Disguise 6. Details of the installation.
MMCA / Mickey Mouse Clown Agent.
During my research for The soy children, the piece that was part of Principio Potosí project, I asked myself about the cultural conditions that must be necesary to develope an economic model involving millon hectares of GM soy. My answer was: we are living in a transgenic culture. In this context, what means to designate with the name of CIA a project that claims to be concerned about art education? And what means to designate with the name of "agents" the scholars and participans of this project? If we believe that aesthetic and linguistic operations have ideology (this is not a doubt)...what kind of ideology is part of this discourse?
"...there are people who wear a clown nose in situations and contexts wich apparently don't require that characterization. And there are those who look impassive when other people wear it. The red nose, sometimes together with other props, is very similar to the recombinant operation we referred in the previous chapter, a sign whose meaning begins to dilute to turn into another of the many multipliying messages, available to the higher bidder. Who do this kind of clowns want to make laugh?"
Eduardo Molinari, The Chamaleon, pages 57/58, Ed. Museo de Antioquia, 2011.
´A South American destiny. "When they invited me to participate -says Jacoby, during a dinner with all the members of the Argentine International Brigade for Dilma-, I thought: what could be really political in an art biennial exhibition at this moment? And there's nothing more political than elections. At that moment, Dilma wasn't doing very well in the polls, that's why I thought it was important to produce a work of art to really intervene in the inmediate context, something that wasn't ideological, a denunciation, without that typial thing of political art. The goal of the work was not to denounce anything but to modify votes". Roberto Jacoby.´
This text was part of the exhibition Dismantling the museum of the revolution (the soul never thinks without an image) by the artist Gabriel Serulnicoff, that took place between May 17 and June 16 in La Dársena, Platform of Thinking and Artistic Interaction, Buenos Aires, Argentina, as part of the project Hegemony. Disrupting the capital´s agenda.
Photos: Doc AC / 2011.
Nota: Valerie Plame es una ex-agente de la CIA, la Agencia Central de Inteligencia del gobierno norteamericano. Ella es especialista en armas de destrucción masiva. Su esposo, el ex diplomático Joseph Wilson, viajó a Niger en 2001 -según el entonces presidente Bush por iniciativa de Plame- para comprobar la posible conexión de la industria local con Saddam Huseim. Wilson luego de viajar escribió un artículo en el New York Times afirmando que Niger no vendía uranio a Irak. Luego de esta nota, la identidad de Valerie Plame fue revelada por el periodista Robert Novak en el Washington Post, el 14 de julio de 2003. La filtración ocasionó una causa judicial en la que el gobierno acusó al consejero Scooter Libby por perjurio, falso testimonio y obstrucción a la justicia / Valerie Plame is a former CIA agent, the Central Intelligence Agency of the US government. She's a specialist in weapons of mass destruction. Her husband, former diplomat Joseph Wilson, traveled to Niger in 2002 -according to president Bush because of Plame's initiative- to prove a possible connection of the local industry with Saddam Hussein. After his travel, Wilson wrote an article in the New York Times declaring that Niger didn't sell uranium to Iraq. After that articule, Valeries Plame's identity was revealed by journalist Robert Novak in the Washington Post, on July 14, 2003. Because of the leak, the government brougth and idictment against Scooter Libby, it included perjury, obstuction of justice and making false statements to federal investigators.
Eduardo Molinari / Archivo Caminante
- Eduardo Molinari
- Artista visual. Licenciado en Artes Visuales. Docente e Investigador en el Departamento de Artes Visuales / Universidad Nacional de las Artes (UNA), Buenos Aires, Argentina. Su obra se compone de dibujos, collages, fotografías, instalaciones, intervenciones en el espacio público y publicaciones. En 2001 funda el Archivo Caminante. Desde 2010 coordina junto a Azul Blaseotto La Dársena, Plataforma de Pensamiento e Interacción Artística / Visual Artist. Professor in the Visual Art Department of the Universitary National Art Institute, Buenos Aires, Argentina. His work is composed by drawings, collages, photographies, installations, public space interventions and publications. In 2001 he founded the Walking Archiv. Since 2010 coordinates with Azul Blaseotto The Dock, Platform of Thinking and Artistic Interaction. +info: www.plataformaladarsena.blogspot.com, www.bergenassembly.no www.mde11.org, www.potosiprincipleprocess.wordpress.com, www.exargentina.org, www.transaktion2008.de, Contacto / Contact: firstname.lastname@example.org