The monthly courses were aimed, mostly, at a theoretical reflection, that many times began from relations between art and other disciplines, like pedagogy, politics, history, anthropology; there were also suggested courses dedicated to the study of practices excluded from the syllabus of the career in Visual Arts, such as action art, radio, video, robotics and writing. These workshops produced artworks that reached the audience in some cases, like in the case of the “Radio art” workshop by Diego Ibáñez, who recorded and broadcast, with the seminarians, a series of spots in Radio UNAM that were interspersed with the program of one day.
Professors were invited to carry out an educational project during four lessons, without any other condition, for them to suggest creatively, based on their course and dynamics, the duration of the encounters and their intervals. The list of teachers and the topics of the courses provide a more precise idea of this line of the project. Integrating the lessons at the Laboratorio de Arte Urbano (Urban Art Laboratory) and the Centro Cultural de España (Cultural Center of Spain), organized by the graduates, and those given through the subvention provided by the AECID (International Cooperation for Development Spanish Agency ) were:
With the Laboratory of Urban Art
– Jorge Reynoso Polhenz, “Art and game”.
– Blanca Gutiérrez Galindo, “Place and activism in art”.
– Edgardo Ganado Kim, “Art, knowledge and education”.
– Víctor Muñoz, “The public, the private and the intimate in the historical fabrics of Performance”.
– Eduardo Rodríguez, “Nietzsche y el sense of tragedy in culture”.
With the graduates
– Antonio Vega Macotela, “The relational aesthetic and its critique”.
– Idaid Rodríguez Romero, “The narrations of History”.
– Carlos Mier y Terán, “An introduction to Medios Múltiples”.
– Alfadir Luna, “Deleuze and the logic of sense”.
With the subvention by the AECID
– Mónica Castillo, “Art – Mediation”.
– Mario Márquez, “Live video”.
– Diego Ibáñez, “Radio Art”.
– Adriana Hernández, “Writing”.
– Yurián Zerón, “Robotics”.
– Graciela Schmilchuck, “Public art and audiences of art”.
– Marcelo Expósito, “Art and activism”.
– José Antonio Rodríguez, “Image and identities”.
– Carla Cobos, “Art and anthropology”.
– Samuel Morales, “Art and education”.
– Pinto mi raya (Mónica Mayer y Víctor Lerma), “Art and communities”.
– Cuauhtémoc Medina, “Presentation of Portfolios”.
– Sofía Olascoaga, “Art and politics”.
The workshops that were carried out with an invited Latin American artist consisted on the visit of an artist with a long career in the educational and artistic work, who came to coordinate the creation of a public intervention during a week in which all the participants were involved full- time, from its conception until the final presentation. The workshop represents an excellent exercise of a creative linkage of the group that participated with enthusiasm. The invited artist decided in each case the community methodology and dynamics. By doing so, eight different ways of generating a common creation were explored from different practices and artistic positions, which were frequently discussed during the seminar.
This situation involved several conditions: in one hand, the coordinator is a foreigner and has only a few days to get to know the context in which they are going to work; in the other hand, there are various restrictions in the public space, and getting the permissions to set permanent things in a space can take months, so in this kind of weekly work it turns out to be impossible to obtain them, so a part of the exercise was coming up with temporary interventions through strategies of temporary occupations of the places. Due to this, all the interventions had a base of action- art.
The chronicles we present were written by the seminarians who attended to the workshops. In addition to this, with an exception of Shirley Paes- Leme’s participation, the rest of the interventions have a visual complement in DVD that comes with the book.
The interventions of the seminarians were essential in this formative project in art happening in the public space. The support of the Centro Cultural de España (Cultural Center of Spain) and the AECID (International Cooperation for Development Spanish Agency) allowed us to have a limited but sufficient budget, for the production of one exercise per seminarian, this way three graduate students of the first generation of MM and those belonging to the second and third, carried out a piece in the public space, apart from the various collective pieces, during the subvention*. Afterwards, without this economical support, and with even more limited resources, the students of the fourth generation performed an intervention in a Pumabus in parallel with the organization of the Symposium “For sale or for rent” and recently those belonging to the fifth generation created a series of three- minute replicas, the same time the earthquake of September 19th, 2017 lasted. This led to a multiplication of the work experience, because more than 30 interventions were carried out, these besides being shared by the seminarians, both during the arrangements at the workshop in which they were discussed, as well as during the moment of the presentation and further reflections, worked as an important catalyst of the personal processes of each student. Every one of them developed their intervention based on their personal projects and investigations, this was the reason why a great diversity of public spaces and situations were suggested; they also wrote individually a chronicle about their own intervention and those narrations are the ones presented in this book.
*The pieces of the second and third generation have a visual complement in DVD that comes with the book; they are marked with an “*” in the title.
The Symposium For sale or for rent: Policies of representation and political representation consisted of three discussion panels: the first was about Economic Policies of public space: social order and dissent; the second under the title of The codified body; and the third, about education, proposed the Free Traffic of Knowledge (TLC for Tráfico Libre de Conocimientos in Spanish). With this structure, the first session sets a diagnosis, the second finds in the body a principle of (inter) subjective identity and during the third, an educational proposal is done.
The final objective, the creative proposal, was to be part of an open and plural center, multiple, of teaching-learning, of elaboration and exchange of knowledge; that would be used as a place for everyone, between the numerous educational projects, collective and individual, institutional and belonging to artists, that dialogued during this symposium.
In the following section we put together the texts that worked as a starting point for the design of the general idea of the Symposium as well as of each session, along with the entire lectures of some of the guests.