GUIDE
Exhibitions
MUAC
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INDEXMUAC
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Learning
No. 10
Program
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Academic
Program
Museo Universitario Arte Contemporáneo, MUAC
The Museo Universitario Arte Contemporáneo (MUAC) is the largest public institution in
Mexico to accommodate a collection of national and international contemporary art. Aiming
to promote learning and esthetic enjoyment, its contents, architecture and interpretation
tolos offer the public the possibility of creating their own personal tour: college students,
art experts, children, Young adults and visitors in general, each build and enjoy their visit
as a unique experience.
Located in the Cultural Center of the National Autonomous University of mexico (UNAM),
the MUAC is the first museum fully created, in its architecture, management, museology
and interpretation, for contemporary art.
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Floor map
Content
Exhibitions
upper floor
7
entrance
ticketing
[ees]
6
cloakroom
shop
8
5
9
ágora
4
1-9 gallery rooms
3
[ees] sound space
2
1
24
William Kentridge: Fortuna
March 14 – June 21, 2015 / Room 9
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Topographic Translations of the National Library
May 9 – September 20, 2015 / Room 3
28
Vicente Rojo. Painted/ Printed
May 9 – September 20, 2015 / Rooms 1 y 2
32
Space fo Experiments
in Sound [EES]
Altar of Light
Closing March 15, 2015 / EES
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INDEXMUAC
Contemporary music, Sonorous – Permormance –
Cinematic – Audiovisual – Theatrical acts
February - May, 2015 / Auditorium
39
Learning Program
Conversations, workshops, courses, contests,
film cycles
February - May, 2015 / Agora
43
Academic Program
School Seminars, Open Seminars, Interventions,
Satellites, Meetings, Publications
February - May, 2015
53
restaurant
restricted
access
auditorium
auditorium
arkheia/documentation center
arkheia
lecture
room
restricted
access
ground floor
restrooms
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The Rotating Eye: Sarah Minter, Images in
movement 1981-2015
March 14 – August 2, 2015 / Rooms 7 y 8
ground floor
stairs
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Pulling down the statue: towards a critique of
public art (1952 to the present) Exhibition based on
the MUAC and associated collections
Closing April 5, 2015 / Galleries 1, 2 and 3
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upper floor
elevator
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Circulationism. Hito Steyrl
Closing March 1, 2015 / Gallery 8
It Is Possible Because It Is Possible
March 7 – July 26, 2015 / Rooms 4, 5 y 6
entance
services
10
Coming & going. Lance Wyman: Urban Icons
Closing February 22, 2015 / Room 9
Provocateur. Juan Carlos Uviedo
February 21 – August 2, 2015 / Arkheia
ágora
lecture room
Note: Program subjet to change / muac.unam.mx
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8
I know your father doesn’t understand my modeln
language
Closing February 22, 2015 / Gallery 7
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Exhibitions
Closing February 22, 2015
Gallery 7
I know your
father doesn’t
understand
my modeln
language
Artists/ Alicia Medina (Mexico, 1988),
Julián Madero Islas (Mexico, 1990), Cecilia Barreto (Mexico, 1985), Omar Vega
Macotela (Mexico, 1989), Noé Martínez
(Mexico, 1986), María Sosa (Mexico,
1985), Gabriel Cazares (Mexico, 1978),
Chantal Peñalosa (Mexico, 1987), Jazael
Olguín Zapata (Mexico, 1987), Juan Caloca (Mexico, 1985), Víctor del Moral Rivera
(Mexico, 1987), Yollotl Manuel Gómez
Alvararo (Mexico, 1989), Emiliano Rocha
Minter (Mexico, 1990), Leslie García, Cinthia Mendoça (Brazil, 1980)
Curators/ MUAC curatorial team
Yo sé que tu padre no entiende mi
lenguaje modelno (I know your father
doesn’t understand my modeln language)
aims to present the practice of a number
of artists from a generation born after the
Mexico City earthquake of 1985, a date
that functions as a historical watershed in
light of the major repercussions it had on
the political and social life of the country.
The exhibition—comprising work by Alicia
Medina, Julián Madero, Cecilia Barreto,
Omar Vega Macotela, Noé Martínez, María
Sosa Gabriel Cazares, Chantal Peñalosa,
Jazael Olguín Zapata, Juan Caloca, Víctor
del Moral Rivera, Yollotl Manuel GómezAlvarado, Emiliano Rocha Minter, Leslie
García and Cinthia Mendoça—addresses
a multiplicity of themes, without seeking
to define a single overarching theme or
attempt an exhaustive mapping of the
output of this generation. Instead, it is an
exercise in spontaneous dialogue between
the range of reflections triggered by the
works included. Thus the works that
comprise the show together with the range
of conditions of production should be
approached from this perspective of inquiry
that yields different results in each case
through work in media including painting,
sculpture, video, action, and the archive,
together with long-term projects in multiple
disciplines.
Part of the goal of the exhibition is to
demonstrate that increasing numbers of
artists are interested in critical exploration
of the changes experienced by the country
that have transformed it—for better of for
worse—into the Mexico we know today. On
the one hand it presents this change, and
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Noé Martínez, Yo sé que tu padre no entiende mi lenguaje modelno, 2013, texto digital en vectores, medidas variables.
on the other aims to create a generational
stage revealing how bodies, places,
meanings, languages, times and spaces
have undergone substantial change in
recent years. Each work reveals how a
contemporary artist conceives of their own
reality and specific context. Their attitude
and output reflect a significant change in
this context—in the past 15 years at least—
both at the social level and in the artistic
sphere in Mexico, a situation that entails
that these works, in one way or another,
are the evidence of a critical persistence
concerning the social and territorial space
and the current time.
Related events:
Multidisciplinary activation
February 19 / 17:00 hrs.
February 21 / 12 :00 hrs.
See page 48
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Closing February 22, 2015
Gallery 9
Coming &
going.
Artist/ Lance Wyman (USA, 1937)
Curator/ Pilar García
Lance Wyman: Urban Icons
Over the past five decades, the figure of
Lance Wyman has been a keystone in
contemporary design, and his work has
established itself as a fundamental element
for understanding the visual culture of
the present day. Widely recognized, the
work of Wyman starts out from a singular
dialogue established by the designer with
the sociocultural context in which each of
his projects is inscribed. Each icon, each
line, each image, responds to an intense
exchange with its surroundings, resulting in
a visual grammar that is closely connected
with the local reality and that is strongly
rooted in the collective imaginary of the
place.
the visual identification of urban life in Mexico
and the wider world, including furniture,
sketches, photographs and statements
that offer insight into the creative process
of abstraction and research that Wyman
engages in to find a solution to each of his
projects.
Wyman’s presence in Mexico was part
of a period of rapid transformation in the
urban fabric and striking growth in the city
that resulted from the so-called “stabilizing
development.” Seeking to project an image
of progress and modernization, the state
promoted the use of the automobile, and
the construction of major architectural and
infrastructure works such as the Viaducto
and Periférico urban highways, which
dramatically altered the physiognomy of the
metropolis.
Return Trip is the first solo exhibition on
Lance Wyman to present an overview of his
work. The curatorial approach focuses on
the central axis of his work: design as an
urban proposal. The presence of his icons
persists in the Mexican social, cultural and
urban imaginary, and his work marked a
watershed in the history of design in this
country.
In 1966, Lance Wyman arrived in Mexico
City with the aim of participating the
international competition for the design
of the graphics for the Mexico Olympic
Games 1968. A graduate of the Pratt
Institute in New York, Wyman possessed
sound experience in the field of graphic and
industrial design, having worked in the office
For this exhibition, organized by the MUAC,
projects were chosen that have influenced
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of George Nelson, considered the father
of the industrial design of the American
International Style, and a leading partner in
the firm of Herman Miller. For the 1962 trade
fair held in Zagreb, Yugoslavia, Wyman
began to explore the idea of building in three
dimensions and on a monumental scale the
logo for the U.S. pavilion. For the Mexico
Olympic Games 1968, Wyman’s proposed
logo was selected, and he became the
graphic designer on the Olympic Program
team headed up by architect Pedro Ramírez
Vázquez. In relation to this project, his
contribution to the design of the icons
for the Cultural Olympiad—which formed
part of the Olympic Program for the first
time—is of particular note. From then on, a
series of experiences tightened Wyman’s
links with Mexico and helped to define a
new way of understanding contemporary
graphic design, establishing him as one of
the leading figures in the evolution of visual
identification. His work in Mexico presented
Wyman with the problem of using visual
design to create a functional signage
system that would provide orientation in
the urban realm while transcending the
limitations of language.
in Edmonton and Calgary, the National
Zoos in Washington and Minnesota, the
Washington Mall, Pennsylvania station, and
the St. George ferry terminal in New York.
After the Metro, Wyman continued to work
in Mexico on numerous projects including
the Mexico World Cup 1970, and the
creation of logos for private industries
and institutions such as the Camino Real
Hotel, HYLSA, Peñoles, the Presidente
Chapultepec hotel, deTodo supermarket,
La Moderna pastas, Vanity, the Marco
Museum in Monterrey, and the Papalote
Children’s Museum.
This exhibition aims to address the scope
and influence of Wyman’s graphic work
in the urban environment beyond Mexico,
where his icons and signs have became
urban reference points that enter the
collective imaginary. Wyman has succeeded
in establishing an ongoing medium of
communication through his icons, which
have become a clear demonstration of
how an image is capable of communicating
a specific, effective message with the
minimum number of elements.
While in Mexico Wyman is best known
for his project of the Mexico City Metro
system and for the Central Market, his work
transcends frontiers. Wyman has developed
numerous visual systems for transport,
orientation and signage around the world,
in countries including Canada, the United
States and Saudi Arabia. These include the
Washington Metro, pedestrian crossings
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Closing February 22, 2015
Gallery 9
Vistas generales de la exposción. MUAC, 2015. Fotos: Oliver Santana
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Closing March 1, 2015
Gallery 8
Circulationism
Artist/ Hito Steyerl, (Germany, 1966)
Curators/ Amanda de la Garza and Cuauhtémoc Medina
Hito Steyrl
Circulationism is the first solo exhibition by
German artist Hito Steyerl to be presented
in Mexico. The show brings together three of
her recent works: Adorno’s Grey, Museum
as Battlefield (2012) and Liquidity Inc.
(2014). These make apparent a reworking
of the connection between image, story,
politics and documentary, themes that have
characterized her work since the 1990s.
In Steyerl’s thinking there is a creative collision
between history, research, experience and
theory, in a constant interrogation of the
specters of emancipation and images of
capitalism. While Adorno’s Grey (2012)
addresses the legends of critical theory
through a forensic investigation of the place
where Theodor Adorno delivered his final
academic course in 1969, Is the Museum
as Battlefield (2012) empirically connects
the art institution with contemporary military
power. Meanwhile, Liquidity Inc. (2014)—
Steyerl’s most recent work—offers a parody
of the metaphors of the “fluidity” of financial
capital. Her works emphasize the complex
relationship between criticism and social
power, through the use of irony as a refined
form of institutional critique, at the same
time as presenting a thorough analysis of
contemporary visuality.
Using video installations and reflection
in essays, Steyerl presents a critical
apparatus for analyzing the way in which the
images produced by television, cinema and
contemporary art are inscribed in a visual
and economic regime. These are produced,
circulated, distributed and consumed in
a framework of audiovisual capitalism
and form part of different institutional
mechanisms of the art world, including
the museum. From this perspective, the
images are converted into a vehicle of
social relations with an ambivalent status
insofar as they are both commodity and
means of political statement. A second
problem raised by the artist is the truth
condition of images. Her work repeatedly
makes use of appropriated or poor-quality
images, together with documentary-type
elements, with the aim of questioning the
relationship between documentary, reality
and representation.
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Hito Steyerl, Liquidity Inc., 2014. Still © Hito Steyerl, courtesy Wilfried Lentz Rotterdam
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Closing April 5, 2015
Galleries 1, 2 & 3
Pulling down the
statue: towards a
critique of public art
(1952 to the present)
Curators/ José Luis Barrios and Alesha
Mercado, with research by Sol Henaro,
Pilar García and Cuauhtémoc Medina
Exhibition based on the MUAC
and associated collections
The imaginary of a people is built around a
series of cultural practices that range from
the forms of life in the communities and its
customs to those productions that, by order
of the authorities, are intended to create the
great symbols of identity of the fatherland
and nation, culture, religion and society.
of the artistic output of the second half of
the 20th century disrupts this character
by means of interventions, interruptions
and the creation of situations that aim at
the interaction between individuals and
their surroundings, and not the remote
contemplation of monuments.
In this context, the public statue and
the mural painting have been two of the
preferred models of the Mexican state
to build the national imaginary of Mexico
in the 20th century. From the epic and
celebratory forms of official art to the works
commemorative of glorious or traumatic
events (such as the memorial to the victims
of violence in Mexico), power has sought
to produce sanctified spaces that are set
apart, by means of public art.
This exhibition explores the forms in which
a range of modern and contemporary
artistic practices in Mexico have emerged
from the critique, demolition and search
for alternatives to a national public art.
The exhibition deconstructs the idea of
the statue and the monument, at the same
time exploring the nomadic and ephemeral
practices of interventions in social space
that resignify public space as a field of vital
and political tensions.
The art of the second half of the 20th century
in Mexico has attempted to subvert these
practices that appropriate persons, the
past and events for the purposes of society.
Against the monument and ideological
reification of conventional public art, much
Comprising
works
of
sculpture,
photography, drawing and multimedia
drawn from the MUAC and its associated
collections, the exhibition will occupy
galleries 1, 2 and 3 from November 2014
to April 2015.
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Israel Martínez, Pandilleros, 2011. Video – instalación sonora, 5’ 59’’ loop. Cortesía del artista.
Gabriel Kuri (Mexico, 1961),
Ximena Labra (Mexico, 1972),
Ernesto Mallard (Mexico, 1932),
Teresa Margolles (Mexico, 1963),
Israel Martínez (Mexico, 1979),
Carlos Mérida (Guatemala, 1891),
Marcos Ramírez ERRE (Mexico, 1961),
Diego Rivera (Mexico, 1886),
Federico Silva (Mexico, 1923),
Rufino Tamayo (Mexico, 1899),
Damián Ortega (Mexico, 1967),
Sebastián (Mexico, 1947),
Pablo Vargas Lugo (Mexico, 1968)
Artists/
Eduardo Abaroa (Mexico, 1968),
David Alfaro Siqueiros (Mexico, 1896),
Francis Alÿs (Bélgica, 1959),
Antonio Caballero (Mexico, 1940),
Helen Escobedo (Mexico, 1934),
Mathias Goeritz (Germany, 1915),
Paolo Gori (Italy, 1937),
Melquiades Herrera (Mexico, 1949),
Hersúa (Mexico, 1940),
Javier Hinojosa (Mexico, 1956),
Javier Hinojosa (Mexico, 1974),
Enrique Jezik (Argentina, 1961),
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Arkheia
February 21 – August x, 2015
Con la
provocación
de Juan
Carlos Uviedo
Artist/ Juan Carlos Uviedo (Argentina)
Curator/ Ana Longoni
Experimentos teatrales
de un paria
The exhibition seeks to recover a forgotten
period in experimental theater in Mexico.
The time Argentine director Juan Carlos
Uviedo spent in the country, between 1971
and 1974, was a major influence on the artwork of the decade. Accommodated first at
the UNAM’s Casa del Lago, he then moved
to the Auditorio National, before finding a
space at a hired theater in Coyoacán, Uviedo formed a theater company called Grupo
Teatral Ergónico and produced three stage
works, of which only two were performed.
Both had a significant impact on the press
and the cultural sphere. Not long after this,
Uviedo was expelled from Mexico together
with two other Latin American theater directors.
pulsion from the country, together with a
fleeting return years later, and his work with
Olivier Debroise. The final theme, After
Mexico, centers on the work of Uviedo in
Argentina, with the foundation of the Taller
de Investigaciones Teatrales and his later
time in Brazil.
Programa de mano de Tu propiedad privada no es la mía, Casa del Lago, UNAM, 1972. Archivo Sarah Minter.
The exhibition is divided into three themes.
The first, Before Mexico, addresses Uviedo’s training in Argentina, and his time in
the United States and Europe. The second,
In Mexico, examines the creation of the
Grupo Teatral Ergónico and Uviedo’s ex-
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March 7 to June 28, 2015
Galleries 4, 5 & 6
It’s Possible
Because It’s
Possible
Artists/ Raqs Media Collective (India,
1992). Comprising Jeebesh Bagchi
(1966), Monica Narula (1969) and Shuddhabrata Sengupta (1968)
Curators/ Cuauhtémoc Medina and
Ferrán Barenblit
It’s Possible Because It’s Possible
assembles a group of works by the Raqs
Media Collective, a group of artists that
formed in 1992 and is based in New Delhi.
Raqs is a laboratory for thought that treats
visual art as a starting point for social and
political reflection. The name “Raqs” refers
to the word used in Persian, Arabic and
Urdu to define a meditative state, and at
the same time is an acronym of “Rarely
Asked Questions,” in allusion to the FAQs
or “Frequently Asked Questions” found on
so many websites.
practice, criticism, and invention, as well
as a refutation of a certain determinism to
which it would appear we are condemned.
This “possibility” also becomes a rejection
of the apparent obligation to accept
impositions, whether in resignation or
otherwise. Each work, allegory, reflection,
image, and artifact the collective has
created is a reminder that is necessary
in the present day: to prevent criticism
becoming confused with complaint and
impotence, and to challenge the rationale
that perceives and operates in the world
as if it were predestined, closed, and
spent, just because we inhabit a system
that appears to be triumphant.
It’s Possible Because It’s Possible is an
affirmation in the face of a certain defeatist
determinism. Against the indeterminacy of
the “I would prefer not to” of the character
created by Herman Melville in his short
story Bartleby, the Scrivener, “It is possible
because it is possible” reasserts the
possibility of turning potential into action,
and remaining open to the possible; for the
collective it implies whatever may come to
happen, because its enunciation means
that it is already happening.
One of the central lines of the exhibition
is the question of time: the organization
of the sequence of events, and the
systematic regularization of work, rest, and
leisure in contemporary society. Time is a
basic concept for capitalism, as it is, quite
possibly, the only transferrable currency
with a reliable value. It is a value that is
directly connected to our condition as
mortals, and as such is a finite good. In
the work of Raqs, time is the site of the
struggle that takes place in the body of
In this sense, the exhibition analyzes the
work of Raqs as one of the possibilities of
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Raqs Media Collective, Marks, 2012 y No obstante incongruente—However Incongruous, 2011.
Cortesía de—Courtesy of Raqs Media Collective & Fundação Calouste Gulbenkian, Portugal, España
every worker, who divides his time into
work and leisure, or by ingesting stimulants
such as tea or coffee to tolerate or adapt
to the productive machine.
RAQS MEDIA COLLECTIVE
Raqs Media Collective is a group based
in New Delhi, India. It was set up in 1992
by Jeebesh Bagchi (1966), Monica Narula
(1969) and Shuddhabrata Sengupta
(1968).
Another of the issues underlying the
project is the notion of post-coloniality,
with the conviction that all human beings
belong to a single community, something
that runs the risk of being imprisoned
by global capitalism, which resignifies
differences on a single plane—that of the
market. How to be cosmopolitan without
being colonized?
Raqs is a laboratory for thought that treats
visual art as a starting point for social and
political reflection. The name “Raqs” refers
to the work used in Persian, Arabic and
Urdu to define a meditative state, and at the
same time is an acronym of “Rarely Asked
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March 7 to June 28, 2015
Galleries 4, 5 & 6
Raqs Media Collective, Aquí, en otro lugar (Rueda de escape)—Now, Elsewhere (Escapement), 2009-2014.
Cortesía de—Courtesy of Raqs Media Collective
Questions”. The collective’s early work
focused on documentaries, creating films
like In The Eye of The Fish (1997), Present
Imperfect, Future Tense (1999) and
Growing Up (1995). Playing multiple roles,
the members of the collective act as artists,
curators, and—as they define themselves—
philosophical agent provocateurs. Currently
they create installations and performances,
and edit books, curate exhibitions, and
develop educational programs based on
a range of disciplines including sociology,
geography, mathematics, industrial design
and urbanism. Always playing with an
imprecise poetics, Raqs Media Collective
analyzes the past, ponders the present and
imagines the future.
Raqs Media Collective, Aquí, en otro lugar (Rueda de escape)—Now, Elsewhere (Escapement), 2009-2014.
Cortesía de—Courtesy of Raqs Media Collective
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March 14 - July 26, 2015
Galleries 7 & 8
Rotating
Eye:
Sarah Minter, Images in
Artist/ Sarah Minter (Mexico, 1953)
Curators/ Cecilia Delgado Masse and
Sol Henaro
Sarah Minter is one of the pioneers of
experimental film in Mexico, despite the
male dominance of the genre. Emerging
from a period of experimentation with stage
work that left a powerful impact on her,1
she decided to adopt the moving image
as her principal language, a journey she
embarked upon in the early 1980s and
one she continues to pursue today. Her
preference for video arises from a need for
a flexible, practical and inexpensive medium
that affords freedom when it comes to
production and editing, something that
traditional film does not provide. Minter is a
key player in the development of video art in
Mexico not only thanks to her own output,
but through her teaching and regular
participation as a jury member in festivals
and competitions.
retrospective exhibition, bringing together
14 works (videos and video installations)
accompanied by a film program featuring
most of her full-length films. Her work
is notable for its use of an emotional
viewpoint, expressing a particular interest in
the relations between the individual and the
social and political world, the city, the body,
and pleasure. Minter enjoys observing
different kinds of everyday moments
and trying to record them, sometimes to
resignify them, and sometimes simply to
allow the images to pass in front of her eye/
camera.
Motion 1981-2015
Sarah Minter (Puebla, Mexico, 1953) is
a central figure in Mexican video art. She
began producing 16mm films in the early
1980s, including San frenesí (1983), Nadie
es Inocente (1987), Alma Punk (19911992) and El Aire de Clara (1994-1996).
During the 1990s, in parallel to her artistic
production, she embarked on a number
of initiatives to promote the teaching and
dissemination of video, such as “La sala
del deseo” at the Centro de la Imagen and
the video workshop in Mexico City’s La
Esmeralda art school. Her work has been
shown in Mexico, Cuba, the U.S., Germany,
Rotating Eye: Sarah Minter, Images in
Motion 1981-2015 is the artist’s first
1 In Mexico Minter was part of the heterogeneous theater group led by Argentine theater director Juan Uviedo (1930-2009) who created the Theater Research
Workshop (Taller de Investigaciones Teatrales, TIT) in
the 1970s, during the dictatorship in that country.
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Sarah Minter. San Frenesí, 1983. 16mm. Cortesía de la artista
Spain, Argentina, Peru, and France, among
other countries. She has won awards from
institutions like the Rockefeller Foundation,
the MacArthur Foundation, the Angelica
Foundation, FOPROCINE and the National
Fund for Culture and the Arts, and has also
been a jury member for the Media Arts
program of the Rockefeller Foundation,
for the MacArthur Foundation, and for the
National Fund for Culture and the Arts,
where she is a member of the National
System of Art Creators.
Related events:
Exhibition tour with special guest
April 9/ 17:00 hrs.
See page 45
Exhibition tour with participant artist
May 23/ 12:00 hrs.
See page 45
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March 14 – June 21, 2015
Gallery 9
William
Kentridge:
Fortuna
Artist/ Willliam Kentridge (South Africa,
1955)
Curator/ Lilian Tone
The exhibition is an overview of the
art of William Kentridge (b. 1955, in
Johannesburg) from the late 1980s to
the present. It foregrounds the way that
his mediums and disciplines inform and
contaminate one another, in an artistic
process marked by continuous fluidity,
founded in transformation and movement.
Best known for animated films based on
charcoal drawings, Kentridge also works
in prints, books, collage, sculpture, and
the performing arts. All of his practice
eloquently weaves the political and the
poetic, in ways that are deeply marked
by the landscape and social history of his
birthplace. While poignantly referencing
difficult subjects like the heritage of
apartheid and colonialism, Kentridge’s work
is also infused with undertones of humor
and reverie, its reach extending towards
universal themes of artistic representation,
transience and memory. a kind of directed happenstance, or the
engineering of luck, wherein there is both
open possibility and pre-determination.
Fortuna alludes to a state of becoming
wherein the work of art is endlessly under
construction — even when encountered as
a finished product by the viewer. Fortuna
also suggests a celebration of eccentricity
that is not inimical to political engagement.
Conceived in close collaboration with the
artist and designed especially for this tour,
“William Kentridge: Fortuna” highlights
the artist’s unique artistic process and
the interrelatedness of his media. The
choice of works, and their relationship
within the exhibition space, seeks to bring
to the audience some sense of the artist’s
vigorous and profuse activity in the studio
and the migration of themes and motifs
across different media as well as through
different scales, examining strategies
chosen by Kentridge to represent things
and ideas. The installation of the exhibition
corresponds to six to seven sections
comprising a total of approximately 284
works – including 38 drawings, 27 films,
184 prints and 35 sculptures created
between 1989 and 2014.
As a guiding principle to the making of his art,
Kentridge embraces the notion of “fortuna,”
which he describes as “something other
than cold statistical chance, yet something
outside the range of rational control.” In
other words, we might understand this as
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William Kentridge,Felix in Exile (from Drawings for Projection), 1994. Still. Cortesía del artista, de Marian Goodman Gallery, Nueva York y Goodman Gallery, Johannesburgo
Related events:
Artist´s workshop
March 6 – July 3 (15 sessions)
See page 45
Diorama workshop
April 11 – May 30
See page 47
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May 9 – September 20, 2015
Gallery 3
Topographic
Translations
of the
National
Library
Artist/ Jorge Méndez Blake (Mexico,
1974)
Curators/ Amanda de la Garza and
Alejandra Labastida
Jorge Méndez Blake has spent much
of his career unveiling the secret lives
of libraries, as utopian mechanisms of
exploration, containment, classification, and
accumulation; institutions that generate
status, organic systems, totalizing cultural
symbols of enlightenment and modernity.
Topographic Translations of the National
Library is a project commissioned by the
MUAC that forms a part of this extensive
investigation, involving reflection on
architectural materiality and its geographic
location. In this case, the artist’s starting
point is the physical proximity between
the National Library and the Museo
Universitario Arte Contemporáneo (MUAC)
to activate library-museum and poetryvisual arts relations. He seeks to physically
connect the two buildings through a series
of actions that involve the participation of
the artist and other persons. The MUAC
was the final building to be incorporated
into the University Cultural Center (CCU),
and its architect originally conceived
the internal corridors of the museum as
streets that would connect the center
of this complex with the National Library
and the adjacent sculpture garden. In
practice, the opposite has occurred, since
for logistical reasons the corridor linking
the esplanade of the Cultural Center with
the Library has been closed off. The first
action, The Surveyor, involved the marking
of a series of points between the National
Library and the MUAC, and documenting
the artist on video as he explores an
alternative route—the shortest between
the two buildings—defining a straight line
across the semi-wild area of vegetation
and volcanic rock that separates them. To
construct a straight line, the artist marks
the territory it advances across, utilizing
surveying instruments. This action alludes
to the relationship between literature and
the voyages of colonial exploration made
by conquistadors, expeditionaries and
adventurers, which gives rise to the relation
between knowledge and modernity. At the
same time, it builds a metaphor about the
distance between literature and visual arts,
28
Jorge Méndez Blake, The Surveyor, (marking a series of points between the National Library and the University
Museum of Contemporary Art in Mexico City), 2014-2015, HD video (production still)
Courtesy of the artist and OMR
where the Museum and the National Library
operate as its material emblems.
the literature or poetry into other systems—
libraries on the high seas, in the jungle, in a
frontier wall, and so on—which consistently
include the museum, thus exploring its
capacity for adaptation.
One of the key strategies of the work of
Méndez Blake is how it moves between
disciplines: literature, visual arts, and
architecture, above all. He moves between
these boundaries with the use of different
operations and media, including drawing,
printmaking, and sculpture. This he achieves
through the displacement, erasure and/or
concealment-closure of the library and its
contents, which implies the translation of
On this occasion, it is not only a question
of staging an occupation of the museum
by a collection, but expanding the natural
architectural space of the library towards the
museum by means of different actions and
agents. The Foreigner is an action in which
a “reader” chooses a book from the poetry
29
May 9 – September 20, 2015
Gallery 3
In the third action, The Great Inexact Poem
of the Twentieth Century (Mexico), readers
take out a book from the Twentieth Century
Mexican Poetry section, memorize a couple
of lines, walk through the museum and
type out what they have memorized on a
mechanical typewriter. The sound of typing
echoes through the museum corridors,
where someone else is reading a book at
the same time; there is an overlap between
the act of reading and of rewriting. Each
person reproduces one or two lines from
each of the approximately 400 books of
poetry officially published over the twentieth
century in Mexico that are in the collection
of the National Library. Nominally, this
library is the foremost collection of books
in the country: its archives safeguard and
preserve more than 1,250,000 books and
documents, many acquired thanks to the
decree of “legal deposit,” which obliges
printers in Mexico to send it a copy of
every book they publish. This condition is
also inexact, since it is not fully complied
with, and it does not cover publications
without an ISBN. The resulting “poem”
would in theory condense all twentiethcentury Mexican poetry in a single long
poem produced by the “memorization”—or
“dememorization”—of the readers. With this
exercise, Méndez Blake brings the focus to
bear on the totalizing aspirations of libraries,
especially national libraries, even if only to
immediately dissipate it again, since as we
have been warned: in totality, whenever we
look hard, there is nobody there.1
section of the National Library, takes it to
the museum, and reads it while wandering
at will through its corridors. The regulations
of the National Library do not allow books
to be borrowed and taken outside of the
building, so through this negotiation the
artist juridically and symbolically expands
the Library’s reading rooms to the corridors
of the Museum. However, the condition of
foreignness corresponds not only to the
physical change in position of the book, a
usage and an action, but is also intrinsic
to poetry in the museum in a dual sense: a
historical relation that is concealed and lost
in the annals of the avant-garde, and also
an understanding of poetry as a foreign
language in itself.
The word “translation” in the title of the
exhibition—traslación in Spanish—has three
potential meanings, which are somewhat
lost in English: movement or transfer,
translation, and metaphor—three operations
that overlap in Méndez Blake’s project.
The question encompasses the relation
between poetry and visual arts, but also
how these two affect each other when they
meet: How does the act of reading, which
belongs to the private sphere, confront the
type of visuality produced by the museum as
a public space? What happens when poetry
enters the museum? How can language
turn into an action, and what are its possible
translations and abstract, visual, sculptural
and performatic dimensions? How does the
translation from one discipline to another
affect the nature of the original?
In the poem generated by Méndez Blake,
meanwhile, we can trace the bodies of
each of those who took part, on the basis
of their arbitrariness and inexactitude. The
result of this Great Inexact Poem of the
Twentieth Century of Mexican poetry is
an apocryphal, cacophonous poem with
no meaning or unity; it is written under the
sign of impossibility, at the same time as
it carries the aspiration to be a universal
archive.
1
Gilles Deleuze, En medio de Spinoza, prologue to
the first edition, Cactus, Buenos Aires, 2008.
30
31
May 9 – September 20, 2015
Galleries 1 & 2
Vicente
Rojo.
Painted/
Printed
Artist/ Vicente Rojo (Spain, 1932)
Curators/ Cuauhtémoc Medina and
Amanda de la Garza, in collaboration with
Marina Garone (IIB, UNAM)
A co-production with El Colegio Nacional
Since his arrival in Mexico in the 1950s,
Vicente Rojo (Barcelona, 1932) has been a
multiple agent: painter, designer, editor; his
work produces as it frames visual modernity
in Mexico. Perhaps the most radical tension
in his work—beyond the ethical passion
that defines his cultural and intellectual
efforts—lies in the negotiation between the
social and utilitarian service of editorial
design, and the defense of the autonomy,
opacity and difficulty of painting. Painted/
Printed explores this tension and the
interpenetration of Rojo’s main activities as
painter and designer, which may be defined
as a modernist creative tension.
world, is sometimes suspended as a result
of the bridges erected by the signal, letter,
or sign, recurrent motifs in his output. Works
like Artefacto (1969), his display cabinet of
painted books, the visual logic of series like
Señales y Negaciones, made in the 1960s
and 1970s, or his contributions to the
history of the artist’s book—from the Discos
Visuales he produced for Octavio Paz in
1968, to his recent experiments with nontexts like Novela (2007) and Jaque Mate
(2011)—comprise an intermediate space
between the strict disciplinary distinctions
in which Rojo usually moves. Similarly, the
many collaborations with poets, essayists
and writers—such as José Emilio Pacheco,
José-Miguel Ullán, Bárbara Jacobs, Miguel
León Portilla, among many others—has
placed the connection between image and
word in constant tension, where the former
maintains a certain autonomy, despite its
association with the subject announced by
the latter.
For much of his career, Rojo maintained
a functional and practical distinction
between these two spheres of his work,
one that endorsed the opposition between
the utilitarian and the aesthetic, the social
and the personal, the communicative and
the enigmatic, the gesture and the word.
Nevertheless, this effort to distinguish the
two, which makes Vicente Rojo a paradigm
of modernism in the Spanish-speaking
offering both an excavation into the past
and a presentation of recent work. On the
one hand, it brings together a selection of
graphic design and editorial works, artist’s
books, sculpture and painting series, and
drawings that seek to present the multiple
tensions between word and image in the
work of Rojo from the 1960s to the present
day. On the other hand, a second part of
the exhibition presents for the first time the
series Casa de Letras (House of Letters),
which Rojo has been working on since
2012. This bears witness not only to his
continued artistic relevance, but represents
the prolongation of a visual work that in
recent years has been dedicated to the
creation of lengthy series of paintings or
sculptures, which address the encounter
with the image of the text on the basis of
a productive opposition between what is
printed and what is painted.
With this exhibition, the MUAC seeks
to contribute to developing an audience
that is informed about the genealogy of
contemporary art in Mexico, while paying
homage to one of the country’s greatest
living artists and cultural producers.
Vicente Rojo, Artefacto (Artefacto bibliar), 1968
Painted/Printed addresses this central
pillar of the work of Vicente Rojo by
32
Colección Museo Universitario Arte Contemporáneo,
UNAM
33
Space for
Experiments
in Sound [EES]
The Espacio de Experimentación Sonora [EES] is designed to share
electronically realized sound works with the public. That is, all the works
presented therein must have been materialized on computers in order
to be reproduced, regardless of the source of the diverse sounds
used by the artists, who, through different processes and techniques,
modify them to create the pieces presented there. The technical and
architectural characteristics, and the specific placement of the speakers
allow three-dimensional or surround sound experiences to be recreated;
that is, hearing within the hall has the sensation of being in the middle
of a circumference surrounded by sound that fills its 360 degrees. It
recreates the sensation of the imperturbable flow of sounds originating
from multiple points in our everyday surroundings.
Curator / Marco Morales
Concludes March 15, 2015
[EES]
Altar
of Light
Gabriela Ortiz
Artist: Gabriela Ortiz (Mexico, 1964)
Curator: Marco Morales
Multichannel sound installation
A project with music by Gabriela Ortiz and
a poem by María Baranda
Altar of Light is an experience of word and
sound. It is a moment in time, perhaps at
dusk, that opens up as a brief orientation
to see, hear, or be together with a plurality
of sounds and voices. It is a rediscovery
of what takes place in the street: the brisk
steps, the noise of a march, the cries that
clog the air, the silence woven among the
trees, the simple idea of falling silent before
what we see, the shards of a thought fallen
to the floor. The language of Altar of Light
is disconsolate, like some dreams are, but
also deep and absolute, like many longings
are. The voice of Altar of Light is rebellious
and overwhelming, irremediable perhaps,
like the sound that renews us in every note.
acoustic effect. In this case, using diverse
electroacoustic and sound art processes,
the voices multiply, move out of phase, and
distribute themselves around the acoustic
space, creating a similar effect.
Gabriela Ortiz
Gabriela Ortiz studied composition at the
National Conservatory of Music, under
Mario Lavista. In 1990 she moved to
London, where she undertook postgraduate
studies at the Guildhall School for Music
and Drama under the supervision of Robert
Saxton. Subsequently, she pursued a
Doctorate in Composition and ElectroAcoustic music at City University under the
supervision of Simon Emmerson. Her music
is edited by Schott Music, Boosey and
Hawkes, Ediciones Mexicanas de Música
and Arla Music.
Maria Baranda
Altar of Light arose from a collaboration with
the Mexican poet María Baranda. The first
musical ideas emerged from her evocative
poem “Lumínica,” and these receive a
poly-choral treatment at the start of the
work, recalling the polyphonic music of
the sixteenth-century Venetian composers.
At the time, composers would write music
for two or three coral groups, who would
be positioned in different spaces in order
to create a polyphonic architectural and
Gabriela Ortiz is considered one of the most
important composers of her generation,
and has won a number of awards including
the John Simon Guggenheim Memorial
Foundation fellowship (2004), and the
National University Award (2004). She
currently belongs to the National System
of Creators, run by the National Fund for
36
Culture and the Arts. She is a full time
professor at the UNAM’s National Music
School. Her work has been broadcast on
radio in numerous countries, and published
on CD, DVD and other formats.
Gabriela Ortiz, Altar de luz
37
INDEXMUAC
The INDEXMUAC program, curated by Marco Morales, seeks
to present multidisciplinary art including performance, sound,
kinetic, audiovisual and stage work by emerging and mid-career
contemporary Mexican and international artists, all of whom are
noted for the experimental or avant-garde nature of their output.
Tickets on sale at the museum box office on the day of the event.
With your museum entrance ticket concerts are only $10.00
@IndexMUAC
Auditorio
Auditorio
Alejandro Escuer, Morgan Szymanski
Concert
February 21, 18:00 hrs.
The flautist Alejandro Escuer and guitarist Morgan Szymanski present a performance as
part of the festival La Línea en Londres, including works by British and Mexican composers
in celebration of the Mexico-United Kingdom Dual Year.
Works by John Dowland, Eddie McGuire, Gabriela Ortíz and Armando Luna.
Tickets on sale at the museum box office on the day of the event.
With your museum entrance ticket concerts are only $10.00
“Recitations“ for solo voice by George Aperghis
Concert
Performer: Cecilia Pastorino
April, 18:00 hrs.
International New Music Forum
Manuel Enríquez
May 24 – June 4, 2015
Times to be confirmed
Considered one of the most interesting and complex compositions for solo voice of
the twentieth century, the “Recitations” for solo voice by composer Georges Aperghis
(published 1977-78) comprises 14 musical pieces with a level of skill and difficulty that
demands the highest vocal quality from the singer. It will be performed by the Argentine
singer Cecilia Pastorino .
“G. Aperghis (Athens, 1945) says that the idea for his “Recitations for solo voice” was to
work with syllables and phonemes, materials he considers the foundations of language,
as if they were notes or pitches that enable the creation of melodies. He also sought
to explore the relationship between emotions and facial expressions, bodily movements,
and gestures. Through a complex musical score, he achieved an incredibly simple result,
from the perspective of the listener. There are few singers capable of performing such
a demanding work, and the fact Cecilia Pastorino has chosen to approach it with her
peerless voice represents a landmark in the field…” (extract from the magazine Alternativa
Teatral, Argentina, October 2013).
40
The International New Music Forum Manuel Enríquez (FIMNME), has established itself as
one of the most important gatherings for contemporary music of our times. For the past
36 years it has offered a showcase of modern concert music to Mexican audiences. As
in other artistic disciplines, new technologies play an increasingly important role in the
creative work of sound artists and composers, and the MUAC has actively promoted this
with the creation of specialized facilities like the Space for Sound Experimentation, and a
busy program of concerts in the museum’s auditorium.
The National Fine Arts Institute, through the National Music and Opera Department
(CNMO), has worked in close partnership with the MUAC since 2013. It is now one of the
venues for the FIMNME, offering university and Mexico City audiences concerts by some
of Mexico’s leading performers who, in interaction with electronic music, bring to life the
works of well-known Mexican and international artists.
41
Learning
Program
The MUAC’s Learning Program responds to the need to attend, guide,
accompany and provoke the different audiences who come to the museum, and it designs strategies and mechanisms that seek to generate
emotional experiences and knowledge relating to contemporary art that
are stimulating, fun, interesting or challenging.
A University Museum is a space for the crossover and exchange of
knowledge, and for the ongoing construction of new knowledge and
relations of interpretation and dialogue between visitors and artists, curators, exhibition designers, researchers and academics.
The areas of MUAC´s Learning Program are Outreach and Education
and Audience and Community, which aim to trigger significant experiences among audiences, and to provide a range of tools for the interpretation, contextualization and enjoyment of contemporary art through
guided tours, courses, workshops, seminars, round tables, interactive
ideas, laboratories, kiosks, and social networks.
Contact:
Audience and Community
[email protected]
T. 56.22.69.99 ext. 48829
@publicosmuac
Educación MUAC
Outreach and Education
[email protected]
T. 56.22.69.72 / 73
MUAC: Enlace y mediación
Exhibition tours
Tours with special guests
With the aim of offering new perspectives
on the works shown at the MUAC
from different disciplines and areas of
knowledge, special guests are invited
to give tours of the current exhibitions.
These tours will doubtless encourage us to
think about art from new angles, inventing
new readings and constructing different
narratives.
Tours with participating artists
The artists featuring in the exhibition are
invited to present personal tours, offering
their own perspectives and interpretations.
Tour of the exhibition Rotating Eye:
Sarah Minter, Images in motion 19812015
May 23, 12 :00 hrs.
Invited artist: Sarah Minter
Galleries: 7 & 8
Cost: $100
Limited to: 20 persons
Tour of the exhibition Rotating Eye:
Sarah Minter, Images in motion 19812015
April 9, 17:00 hrs.
Special guest: to be confirmed
Galleries: 7 & 8
Cost: $100
Limited to: 20 persons
Information and registration
[email protected]
T. (55) 56.22.69.72
MUAC: Enlace y mediación
Educational tours
Gallery tours during which the museum
Enlaces (outreach) team introduce visitors
to contemporary art through dialogue,
encouraging reflection and meaningful
experiences.
The educational tours take place during
museum hours, have no additional cost and
require reservation.
Information and registration
[email protected]
T. (55) 56.22.69.72
MUAC: Enlace y mediación
El MUAC en tu casa
Workshops and Courses
Third edition
The aim of the program El MUAC en tu casa
(The MUAC in your home) is to promote
dissemination of contemporary art among
young audiences through lived experiences,
with access to works from the MUAC
archive, personal access to contemporary
artists and temporary exhibition in private
homes, together with safeguarding,
conservation and dissemination in internal
circles (family) and external circles (friends,
neighbors and community).
Artist’s workshop
Kinetic movement, animation and old
technologies
Workshop in dialogue with the exhibition
William Kentridge: Fortuna
Taught by: Iker Vicente (visual artist), Karenina Gómez (visual artist) and Humberto
Galicia (visual artist).
March 6 – July 3 (15 sessions)
Fridays /11:00 – 14:00 hrs. / Ágora
Cost: $2,500 | 50% discount for UNAM
students, teachers and community
Limited space
February 7 – March 22, 2015
Check dates and times of activities
at: https://www.facebook.com/
muacentucasaunam
Taking the work of Kentridge as its principal
reference point, this workshop turns to the
visual resources of a previous generation,
such as those used by the pioneers of
animation, together with experimentation
with moving objects including simple
machines, puppets and kinetic installations.
The objective is to create experimental
exercises on the boundaries and crossovers
between formats and visual, spatial and
low-tech material resources. Closing event:
Screening of the documentary and
presentation of the experiences and results
of the participants.
25 March, 12:00 hrs. | Auditorium
Information and registration
[email protected]
T. (55) 56.22.69.72
MUAC: Enlace y mediación
Targeted at students and professionals
in the visual and stage arts, designers
and all those interested in creation using
alternative technologies.
Information and registration
[email protected]
T. (55) 56.22.69.72
MUAC: Enlace y mediación
44
Information:
[email protected]
T. (55) 56.22.69.99 ext. 48829
@publicosmuac
45
Themes:
· The crisis of the image: the relation
between painting and photography
· Artists start to use photography: Max
Ernst, Man Ray and Duchamp
· Film essays: Surrealism and Dada
· Mass media and the image: Pop art
· Virtual and electronic images: Fluxus,
Video art and Sound art
Introductory Seminar
Approaches to contemporary art
An annual seminar with a modular structure
divided into two modules per semester of
eight sessions each. Aimed at all those
interested in a comprehensive introduction
to the contemporary art and its many
different manifestations.
The objective is to make a broad approach
to contemporary art in the national and
international sphere based on the review of
central concepts in the history of art and in
particular modern art: the image, the object,
the body, and the institutional field. Each
module will be dedicated to studying these
notions, emphasizing the historical, political
and philosophical framework that gave rise
to the transformation of artistic practices up
to the present day.
Cost:
Enrollment may be made in three ways:
1. Enrollment in each module| $3,500 per
module
2. Enrollment in semester (modules 1 and
2) | $6,000
3. Annual cost (4 modules) | $10,200
*30% discount for UNAM students,
teachers and community
Information:
[email protected]
T. (55) 56.22.69.99 ext. 48829
@publicosmuac
By the end of the seminar the participants
will have a greater understanding of
contemporary art, and its institutional,
critical and theoretical apparatus.
Module 1 | The image. From pictorial
to digital art
March 2 - May 4 (8 sessions)
Mondays / 11:00 – 14:00 hrs.
46
Contemporary art laboratory for
children (7 - 12 years)
This contemporary art laboratory is a
space for artistic education for children
aged between 7 and 12, comprising four
practical workshops (video, photography,
theater and sculpture) that aim to introduce
participants to some of the techniques and
tools used in contemporary art, based on
games and experiments geared towards
enhancing individual creative abilities while
working as a group on artistic projects to be
developed over the course of the semester.
Video art workshop
Re-make… observation, poetry and
action
Participants will have the opportunity
to learn about video art with a brief
overview of its history, and different forms
of creating videos through practical
exercises.
Taught by: Iván Avilés / Artist
(There will be a special session with the
artist Sarah Minter)
April 11 - May 9 (5 sessions)
Saturdays / 16:00 a 18:00 hrs.
Cost: $1,000 general
$ 500 UNAM
Limited places
Theater. Stage, child’s play
Taught by: Karim Torres (stage and vocal artist)
March 2 - June 29 (16 sessions)
Mondays / 16:00 – 17:30 hrs.
My first video
Taught by: Liliana Ramales (visual artist)
March 2 - June 29 (16 sessions)
Mondays / 17:30 – 19:00 hrs.
Sculptural experiences
Taught by: Jorge Sosa (visual artist)
March 4 - July 1 (16 sessions)
Wednesdays / 16:00 – 17:30 hrs.
Photography
Taught by: Mariana Salazar (visual artist)
Dates TBC
Diorama workshop
In the context of the exhibition William
Kentridge: Fortuna, this workshop aims to
reflect on our forms of perception, inviting
participants to experiment with movement,
two- and three-dimensional space using a
series of everyday objects such as cardboard, paper and recycled objects in the
construction of a diorama.
Cost:
a) Enrollment per workshop | $ 1,000
b) Enrollment to all 4 workshops | $3,200
Taught by: Daniel Torres / visual artist
April 11 – May 30
Saturdays, 12:00 hrs.
Cost: $150.00 (per session)
Limited places
Information:
[email protected]
T. (55) 56.22.69.99 ext. 48829
@publicosmuac
Information and registration
[email protected]
T. (55) 56.22.69.72
MUAC: Enlace y mediación
47
Activities in connection
with the Feria del libro y
la rosa
Multidisciplinary
April 23, 2015
Multidisciplinary
A possible archeology. Series of
activations of the work Arqueología
que viene
In the context of the exhibition I know your
father doesn’t understand my modeln
language
Apart from the food, I don’t remember
much of what we talked about.
Banquet of bread and honey.
In the context of the exhibition I know your
father doesn’t understand my modeln
language
Arqueología que viene is a work conceived
as a process based on the story “Night
Meeting” by Ray Bradbury, which relates
the impossibility of deciding on the meaning
of space and time. Three activations guided
by a historian, an archeologist and an
ethnologist have the objective of sparking
discussion about the speculation on the past
and the role of the object in this speculation.
This activation of the work Nosotros somos
San Marcos (Pacto) by Omar Vega Macotela
will involved the holding of a banquet of
barley bread and honey, products made by
the community of San Marcos (Neplantla),
which is dedicated to hunting, gathering
and beekeeping. The project Nosotros
somos San Marcos (Pacto) explores
the impact of environmental changes on
work, and the forms of adaptation and
organization implemented by communities
as their surroundings change, which in turn
leads to changes in their very lives.
3/ A possible archeology: historian,
archeologist, ethnologist.
Moderator: Sebastían Lomelí
Participants: Julio Arellano, Daniel Altbach,
Mariana Favila Vázquez and Karina Munguía Ochoa
February 19, 17:00 hrs.
Gallery: 7
Free entry | Limited space
Coordinator: Omar Vega Macotela
February 21 / 12 :00 hrs.
South patio | Free entry
Information:
[email protected]
T. (55) 56.22.69.99 ext. 48829
@publicosmuac
Information:
[email protected]
T. (55) 56.22.69.99 ext. 48829
@publicosmuac
48
Tours of current exhibitions
These tours are led by university students
from different fields who are part of the
museum’s Enlace team. During the tours,
they introduce visitors to contemporary art
through dialogue, encouraging reflection
and meaningful experiences.
Workshop: breaking open ideas
In this workshop participants will examine
the questioning and refutation of established
rules carried out within contemporary art,
through decontextualization and the use of
different objects, words and expressions.
13:00 y 15:00 hrs.
Lugar: Ágora
Cost: $30
Limited spaces: Max 20 persons
11:00, 12:00, 13:00, 15:00 y 16:00 hrs.
Meeting point: Museum box office
Cost: voluntary donation
Limited spaces: Max 20 persons per tour
Information and registration
[email protected]
T. (55) 56.22.69.72
MUAC: Enlace y mediación
Discover Periscopio (Periscope)
Created by university students, who
prepare audiovisual materials that provide
access to artistic ideas and concepts in
contemporary art, from a transparent and
audience-friendly perspective, Periscopio
presents different activities held in the
MUAC including interviews with artists and
exhibition curators, educational activities,
workshops, exhibition mounting and
dismounting, outreach, audience opinions
and alternate projects.
12:00 y 14:00 hrs.
Meeting point: Museum box office
Cost: voluntary donation
Limited spaces: Max 20 persons
49
Activities in connection
with International
Museum Day
“Museums for a
sustainable society”
Sunday May 17, 2015
Exhibition tours and conversations
These tours are led by university students
from different fields who are part of the
museum’s Enlaces team. During the tours,
they introduce visitors to contemporary art
through dialogue, encouraging reflection
and meaningful experiences.
Workshop: Create your museum
Design and create a museum based on the
experiences of visitors over their life history,
expressing in the appearance, art, space
and function how they imagine their own
museum. There are no limits to what kind of
museum can be imagined.
11:00, 12:00, 13:00, 15:00 y 16:00 hrs.
Meeting point: Museum box office
Cost: voluntary donation
Limited spaces: Max 20 persons per tour
14:00 hrs.
Taught by: Outreach and education
Place: Ágora
Cost: $30.00
Space limited to: 20 persons
Talk Review of artists who work
with sustainable projects
This talk will offer a brief overview of artists
and collectives who propose projects
aimed at sustainability on the basis of
social, environmental or aesthetic problems,
examining their outlook, technical solutions
and the obstacles they face.
Information and registration
[email protected]
T. (55) 56.22.69.72
MUAC: Enlace y mediación
12:00 hrs.
Taught by: Iván Avilés / Artist
Lugar: Ágora
Cost: free entry
Space limited to: 20 persons
Periscopio is an interactive tool, created by MUAC’s Enlace Educativo. It allows access to artistic proposals and
concepts of contemporary art from a clear view and close to our visitors.
Periscopio is located at the Agora of the museum.
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Academic
Program
Contact:
Campus Expandido
Edalid Mendoza
[email protected]
T. 56.22.66.66 ext. 48773
@CampusExpandido
Campus Expandido
January – June 2015
· Seminars with academic credit
· Open seminars
· Interventions
· Satellites
· Encounters
· Colloquiums
· Publications
Francis Alÿs. Estudios para Zócalo (Fragmento), 1998.
CampusExpandido is the academic program set up by the MUAC in response to the
urgent need to understand the museum not only as a space of visibilities but as a site of
production of critical knowledge. The program pursues three lines of research: Aesthetics
and Politics, From Direct Action to Institutional Critique, and Contemporary Art Criticism.
Our seminars last one semester and are free.
Upcoming enrollment July 23-27, 2014
· See our website for the latest program:
www.muac.unam.mx/proyectos/campusexpandido/index.html
Seminars with academic
credit
Aesthetics, Art and Politics (part two)
Postgraduate Program in History of Art /
Open Campus
Taught by: Dr. Helena Chávez (IIE, UNAM)
Date: January 26 – June 1
Time: Mondays 17:00 – 19:00 pm.
Location: Conference room
Visual Culture and the Gender:
Decolonizing Strategies in the Use of
Artistic Methodologies, Research and
Practices.
Taught by: Dr. Nina Hoechtl (Post-doctoral
researcher IIE, UNAM)
Dr. Rían Lozano de la Pola (Researcher at
PUEG-Humanities Department, UNAM)
Date: January 28 – June 3
Time: Wednesdays 12:00 – 2:00 pm.
Location: Conference room
This course will review the central
perspectives of aesthetics with regard to
politics, and the different forms taken by
the relation between art and politics in the
history of art. It will encompass both forms
of practice linked to institutions and those
connected to direct action or activism.
· Further information:
[email protected]
T.: (55) 56.22.69.18
This seminar aims to open up a space of debate
and reflection about the overlaps between
research, feminist, queer and decolonial
methodologies, and artistic practice,
confronting the methods and perspectives
of different artists and theorists with the goal
of questioning the specific problems created
by the collision of such supposedly diverse
worlds as artistic and scientific practice.
The central categories for thinking about
the relationship between art and politics will
be examined. To this end it will be essential
to identify the turning points and moments
of resignification in both politics and artistic
practice.
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Specialist Seminar: Hegemony, crisis
and imaginary: a seminar on theories
of political and cultural articulation
Theory and Praxis. Seminar-workshop
on Artistic Research
In collaboration with the
Postgraduate Program in Arts and
Design
Taught by: Dr. Cuauhtémoc Medina (IIE,
UNAM. Head Curator, MUAC)
Date: January 26 – June 1
Time: Mondays 10:00 am – 2:00 pm.
Location: Arkheia
Limited to: 15 places
Taught by: Dr. Iván Mejía (Postgraduate
Program in Arts and Design FAD, UNAM)
and Sofía Olascoaga (Academic curator,
MUAC)
Date: January 29 – June 4
Time: Thursdays 5:00 – 7:00 pm.
Location: Conference room
This seminar will examine the praxis and
theoretical debate evoked by the very
notion of artistic research. What do we
understand by such a practice? What does
it involve? What does it produce? What
are the methodologies and models used?
When does it begin? How is the value of art
linked to that of knowledge and studying?
The seminar and workshop aims to identify
and generate a productive dialogue around
new forms of thinking about the complexity
of contemporary artistic practice, and the
dilemmas implied by the possible strategies
of artistic production and research in the
academic sphere.
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Seminars without
academic credit
Specialist Seminar: Theories of
the Baroque/Barroco de indias/
Neo-baroque and modern and
contemporary art
Taught by: Dr. Monika Kaup (University of
Washington)
Dates: April 9 – May 21 (7 sessions)
Time: Thursdays 12:00 – 2:00 pm.
Location: Conference room
Registration closes: February 27, 2015
Limited to: 15 places
Seminar-workshop: Towards an
Improper Cinema
Taught by: Eduardo Thomas
Dates: February 7, 14, 21 and 28 and
March 7, 14 and 21 (6 sessions)
Time: Saturdays 11:00 am – 2:00 pm.
Location: Conference room
Registration closes: February 3, 2015
Limited to: 20 places
Application by letter of intention, curriculum
including academic background and areas
of research interest.
Application by letter of intention, curriculum
including academic background and areas
of research interest.
Based on the exhibition “Circulacionismo”
and a review of a number of works and
essays by Hito Steyerl, this seminar will
focus on the development of artistic
production and research strategies in the
audiovisual field which critical address
the impact of audiovisual products on the
materiality of the real under the conditions
of a digital globalization regime.
This course offers a synopsis of the
extraordinary trajectory of the Baroque in
the culture, criticism and art of the twentieth
century. The reassertion of the Baroque
after two centuries of being silenced by
the Enlightenment and Neoclassicism
displays the resurgence of an alternative
modernity—a hybrid modernity—that has
deep roots in Latin America.
Participants will analyze as a group the
work (written and audiovisual) of artist
Hito Steyerl in order to establish the
connections that enable them to critically
develop their own practice in the field of
audiovisual artistic production. The work of
the participants, or examples they consider
relevant to the discussion, will also be
examined over the sessions.
It will address the ideas of the leading
authors who were behind the modern
return of the Baroque in a series of cycles
of renewal since the beginning of the
twentieth century: European art historians
and critics (Heinrich Wölfflin; Walter
Benjamin); Latin American philosophers,
writers and critics (José Lezama Lima;
Severo Sarduy; Bolívar Echeverría; Irlemar
Chiampi; Gonzalo Celorio, et al.) whose
ideas situate the Baroque as a specifically
Hispanic form of culture and modernity.
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General Information
Arkheia Documentation Center
Open for consultation and reference Monday – Friday 10:00 – 17:00 hrs.
T. 56.22.69.99 ext. 48777
Ágora
A space for learning, creation, discovery and interaction where you will find materials
related to the construction of the museum exhibitions.
Group Visits
To schedule a group visit contact:
T. 56.22.69.72 | [email protected]
Enlaces (Links)
During your visit, approach these university students and they’ll offer their interpretive and
explanatory comments about the artworks and the museum in general.
Museum book-shop
Open on museum hours.
T. 51.71.67.62
Restaurant Nube Siete
Monday & Tuesday 9:00 – 18:00 hrs.
Wednesday - Sunday 8:00 – 20:00 hrs.
T. 51.71.91.66
Other services
Cloakroom
Wheelchairs
Bike parking racks
No flash photography
Wifi
Traducción: Fionn Petch, Celorio Morayta, servicio especializado de idiomas
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Museo Universitario Arte Contemporáneo, MUAC
Insurgentes Sur 3000
Centro Cultural Universitario
C.P. 04510
Mexico City
T. +52(55) 56.22.69.72
muac.unam.mx
Public transport
Metrobús: Centro Cultural Universitario
Metro: Universidad + Pumabús Ruta 3
Charged parking available
Follow us:
Museo Universitario
Arte Contemporáneo
@muac_unam
Opening hours
Wednesday, Friday & Sunday
10:00 - 18:00 hrs.
Thursday & Saturday
10:00 - 20:00 hrs.
Monday & Tuesday
Closed
Admission
Thursday to Saturday
$40.00 General
50% Discount students with current ID
Wednesday & Sunday
$20.00 General
(2x1 students with current ID)
Free
Children under 12 years old
Members of icom, amprom y cimam
(with current ID)
/IdiomasCM
[email protected]