact the problem of location, take place in space, obviously succeeds Derrida, and the artist with him, arguing that "the establishment of a floor is an event."

Thus, small models of Blasco remind us that have forgotten: that the establishment of a place we are faced with anything from that part and the future one day event will take place there . That is, the habitat is only one to be on track and to construct refers more to the openness of the being-in-road closure of the given security.
And this, we say with certainty, Blasco knows. And he knows it because the work outlined in The last room but it does not point it at the open character of which is to emerge any attempt to build and inhabit. On the video projection of a dilapidated house on the medium assemble boards attest to the incomplete nature of all places, the projector is matching projected moving-image of a house, perhaps with some of the artist architectural element of the installation. If the stripped-down version of this work was shown in the Sala Alcalá 21 referred to a endless wait emphasizing the finite nature of our being-in-road, now the rebuilding of ruinous encourages our hope.
Blasco's work points to know that as he left the Derrida , "there is a place for the promise, but then does not arise in its visible form." Can we live in a world that does not follow the building dreaming of those places?

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JOHN THE FISHERMAN.

the evening of January was later charged the sad news. Shortly after learning of the air taken out of our means of communicating nerve ion and organization, the 36-as I say naturally, we got the sad news of the death of mate Graciela which belonged to the militant group of the AP Hill . Life partner of our friend too militant "El Gallego Juan" to whom we extend our solidarity in these sad moments.
know-that we have suffered, the pain that is suffered in so ungrateful now. Where should we draw on the reserve that we all have accumulated enough to take power over them. A companion Graciela recognition of their passage through these planes of life and their contribution to society, which was able to integrate and represent with dignity. To all those who cling so enthusiastically to hope they remember what Dalgalarrondo Gustavo always told us, nothing is lost, everything changes.

From "Life Is a Dream"

The king dreams he is king, and live with this deception
ordering, arranging and ruling
;
and this applause, which receives
provided, written in the wind, and ash

makes him death, misery strong!
Are there people who will dare to be seeing

awakening in the sleep of death? Dream

the rich in wealth, which more care
offers;
dreams
the poor who suffer the misery and poverty;
dreams which to live begins, who toils
dreams and aims, he who grieves
and offends
and the world, in conclusion,
everyone dreams of what they are, but no one understands
.

I dream that I am here loaded
these chains and prisons,
and dreamed that in another state
I was more flattering. What
is life? A frenzy.
What is life? An illusion,
a shadow, a fiction,
and the greatest good is:
that all life is a dream,
and dreams are dreams.

Calderon de la Barca.

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opening to HISTORY FOOT IN THE BALKAN

Miroslaw Balka: 'CTRL'
SILOS MONASTERY: up to 25.04.1911 / MNCARS: until 20/02/1911
(original article in 'arte10.com':

http://www.arte10.com/noticias/index.php?id=384 )

unanchored its utopian potential, history has stuck to his own reification. Reified in the presence of the ever-now, post-history is shown to us as the site where not even any debris left standing. Rather than ruin, the romantic nostalgia, is the absence of what would have to worry. This solar
disjointed where everything flows without any normative telos, dramatizes the existence and the reason becomes baroque. If the neo-baroque aims to deal with the excesses typical of the demolition of history, allegory refers to the excess itself with the role played by the representative, giving as a show excess charge pointed to the very allegory.
The show is then given as an unbridled passion for the Real, with history the domain in which the Real exercises its violence. Comments such as the Zizek assuming the terrorists win 11 / S was not so much material damage as the dramatic effects that caused or, indeed, those of Stockhausen calling the attack on the Twin Towers as the total work of art, are proof of the powerful engine of a sign become spectacle thanks to the radical new-hiperpresente time broadcast-which establishes global.

In this state of affairs, the arts, rather than as a sentence Adorno famously , bear all the blame of the world, is the urgency of agreeing with their own story, even at risk of running a short circuit and mnemótica monumental role, to continue living in the libidinal system hipernovedad in excellent health. What he proposes, art, lest we be accused of being irresponsible with what could be its own destination, is a saturation of the memory that results in an almost limitless banality where, with the opportunity of a genealogy understood more as a postmodern sediment accumulation and operating different opening moments phenomenological improperly artistic strategies play with history.
In this sense, Gerard Vilar figure in three postmodern strategies that more clearly abuse of history: appropriation and simulation without limits, traumatic obsession with the file, and ironización spectacle and history. They all point to an inability to think the story is not in terms of nostalgia and melancholy. And is that the neo-baroque is this: epistemic closure, primarily representational, making it impossible to think of history rather than as a catastrophe. Because, as Christine Buci-Gluksmann , "Is not the neo-baroque allegory of our world, a world after the catastrophe in which the fragment, the ruins and the optical character of all reality, the rates would Saturnian a story? "
's work Miroslaw Balka then be understood as an attempt masterful second, to think our relationship with the story another way that does not involve a reification or a trivialization of history itself. Because, after all, how much memory can endure? Memory and history are to be encrypted in the schizoid trauma of our times: the drive file. Carry everything, have everything ready, do not discard anything. The terror lives behind every gesture, every little thing, and sinister, the Unheimlichkeit Freud, has become our fundamental existential relationship.

This time
Balka proposes two scenarios, one in the Monastery of Silos and one in the Vault Room MNCARS . In the first, Balka has resumed his work early to reposition them. A black father and a black sheep is the only thing within a room to which it passes by pushing a handle. The drama of these two statues is emphasized when the viewer, wanting to reach the exit, is confronted with his own image incident on the mirror behind the door that gives access to the room. The report then engulfs the story, our own, is subsumed within the melancholic and gloomy a symbology, the potato and sheep, which disturb us. The narrative in which all history is encrypted vanishes in a moment of deep
For MNCARS , the installation follows the same guidelines. The first gallery with three large cages filled with foam foam guard the three outputs. Behind one of them, a sound invites us to approach and move to another room. Venturing into the thick darkness, becomes loud and air streams give us full in the face. The dark and the air surrounding us until we reach the far wall and slowly we turn around. The screened porch light pointing stay on track. The moment it subverts all memory of a story is in contrapicado to confront the delusions dying in a dungeon. As the building as a former hospital Sabatini, does not cost us in there to find allusions to madness, the excluded, to the insane: everything that made up and still creates the irrational, disruptive of a psyche, our own, who has discovered which are the excesses of the rational that more damage occurs. Balka
introduces the sinister, tragic, dark past of a stock, and puts them in direct relation to a present that can not be experienced as an immediate time-now, but it is disjointed from the ideality of its timing to take burden of a past pierced by potentials found no update whatsoever. Condensing the past, always from the past failure, and revived in direct relation to our present for, from that bottomless abyss, to negotiate a future open to diversity.
The dialectic of the image, appearance, which uses Balka, is assumed to himself the necessity of compromise with the differences, to suspend the trial and be reflective zaherir unfinished at that time opens at our feet. Philosophy of History Benjamin here his best defender, because, for the German, "no doubt that the past is not come to turn its light on the present, or present on the past, but the image is that in which it was like lightning joins the now to form a constellation. In other words: image is dialectics in suspense. "

As in his memorable How it is? for the Unilever Series at Tate Modern , the time at which images Balka subjugate us, is to turn around, to look at the diffused light surrounding what until then was blackness. Benjamin, a collation of the famous painting of Paul Klee Angeles Novo said: "in this table represents an angel who seems about to move away from something that stares. His eyes are bulging, has an open mouth and wings. Well, this issue must be the angel of history. He has turned his face toward the past. Where before we see a chain of events, he sees one single catastrophe which keeps piling wreckage and ruin after the foot is throwing. "
These precisely are we when we turn around, angels see the disaster of a world ruined by the storm's progress. Only, in the subdued light in the light opening in the handle, Balka offers an interpretation other than an interpretation to which the present is charged with utopian potential. And, if we really want our relationship with history is a different from that which objectifies a heavy burden to carry, if we escape the profusion of images where there is nothing to do ( Baudrillard) or that I've seen before ( Virilio ), if we want to cure us of the insane fetish of the document, we have to stop weighted with nostalgia for the absent ruins and build on the encouraging news that establishes temporality of difference.

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Oil and succession

John Saxe-Fernández, The Day, Thursday January 13, 2011

Although proven oil reserves of the country continues to decline, greed, business pressures and the intelligence apparatus of the United States for the energy sector continue to rise: it because of their weight as key card in the process of succession and security that accompany their dispossession of the nation. This was confirmed John D. Negroponte (JDN) in a business Summit (October 2010) held - of all places - in Toluca, Mexico. I do not suggest that the U.S. ambassador in Mexico during the NAFTA negotiations and former director of the National Intelligence Council as a sponsor replace Salinas Peña Nieto. But the intention is clear: to continue in Los Pinos to absorption by the United States in strategic sectors, under a NAFTA-plus.

JDN's message that already the subject of greed (Pemex) is mature and in the center of the six-year transition was accompanied to recall significant to delineate the interrelationship between energy policy and the presidential succession. "(A) efore addressing the oil issue at the bilateral level," he said must be discussed in Mexico. " acknowledged that the issue (the consummation of the sale of the country) is delicate and highly political issue in Mexico but will have to be on the table, when the volume of imports of energy resources is greater than exports , so considered appropriate to reveal that during the NAFTA negotiations, Salinas proposed to include the energy sector, however, later said it was not time "to do" (Financial , 27-X-10 p 20), implying that they are already ripe for further looting which was formalized in 1848, this time with the PRI-PAN complicity with Washington in a NAFTA-plus.

While encouraging the return of the PRI, JDN welcomes the endorsement of the reform energy and "anti-war drug, driving business interests and American security, the latter being a front for the narrative cover the absorption of the country, along with Canada, the security perimeter United States, prescribing a bloody unconventional war that the Northern Command praises the drop PAN the role of national defense, as the enemy is among civilians . With the crowded morgues and more than 30 thousand dead, oil is delivered while the validity of the precarious state jurisdiction over the national territory: cables Wikileaks show that since Carlos Pascual and U.S. agencies act as a key authority in the internal security operations, so did not miss the endorsement of JDN Calderón's war. Despite its failure, the U.S. favors militarization therefore repeated the hoax that ... no choice.

energy reform is an umbrella full of legal loopholes for the contractor rampant and mutation of Petroleos Mexicanos in agency procedures, currently under a Joint Operating Agreement ( < www.cnee-sur.net > 01/03/1911) of flagrant unconstitutionality approved by the board of directors of Pemex. "Through this type of contract," warns the lawyer Raúl Jiménez-will be affected the interests of the nation, because in the medium and long term production and income derived from it tend to decrease (and) ... consideration will be carrying out maintenance and restoration of oil wells ( Razonesdeser ,17-12-10). JDN

known to control non-conventional oil from Mexico and Canada will play a central role in the articulation of geo-economics and geopolitics of hemispheric and global U.S., so it is vital Jiménez's warning that the risks increase the nation ... in the deep sea work by allocating contracts to operate and develop comprehensive ... The conditioning of the compensation to cash flow generation will be those that the private ... in whose hands the strategic management of rhythm, speed and other process variables .

http://jsaxef.blogspot.com

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MNCARS AUTONOMY OF ART OR FAILURE


HANS-PETER FELDMANN ' ART EXHIBITION'
MNCARS: until 02/28/1911

blame for this lies with the rack. So a boat soon, it seems the motto of a sticker at all a hundred. But reality, as always, is very different.

First things first, the art is moved by impulses ticos dialectic between the extremes are, firstly, the desired autonomy of the artistic sphere and, secondly, the decline in the rule of life . Thus, at every step, every historical moment, autonomy is achieved at the same time destroyed.

Thus, the history of art moving to the beat of failure. Because other by a p art, eliminate idealistic side of autonomy is in a phase of art-critical capacity in order not to Kant does not mean much less an evanescence of political and social implications, but rather to maintain their independence to occur only as the history of its concept, moreover, the recurrence saving identify and art world, rather than safeguarding the art, it aims to safeguard the lives of the prevailing understanding reification and art as the opening time will roll on and conquered more and more plots 'Life world' for funding.

Even with all the alleged acts dialectical movement almente line, but was made to blow temporalities deferred. Do not think, for example, be right Bürger proposing a historicism to explain but neovanguardias or Foster Danto to propose, first, a constant reinterpretation rise to different narratives, or the second , deferred action that addresses most psychic temporality.

However, the findings are quite similar. Returning the rack, if it is true that this gesture contemporary art acquired enough self-awareness to self-questioning with some credit, it is also true that the absence of the art world into an institution-art, ready-made ability to reveal ideology which supports the idea of \u200b\u200bart as an institution was profoundly impaired.

Duchamp found that, in short, the supposed autonomy of art is not such as everything is put in a question, ideological decision. So, your question would be "Is this art?". But this question is not questioned in depth and is able to demonstrate a new cyclical movement in the history of art and that even still in the 20's, there was, shall we say, against those who throw the stone.

Sea, therefore, that the movement of art cycloid po r historicist linearity (Bürger ), which is how reinterpretation of the strategies that always came too soon and that only when the art expands Field experiments fall within the art and are thus susceptible to reflection (Danto ), or that what happens is a differentiation the seasonality of art ( Foster), the truth is that art needs the movement of pseudopodia to recharge their potential and that the total capacity of self-questioning of art is not lost one iota of its value. Keeping

the problem of timing aside, the truth is that art moves to the beat of denial, with giant strides to expand its field of artistic practice for just then by desartización processes, self-questioning new limits transcend it. So, obviously, as Adorno argues , art seems to escape his fate to be the story of his concept of his own denial. Paradoxically? The solution we have at our disposal: the "il faut continuer" Adorno is critical here because the enemy of art is art itself.

. The work of Hans-Peter Feldman points to this exceed the time limits of neovanguardias. Their strategies are revived the ready-made, drive dynamite the file from within, and proceed to an explosion of identities high / low culture. All, at first glance, very poppy, but with an important philosophical.

If the autonomy of art is an eternal challenge of art against itself, if it has reached art itself, self-awareness enough to know that all give up in failure, the Feldman wisdom is knowing that the field is paid to hold true any practice. For if with Danto, art so that it occurs at the Warhol boxes Brightness points to an end due to the fact that art involves the existence of its own concept, this clearly points to a final end of narratives, a radical openness within the concept of art, that once, resulting in an extension of the autonomy of art almost without limits.

Cause this could be the Feldmann, quite rightly, tit ule all exhibitions with the theme ' An art exhibition'. And, when autonomy is completely filled with solar art, everything falls squarely on him and everything, obviously, in that race against himself, is against him. That is, for art, the time is fulfilled.

Feldmann So is the anti-artist par excellence, the mischievous hits the nail on the yaga of the autonomy of art in its soliviantez primed. Nothing out of their boxes to art because the art itself is the same out of their boxes. The art of celebrating Feldmann paradox, makes a mockery of many past strategies have been puzzled to shoot the bull's-eye without a miss.

its apparent lightness, his staging a little burlesque, refers to the time when the narrative has come to an end. Feldmann proceeds by accumulation and demolition, for emphasizing the appreciation of the fragmentary and quotation. As Benjamin said , "nothing to say, only show." Repetition is dislocated in the nonsense of doing rote redundant drive for the file. In profusion for collecting that involves showing the front pages of newspapers around the world on following the 11 / S, atrophy semiotics of repetition leads to boredom more banal, accumulation was unveiled as masochistic tactics which, of course, nothing is as expected without saying. Thus, Feldmann is revealed as an effective deconstructive his art is one that lets you talk just as, on balance, there is nothing to say.

Finally, Feldmann hunting has expanded over time to one of his best victims: 36 reels shot in one sequence, people aged between 0 and 100 years portrayed in a series of as many 100 photographs. The game ends when the time differences representation is annihilated, and, as stated by Omar Calabrese , "to represent the passage of time (pictured) is necessary to block the time of representation." That is, one or the other, but there is no possible mediation.

That art is to try to combine some form of mediation between the two is quite plausible, but that doing Feldmann referred to dynamite the fondness and, therefore justly be described as art is something that has not surprising. Over time, the representation and the represented, is exhausted and the work of the artist is to realize the only thing that remains to be seen, that not every story we better to go back to a new failure.

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E. Galeano. Clarify. THIS IS WORTH THE EFFORT

Wishes for 2011

May we be worthy of the desperate hope.
Hopefully we have the courage to be alone and the courage to take risks to be together, because it is useless tooth outside the mouth or a finger out of hand.
Hopefully we be disobedient, each time we receive orders to humiliate our conscience or violate common sense.
Hopefully we be so stubborn to keep believing, against all evidence, that the human condition is worth it, because we have been poorly made, but we're not finished.
Hopefully we be able to continue walking the path of the wind, despite the falls and betrayals and defeats, as the story goes beyond us, and when she says goodbye, he is saying goodbye. Hopefully we can keep
alive the certainty that it is possible to be a compatriot and contemporary of anyone who lives animated by the desire for justice and the will to beauty, born and alive when they are born alive because the maps have no borders or time of the soul.

Eduardo Galeano