Coordination: Juan Albarrán and Iñaki Estella / CA2M / Department of the History and Theory of Art -UAM
The purpose of this seminar is to compare some of the studies of the practice and theory of performance conducted in Spain in recent years form a dialogue-based and inclusive perspective. The event is aimed at educators, researchers and students working in the field of art history, aesthetics and theatre studies, as well as artists and professionals who work in the contemporary art context. The activity consists of two round tables at which six specialists will share research approached from very diverse platforms and disciplinary traditions, ranging from feminism to curatorial studies, as well as the theory of theatre and the history of art. All of this with a view to revealing the wealth of debate generated around performance at a time in which it is beginning to occupy a central role in both museum and art centre programs, and in the trends towards methodological renewal of both art history and other similar fields.
THURSDAY 24 APR
Round table: “Performance: curatorial discussions and tales”. Lola Hinojosa (Reina Sofía Museum), Patricia Mayayo (UAM), Ferran Barenblit (CA2M). Moderator: Iñaki Estella (UAM)
Round table: “Performance and meditation”. Judit Vidiella (Universidad de Évora), Óscar Cornago (CCHS-CSIC), Gabriel Villota (UPV/EHU). Moderator: Juan Albarrán (UAM)
With the collaboration of:
Department of the History and Theory of Art, UAM
Vice-chancellorship of University Cooperation and Expansion, UAM
Junior Dean of students and cultural activities- Faculty of Arts and Philosophy, UAM
Juan Albarrán is a doctor of the History of Art from the University of Salamanca. He has been an associate professor of the Faculty of Fine Arts of Cuenca (UCLM) and, between 2009 and 2012, he formed part of the editorial team of Brumaria. At present, he teaches at the Duke Center for Hispanic Studies (Duke University, Madrid) and is Associate Professor of the Department of the History and Theory of Art at the Universidad Autónoma de Madrid. His research has reveolved around Spanish art in recent decades. In this area, he has coordinated the collective volume Arte y transición (2012).
Ferrán Barenblit is the director of CA2M in the Madrid Region, a space that has housed exhibitions of the ilk of Bestué / Vives, Leopold Kessler, Cristina Lucas, Guy Ben Ner, Estación Experimental, Sonic Youth Sensational Fix, to mention but a few. He was formerly the director of the Centre d’Art Santa Mònica de Barcelona and curated various exhibition cycles in Espacio 13 of the Fundació Joan Miró. He has also worked at The New Museum of Contemporary Art in Nueva York. He has given seminars and conferences on curatorial practices in numerous museums and universities all over the world. In 2008, he co-curated the SITE Santa Fe Biennial, in New Mexico. He is on the board of directors of the International Association of Curators of Contemporary Art (IKT) and the Asociación de Directores de Arte Contemporáneo Español (ADACE).
Óscar Cornago is a Tenured Scientist at the Instituto de la Lengua Española del Consejo Superior de Investigaciones Científicas (Spanish Language Institute of the National Research Council), in Madrid. In 1997 he received a doctorate in Philosophy and Arts, with a specialisation in Hispanic Studies from the University of Strasbourg, and he spent two years at the Freie Universität of Berlín with a post-doctoral research scholarship. His studies have focused on the history and theory of contemporary theatre and literature. Between 2001 and 2006 he led a research project called "La teatralidad como paradigma de la modernidad: análisis comparativo de los sistemas estéticos en el siglo XX" (Drama as the paradigm of modernity: a comparative analysis of 20th century aesthetic systems), financed by the Programa Ramón y Cajal of the Ministry of Education and Science. Apart from numerous articles, he has also published a number of books: La vanguardia teatral en España L (1965-1975):del ritual al juego (Visor, 1999), Puesta en escena y discurso teórico en los años sesenta. La encrucijada de los "realismos" (CSIC, 2001), Pensar la teatralidad. Miguel Romero Esteo y las estéticas de la modernidad (Fundamentos, 2003) and Políticas de la palabra (Fundamentos, 2005), which include texts by Spanish stage creators from recent decades, such as Esteve Graset, Carlos Marquerie, Sara Molina and Angélica Liddell; he also directs the edition of those works by Miguel Romero Esteo that are appearing in the Editorial Fundamentos.
Ignacio Estella Noriega is a doctor in the History of Art. He has given conferences in Spain, Chile and the United States, where he has also spent a post-doctoral period at Columbia University. Among his publications, the first four volumes of Desacuerdos y Fluxus (Nerea, 2012) particularly stand out. He has been a lecturer at the Universidad Carlos III in Madrid and is currently an Alianza Cuatro Universidades researcher at the Universidad Autónoma de Madrid. He is a member of the research group Art History in Spain: Development Narratives and Proposals (HAR2012-32609).
Lola Hinojosa is an Art History graduate, has a Master's in Museum Studies and an Advanced Studies diploma in Contemporary Art. Her main fields of research are performance, the moving image, the institutional review and the gender theory. She is responsible for the Performative Arts and Intermediate Collection of the Reína Sofía Art Museum of Madrid, and has formed part of the curatorial team of the collection presentations since 2009. She has participated in the curatorship of film and video cycles, such as Merce Cunningham, Archipiélago Val del Omar or La pantalla convulsa.
Patricia Mayayo holds a Master's Degree in the History of Art from the Case Western Reserve University (Ohio, E.E.U.U.) and a Doctorate in the History of Art from the Universidad Autónoma de Madrid. At present, she is a Full Professor of Art History at the Universidad Autónoma de Madrid. Between 1998 and 2006, she was a professor of the History of Art at the Universidad Europea de Madrid. Various fields of work are interspersed in her research: the history of women, feminist historiography and the study of contemporary art practices. Among other publications, she is the author of the books Cuerpos sexuados, cuerpos de (re)producción (Barcelona, UOC, 2011), Frida Kahlo. Contra el mito (Madrid, Cátedra, 2008), Historias de mujeres, historias del arte (Madrid, Cátedra, 2003), Louise Bourgeois (Hondarribia, Nerea, 2002) and André Masson: Mitologías (Madrid, Metáforas del Movimiento Moderno, 2002). Together with Juan Vicente Aliaga, she has recently jointly curated the project Genealogías feministas en el arte español, 1960-2010 (Feminist Genealogies in Spanish Art, 1960-2010).
Judit Vidiella is a Doctor of Fine Arts from the Facultad de Barcelona. Her research revolves around studies of performance, education and feminism. She is a member of the performance group, Corpus Deleicti. At present, she is a lecturer at the Universidad de Évora and forms part of the teaching team of the Master's in Visual Arts and Education, at the Universidad de Barcelona.
Gabriel Villota Toyos, since1996, he has been a lecturer in the Department of Audiovisual Communication and Advertising of the Faculty of Social and Communication Sciences, at the Universidad del País Vasco. He has worked as an artist, author and organiser of multiple activities relating to the visual arts. He has collaborated in various publications, such as Rekarte, Zehar, Papers d’Art, Banda Aparte, Política y Sociedad, Revista de Occidente, or Impasse. He has also written texts for exhibition catalogues such as Señales de vídeo (MNCARS, Madrid, 1995), Històries sense argument. El cinema de Pere Portabella (MACBA, Barcelona, 2000), Malas Formas. Txomin Badiola (Museo de Bellas Artes de Bilbao, 2002), and Esfuerzo (KM, Donostia, 2004), among others. Some of his publications include Sujeto e imagen-cuerpo. Entre la imagen del cuerpo y el cuerpo del espectador (UPV/EHU, Bilbao, 2004) and the video, Devenir vídeo (adiós a todo eso) (2005).