Biography
Alicia Herrero
Alicia Herrero graduated from IUNA (National University
Institute of Art - Buenos Aires) during 1987. Her first
works investigated canonical iconography from different
public documents intended to produce hierarchic institutional
values and organize the construction of gaze in the
capitalist culture. These ranges of signs-models were
involved in the series titled Displacements
and Supersigns/Supermarket
and were composed of objects, drawings, artist books,
paintings, collages, installations, performances. Part
of these works were presented in the V Havana Biennial
accompanied by the monograph The Feminine Gaze and
the Discourse of Difference by Dr. Andrea Giunta.
This initial period set the critical tone of her production.
Since 1996 she has expanded her investigative methodology
into the realm of Fine Arts. She has investigated incisively
the limits of artist genres and introduced problems
about what is valuable and why. Between 1996/98, by
means of Antorchas Foundation Grant (Barracas Studios)
and National Arts Foundation Grant (Fondo Nacional de
las Artes), she has begun several projects that focus
on representational devices and mechanisms of art: collections,
museums and market. During a residence in London city
she frequently visited the Victoria & Albert Museum
and begun Romantic and My
Booty (1996/1997).
These pieces are the beguining of: ART
& CAPITAL series, projects composed
in several media (installations, graphic pieces, live-magazines,
navegated-novel, performative-talks and symposiums,
documentary-drawings, legal documets, investigation-platforms,
situational-processes, publications, videos, performances
and actions). The tension between: process of legitimation,
market impact and lines of flight generates three flows
of research and production:Museums and Collections,
Art Market and Cultural Productions Series or Flight
Lines.
The following projects are investigations into the art
market’s authority: Enchanted Landscape composed
with data from Christie’s gallery
(CCEBA – Spanish Cultural Centre, Buenos Aires,
1998; National Art Found, 1999; Modern Art Museun Buenos
Aires, 2002; collection of MAMBA – Buenos Aires
Modern Art Museum) or the last projects
Suite
Auction Drawings (drawings session
during the auction at Christie´s and Sotheby´s
galleries, since 2008) and Action-Instruments
Box (multiple with 10 graphic
pieces-documents, 2011) (collection of MAMBA –
Buenos Aires, Modern Art Museum and MALBA Latin American
Art Museum-Buenos Aires). These projects are profiled
in a double path: as artistic pieces and documents with
legal status. (Speculationis
by María Fernanda Cartagena).
In
2000 - in dialogue with Hans Haacke project realized
with Museum Boijmans van Beuningen Rotterdam collection
- Herrero initiated Chat,
which introduced a conversational form.
That is, it granted personal testimony –real voices–
to pieces from both the Museum Boijmans collection and
from local Rotterdam community member's "homemade"
collections. It investigated resources that went beyond
the visual arts like social research and theatre, and
it suspended boundaries between categories of artistic
genres. (Chat - Museum Boijmans van Beuningen, 2000-01).
With Chat Herrero undertook the creation of conversational
scenarios (Conversations
chapters) about art status rules,
stories and politics. Through these interventions, she
unveiled strong threats to the integrity of the Fine
Arts. The museum has submitted to a de-contextualization
pertinent to its naturalized discursiveness. It has
expanded beyond its limits, producing disconcerting
spaces-times: Alice-Ville
(2005) turned 7 rooms from the Contemporary Art Museum
of Rosario into a micro system. During the time of the
shows and by means of new series of flexible rules,
it invites to the museum or gallery to change its regulations
and protocols (Things/Imperio
and Conversations).
This last project consisted of an imminent possibility
of collapse through an open call for non-artistic objects
that the museum received with the same documentation
of an artwork.The videos My Booty
(2006) and the chapters of A&A
- Lost in History (I The End of the
World Biennial 2007 - Let´s Dance Frankfurter
Kunstverein, Frankfurt 2007) investigate new reading
about collections.
Since 2003 she has created devices that propose a system
of live relationships between investigation and production
processes. These devices offer to explore a topological
bifurcation: artist projects with symbolic and use values.
These practices include resources of mimesis and camouflage,
methods of economy, theatre, tactical of law or cartography.
Their meanings not dependent of the dominant conception
of art or its institutions: the video-performance and
archive titled Ellipse (Alltag
und Vergessen, Neue Gesellschaft für Bildende Kunst,
Berlin 2003; Shedhalle, Zurich, 2003; 4th International
Göteborg Biennial ‘Rethinking Dissent’
– Göteborg, 2007), or more recently:
deNationality, an experiment,
Be(com)ing Dutch, Vanabbemuseum 2008, the consultancy
Auction
Market and Money, or Magazine
in Situ mise-en scène/discussion/archive:
Spaces and Limits Re-view (editions 1 and 2),
(Spanish Cultural Centre Buenos Aires), Backstage
(Buenos Aires Port, Open Studios, 2005), Interferences
(ArteBA Buenos Aires 2006), Mise-en-scène:
An Approach To The Institutions, (FAC, Montevideo)
and The Paradigm
Confines Tour (sailing the Beagle
Channel on Chile-Argentina border, Ushuaia city, I The
End of the World Biennial), Capital´s Flows (bars
from Quito, Bilbao, Buenos Aires, Sao Paulo, Rotterdam...).
Or the social experiment and video
Drama, filming day about any excerpts
from the Bergman film Persona into the Theatre of Cartagena
de Indias Opera (Art Biennial of Bogotá- Modern
Art Museum of Bogotá,2009). At present she develops
Public Considerations, a Symposium in Three
Acts (in the frame of LiPac), a performative-talk
in three different auditoria of Buenos Aires city. (Parliament,
Bank and University).
Also EVR, The
Revolutionary Journey! a Navegated
Novel since 2010 (hidrocartography maps from Southamerica
NASA archives (Puerto Alegre: 8th Mercosul Biennial,
Buenos Aires: Fondo Nacional de las Artes, Bogotá:
El Parqueadero, Museo Banco de la República,
Santiago de Chile:Informe País, GAM).
The
educational participations are as challenging as her
other projects. During 2010 and 2011 she had offered
Art &
Capital workshops and talks in several
institutions and organizations, such as Cittadellarte-Pistoletto
Foundation, Spazio
Gerra
and Collettivo Sottotetto, Italy; Postgraduate
in visual arts and contemporary, Scola Guignard
–Minas Gerais State University, Pedagogy project
at 8th Mercosul Bienniale and Ateliè
397, Brasil. Since 2007 she develops LiPac,
Investigation Laboratory in Contemporary Art Practices,
platforms where artists, critics and curators can reflect
and have discussions in an unusual and innovative context.
Other educational project was
EPA!!
Experiences: Open Processes in Buenos Aires public sites,
including: the Infectious Diseases Hospital
(2003), City Centre Office
(2004), Madero Port
streets (2005) and Huespedit- Family
House (2006).
She is Buenos Aires based artist
www.aliciaherrero.com.ar
www.magazineinsitu.com
www.rojas.uba.ar/lipac
http://consideracionessobrelopublico.blogspot.com/
http://auctionsmarketmoney.net/
|
