Please post at least two thoughtful comments on the readings for this week: pages 225-265 in the Coco Fusco book and pages 13-22 in the Interventionists book.
Here are some considerations:
-How is a figure like Alejandro Jodorowsky especially pertinent to current students of art, and more particularly to students like you in programs like VaPA?
-Respond to Bustamante's contention that the group movement in Mexico ended with the 1983 MAM exhibition. What other "institutionalizations" are you aware of and what effect do you think such recognition or inclusion has on artists and art forms/trends that were previously uncannonized?
-Link or trace the use of the term "tactics," especially in the Thompson essay and the Chavoya essay. How does this term function and how is this useful in your efforts to construct an intervention proposal?
-Respond to the direct dealing with situation, concept, space, community, and issue in Asco's work. Does this account of some of their projects help you in concieving your own piece? (What direct issues are you involved in/aware of and do they seem like subjects for art work to you?)
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Since we have been assigned a social intervention project, we have been thinking about ways in which to intervene. This word presupposes both some type of conflict and that the artist will act as an interventionist, someone with a third perspective that inserts his influence between both conflicting parties. The term "tactics" is perfect and I see it operating the same as "stratagies" although that French guy would disagree. The social interventionist must survey the land, calculate the position and number of the opposing forces, determine his best method of assult, and perform his tactical/stratigical strike at the most opportune time to maximize the mind-blowing that is his intent. If the artists desire is reform or revolution, he must use tactics to accomplish his mission and subvert the status quo. For Harry Gamboa, Jr., a high school student, to spark a protest of 10,000 students and be named in the 100 most dangerous and violent subversives in the US is quite a feat. Bravo! Their tactics of staging performances in highway medians, during riots, using fake photos on the news and especially the no-movies were brilliant. All the artists in the Thompson essay have created hilarious and genious gadgets and techniques for 'sticking it to the man' although much more novel and comical than the chicano artists like Bustamante who "took a stab at one of the strongest archtypes of her culture." When constructing my own intervention proposal, I'm definitely starting to think tactically about different scenarios and consequences. I might even need to get me one of those ninja suits.
Although I didn't really understand her commentary, Alejandro Jodorowsky's statements listed in the Bustamante reading were awesome. I can see many of the panic-man's creeds in my own attempts to construct a social intervention. To simultaneously affirm contridictory ideas and be pro-constructive and pro-destructive at the same time. Because ultimately every experience is ephemeral, why not intervene to create social experiences that are as wholistic as possible, incompassing everythingness?
I am struggling with the social intervention project. To read about such profound, brilliant movements and then to think of how I myself might do a social intervention is a bit challenging. I have moved my own conceptual space for my project away from a less crowded area to a more populated place, which I think is in part inspired by seeing other performance artist. I like seeing how their art is somehwhat of a more satisfying swallow for the artist when they get in trouble for the art. I struggle with importance of the audience. I have never really had to consider police when I contemplate my art projects. I think out of the performance art that I have seen thus far- the social intervention deals most directly with the use of an audience. Being that the audience does not have a choice to be their or not when the moment arrives. They are on the earth doing their thing and in pops this art that amkes the brain, body and mouth go "hey, wait-what-" or "Ah!" maybe. The art of the intervention usually is meant to intervent something - or - to counter a trend. It is easier to see the artists perspective point when the trend of people is countering before them. So what can I offer? Josh mention the high school students feat and there are plenty of other successfull examples out there.
Bustamantes' feminist art in 1983 exhibited social gender spheres that weaved its' way through the media. The web of activist art addressed women's roles in society and how they were dictated to be a certain way constructed under mans rule. The rape, pregnant, menstrual concious art grabbed the attention on the air, in print, and to the eye. I think for the art to be all over the media and have strong intellectual ground was important for the movement according to it's time and place, but lacked lasting stillness and had a weak impression. Perhaps swept away with the new media, just as it came into veiw. Yet I feel the voice was strong and objectives were certainly accomplished.
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