Capital de lectura

Milica Tomic

Exposición: Nov 11, 2004 – Ene 23, 2005


En el proyecto Artpace de Tomic, Reading Capital , el artista vuelve a utilizar el poder de la imagen en movimiento y la dirección personal para explorar el globalismo, en este caso el intercambio contemporáneo de bienes y servicios. El video une Das Kapital de Karl Marx con tejanos ricos para reexaminar la premisa del filósofo del siglo XIX dentro del contexto de la economía global y capitalista actual, estructuras a menudo asociadas con Texas.

En la entrada de la galería oscurecida se encuentra la base teórica del video que contiene. En la década de 1930, el cineasta de vanguardia Sergei M. Eisenstein comenzó a escribir notas para una película nunca realizada basada en Das Kapital . Rimando con la teoría social del materialismo dialéctico de Marx, creó un proceso de edición correspondiente, el montaje dialéctico, una estrategia de elementos dispares que chocan físicamente para crear un conflicto y, por lo tanto, un nuevo significado. En lugar de aplicar concretamente el método de montaje de Eisenstein, Tomic lo ha empleado conceptualmente en su video.

Para el artículo, varios de los capitalistas más exitosos de la zona leyeron la crítica fundamental de Marx al mismo sistema que les dio el éxito. El video resultante presenta a las voces hablando pasajes a la cámara mientras están sentados en un espacio de su elección (hogar, oficina). Como camisetas impresas para el estado de apertura, el trabajo pone en primer plano el estado actual del capitalismo mundial: el 98% posee el 2%.

Reading Capital , al igual que otras piezas de Milica Tomic, provoca un seductor discurso sobre la disparidad en su relación con la circulación de productos y la cultura en el siglo XXI.

Artista

Milica Tomic

Belgrade, Serbia / Montenegro

Whether videotaping pirated film screenings in developing countries or staging a performance drawing together a city’s guest workers and its art world, Milica Tomic addresses the global complexities of identity. Her dialectical projects, primarily realized through video, connect contemporary society with recent social and political history.
One represents many in Tomic’s absorbing, large-scale projections. I am Milica Tomic (1998/99) explores the constructed, accidental necessity (Friedrich Hegel) of national identity. In the video loop Tomic successively repeats her name in various languages and takes on associated nationalities—Ich bin Milica Tomic, Ich bin Deutsch; Jaz sem Milica Tomic, Jaz sem Slovenka. Despite wounds miraculously appearing with each phrase confidently uttered, the artist calmly continues until her bloodied body transforms back to its pristine condition. The work not only evokes the violent and indestructible nature of statehood, but also a global dislocation of body, mind, perception, and reality. It, like Tomic’s other projects, reflects on geographic and cultural disparity, and suggests that through nationality and language the reality of both individuals and societies take shape.
Milica Tomic received her MA from the Acadamy of Fine Arts, Belgrade, Serbia and Montenegro in 1990. Solo shows include Secession, Vienna, Austria and Museum of Modern Art, Arnhem, Holland, both in 2000. Group exhibitions include the 8th International Istanbul Biennial, Turkey (2003); 50th Venice Biennale, Italy (2003); and XXIV Bienal de São Paulo, Brazil (1998). Tomic lives in Belgrade, Serbia and Montenegro.

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Curador

Dan Cameron

Newport Beach, California

From 2012 to 2015 he was Chief Curator at the Orange County Museum of Art in Newport Beach, California. In 2006, Dan Cameron founded the Biennial Prospect New Orleans, where he worked at until 2011. From 1995 to 2005 he was Senior Curator at the New Museum, New York, where he developed numerous group exhibitions, such as East Village USA and Living inside the Grid, and several individual shows dedicated to the artists Martin Wong, William Kentridge, Carolee Schneemann, Carroll Dunham, Doris Salcedo, José Antonio Hernández Diez, among others.
As independent curator he has organized many exhibitions that brought him international attention, such as El arte y su doble (Fundación Caixa, Madrid, 1987); El jardín salvaje (Fundación Caixa, Barcelona, 1991); Cocido y crudo (Museo Nacional Centro de Arte Reina Sofía, Madrid, 1995), among many others. In 2003, he was the Artistic Director of the 8th Istanbul Biennial, and in 2006, Co-curator of the 5th Taipei Biennial.
He has published hundreds of texts in books, catalogues and magazines, and has given numerous talks and conferences at museums and universities around the world, also carrying out an important teaching activity in New York.

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