Cristina Garrido

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	<title>Cristina Garrido</title>
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	<pubDate>Tue, 23 Apr 2024 14:07:51 +0000</pubDate>
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		<pubDate>Thu, 07 Dec 2023 19:19:17 +0000</pubDate>

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		<title>About</title>
				
		<link>https://cristina-garrido.com/About</link>

		<pubDate>Thu, 07 Dec 2023 19:19:17 +0000</pubDate>

		<dc:creator>Cristina Garrido</dc:creator>

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The work of Cristina Garrido is an operative research into the visibility and recognition of the work of art — into the social devices and protocols that constitute the platforms through which artists' work becomes seen, valued and legitimized. Her practice takes the form of video, installation, drawing, books and performance, alongside multiple objects reproduced by the artist as icons of the contemporary art system.


 Across different projects Garrido examines how the things that circulate at art fairs, in catalogues and online come to play the role of art: how a designation, an installation shot, the name of a museum or a gallery, functions as a sign whose validation carries real social and economic weight. Her work turns to the tutorial, the documentary, the testimonial, the taxonomy, the classroom, the promotional brochure, the guided tour or the press release — formats through which contemporary art's systems of production and circulation normally operate — to examine their internal workings: their economies of attention and promotion, and the labor and market realities beneath them.


She studied Fine Arts at the Complutense University of Madrid and Camberwell College of Arts (London), and holds an MA in Fine Art from Wimbledon College of Art, supported by the Fundació “la Caixa” Grant.

Recent solo exhibitions include Museo de Arte Carrillo Gil (Mexico City), MACS Grand-Hornu (Hornu) and Museo Centro de Arte Dos de Mayo – CA2M (Madrid).

Her work has also been shown internationally at institutions such as Fondation CAB (Brussels), Cloud Seven (Brussels), The British Museum (London), Kupferstich-Kabinett, Staatliche Kunstsammlungen Dresden, Centro Botín (Santander), CASS Sculpture Foundation (UK), Spike Island (UK), and EKKM (Tallinn), among others.

She has participated in public programs at The Photographers’ Gallery (London), Van Abbemuseum (Eindhoven), and La Triennale di Milano, and her work is held in the collections of MACBA (Barcelona), Museo CA2M (Madrid), The British Museum (London), TBA21–Thyssen-Bornemisza Art Contemporary and the D. Daskalopoulos Collection, amongst others.


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Photo: Ricardo León.
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		<title>Publications</title>
				
		<link>https://cristina-garrido.com/Publications</link>

		<pubDate>Tue, 12 Dec 2023 13:46:44 +0000</pubDate>

		<dc:creator>Cristina Garrido</dc:creator>

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		<description>Monographs

&#60;img width="551" height="778" width_o="551" height_o="778" data-src="https://freight.cargo.site/t/original/i/1f7e1a83741814f167c655c5420cf06c0ae68ac13a6d32bab6946c8e5e52360b/The_White_Cube_is_Never_Empty_MACS_Cristina_Garrido.jpg" data-mid="244886375" border="0"  src="https://freight.cargo.site/w/551/i/1f7e1a83741814f167c655c5420cf06c0ae68ac13a6d32bab6946c8e5e52360b/The_White_Cube_is_Never_Empty_MACS_Cristina_Garrido.jpg" /&#62;

Cristina Garrido. The White Cube is Never EmptyPublisher: MACS Musée des Arts Contemporains Grand-Hornu, HornuTexts: Denis Gielen, Olga Fernández López
Design: Brush (graphicdressers)Dimensions: 24 x 15 cm.64 pagesLanguage: French, EnglishYear: 2026Inquire

	
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Cristina Garrido. El origen de las formas [Cristina Garrido. The Origin of Forms]Publisher: Museo Centro de Arte Dos de Mayo - CA2M, MóstolesTexts: Tania Pardo, Nuria Peist, Joshua Decter, Sua Fenoll, Cristina GarridoDesign: Álex GifreuDimensions: 24 x 15 cm.209 pagesLanguage: Spanish, EnglishYear: 2024Inquire


&#60;img width="400" height="588" width_o="400" height_o="588" data-src="https://freight.cargo.site/t/original/i/a13c93216944341ac1de80b975a5e4143963ccd9931fe93a629e1bd79f7ddbb0/Cristina-Garrido-DARDO-Fundacion-DIDAC.jpg" data-mid="199206056" border="0"  src="https://freight.cargo.site/w/400/i/a13c93216944341ac1de80b975a5e4143963ccd9931fe93a629e1bd79f7ddbb0/Cristina-Garrido-DARDO-Fundacion-DIDAC.jpg" /&#62;
Cristina Garrido. El mejor trabajo del mundo / The Best Job in the WorldPublisher: Fundación DIDAC, Santiago de CompostelaTexts: Cristina Garrido, Joshua Simon, Marta Ramos-Yzquierdo, Olga Fernández LópezDesign: DARDO Dimensions: 24 x 16,8 cm.144 pagesLanguages: Spanish, EnglishYear: 2021Inquire

Artist Books and Publicactions

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The (Invisible) Art of Documenting ArtPublisher: Caniche EditorialTexts: Cristina GarridoDesign: SetantaDimensions: 30,5 x 22,5 cm.160 pagesLanguage: Spanish, EnglishYear: 2018Inquire

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THIS IS ART NOW VOL.1Publisher: Cristina GarridoTexts: 


Tiago de Abreu Pinto; Alfredo
Aracil; Alexis Callado Estefanía; Paloma Checa-Gismero, Cristina Garrido, Francesco Giaveri; Martí
Manen; Bernardo Sopelana. 


Design: Cristina GarridoDimensions: 26 x 21 x 1,5 cm.100 pagesLanguage: Spanish, English, PortugueseYear: 2013
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&#60;img width="1073" height="1073" width_o="1073" height_o="1073" data-src="https://freight.cargo.site/t/original/i/57b344631be4e8cf68eada9e486211a3055692dc215b2a617e89656e6de94b27/Screenshot-2024-08-30-at-13.31.29.png" data-mid="217193194" border="0"  src="https://freight.cargo.site/w/1000/i/57b344631be4e8cf68eada9e486211a3055692dc215b2a617e89656e6de94b27/Screenshot-2024-08-30-at-13.31.29.png" /&#62;

When you don´t need PradaPublisher: Kunsthalle Exnergasse (published on the occasion of the project Zine Spaces in the context of Curators’ Network: Let us be known; let us be seen, and let us shine at Intermediae, Matadero Madrid, 2013).
Design: Cristina GarridoDimensions: 21 x 21 cm.
20 pages&#38;nbsp;Language: EnglishYear: 2013250 copiesSold Out


Selected Exhibition Catalogues and Other Publications


&#60;img width="697" height="992" width_o="697" height_o="992" data-src="https://freight.cargo.site/t/original/i/178c2b094cfe75adce0ca0a774dec0b3920d7a1f25c426988a44f1ca1dbc80aa/Cristina-Garrido--Postkartenkilometer--Schirmer-Mosel.jpg" data-mid="200995749" border="0"  src="https://freight.cargo.site/w/697/i/178c2b094cfe75adce0ca0a774dec0b3920d7a1f25c426988a44f1ca1dbc80aa/Cristina-Garrido--Postkartenkilometer--Schirmer-Mosel.jpg" /&#62;
Postkartenkilometer. Künstlerkarten in Europa von 1960 bis heuteExhibition CataloguePublisher: Schirmer/Mosel, Kupferstich-Kabinett (Staatliche Kunstsammlungen Dresden)Texts: Jeremy Cooper, Björn EggingDesign: Roland Hepp, Schirmer/MoselDimensions: 23,5 x 16,5 cm.128 pagesLanguage: German, EnglishYear: 2023Inquire


&#60;img width="551" height="816" width_o="551" height_o="816" data-src="https://freight.cargo.site/t/original/i/3f2627eaf40d15155bcdccedb075a977096cfc3f4d90b97f27af869ad49f5ba9/Portada-Boothworks-Cristina-Garrido-Museo-Tarragona.png" data-mid="199205831" border="0"  src="https://freight.cargo.site/w/551/i/3f2627eaf40d15155bcdccedb075a977096cfc3f4d90b97f27af869ad49f5ba9/Portada-Boothworks-Cristina-Garrido-Museo-Tarragona.png" /&#62;

BoothworksExhibition handoutPublisher: Museu d´Art Modern de la Diputació de Tarragona, TarragonaTexts: Francesco GiaveriDimensions: 24 x 17 cm.6 pagesLanguages: Spanish, CatalanYear: 2023


&#60;img width="850" height="1210" width_o="850" height_o="1210" data-src="https://freight.cargo.site/t/original/i/643e2049f2247d389353f490339efbd05b77b2e96539db5a646d7718499b618b/Cristina-Garrido-Paraiso-Suspendido-UPV.jpg" data-mid="199486880" border="0"  src="https://freight.cargo.site/w/850/i/643e2049f2247d389353f490339efbd05b77b2e96539db5a646d7718499b618b/Cristina-Garrido-Paraiso-Suspendido-UPV.jpg" /&#62;

Paraíso suspendido. Derivas de la producción y la recepción en el sistema del arte contemporáneoCompilation of essays Publisher: Universidad del País Vasco - Euskal Herreiko UnibersitateaEditors: Concepción Elorza, Nerea AyerbeTexts: Fernando
 Bayón, Jaime Cuenca, Conceoción Elorza, Eléonote Ozanne, Beatriz Cavia,
 Nerea Ayerbe, Jabier Martínez López, Susana Blas, Oihane Iraguen, 
Natalia Vegas, Irantzu Sanzo, Álvaro Aroca, Nekane Aramburu Dimensions: 24 x 16,8 cm.228 pagesLanguages: SpanishYear: 2022Inquire


&#60;img width="1735" height="2560" width_o="1735" height_o="2560" data-src="https://freight.cargo.site/t/original/i/83bf54a693bf6ba6f618bc49d2d488a3bbbe0290f55d8214dc1cbcc7ee894bc9/Cristina-Garrido---Full-House---Frederic-De-Goldsmith---Cloud-Seven.jpeg" data-mid="199206499" border="0"  src="https://freight.cargo.site/w/1000/i/83bf54a693bf6ba6f618bc49d2d488a3bbbe0290f55d8214dc1cbcc7ee894bc9/Cristina-Garrido---Full-House---Frederic-De-Goldsmith---Cloud-Seven.jpeg" /&#62;
Full House: 400 Pieces from the Frédéric de Goldschmidt CollectionExhibition CataloguePublisher: MercatorfondsTexts: Nicolas
 Bourriaud, Frédéric de Goldschmidt, Christine Jamart, Agata Jastrzabek,
 Gregory Lang, Donatienne de Séjournet, Dirk SnauwaertDesign: Peter DawsonDimensions: 31 x 21 cm.304 pagesLanguage: EnglishYear: 2021Inquire


&#60;img width="1224" height="1738" width_o="1224" height_o="1738" data-src="https://freight.cargo.site/t/original/i/f99d7a942df01fcaeffd50c958a1ffce8a29b6befd2ee9447d405398e593669a/Screenshot-2023-12-13-at-16.26.51.png" data-mid="199299829" border="0"  src="https://freight.cargo.site/w/1000/i/f99d7a942df01fcaeffd50c958a1ffce8a29b6befd2ee9447d405398e593669a/Screenshot-2023-12-13-at-16.26.51.png" /&#62;
El mejor trabajo del mundoExhibition handoutPublisher: Fundación DIDAC, Santiago de CompostelaTexts: Esther Ibarrola, Miguel Lorente, Antonio Zúñiga, Sergio Ojeda, Alberto Sánchez, Luisa Redondo, Joaquín Villa, Jaume AlcaldeDesign: DARDODimensions: 21 x 15 cm.15 pagesLanguages: SpanishYear: 2021Download


&#60;img width="836" height="1053" width_o="836" height_o="1053" data-src="https://freight.cargo.site/t/original/i/eb584f935e52815b63dfe02f0d8bca5269f123424bb696d6b7fb4591f617ff91/Cristina-Garrido-Nuages-La-Maison-des-Arts.jpg" data-mid="199487532" border="0"  src="https://freight.cargo.site/w/836/i/eb584f935e52815b63dfe02f0d8bca5269f123424bb696d6b7fb4591f617ff91/Cristina-Garrido-Nuages-La-Maison-des-Arts.jpg" /&#62;

NUAGES
D´hier et d´aujourd´huiExhibition handoutPublisher: La Maison des Arts, BrusselsTexts: Claire LeblancDesign: DARDODimensions: 18 x 14 cm.72 pagesLanguages: French, DutchYear: 2021
Download


&#60;img width="1173" height="1200" width_o="1173" height_o="1200" data-src="https://freight.cargo.site/t/original/i/774ea920aee97cc391ba542b42a81a22d712a4716bfe8a821fdd268275b77287/Cristina-Garrido--The-World-Exists-to-be-Put-on-a-Postcard--Thames-and-Hudson--The-British-Museum.jpg" data-mid="199487630" border="0"  src="https://freight.cargo.site/w/1000/i/774ea920aee97cc391ba542b42a81a22d712a4716bfe8a821fdd268275b77287/Cristina-Garrido--The-World-Exists-to-be-Put-on-a-Postcard--Thames-and-Hudson--The-British-Museum.jpg" /&#62;
The World
Exists To Be Put on a Postcard: Artists' postcards from 1960 to NowExhibition CataloguePublisher: Thames &#38;amp; Hudson; The British Museum, LondonTexts: Jeremy Cooper, Hartwig FischerDesign: Peter DawsonDimensions: 22 x 22,5 cm.160 pagesLanguage: EnglishYear: 2019Inquire


&#60;img width="290" height="422" width_o="290" height_o="422" data-src="https://freight.cargo.site/t/original/i/6418ec1de3766937020a81c0668978b195370ceee2df3b8e163349771d84aa6c/Cristina-Garrido-Editorial-Concreta.jpg" data-mid="200996647" border="0"  src="https://freight.cargo.site/w/290/i/6418ec1de3766937020a81c0668978b195370ceee2df3b8e163349771d84aa6c/Cristina-Garrido-Editorial-Concreta.jpg" /&#62;

Concreta 13, Frágil, volátil y precarioContribution to magazinePublisher: Editorial ConcretaEditors: Ali A. Maderuelo, Carles Àngel Saurí, Julia CastellóContributors: Stefanie
 Hessler, New Scenario, Mould Map, Cordova, Auto Italia South East, Lucy
 Steeds, Hans Ulrich Obrist, Leire Vergara, Laura Vallés, ofluxo.net, Brad Troemel, @boombboring, Carles Àngel Sauri, Cristina Garrido, Ali A. Maderuelo, Julia CastellóDimensions: 24 x 16 cm.Language: English, SpanishYear: 2019Inquire


&#60;img width="992" height="1406" width_o="992" height_o="1406" data-src="https://freight.cargo.site/t/original/i/d22c9f0fba7fee0ad5d6eff35e879be5c5b7fc2f5236d2e1ebffc67805c95824/Cristina-Garrido--Dialogue-de-l-Ombre-Double--Centro-de-Arte-Alcobendas.jpg" data-mid="199490246" border="0"  src="https://freight.cargo.site/w/992/i/d22c9f0fba7fee0ad5d6eff35e879be5c5b7fc2f5236d2e1ebffc67805c95824/Cristina-Garrido--Dialogue-de-l-Ombre-Double--Centro-de-Arte-Alcobendas.jpg" /&#62;

Dialogue
de l´ombre doubleExhibition CataloguePublisher: Centro de Arte Alcobendas, AlcobendasTexts: Tiago de Abreu Pinto, Francesco Giaveri, Marlon de Azambuja, Fermín
Jiménez Landa, José Jurado, Cristina Garrido, Jonathan MillánDesign: ElecéDimensions: 23,8 x 16,8 cm.86 pagesLanguage: SpanishYear: 2018


&#60;img width="1334" height="1896" width_o="1334" height_o="1896" data-src="https://freight.cargo.site/t/original/i/15b4714bd6a97533a2fe9388239c0d7b606fe4818343abbdfbdf92eb4972de06/Cristina-Garrido--Mil-bestias-que-rugen--CAAC-Sevilla.jpg" data-mid="199488966" border="0"  src="https://freight.cargo.site/w/1000/i/15b4714bd6a97533a2fe9388239c0d7b606fe4818343abbdfbdf92eb4972de06/Cristina-Garrido--Mil-bestias-que-rugen--CAAC-Sevilla.jpg" /&#62;
Mil bestias que rugen. Dispositivos para una modernidad críticaExhibition CataloguePublisher: Centro Andaluz de Arte Contemporaneo – CAAC, SevilleTexts: Olga Fernández LópezDesign: Florencia Grassi, El viveroDimensions: 24 x 17 cm.125 pagesLanguage: Spanish, EnglishYear: 2017Download

&#60;img width="620" height="1000" width_o="620" height_o="1000" data-src="https://freight.cargo.site/t/original/i/7b8a23b207885a126b34679ea6182ff5540aed24c26b6e15f5472e8c0afa4b3f/Cristina-Garrido--The-New-Anthology-of-Black-Humor--Thomas-Raab.jpg" data-mid="199491881" border="0"  src="https://freight.cargo.site/w/620/i/7b8a23b207885a126b34679ea6182ff5540aed24c26b6e15f5472e8c0afa4b3f/Cristina-Garrido--The-New-Anthology-of-Black-Humor--Thomas-Raab.jpg" /&#62;

Neue Anthologie des Schwarzen Humors [A New Anthology of Black Humour edited by Thomas Raab. Featuring ten contributions by contenporary artists selected by Patricia Grzonka]Compilation of essays and artworksPublisher: Merix VerlagEditors: Thomas RaabTexts: André
 Breton, Andy Warhol, Dante Alighieri, Frank Zappa, Gogol, Michel 
Houellebecq, Oswald Wiener, Samuel Beckett, Satire, Stefanie Sargnagel, 
Maria Fusco, E.T.A. Hoffmann, Laurence Sterne, Walter Serner, B.F. 
Skinner, Gertrude Steine Illustrations: Germann
 / Lorenzi, Lutz &#38;amp; Guggisberg, Cristina Garrido, Sonia Leimer, 
Jonathan Quinn, Vitaly Komar and Alexander Melamid, Michèle Pagel, 
gelatin, Ingrid Wiener, Goshka MacugaDimensions: 20 x 12,5 cm.404 pagesLanguages: GermanYear: 2017Inquire


&#60;img width="1186" height="1676" width_o="1186" height_o="1676" data-src="https://freight.cargo.site/t/original/i/f4f87c37a01f4d1cd5a60c3e93ce7a7db5c75e5804bc8e97bbed91fad42320ac/Cristina-Garrido--Patch-Magazine--l--ISELP-Brussels.jpg" data-mid="200999945" border="0"  src="https://freight.cargo.site/w/1000/i/f4f87c37a01f4d1cd5a60c3e93ce7a7db5c75e5804bc8e97bbed91fad42320ac/Cristina-Garrido--Patch-Magazine--l--ISELP-Brussels.jpg" /&#62;

Patch MagazineContribution to magazinePublisher: l’ISELP, BrusselsEditors: Contributors: Stefanie
 Hessler, New Scenario, Mould Map, Cordova, Auto Italia South East, Lucy
 Steeds, Hans Ulrich Obrist, Leire Vergara, Laura Vallés, ofluxo.net, Brad Troemel, @boombboring, Carles Àngel Sauri, Cristina Garrido, Ali A. Maderuelo, Julia CastellóDesign: Large Projects (large.la)Dimensions: 24 x 16 cm.67 pagesLanguage: English, FrenchYear: 2017Download


&#60;img width="2263" height="3186" width_o="2263" height_o="3186" data-src="https://freight.cargo.site/t/original/i/71ffd8036a752ac0a503716f73f47ef5b3273cdd12adc62ec49b04db7a272241/Worlds-in-Contradiction-front.jpg" data-mid="199205354" border="0"  src="https://freight.cargo.site/w/1000/i/71ffd8036a752ac0a503716f73f47ef5b3273cdd12adc62ec49b04db7a272241/Worlds-in-Contradiction-front.jpg" /&#62;
Worlds in
Contradiction - Areas of GlobalisationExhibition CataloguePublisher: Verlag Für Moderne Kunst/ Taxispalais Kunsthalle Tirol, InnsbruckTexts: Roland Benedikter, Katja Siepmann, Julia Brennacher, Beate Ermacora,
Christina Nägele, Markus Neuwirth, Lena Nievers, Sabine Maria Schmidt, Jürgen
TaborDesign: Kühle und Mozer, CologneDimensions: 27 x 19 cm.192 pagesLanguage: English, GermanYear: 2015Inquire

&#60;img width="924" height="1200" width_o="924" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f2347cab9c44e087909b71f916b5463e8412f4c9bd332038564fc1defcb4a841/Cristina-Garrido-La-Casa-Encendida-Generaciones-2015.jpg" data-mid="200996454" border="0"  src="https://freight.cargo.site/w/924/i/f2347cab9c44e087909b71f916b5463e8412f4c9bd332038564fc1defcb4a841/Cristina-Garrido-La-Casa-Encendida-Generaciones-2015.jpg" /&#62;

Generación 2015Exhibition CataloguePublisher: La Casa Encendida, Fundación MontemadridTexts: Óscar Alonso Molina, Haizea Barcenilla + Rosa Lleó, Andreas Bee, Ignacio
Cabrero, Sarah Demeuse, Valentinas Klimašauskas, Luca Lo Pinto, Manuela
Moscoso, Itziar Okáriz, Joshua Simon, María Josefa YzuelDesign: ferranElOtro StudioDimensions: 22,5 x 17,5 cm.176 pagesLanguage: English, GermanYear: 2015Inquire


&#60;img width="282" height="407" width_o="282" height_o="407" data-src="https://freight.cargo.site/t/original/i/c45dcc93d0a16571c4398f0ea067bc0f72772c595fa5c099d8bc76caae4e5a27/Cristina-Garrido--They-are-these-or-they-may-be-others--3-mais-1.jpg" data-mid="200996877" border="0"  src="https://freight.cargo.site/w/282/i/c45dcc93d0a16571c4398f0ea067bc0f72772c595fa5c099d8bc76caae4e5a27/Cristina-Garrido--They-are-these-or-they-may-be-others--3-mais-1.jpg" /&#62;

They are these or they may be othersExhibition handoutPublisher: 3 + 1 Arte Contemporânea, LisbonTexts: Luísa Santos, Cristina GarridoDimensions: 21 x 14,5 cm.Languages: Portuguese, EnglishYear: 2015

&#60;img width="552" height="779" width_o="552" height_o="779" data-src="https://freight.cargo.site/t/original/i/04695cf99e73fa9d48199502c27e2ee017c8de112903de055af62c5151b35adc/Cristina-Garrido--Practicas-artisticas-contemporaneas--UNED.jpg" data-mid="200999995" border="0"  src="https://freight.cargo.site/w/552/i/04695cf99e73fa9d48199502c27e2ee017c8de112903de055af62c5151b35adc/Cristina-Garrido--Practicas-artisticas-contemporaneas--UNED.jpg" /&#62;

Prácticas artísticas contemporáneasContribution to book (Book cover)Publisher: Editorial Universitaria Ramón Areces; UNEDDimensions: 24 x 17 cm.232 pagesLanguage: SpanishYear: 2015Inquire


&#60;img width="282" height="426" width_o="282" height_o="426" data-src="https://freight.cargo.site/t/original/i/96a4551a8b614a0d188b564a2e999c1738f2ce0c29615740bcde1acf2927af94/Cristina-Garrido--Postcard-Narratives.-Jeremy-Cooper---Invited-Artists--ROOM-Artspace.jpg" data-mid="200997078" border="0"  src="https://freight.cargo.site/w/282/i/96a4551a8b614a0d188b564a2e999c1738f2ce0c29615740bcde1acf2927af94/Cristina-Garrido--Postcard-Narratives.-Jeremy-Cooper---Invited-Artists--ROOM-Artspace.jpg" /&#62;
POSTCARD
NARRATIVES. Jeremy Cooper &#38;amp; invited artistsExhibition CataloguePublisher: ROOM BOOKSTexts: Jeremy Cooper, Dean HughesDesign: Colin SackettDimensions: 27 x 19 cm.Language: EnglishYear: 2013

&#60;img width="1761" height="1236" width_o="1761" height_o="1236" data-src="https://freight.cargo.site/t/original/i/fa54b73cf8b7c0798a2ba39f581072c325fa8749f4a939aae85b0c995ed54d14/Cristina-Garrido--The-Postcard-is-a-Publich-Work-of-Art--X-Marks-the-Bokship.jpg" data-mid="200997252" border="0"  src="https://freight.cargo.site/w/1000/i/fa54b73cf8b7c0798a2ba39f581072c325fa8749f4a939aae85b0c995ed54d14/Cristina-Garrido--The-Postcard-is-a-Publich-Work-of-Art--X-Marks-the-Bokship.jpg" /&#62;

The Postcard is a Publich Work of Art. 60 Artists`PostcardsExhibition CataloguePublisher: X Marks the BökshipDimensions: 27 x 19 cm.Language: EnglishYear: 2013Edition of 300 numbered copiesSold Out

&#60;img width="694" height="956" width_o="694" height_o="956" data-src="https://freight.cargo.site/t/original/i/4b6aed1b399b62d649a1d795e3cb7bcf968351a681da57c45cb42dd5afbd82c0/Cristina-Garrido--Hacer-en-lo-cotidiano--Sala-de-Arte-Joven-Avenida-de-America.jpg" data-mid="200997443" border="0"  src="https://freight.cargo.site/w/694/i/4b6aed1b399b62d649a1d795e3cb7bcf968351a681da57c45cb42dd5afbd82c0/Cristina-Garrido--Hacer-en-lo-cotidiano--Sala-de-Arte-Joven-Avenida-de-America.jpg" /&#62;

Hacer en lo cotidianoExhibition CataloguePublisher: Comunidad de MadridTexts: Beatríz Alonso, David Lananu, Eva MoralesDesign: Roberto Vidal StudioLanguage: Spanish, EnglishYear: 2013

&#60;img width="1420" height="1844" width_o="1420" height_o="1844" data-src="https://freight.cargo.site/t/original/i/87166685a85040dee4ee7d66fe91ca90b46dc539cbe8c227832c351b1cb57663/Cristina-Garrido--Curators-Network--Matadero-Madrid.jpg" data-mid="200999650" border="0"  src="https://freight.cargo.site/w/1000/i/87166685a85040dee4ee7d66fe91ca90b46dc539cbe8c227832c351b1cb57663/Cristina-Garrido--Curators-Network--Matadero-Madrid.jpg" /&#62;

Curators’ Network 01Exhibition CataloguePublisher: Hablar en ArteDesign: Francisco Villar, Luis VassalloLanguage: Spanish, EnglishYear: 2013
Download

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	<item>
		<title>Contact</title>
				
		<link>https://cristina-garrido.com/Contact</link>

		<pubDate>Mon, 05 Feb 2024 14:41:18 +0000</pubDate>

		<dc:creator>Cristina Garrido</dc:creator>

		<guid isPermaLink="true">https://cristina-garrido.com/Contact</guid>

		<description>
	
	
Studio
Calle del Arroyo Opañel 9, local 4
28019 (Madrid, España)

︎ e-mailcristinagarridowork@gmail.com
︎ Instagram

	
Represented by

Galería CURRO (Guadalajara, México)
</description>
		
	</item>
		
		
	<item>
		<title>Texts index</title>
				
		<link>https://cristina-garrido.com/Texts-index</link>

		<pubDate>Tue, 16 Apr 2024 13:52:25 +0000</pubDate>

		<dc:creator>Cristina Garrido</dc:creator>

		<guid isPermaLink="true">https://cristina-garrido.com/Texts-index</guid>

		<description>
	

Joshua Decter
‘Being Cristina Garrido’ / ‘Ser Cristina Garrido’
Contribution to the catalogue of the exhibition&#38;nbsp;Cristina Garrido. The Origin of Forms. Ed. Museo Centro de Arte Dos de Mayo - CA2M (2024).
 [English] [Español]Tania Pardo
 ‘A Reflection Based on Origin and Form’ /&#38;nbsp;‘Una reflexión desde el origen y la forma’
Contribution to the catalogue of the exhibition&#38;nbsp;Cristina Garrido. The Origin of Forms. Ed. Museo Centro de Arte Dos de Mayo - CA2M (2024).[English] [Español]Nuria Peist‘Profession: Artist. Storm, Impetus, and Biography’ / ‘Profesión artista. Tormenta, ímpetu y biografía’
Contribution to the catalogue of the exhibition&#38;nbsp;Cristina Garrido. The Origin of Forms. Ed. Museo Centro de Arte Dos de Mayo - CA2M (2024).[English] [Español]Ignacio Vidal-Folch‘El origen de las formas’
Exhibition review in the newspaper El Español – Letra Global (2023).[Español]

Katrina Sluis‘ Documentation
in an age of photographic hyper circulation’; ‘The invisible art of documenting art’Chapters in the book Documentation as Art. Expanded Digital Practices. Ed. Routledge (2022).[English]Fabiola Iza‘ Cristina Garrido: Paintings’Exhibition review published in ARTFORUM – Critics’ Picks (2022).[English]


Joshua Simon‘Art work and Art job’ / ‘Obra y trabajo artístico’ Contribution to the book Cristina Garrido. El mejor trabajo del mundo/ Cristina Garrido. The Best Job in the World. Ed. Fundación DIDAC (2022).[English] [Español]
Olga Fernández López
‘ The World’s Best Artists’ / ‘Los mejores artistas del mundo’
Contribution to the book Cristina Garrido. El mejor trabajo del mundo/ Cristina Garrido. The Best Job in the World. Ed. Fundación DIDAC (2022).[English] [Español]Marta Ramos-Yzquierdo‘ Autofictions of Paradox. Crimes Against Reality’ / ‘Autoficciones de la paradoja. Crímenes en contra de la realidad’Contribution to the book Cristina Garrido. El mejor trabajo del mundo/ Cristina Garrido. The Best Job in the World. Ed. Fundación DIDAC (2022).[English] [Español]Carlos Copertone‘Elogio del agente de aduanas:&#38;nbsp;la suspicacia como práctica crítica‘
Article published in the online magazine Campo de relámpagos (2020).
[Español]
Joshua Simon
‘Cristina Garrido in conversation with Joshua Simon’

Conversation. MOUSSE Magazine, Summer 2019, Issue 68 (2019).[English]Ferran Barenblit
‘Itinerarios XXV’
Contribution to the catalogue of the exhibition Itinerarios XXV. Ed. Centro Botín (2019).[English] [Español]João Silvério
‘Glimpse.&#38;nbsp; An Art of Microseconds’Text of the exhibition&#38;nbsp;An Art of Microseconds. 3+1 Arte Contemporânea (Lisbon, 2018).[English] [Portuguese]Joshua Simon 
‘Speculation and Counter-Speculation’

Text published in Public Seminar (2017).[English]Daniel Garza-Usabiaga
‘Un acuerdo tácito’ / ‘A Tacit Agreement’Text of the exhibition&#38;nbsp;Un acuerdo tácito. Casa Maauad (Mexico City, 2016).[English] [Español]Jürgen Tabor 
‘An International Style of Contemporary Art?’
Contribution to the catalogue of the exhibition Worlds in Contradiction - Areas of Globalisation. Ed. Galerie im Taxispalais (2015).[English]Joshua Simon‘Cristina Garrido y la estética de la especulación’ / ‘Cristina Garrido and the Aesthetics of Speculation’Contribution to the catalogue of the exhibition Generación 2015. Ed. La Casa Encendida (2015).[English] [Español]


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		<title>Joshua Decter, Being Cristina Garrido [EN]</title>
				
		<link>https://cristina-garrido.com/Joshua-Decter-Being-Cristina-Garrido-EN</link>

		<pubDate>Tue, 16 Apr 2024 15:35:26 +0000</pubDate>

		<dc:creator>Cristina Garrido</dc:creator>

		<guid isPermaLink="true">https://cristina-garrido.com/Joshua-Decter-Being-Cristina-Garrido-EN</guid>

		<description>
	Joshua Decter
Writer, curator, art historian.
‘ Being Cristina Garrido’Contribution to the catalogue of the exhibition Cristina Garrido. The Origin of Forms. Ed. Museo Centro de Arte Dos de Mayo - CA2M (2024).


How is art historicized? How are art histories made? Such questions are not only intrinsic to the work of art historians but are also crucial for artists, as it would be difficult to find an artistwho does not desire to be inscribed within art history. Even artists who critique the institution of art history have a desire to be art-historicized. This is completely understandable, for there really is no art without art histories (along with exhibition, institutional, market, social, economic, and other histories). In a sense, every new artwork is also a demand for an expanded and revised art history. While it might sound trite, art histories are made every day. In the contemporary situation, the functions of the gallery system, the auction system, the non-profit public museum sector, the private museum sector, and social media have become increasingly blurred in terms of how art histories are produced, and how artists are valorized and legitimized. All these sectors play a role in the historicizing of the present, for better and for worse.


Artists have developed various strategies and tactics to insert themselves, so to speak, into art histories. Sherrie Levine’s works of the early 1980s—for example, her 1981 After Walker Evans, comprising a re-photograph of one of Evans’ classic 1930s portraits of people impacted by the Great Depression in rural America—are not only a wry conceptual rethinking of what constitutes artistic originality in relation to the logic of photographic reproduction and the reproducibility of the (art) commodity, but also a clever way of inscribing herself—as an emerging woman artist— into the traditionally male-dominated systems of art and art history. So now, when we think of Walker Evans, we also think of Sherrie Levine, and vice-versa. Clearly, there was a political dimensio to Levine’s act of (re)photographic appropriation, and a critique of the exclusionary aspects of canonical Western art history. One could make an analogous argument in relation to Louise Lawler’ works of the 1980s, wherein she developed a post-documentary photographic practice to reveal how artworks are presented in the various contexts that constitute the art system: art gallery, private collection, auction house, o  ce, museum. By offering views into spheres wherein art, capital, aesthetics, lifestyle, and power intermingle, Lawler was also inscribing herself—at once symbolically and literally—into those milieus. A Lawler exhibition was also a display of her art world at that moment.


In the 2020s, it is unusual to fi nd younger artists who are actively engaged with the histories and genres of institutional critique. This might be because there is a general assumption that the key questions asked by various artists engaged in methods of institutional critique commencing in the 1960s have largely been answered and that there is no more work to be done for this type of art—that the types of issues raised by institutional critique are no longer relevant since we have already moved on to other issues, such as structural racism and the climate crisis, among other matters. However, I think this reflects a misunderstanding of how institutional critique—as an idea, as an ethos, as a practice— operates in the world. A clear eye will see that attempts to redress problems such as racial injustice and environmental crisis do intersect with—and have been aided by—aspects of institutional &#38;nbsp;critique. There has always been an interconnection between art-as-activism/activism-as-art and aspects of institutional critique: the Guerilla Girls group is evidence of this. One could also propose that Nan Goldin’s activism regarding the Sackler family’s patronage of museums can be related to institutional critique, particularly in relation to Hans Haacke’s work from the 1970s and 1980s, which investigated the economic, social, and ideological systems of art patronage. Haacke demonstrated how artworks circulate as unique commodity objects through the art world’s economies of acquisition, and how the artwork-as-commodity is also the material embodiment of that system. In a sense, Haacke offered what might be described as a social art history of art, wherein there is a critical exposition of how art is valorized. I would also propose that the expression “museums are not neutral” is an outgrowth from the critical analysis of institutional systems of art that artists—as well as some art historians, critics, and theorists—have articulated since the 1960s. My point is that the economic, social, ideological, fi nancial, and aesthetic infrastructures of the art worlds—thought of as an operating system—are still ripe for critical analysis. Cristina Garrido understands this.


My connection with institutional critique goes all the way back to 1984, when I attended the Whitney Independent Study Program in New York City and met Andrea Fraser, who was also attending the program that year. She was in the early stages of developing her work, and there were various discussions regarding how art might function as a critique of its own systems. Along with the Frankfurt School and psychoanalytic theory (e.g., Lacan via Althusser), the ideas of Pierre Bourdieu were also considered that year and were of particular interest to Fraser. Fast forward to 1990, when I began to think about the limits—and inherent contradictions— of institutional critique, particularly in terms of how the critical interventions were contingent upon an invitation/commission from a museum. In other words, museums outsourced critique to the artist, and the artist obliged with a critical intervention, thereby setting into motion a sort of institutional circularity—an industry of critique, so to speak. Perhaps I was worried about the genrefication of institutional critique, likely because I still clung to the notion that such practices could somehow resist being denatured by the institutional systems of art. For me, such paradoxes never completely vitiated the critical power of this art but did indicate that we would need to be intellectually honest and acknowledge those contradictions.
What is intriguing about Garrido is that she is engaged in lines of inquiry and methods of analysis related to the work of precursor artists such as Haacke and Fraser, while also expanding the territory of post-institutional critique as an operating system that can be updated to analyze contemporary conditions. For example, her 2017 Best Booths offers a biting commentary on the extent to which art fairs may have begun to challenge museums as a primary site for the valorization of art. People flock to art fairs to be immersed in the glamour and spectacle of art’s intersection with shopping and entertainment culture. The primary objective of an art fair booth is to sell art, and secondarily, to function as an advertisement for the art gallery. We also understand that upperechelon galleries do sell works in advance to VIP collectors even before the art fairs open and that in those instances the booth serves a more symbolic function. Of course, some galleries “curate” (so to speak) their booths better than others, and then there is always the tricky issue of the quality of the art merchandise. The art fair is also a site wherein art histories are made and remade, because markets always infl uence the making of art histories, as well as what museums collect. Using a type of digital photo-collage technique, in Best Booths Garrido takes images of what had been determined to be the best art fair booths at a particular event and inserts those images into museological settings. For example, Marian Goodman Gallery’s award-winning booth for FIAC 2016 is grafted—de-/re-contextualized—into a MoMA space. In a somewhat tongue-in-cheek way, Garrido’s photo-collage works signify the emergence of a new art form: i.e., the art fair booth as a type of meta-installation art. To me, these works point to longstanding interpenetrations between the gallery system and the museum system and how curating has migrated into the realm of the art fair, perhaps as an attempt to add credibility or intellectual luster to the relative banality of art commerce. Indeed, more and more not-for-profi t-sector museum curators have been migrating into the for-profi t gallery sector. Best Booths reminds us that there is a seamless integration of curation and fi nancialization performed in art fairs (and in art galleries).
&#60;img width="1766" height="1179" width_o="1766" height_o="1179" data-src="https://freight.cargo.site/t/original/i/cc215bfd1f7dcdc0b124f3d8e277ec350223e69db69dbf8e410615c184c26b0d/DSC_4530.jpg" data-mid="209134280" border="0"  src="https://freight.cargo.site/w/1000/i/cc215bfd1f7dcdc0b124f3d8e277ec350223e69db69dbf8e410615c184c26b0d/DSC_4530.jpg" /&#62;Best Booths – Marian Goodman, FIAC 2016 / MoMA (2017)


In the 1980s, Andrea Fraser sought a way to combine her interests in critical analysis, psychoanalysis, Bourdieu, and performance, and created the fi ctional character of “Jane Castleton”—a museum docent who would tell a different story about museums than publics were accustomed to. In a 1990 interview with me (republished in my 2014 book Art Is a Problem, as well as within Fraser’s 2019 book Andrea Fraser: Collected Interviews, 1990–2018), the artist discussed her well-known 1989 project for the Philadelphia Museum Museum Highlights: A Gallery Talk: ‘

What I wanted to do in my gallery talk at the Philadelphia Museum was to construct a history of the way that art museums were instituted as the repositories of certain desires, specifically in terms of the museum’s status as a

&#38;nbsp;public institution. I wanted to consider the establishment of the fi rst museums in the US in the context of the privatization of public provision in bourgeois philanthropy and turn-of-the-century urban reform movements aimed at regulating the poor into a dependent and dependable work force. Museums were, and are, part of an organization of the public sphere aimed at taking hold of and defining the interests, culture, pleasure, daily practices, and highest aspirations of a public. Why do people go to museums? What does the museum promise? In the words of a Philadelphia Museum publication: happiness, ideal beauty, liberation from the struggles imposed by material needs. How can one make good the museum’s promise? A docent might know. She is the museum’s representative. As a volunteer she represents both the class interests embodied in the museum and its philanthropic purpose: the public good. She is in identification with the board of trustees.’


In what might be a tip of the hat to Fraser’s docent tours, Garrido’s Booth Exhibitions Are the Institutions of Our Time comprises a performance at ARCOmadrid in 2020, wherein the artist provides fair visitors with a narrative about the historical, architectural, and ideological conditions of ARCO. In the video that documents her performance, Garrido slyly remarks that “it is a great space for the exhibition of booths.” By referring to booths rather than artworks, she alludes to the previously discussed Best Booths, humorously implying that the work of institutional analysis has migrated from the site of the museum to the site of the art fair. Perhaps Garrido is also offering a lament about this state of affairs, wherein more and more artists seem to be producing art fair-specific art.
&#60;img width="1921" height="1080" width_o="1921" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5a274c5078662ac186b2e52d7dd2022a5e2785cddccade6fb41aeb64d7234544/02.jpg" data-mid="209134380" border="0"  src="https://freight.cargo.site/w/1000/i/5a274c5078662ac186b2e52d7dd2022a5e2785cddccade6fb41aeb64d7234544/02.jpg" /&#62;


Booth Exhibitions Are the Institutions of Our Time (2020)


In Colored, from 2022, Garrido colorized black-and-white photographs that document canonical historical, conceptual, performance, and site-specifi c works by artists such as Marina Abramovic &#38;amp; Ulay, Gordon Matta-Clark, Bas Jan Ader, Carolee Schneemann, and Yoko Ono, among others. The original photographs function as the record of transitory and ephemeral art as archival evidence. In certain cases, there was already a deliberate blurring of the lines between photographic document and photo artwork, and many if not all of the pictures have entered museum collections. For instance, Garrido colorized canonical Matta-Clark’s Splitting (the first example of his “anarchitecture”), which is a document of the artist’s site-specific cutting in half of a house in New Jersey.


Colorizing these images that we have typically experienced in black and white has the effect of making them feel at once more contemporary and yet more remote. Sort of like the experience of watching old movies that have been colorized—something is not quite right. We might say that the gesture of colorizing these art historical icons dislocates the images from normative art historical time. For Garrido, colorizing the images is a way to signify her own history as a painter, which has the collateral effect of reaestheticizing these re-reproduced, readymade art-photographic materials. What we have here is the work of art history in the age of colorized mechanical reproducibility. In conceptual terms, it is as if Garrido were making art After Sherrie Levine, and thereby inscribing herself into art history, while at the same time remaking art history, as Levine did with After Walker Evans.
&#60;img width="1981" height="1321" width_o="1981" height_o="1321" data-src="https://freight.cargo.site/t/original/i/04cb579bb2406eacc3a4541baf405c7e946eab6a9956694b25d7e9f4bf3de0a9/DSC_6710.jpg" data-mid="209134408" border="0"  src="https://freight.cargo.site/w/1000/i/04cb579bb2406eacc3a4541baf405c7e946eab6a9956694b25d7e9f4bf3de0a9/DSC_6710.jpg" /&#62;


[Colored] Gordon Matta-Clark, Splitting (2022)


In 2016, I gave a talk at the Museum of Fine Arts in Houston, Texas, titled “Art is the gateway drug for art.” It was an attempt to offer a humorous introduction to my Art Is a Problem book. I can still recall the audience’s nervous laughter as I began to speak (tongue firmly in my cheek):


‘First art seduces us with its claims of beauty, utility, everydayness and potential huuuuge returns on investment, followed by the romance and heat of a new relationship with art, then the gradual emergence of a mature partnership of mutually reinforcing happiness and responsibility in relation to art, the inevitable boredom with art and minor acrimony and squabbles that seem counterintuitive at fi rst and then become ritualized, multiple attempts to break up with art, dalliances with other loves, such as architecture and cinema, and various reconciliations with art—all of which is indicative, on clinical terms, of a spiral into a hopeless cycle of inconsolable art-addiction. I point the fi nger of blame at my late parents for this predicament, who dragged me to museums as a child.’


Why do I bring this up? Because it seems that my experiences—and I would assume the experiences of some others who found their way into the art worlds—have some a  nity with the life events informing Garrido’s exhibition The Origin of Forms. In this project, she stages an exposition of her historical-ideological-social construction as an artist, while also rethinking how the institutionalized canon of Western art history has been assembled. Given that the art worldm has been focusing quite a bit on art that ostensibly transmits the “identity” of the artist (whether in terms of race, gender, cultural milieu, indigenous status, etc.), it is refreshing to see how Garrido instead scrutinizes how she became an artist in the fi rst place. It is as if she were asking: what is the identity of the social status of the artist? One might say that she is even offering a meta-narrative of how her “identity” as an artist was constructed, beginning within the socioeconomic habitus of her family. In a sense, the show is the origin story of Garrido’s formation, and we might also say that she is curating her trajectory as an artist while also playing around with self-canonization. Garrido has assembled various artifacts that operate as visual and material evidence of her artistic inculcation, so to speak, from a young age. We see examples of her parents’
paintings, along with Garrido’s childhood drawings. A 1:1 scale model of the floor of her Madrid basement studio—purchased by her father when Garrido was attending art school in 2007—is a reminder to art publics that economic and class privileges can underpin the development of artists, which is echoed in the Masters of Western Painting (2023) wallpaper element of the show. It is refreshing to see an artist be so forthright about how real estate is a crucial factor in how she—and other artists—survive (or don’t) in major urban centers of culture.


Garrido’s installation includes a 1992 video of her as a young girl in the Musée d’Orsay, while visiting Paris with her father. During that same trip, Garrido’s father took snapshots of her standing in the proximity of various art masterpieces, and a selection of those pictures is presented in a vitrine, alluding to the tropes of researchbased art. Based upon her expressions in some of these snapshots, it is unclear if little Cristina was enjoying the experience of being posed with artworks in museums or if she might have preferred to be toy shopping. Indeed, the exhibition commences with a large-scale blow-up of a shot of the young Garrido standing in front of Renoir’s Etude. Torse, effet de soleil, a gesture that slyly invokes the way in which some institutions utilize artists’ portraits as part of their didactic materials. To a certain extent, Garrido is the main subject (matter) of her show, and perhaps also the central object. There is a refreshing vulnerability here, a willingness to display—literally and figuratively—those aspects of her family history that have contributed to her becoming an artist, yet in a manner that is considerably more analytical than sentimental. One might characterize the exhibition as family-friendly post-institutional critique.&#60;img width="1981" height="1321" width_o="1981" height_o="1321" data-src="https://freight.cargo.site/t/original/i/efe569a562423ee93c89086265747bc54ddf838af0f1a95e08ef21c8eda288a2/_DSC6262.jpg" data-mid="209137784" border="0"  src="https://freight.cargo.site/w/1000/i/efe569a562423ee93c89086265747bc54ddf838af0f1a95e08ef21c8eda288a2/_DSC6262.jpg" /&#62;
Installation view of the exhibition&#38;nbsp;Cristina Garrido. The Origin of Forms. Museo Centro de Arte Dos de Mayo - CA2M (Móstoles, 2023). Image: Roberto Ruiz.


Garrido’s large-scale childhood-era image might also be read as a preamble for Masters of Western Painting, a wallpaper work featuring biographical information on one hundred canonical artists, commencing in the fourteenth century, which covers two walls of the museum space. Each bio entry—beginning with Giotto and ending with Jean-Michel Basquiat—includes the race/ethnicity of the artist (mostly white males), the artist’s astrological sign (if known), and information on the artist’s family, economic class, social networks, and related details. Garrido’s interest is in locating certain common denominators amongst these artists from different historical periods to perhaps better understand how various economic, social, and familial factors helped to facilitate their artistic careers (beyond skill and talent), and by extension, to see how such patterns—real and imagined—might resonate with her own narrative trajectory as an artist. The biographical text entries operate as a backdrop, literally and figuratively, for Garrido’s self-inquiry. We are delivered data about the inclusions and exclusions of canonical Western art history—a discursive institution that has undergone significant revision, deconstruction, and expansion during the late twentieth and twenty-fi rst centuries thanks to artists such as Garrido.


Installed, salon-style, on the wallpaper, are a constellation of hybrid works comprising poster reproductions of paintings from museum shops that have been painted over almost in their entirety, except for textual elements that refer to biographical information about the artists. For example, in Masters of Western Painting – Jackson Pollock, Lucifer, we discern fragments of the MoMA poster that reproduces the Pollock painting as it emerges into the pictorial foreground from behind the black monochrome, forming the words “Robó comida para sobrevivir” [He stole food to survive]. Likewise, in Masters of Western Painting – Mary Cassatt, Mother and Child, traces of the Cassatt painting seep through from underneath a blue monochrome, forming the sentence “Decidió que el matrimonio sería incompatible con su carrera” [She decided that marriage would be incompatible with her career].


Perhaps one of the most honest, and dare I say ethical, questions that an artist can ask—in public—is “What are the various conditions and factors that led me to become an artist?” The question may seem superfl uous, and yet I think it is rather pertinent in our era of art’s hyperfinancialization and hyperpoliticization, when so much is expected from artists. By sharing with us the story of her family, re ecting upon her class position, and offering evidence of her early exposures to art—while at the same time questioning how broader art histories, canons, markets, careers, artistic identities, and art as a form of power are constructed—Garrido stages a post-feminist scenography of her subject formation as an artist.

	
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	<item>
		<title>Tania Pardo, Una reflexión desde el origen y la forma [ES]</title>
				
		<link>https://cristina-garrido.com/Tania-Pardo-Una-reflexion-desde-el-origen-y-la-forma-ES</link>

		<pubDate>Wed, 17 Apr 2024 10:07:41 +0000</pubDate>

		<dc:creator>Cristina Garrido</dc:creator>

		<guid isPermaLink="true">https://cristina-garrido.com/Tania-Pardo-Una-reflexion-desde-el-origen-y-la-forma-ES</guid>

		<description>
	Tania Pardo
Comisaria, investigadora y Directora del Museo CA2M

‘ Una reflexión desde el origen y la forma’Contribución al catálogo de la exposición Cristina Garrido. El origen de las formas. Ed. Museo Centro de Arte Dos de Mayo - CA2M (2024).


En 1981 la artista Sophie Calle le pide a su madre que contacte con una agencia de detectives y les encargue que la espíen sin descanso durante un día. El resultado se condensaría en un relato de anotaciones y fotografías que, con el título El detective, recoge las acciones diarias de la artista en París. En el caso de Calle, la autobiografía ha supuesto una forma de indagar en la intimidad y la construcción identitaria, como reflejan gran parte de los trabajos que completan su trayectoria, que están emparentados a los relatos de vida. Pero Calle no es la única que se sirve de su propia vida como parte de su obra. Muchos otros artistas han convertido su intimidad personal en una forma abierta de transmisión, abordando temas que atañen a la más absoluta privacidad. Ese es el caso de la icónica tienda de campaña realizada por Tracey Emin en 1995, sobre la que mostró los nombres de todas aquellas personas con las que se había acostado a lo largo de su vida, aunque no necesariamente para mantener relaciones sexuales. Esta obra, junto a My Bed [Mi cama] (1998), ejemplifican y llevan al extremo la condición de convertir la propia biografía en un concepto con el que crear arte, como cuenta la propia Emin en el libro Strangeland, publicado en 2005. Y es que la autorreferencialidad no solo ha supuesto dejar entrar al espectador en las vidas de los artistas sino también conocer a sus familias y ser testigos de las relaciones que de ellas se desprenden. El ejemplo más notorio es la serie de imágenes que el artista Richard Billingham dedicó a la historia de su familia, donde los protagonistas, un progenitor alcohólico crónico, un hermano desorientado y una madre entregada al consumo de cigarrillos, nos adentran en una parcela de sórdida realidad social británica. Acompañada por textos del autor sobre algunas de las situaciones que aparecen en las fotografías con el objetivo de potenciar la fuerza visual de la narración, la recopilación de imágenes fue publicada en 1996 como Ray’s a Laugh [Ray es una risa], que años después sería llevada al cine.


Precisamente es ahí, en la construcción y la relación con los progenitores, donde se detiene el último trabajo de Cristina Garrido: El origen de las formas. Aunque la artista ha venido centrando su producción en la investigación del funcionamiento interno de los sistemas del arte contemporáneo, cada una de sus propuestas parte de distintas historias que configuran el contexto del arte entendido como sistemas de representación. Para ello, Garrido se apropia de soportes e imágenes, ya sean instalaciones, intervenciones en revistas, postales de museos, performances, fotografías o vídeos, que aborda desde diferentes estrategias con el objetivo de involucrar a distintos agentes del sector. En el caso de este proyecto —concebido específicamente para el Museo CA2M y surgido de la exposición El mejor trabajo del mundo (Fundación DIDAC, Santiago de Compostela, 2021), que investigaba la fi gura del artista que abandona el arte1—, la artista traza nuevas formas de indagación a partir de su propia biografía. Vayamos por partes. Aquel proyecto giraba en torno a las conversaciones mantenidas con creadores españoles que estuvieron en activo en los circuitos artísticos de nuestro país entre los años ochenta y la década del 2000, permitiendo que Garrido se centrara en los factores relacionados con el abandono de este oficio. A partir de ese momento, la artista comienza a preguntarse qué elementos son determinantes a la hora de que un artista continúe dedicándose al arte y cuáles son los condicionantes que validan dicha permanencia en el sistema artístico. Entonces, decide ponerse&#38;nbsp;a sí misma en el centro de la investigación, partiendo de su propia biografía para refl exionar en torno a qué factores son los definitivos para que un artista continúe dedicándose al arte y hasta qué punto son concluyentes los datos biográficos en el desarrollo de lo que entendemos por talento, vocación o éxito de un artista.


De esta manera, El origen de las formas reflexiona, a través de los datos vitales de la propia artista, sobre la biografía como herramienta de conocimiento para abordar la permanencia en el oficio y, a partir de ahí, sobre algunos de los términos que habitualmente confi guran el contexto del arte, generando una cosmología de conceptos determinantes para su construcción. En el caso de Garrido, el apoyo incondicional de sus padres desde que ella era niña ha sido un factor decisivo. Nadie en su familia tenía contactos en el mundo del arte ni se había dedicado a una profesión artística. Sin embargo, los progenitores de Garrido alentaron el estudio y la formación en las bellas artes. Otro factor decisivo fue que su padre, al recibir una herencia, decidiera comprar un sótano de cuarenta metros cuadrados en el madrileño barrio de Chamberí para que Cristina hiciese uso de él como estudio en el futuro. Este local se convirtió en el refugio y el espacio en el que la artista desarrolló su obra durante los primeros diez años de trayectoria. Además, la posibilidad de contar con esta propiedad le ha permitido vivir de la venta de sus obras y dedicarse por completo a distintas actividades remuneradas relacionadas con el arte, como charlas, exposiciones o talleres.


Se trata así de utilizar el método biográfi co para constituir una metodología de investigación cualitativa que integre el relato de vida de la artista, deteniéndose también en aquello que expulsan los relatos ofi ciales y recogiendo la anécdota como parte de la construcción de esta narración. De hecho, detengámonos en algunos de los objetos que forman parte de la instalación, como son los trazos de la memoria familiar y de infancia de la propia Cristina Garrido que sobrevuelan toda la exposición. Ese es el caso del retrato a carboncillo que un tío abuelo regaló al abuelo paterno de la artista, un dibujo que siempre inquietó a la creadora, ya que su abuelo, hijo de padre desconocido, apenas compartió datos sobre su vida. Junto a este retrato aparecen dos grandes planos de Argel y Venecia coloreados por el abuelo materno, Luis, delineante en una mina de Mieres y aficionado a colorear mapas. También hay dos cuadros pintados, respectivamente, por el padre y la madre de la artista que muestran la sensibilidad que ambos profesaban por el arte, ejemplarizada en el interés de dos personas ajenas al medio artístico por intentar reflejar, como aficionados, su admiración por la figura de Renoir. Ambos copistas amateurs forman así parte de la muestra, contribuyendo a reconstruir el escenario de la memoria en el que ha crecido la artista. Para Garrido, son determinantes los objetos, las estampas y las imágenes con las que creció, que, con el tiempo, se han convertido en puntales de su propia formación.
&#60;img width="1981" height="1321" width_o="1981" height_o="1321" data-src="https://freight.cargo.site/t/original/i/b08656552ddebd150e42adf3521e6349b3f04290592aa2565adfffe7b1a861f9/_DSC9058.jpg" data-mid="209138174" border="0"  src="https://freight.cargo.site/w/1000/i/b08656552ddebd150e42adf3521e6349b3f04290592aa2565adfffe7b1a861f9/_DSC9058.jpg" /&#62;Vista de instalación de la exposición Cristina Garrido. El origen de las formas. Museo Centro de Arte Dos de Mayo - CA2M (Móstoles, 2023). Imagen: Roberto Ruiz.


Por otro lado, observamos cómo una pequeña Cristina corretea alegre por las salas del Musée d’Orsay en lo que sabemos que fue un viaje con su padre a París, donde este capta también a la pequeña dibujando en un caluroso día frente a la Torre Eiffel. Son imágenes grabadas en formato doméstico, con esas cintas caseras de VHS tan habituales en los años noventa, cuando se convirtieron en testigos de todo
acontecimiento familiar. ¿No es todo esto un evidente homenaje a los progenitores de la artista, que nos pregunta cuánto de importantes son éstos en la conformación de una identidad artística? Si nos detenemos en los datos de la instalación Grandes maestros de la pintura occidental (2023), que forma parte de este proyecto, comprobamos que, ya desde el siglo XV, las figuras de la madre y el padre y el aliento familiar resultan determinantes a la hora de conformar la personalidad y el sustento de muchos artistas. Hay grandes ejemplos históricos, como el que relata la propia Frida Kahlo, auspiciada por un padre fotógrafo a pintar tras un accidente de autobús. O el de Jean-Michel Basquiat, que contó en más de una ocasión lo determinante que resultó el apoyo incondicional de su madre y lo importante que fue la reveladora visión del Guernica al visitar con ella el MoMA cuando apenas tenía siete años. También Picasso contaría siempre con el apoyo paterno de José Ruiz y Blasco, pintor convencional y académico que pronto entendió la capacidad extraordinaria y superior de su hijo. Y el padre de Salvador Dalí, a pesar de la tan complicada relación que había entre ambos, siempre permitió que su hijo se dedicara al arte, enviándolo de muy joven a estudiar a lo que se consideraba en la época la mejor educación artística en España, la Real Academia de San Fernando.


Centrándonos en otros datos de la instalación, en estas biografías no solo se cuelan los horóscopos, como un guiño a la estandarización de la estadística, sino que nos sitúan ante realidades históricas como la falta de mujeres artistas en la historia, la supremacía del privilegio blanco y la centralidad occidental. Aunque, como apunta Lucy R. Lippard: «A pesar de la importancia de las estadísticas que nos enfadan y nos hacen actuar, para los artistas propiamente dichos —los de “color”, los de “otras” culturas (léase no eurocéntricas) o las artistas mujeres y queer— la verdadera cuestión no es si se les invita a participar en más exposiciones temáticas o “especiales” (sin negar que históricamente estas hayan sido eficaces). Lo que les interesa es simplemente que cuando se organizan las exposiciones se les incluya en el grupo de artistas respetables a tener en cuenta»2.


Han sido cien las biografías utilizadas para la realización de esta instalación, recurriendo irónicamente a la metodología del dato. Con los relatos biográficos precedidos por una entrada en la que se indica el nombre, la fecha y lugar de nacimiento y muerte, raza y signo del horóscopo, se trata de reseñas de carácter prácticamente documental que reafirman lo problemático de esta metodología y el gran número de cuestiones que quedan por resolver para la historiografía futura. En todas ellas encontramos ideas que han perpetuado la forma de entender y consumir la historia del arte, como, «por supuesto, el aura mágica que envuelve las artes representativas y a sus creadores [y] ha dado origen a mitos desde tiempos remotos»3. Desde sus primeras obras, Cristina Garrido ha analizado distintos factores adherentes al sistema del arte con una mirada escrutadora y objetiva, examinando, entre otros temas, la simbología del borrado del objeto artístico (Velo de invisibilidad, 2011); las tendencias del mercado (#JWIITMTESDSA? (Just what is it that makes today’s exhibitions so different, so appealing?) [¿Qué es lo que hace las exposiciones de hoy tan diferentes, tan atractivas?], 2015-2017); la representación escenográfica de la comercialización del arte (Best Booths [Los mejores stands], 2017); la confrontación de la tradición pictórica europea con la producción de arte contemporáneo (El copista, 2018-2019); y la alteración de los roles profesionales del sistema (Booth Exhibitions Are the Institutions of Our Time [Las exposiciones de stands son las instituciones de nuestro tiempo], 2020). Y lo ha hecho deconstruyendo los discursos canónicos de la historia del arte, al devolver el color a las imágenes míticas de los registros de performances en blanco y negro convertidas hoy en objeto de arte (Colored [Coloreados], 2022), o registrando a través de entrevistas, como ya hemos referido, los relatos de aquellos que abandonan el sistema del arte para una instalación (El mejor trabajo del mundo, 2021). La diferencia con todo lo anterior quizá resida en que ahora, por primera vez, la artista utiliza abiertamente su propia experiencia para volver a plantear cuestiones que atraviesan tod su práctica y que podrían extrapolarse al resto de la comunidad del arte: el sustento, los orígenes, las condiciones sociales en las que se desarrolla un artista, la formación académica, la clase social, los códigos sociales del contexto artístico… En conclusión, todo aquello de lo que se habla tímidamente y que, muchas veces, queda como residuo de las intrahistorias y lo anecdótico. Es este, por tanto, un proyecto que busca poner el foco en el análisis del reconocimiento o el éxito del artista considerando la construcción de la identidad del creador a través de lo que Pierre Bourdieu definió como la lógica de la vocación en relación a lo que entendemos por talento.
&#60;img width="1287" height="922" width_o="1287" height_o="922" data-src="https://freight.cargo.site/t/original/i/a901531b3f9a1d43e0847181a8b95a41a8f9906167147a0bd84f54575d6ea881/Cristina-Garrido---Peter-White.jpg" data-mid="209138544" border="0"  src="https://freight.cargo.site/w/1000/i/a901531b3f9a1d43e0847181a8b95a41a8f9906167147a0bd84f54575d6ea881/Cristina-Garrido---Peter-White.jpg" /&#62;


Velo de invisibilidad – Untitled (Leg), 2015


A través de la construcción de este relato propio y subjetivo,
El origen de las formas se sirve del material biográfico para crear una serie de relatos situados entre la experiencia personal y la ficción realista, como ya hiciera la artista tímidamente en trabajos anteriores como The Culture of This Course [La cultura de este curso] (2016), donde recuperó las anotaciones de las calificaciones obtenidas por sus trabajos durante el año que cursó como estudiante Erasmus en la Camberwell College of Arts de Londres, en las que se analizan las capacidades adquiridas y los logros obtenidos, mayormente, en relación a la capacidad de conceptualización de su práctica. O también en TO WHOM IT MAY CONCERN [A quien le pueda interesar] (2014), donde transcribió una carta de recomendación de uno de su jefes en uno de los trabajos alimenticios que desarrolló durante sus años de formación y la trasladó a un gran mural a modo de instalación O, por último, en Clocking In and Out [Fichando a la entrada y a la salida] (2015), donde, durante una semana, publicó al despertar y al acostarse cada día un selfi e en redes sociales en alusión a la obra de Mladen Stilinovic Artist at Work [Artista trabajando] (1978).


El resultado es una exposición concebida como una investigación que parte de la experiencia vital y la memoria y en la que Garrido muestra un archivo familiar compuesto por objetos y fotografías de sí misma dibujando de niña tomadas por su padre; un punto de partida que convierte la experiencia de vida y la relación con sus progenitores en uno de los ejes sobre los que se vertebra la propuesta. Y es que la autorreferencialidad se ha convertido en el caso de muchas artistas mujeres en una herramienta desde la que cuestionar, desde el propio sistema, su inserción y aproximación al arte como forma de autoafirmación frente a una estructura endémicamente patriarcal cuyo relato canónico expulsó a muchas mujeres de su seno. Así lo
hizo Eva Hesse en sus escritos, donde entrelazaba indistintamente la narración sobre su relación íntima con el también escultor Tom Doyle y lo que supuso el descubrimiento de nuevos materiales para su obra, sacando a la luz sus propias inseguridades en un sistema regido por artistas hombres. Y también la directora del New Museum, Marcia Tucker, que en su libro 40 años en el arte neoyorquino narraba la experiencia vital como herramienta indisoluble de la profesión del arte, en la misma línea emprendida anteriormente por Gala Dalí, quien, como describe Estrella de Diego, se reveló como una enorme escritora: «Si todo texto tiene algo de autobiografía, lugar de negociación de significados entre lo escrito y lo leído, toda vida tiene algo de ficción, y eso ocurre en el caso de Gala, Salvador y Gala-Salvador Dalí. Sigo pensando que la autobiografía es una extensión de la ficción y no al contrario: que la forma de la vida proviene antes de la imaginación que de la experiencia»4.
&#60;img width="5977" height="3984" width_o="5977" height_o="3984" data-src="https://freight.cargo.site/t/original/i/c060bbd294505c7d289a3a04aead4ac6324c5606ccd8a7ba119bcec5c60e3310/CriG_55.jpg" data-mid="209138800" border="0"  src="https://freight.cargo.site/w/1000/i/c060bbd294505c7d289a3a04aead4ac6324c5606ccd8a7ba119bcec5c60e3310/CriG_55.jpg" /&#62;The culture of this course (2016)

La inclusión de los trabajos del padre y la madre de Cristina Garrido en la experiencia expositiva conduce a pensar en artistas que han colaborado directamente con estos, como Hannah Wilke, que utilizó de modelo a su madre, Selma Butter, para hablar de la enfermedad y la muerte; o Vivian Suter, que trabaja en colaboración con su progenitora, la artista experta en collage Elisabeth Wild; o Dorothy Iannone, que organizó exposiciones en diálogo con las obras que su madre confeccionó y le envió como regalo a lo largo de su vida. Todos ellos ejemplos paradigmáticos que culminarían con la mítica imagen de Anna Maria Maiolino junto a su madre y su hija, retomando ideas sobre construcción y maternidad.


Hay en el proyecto El origen de las formas muchas ideas apuntaladas que, como flechas disparadas en distintas direcciones, nos hablan de las causas contextuales en la formación del artista, de sus circunstancias vitales y lo que estas suponen en la construcción de la identidad y en la formación del creador para el desarrollo del oficio en el arte, pero también de cuánto hay de azaroso en todo ello y cuánto de concluyente supone lo anecdótico en una vida. La suerte, ese algoritmo imposible de controlar y a la vez determinante a la hora de enfocar una trayectoria al que también se ha referido la artista Sophie Calle al reflexionar, de nuevo, sobre el papel del azar en el campo de la creación artística y, más ampliamente, en la existencia y la experiencia humana.


* * *


Cristina Garrido. Siglos XX y XXI. Española. Mujer de raza blanca. Leo. Nace en una familia ajena a la formación artística. Su abuelo materno, delineante en una mina de Mieres, tiene como afición colorear mapas. Su padre, gran admirador de Renoir, alienta la vocación de Cristina desde niña, a quien lleva a visitar los museos más importantes del mundo, con especial interés por el Musée d’Orsay en París. La artista estudia en la Universidad Complutense de Madrid, especializándose en pintura y dibujo, y continúa su formación en Londres. De regreso a la capital de España, pronto establece contacto con los círculos artísticos más relevantes de su generación. Viaja a distintos países gracias a programas de residencias y becas y no tarda en participar en distintas ferias de arte. Muestra su primera exposición individual en una institución nacional con apenas treinta años de edad.


1. Explica la propia Cristina Garrido sobre El mejor trabajo del mundo: «Aunque recogí testimonios —historias de vida— muy dispares, esta búsqueda hizo que salieran a la luz varios factores disuasorios, presentes en todos ellos, que tuvieron que ver con la decisión de salir del mundo del arte: la mayoría de los artistas se encontraban en una situación de precariedad económica, no contaban con un apoyo familiar que les animara a continuar y, aunque gozaron de cierta visibilidad durante algunos años, tampoco contaban con contactos que permitiesen que su carrera se consolidara a largo plazo». Conversación entre Cristina Garrida y Tania Pardo, 14 de mayo de 2021.


2.&#38;nbsp;Lucy. R. Lippard, «Prólogo», en Maura Reilly, Activismo en el mundo del arte. Hacia una ética del comisariado artístico, Madrid, Alianza Forma, 2019, pp. 11-12.


3. Linda Nochlin, «¿Por qué no ha habido grandes mujeres artistas?» [1971], en Mujeres artistas. Ensayos de Linda Nochlin, Madrid, Alianza Forma, 2022, p. 57.


4. Estrella de Diego, «Prólogo», en Gala Dalí, La vida secreta. Diario íntimo, Madrid, Galaxia Gutenberg, 1998, p. 25.


</description>
		
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	<item>
		<title>Nuria Peist, Profession: Artist. Storm, Impetus, and Biography [EN]</title>
				
		<link>https://cristina-garrido.com/Nuria-Peist-Profession-Artist-Storm-Impetus-and-Biography-EN</link>

		<pubDate>Tue, 23 Apr 2024 08:28:09 +0000</pubDate>

		<dc:creator>Cristina Garrido</dc:creator>

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	Nuria Peist
Art historian and researcher.
‘ 


Profession: Artist. Storm, Impetus, and Biography’Contribution to the catalogue of the exhibition Cristina Garrido. The Origin of Forms. Ed. Museo Centro de Arte Dos de Mayo - CA2M (2024).
It’s all to do with questions I ask myself.


—Cristina Garrido1


Being an artist. It’s a thought-provoking expression. As in all professions and trades, the criteria that define and delimit the career of the creator are laden with values and connotations that can be considered, analyzed, organized, criticized, or even ignored. But, for some reason, it would seem that the realm of the artist is more difficult to pin down than most and somewhat trickier to define. In the West, the figure of the artist has prompted studies of all kinds: some of them focus on the importance of talent and the idea of vocation, while others, on the polar opposite, denounce the mythification of the figure of the genius. Perhaps the question that best sums up this debate comes from popular wisdom: “Is being an artist a matter of nature or nurture?” There are, of course, many very different intermediate positions between these two poles. For example, some claim that talent is necessary in order to develop the capacity for invention, but so too is having the means to access a particular social space that is, in certain fi elds and times, highly valued. Therefore, it is a question of bearing in mind the abilities that a person might possess, the possibilities that life has given to them, and, furthermore, the time and place in which they happen to have been born.


But the analyses aren’t always strictly situated. Some researchers have investigated the impact made by the figure of the genius, and the great many refl ections that this figure has inspired over time. In this case, the artist is associated with creation, whereby creation refers to “genius” as a particular human ability that can be delimited. As early as 1934, Ernst Kris and Otto Kurz traced the legends, myths, and stereotypical anecdotes about creators from the ancient world, as well as the recurring qualities in the biographies of modern-era artists: these included innate talent manifested from a young age, constant obstacles, humble origins, being self-taught, magic, virtue, superiority . . . These faculties partly stem from the early legend that human beings are able to create things in God’s own image and likeness, and such skills are increasingly associated with artists from the Renaissance onwards. As Kris and Kurz state, if they exist, these constants depend on the era in question:


Neither the various qualities and dispositions which give rise to “talent” and the impulse to artistic creativity, nor the role that the artist plays in any given society, derive from a fixed set of conditions. Rather, they are subject to innumerable modifications, which can be understood only in the light of the historical situation.2


History repeats and is modified in the same situation. Human beings might think of themselves as exceptional, and the figure of the artist assumes this excellence under given conditions. But, therefore, is this—as the title of Kris and Kurz’s book claims—just legend? Myth and anecdote reveal characteristics not so much of the life of the artist as of how they are thought of, which changes over time. And—most importantly—this consideration is manifested practically in many different ways, be they more or less collective, more or less organized, more or less stable. In their evocatively-titled Born Under Saturn: The Character and Conduct of Artists, Rudolf and Margot Wittkower point out the similarities in the conception of the artist in fourth-century Greece and fi fteenth-century Renaissance Italy. Despite the fact that, in ancient times, the individualization of the artist was already underway, the wider public was not particularly occupied by it. Following some transformations, turns, and particularities in the Hellenistic period and the Middle Ages, it is only in the Renaissance that the public begins to take a keen interest in the artist as an individual.3
&#60;img width="1981" height="1321" width_o="1981" height_o="1321" data-src="https://freight.cargo.site/t/original/i/27540f6ba1310983a3ea2323c45a90a4035d261f44bbf78e7a8c9f6431a8c8f6/_DSC3123.jpg" data-mid="209566554" border="0"  src="https://freight.cargo.site/w/1000/i/27540f6ba1310983a3ea2323c45a90a4035d261f44bbf78e7a8c9f6431a8c8f6/_DSC3123.jpg" /&#62;
Masters of Western Painting – Giotto, Fuga in Egitto, 2023. Acrylic on poster; 70 x 70 cm.&#38;nbsp;


Nevertheless, this interest never fully materialized in the earlymodern period. Although artists gradually began to separate from the guilds—in some cases, defiantly so—there were still a great many doubts when it came to distinguishing art from craftsmanship. Michelangelo’s father famously opposed his son’s desire to become a sculptor, a profession which, due to the physical effort required, was associated with quarry work. Even later, during the heyday of academic life, the bourgeoisie was reticent about artistic practice being associated with the liberal arts. But, in this case, their rejection gradually took on another form: namely the repudiation of the bohemian life that a part of that same bourgeoisie represented. In light of these considerations, Kris and Kurz’s proposal becomes more precise—it can be deduced from their words that, despite the fact that the concept of the creative genius has been present throughout different eras, such figures were never before regarded in the institutionalized sense represented by Academia, nor in the same vocational way as them modern artist. The Wittkowers even go on to suggest the historicity of the individual experience of those born under the sign of Saturn, stating that cultural trends have a determining impact on the formation and development of character.4 Thus, the lived experience and appreciation of the artist’s temperament, along with the mythification of their life story, do exhibit certain constants, but they have also changed over time.


Let’s come back to the present day. Specifically, to a place and time where these questions are still being put to us: Móstoles, a municipality in the region of Madrid, Museo Centro de Arte Dos de Mayo, The Origin of Forms exhibition, by Cristina Garrido, June 10, 2023 – January 28, 2024. Here, the artist pondersmquestions similar to those of the aforementioned authors and, whatmis even more interesting, she does so with a similar methodology. The biographical accounts in this exhibition set the rhythm for the appreciation of the work of art—hence its suggestive title—and for the research into those factors that had a decisive infl uence on the careers of artists. On display are biographies of great masters of painting that look into the psychological, material, and social aspects that might have infl uenced the consecration of some of these great proponents of Western art. But Garrido also inserts her own biography into this tradition. Both timeframes—that of history and that of this particular artist—are combined in this project, in which the biographical details show the artists’ work in a veiled way, almost hiding it, in an inverse manner to what normally happens. The usual marveled and erudite perception of the work of art means that the actual conditions which enable artists to become artists often get overlooked. According to Nathalie Heinich, the contemporary view of art oscillates between two poles: at one end is the person —the domain of uninitiated consideration—and at the other is the work—the domain of specialists. In the former case, biographical information makes the work itself even more interesting, as with Van Gogh and his severed ear. In the latter, biographical information is considered irrelevant, as opposed to the aesthetic evaluation and careful scrutiny of the artwork itself.5


&#60;img width="1981" height="1321" width_o="1981" height_o="1321" data-src="https://freight.cargo.site/t/original/i/86fa8256ad46665ba7d59038181ac1db5f1b12ccb8ecc3dd712e6e84af815046/_DSC6217.jpg" data-mid="209566645" border="0"  src="https://freight.cargo.site/w/1000/i/86fa8256ad46665ba7d59038181ac1db5f1b12ccb8ecc3dd712e6e84af815046/_DSC6217.jpg" /&#62;Installation detail of the exhibition Cristina Garrido. El origen de las formas. Museo Centro de Arte Dos de Mayo - CA2M (Móstoles, 2023). Image: Roberto Ruiz.

Even just a cursory glance at the past shows that the rise to prominence of the artist was due, above all, to their association with the work of art. The notion of authorship is one of the clearest indications of the importance of the artist’s name. The anonymous works of the medieval period were either the result of a collective effort in the workshop or skillful works of craftsmanship made following the correctly-applied norms, as learned during their creators’ training and experience in the trade. As the figure of the modern artist was gradually defi ned over time—a fi gure increasingly associated with creativity, vocation, and singularity—the artwork and the artist became inseparable. However, we see that the part of the artist that comes through is not that of the common person, of their human relationships, their sense of belonging, their feelings, virtues, and miseries. What remains, instead, is the extraordinary part, that of the exceptional figure whose actions as an individual must be ignored, no matter how atrocious they might be.6 Either that or, in any case, their actions must be assimilated into the work in a process—especially in the case of women artists—of aestheticization and intellectualization.


Let us return to our artist. As we have seen, Cristina Garrido represents the opposite. This is attested to by the works of art that have been printed and then almost completely covered, leaving phrases that narrate biographical details of the artists in question. And also by the way in which Garrido reveals her own personal trajectory before her more or less mature entry into the contemporary art world. Here, the operation is not only about interrogating what an artist is considered to be—from within the tradition of institutional critique, Pierre Bourdieu’s theories of domination, and the sociology of recognition—but it also asks what kind of biographical factors contribute to an artist consolidating as such. In the presentation video for the exhibition, Garrido explains that this project derives from a previous one entitled The Best Job in the World, which included testimonies from eight people who, for some reason or other, abandoned the artistic profession.
&#60;img width="5547" height="3355" width_o="5547" height_o="3355" data-src="https://freight.cargo.site/t/original/i/1ee96c6bfc12f136757e3ca2c421608af7801bcb6422e903ca21c75e0cc42945/04-CG-DIDAC.jpg" data-mid="209558500" border="0"  src="https://freight.cargo.site/w/1000/i/1ee96c6bfc12f136757e3ca2c421608af7801bcb6422e903ca21c75e0cc42945/04-CG-DIDAC.jpg" /&#62;

Installation view of the exhibition The Best Job in the World. Fundación DIDAC (Santiago de Compostela, 2021). Image: Roi Alonso.

Questioning how reality works through artistic practice generates a dual effect. On the one hand, this approach shines a spotlight on relatively dark and uncomfortable places while, on the other, it also helps the artistic profession take on a social function: to be concerned, for example, with human wellbeing. The key aspect of Garrido’s works is the questions she opens up. She provides no answers but rather invites us to reflect. The biographical details she selects—taken from authorized sources, such as the Encyclopædia Britannica or the Prado Museum—do not refer to individual anecdotes but rather, as with Kris and Kurz’s contribution, reveal a collective imaginary that repeats itself again and again: tragic life, humble origins, family support, a network of contacts, comfortable social status, and so on. Is it biographical writing itself that positions artists in stereotypical places such as these, or is it that the effective life of the artist comes of age in the modern era? Can any of these details tell us about the material requirements for accessing this type of life? Let us consider how Garrido presents herself in the exhibition.


As in many works of contemporary art, in The Origin of Forms the artist’s own trajectory becomes a work of art in its own right. But, in this case, new questions emerge when the artist’s life is exposed. Through videos and photographs, Garrido shows us different artrelated moments, people, objects, and spaces that were present during her early years: we see museum trips, her relatives painting, the artist herself drawing, paintings in her childhood homes, artworks belonging to her family hanging on the walls of the museum space . . .&#38;nbsp; And there is one particularly curious item: a 1:1 scale plan of the basement her father bought for her when she was studying Fine Arts. The plan is stuck to the fl oor, so that visitors tread on it as they visit the exhibition. The conclusion might seem obvious to us: ever since her childhood, Cristina Garrido has been in possession of artistic capital and the keen support of her family, which is why she has been able to put on this exhibition. But it’s not quite so straightforward. Her dialogue with the masterpieces of the Western tradition is perhaps the key, here. Will Cristina Garrido be inscribed in history? The answer lies not so much in her talent but rather in her situation, in the broader framework of which she is part.
&#60;img width="1981" height="1321" width_o="1981" height_o="1321" data-src="https://freight.cargo.site/t/original/i/a42749e76df5bca6e7e0a7256d5f96080bac5f84dc895d05901c294c43cf69c2/_DSC9074.jpg" data-mid="209558034" border="0"  src="https://freight.cargo.site/w/1000/i/a42749e76df5bca6e7e0a7256d5f96080bac5f84dc895d05901c294c43cf69c2/_DSC9074.jpg" /&#62;


Installation view of the exhibition Cristina Garrido. The Origin of Forms. Museo Centro de Arte Dos de Mayo - CA2M (Móstoles, 2023). Image: Roberto Ruiz.


In “The Heir and the Cowboy: Social Predisposition, Mediation and Artistic Profession in Marcel Duchamp and Jackson Pollock,”7&#38;nbsp;I questioned whether possessing more or less capital could have a direct infl uence on a given artist’s chances of making it, in relative terms, in the art world. On the one hand, it is undeniable that having particular stimuli and contacts increases an individuals’ chances of gaining access to spaces that are relatively homologous to previous trajectories. But this equation does not have a simple solution. The course of a life has a great many variations, learnings, shifts, and twisting paths: life does not follow a straight line in one sole direction. In the case of Pollock, his unique trajectory is more the result of his particular way of relating to the environment —especially to those involved in the art world at that time—than to an unprecedented career characterized by the lack of means, contacts, and skills needed to get by in a given medium. Duchamp, given his position, was able to do without all the profuse mediation enjoyed by Pollock. But both artists reached similar levels of recognition. Having said that, the equation of the higher the degree of capital ownership, the less need for mediation to help stabilize the profession doesn’t work either. If we were to venture an answer —which, fi ttingly, Garrido does not in her exhibition—we could say that the only relatively certain formula is having an awareness of the systemic diversity of components to be taken into consideration: complete trajectories, positions, values, relationships with agents and institutions, historical variants, both in the specifi c composition of spaces and in the less immediate context. Only then will we be able to understand what makes an artist and the constants and variables that might come up at any given time. 
The legend of the difficult, spontaneous, and melancholic artist still looms over us. And this is partly so because that figure was established as a very simple, pervasive cliché, one that refers to the artist’s distinctness and self-referencing. Questions such as those suggested in The Origin of Forms enable us not only to think about the access conditions to artistic spaces but also to reconsider what kind of values and judgments we want to live by in our everyday collective life.


1. Cristina Garrido, presentation video for the exhibition The Origin of Forms (Museo CA2M, 10.6.2023 – 28.1.2024).
2. Ernst Kris and Otto Kurz, Legend, Myth, and Magic in the Image of the Artist (New Haven: Yale University Press, 1979 [1934]), pp. 1−2.


3. See Rudolf and Margot Wittkower, Born Under Saturn: The Character and Conduct of Artists (New York: New York Review of Books, 2007 [1963]).
4. Ibid.


5. See Nathalie Heinich, La gloire de Van Gogh. Essai d’anthropologie de l’admiration (Paris: Les Éditions de Minuit, 1991), pp. 98−101.
6. See Gisèle Sapiro, ¿Se puede separar la obra del autor? Censura, cancelación y derecho al error (Madrid: Clave Intelectual, 2021).


7. See Nuria Peist, “The Heir and the Cowboy: Social Predisposition, Mediation and Artistic Profession in Marcel Duchamp and Jackson Pollock,” Cultural Sociology, 6/2 (2012), pp. 233−250.


</description>
		
	</item>
		
		
	<item>
		<title>Katrina Sluis, Documentation [EN]</title>
				
		<link>https://cristina-garrido.com/Katrina-Sluis-Documentation-EN</link>

		<pubDate>Tue, 16 Apr 2024 14:29:53 +0000</pubDate>

		<dc:creator>Cristina Garrido</dc:creator>

		<guid isPermaLink="true">https://cristina-garrido.com/Katrina-Sluis-Documentation-EN</guid>

		<description>
	Katrina Sluis
Curator and Associate Professor School of Art &#38;amp; Design at ANU College of Arts &#38;amp; Social Sciences.
Fragments of the chapters&#38;nbsp;‘ Documentation
in an age of photographic hyper circulation’ and ‘The invisible art of documenting art’,&#38;nbsp;in the book Documentation as Art. Expanded Digital Practices. Ed. Routledge (2022).


Documentation
in an age of photographic hyper circulation&#38;nbsp;
What is captured in the act of
photographic documentation? this has always been something of a troubling
question, particularly when documenting art. Two forms of mediation – the
artwork on the one hand, the photograph on the other – collide and produce a visual
record in the form of a negative or digital image file. In this meeting between
artwork and camera the artwork's
iconicity is emphasized whilst the photograph is rendered transparent,
delegated to the role of invisible
carrier or container of visual information. With respect to the art museum,
this relationship has been historically and culturally charged: as a
reproductive technology, photography has always been something of a
second-class citizen, possessing a mindless automatism and banal literalism operating in tension
with modernist narratives of authorship and artistic exceptionalism. For this
reason, the camera was
initially embraced as a conservation tool for accurate recording and
reproduction, while its descriptive banality ensure is exclusion from the canon
of art. For photography to be put to work in the museum as an aesthetic medium
or as a document, a certain level of denial had to take place: the multiple
social scientific popular and aesthetic categories of photography had to be
contained and bracketed out. This has led the art museum to adopt a set of
conflicting positions with respect to photographic documentation. On the one
hand, the camera is positioned as an objective recording device with the
capacity to freeze time, producing a stable and accurate representation of a
performance, exhibition or artwork. On the other hand, once accessioned to the
museum collection, photography is understood as a creative medium expressing
the subjectivity of the photographer-auteur1.


 The
complexities surrounding photography's dual role as a technology of visual
representation and technology of reproduction have not diminished in the 21st
century computational culture. With the convergence of camera on phone, screen
and network photography has become a ubiquitous cultural practice, whilst the
documentation of art has accelerated beyond the paradigm of conservation to the
practice of everyday life. In today's museums, photography is simultaneously a
method for disseminating artworks, an artistic medium, an instrument of
preservation, education, marketing and a popular social activity. Rather than
sourcing reproductions from the gift shop, visitors record artworks under their
own volition – as backdrop, memento mori, evidence, performance or visual
speech. This has generated further anxieties about the role and value of
photographic reproduction, linked to a longer crisis of 'the digital' in the
art museum and how it is modelled and understood culturally2. Beyond the walled garden of institutional
websites, images of exhibitions, museum collections and visitor selfies mingle
together on Instagram, Twitter feeds, TikTok on Google Image Search results.
Operating as networked images, artworks escape the semiotic confines of the
white cube, perhaps mutating into a meme, a GeoCities background, a custom
RedBubble mouse mat or the spectacular backdrop to an influencer campaign. In
turn, gallery audiences have unwittingly become the focus of concerns about the
impact of unauthorised documentation, its bearing on the art experience, forms
of spectatorship and even the safety of artworks displayed3. What results, as Boris Groys
suggests, is the possibility that the artwork's photographic documentation gets
higher engagement than the original itself4, as it becomes
transformed into a trackable side of clicks, likes and attention that eclipses
established institutional metrics such as football. 


 The
older problem of the artwork's authenticity and aura has therefore been further
complicated by the ambiguities of contemporary hypercirculation with its
attendant rhetoric of 'engagement', 'participation' an 'access'. Initial
concerns about unregulated cameras in the museum have given way to ability to
embrace of selfie taking audiences insofar as they facilitate the performance
indicators and engagement narratives of communications teams. From this
perspective, the circulation of visitor photography can be used as concrete
evidence of a museum's contemporary relevance and its capacity to generate
consumer desire, particularly at the time of reduced public funding. Art's
marketeers now encourage museum leaders to 'capitalise on trends' in order to
grow their museum's 'value' through 'Instagrammable, digitally attractive
shows' where visitors can 'enhance their online visibility amid the beautiful
background of museum art' by targeting the 'it' factor for that demographic5. In turn, the remote of online
audience is positioned as an increasingly significant consumer of museum
documentation, reflected in the comment of one museum professional who
concedes, 'while a visitor might come to the Royal Academy in London once a
year, an Instagram follower engages with us every day'6. 


 Whilst
there is a growing body of newspaper articles, inflammatory tweets an art criticism
addressing the curation of spectacular art designed to be instagrammable, less
attention has been given to artwork which complicate, intervene or reflexively
exploit this emerging circuits of reproduction circulation and ratification. In
the broadcast model of social, media the artist and curator have become
potential 'channels' for documentation – transmitting snapshots of encounters
with objects, studios, collectors, celebrities and sales. On the one hand, the
artist risks becoming embroiled in this visual economy, potentially reduced to
the status of a content provider of jpegs and marketable content7. On the other,
it offers a context in which the shifting cultural value of the art object and
its networked reproduction might be critiqued or destabilised. How can the
socio-technical aspects of mediation be privileged rather than obscured in the
meeting of artwork camera and Internet? How are the documentation practices of
audiences being harnessed by artists towards subversive or artistic ends? What
happens when the media of documentation has become entangled with the artwork
itself?


The invisible art of documenting art


 As
Ofri Cnaani argues elsewhere in this volume (Chapter 7), Odeon documentation
has the capacity to produce an imperfect and incomplete poetic counter visual
to the gigapixel spectacle of Commercial Art platforms such as Google Arts and
Culture or the professional exhibition photography circulated by Contemporary
Art Daily. Social media platforms offer an environment where, through hashtags
and geotagging, the audience's photographic labor becomes connected to other
networked documentations, offering an unstable and expanding record of an
artwork's transit through time and space. From this perspective, the singular
documentary viewpoint is eclipsed by one which is diffused, multiple and
fragmented – as each visitor creates their own visual interpretation around
documentation framed by their social context under cameraphone settings.
Meditation happens not just spell photographic capture, but at multiple sites
of its distribution – raising questions how such documentations accelerate,
aggregate, connect an invite forms of sociality, as well as how the impact on
the interpretation of the artwork itself. 


 The
ambiguous relationship between artwork and networked image has become the
subject of works by a number of contemporary artists, among them Cristina
Garrido, who investigates the mutating an unstable cloud of images generated by
and for art audiences online. Garrido positions the photographer – whether
casual visitor or commission professional – as an active participant in the
construction of the artwork's afterlife, part of a wider socio-technical
assemblage of bodies, software and screens which sit between artworks and
viewers. Her works depict the ways various recording technologies are mobilised
in processes of cultural legitimation, and how this in turn imprints itself on
art production, asking what is valorized captured and disregarded. This
includes the economic, aesthetic and social organisation of contemporary
exhibition photography, which she explores in her 2019 project The
(Invisible) Art of Documenting Art. In the film an accompanied publication,
Garrido presents are series of interviews she undertook with professional art photographers
she positions as highly skilled yet invisible agents whose creative labour
translates cultural spectacle to jpg , in an increasingly automated
documentation pipeline from gallery to screen. Her interlocutors reflect on the
practical and philosophical problems their practice presents: mediation is far
from straightforward, bound by rules and conventions and involving a
significant amount of styling, post-producing and technical know-how. In
privileging the perspectives of these workers, the artwork draws attention to
the museum as a manufacturer of images and the photographic document as a
carefully constructed mythology, reflecting the ways in which the medium
continues to be mobilised by museums and galleries, to serve narratives of
'objectivity trustworthiness and aesthetic value'8.
 &#60;img width="3360" height="1890" width_o="3360" height_o="1890" data-src="https://freight.cargo.site/t/original/i/e0db7e12b61dcef7e41b9929a39e62faffb501dcfb3519fb21b0e1b58eb6a873/TIAODA-Frame3.jpg" data-mid="209137849" border="0"  src="https://freight.cargo.site/w/1000/i/e0db7e12b61dcef7e41b9929a39e62faffb501dcfb3519fb21b0e1b58eb6a873/TIAODA-Frame3.jpg" /&#62;
The (Invisible) Art of Documenting Art (2019)


 In
a further project, The Social Life of ' Untilled (Liegender Frauenakt)'
(2016)9 Garrido considers the proliferation of audience documentation, inviting
us to experience Pierre Huyghe's sculpture Untilled (Liegender Frauenakt)
(2012) exclusively through the camera phones of its visitors. The aggregated
snapshots depict the
work’s initial debut at dOCUMENTA
13 in 2012, to its subsequent
travels to Centre Pompidou in Paris, the Museum Ludwig in Cologne, the Hayward
Gallery in London LACMA in Los Angeles, and MoMA in New York, where it was
ultimately acquired and accessioned to MoMA's permanent collection. The
popularity of Hughe's work on social media is perhaps unsurprising: it takes
the form of a reclining nude in the tradition of classical sculpture, whose
head has been replaced by a beehive which is home to a living colony.
Experiencing the work is unpredictable and involves an element of risk for both
bees and audience, which host museums creating bespoke installation solutions
to ensure camera-wielding visitors kept their distance. In an interview with
MoMA's beekeeper, Andrew Coté, he observes 'they are probably the most photographed
colony of bees history of the world, with hundreds if not thousands of people
from all over the world photographing them seven days a week' 10. 


Having
tracked and collected images of the work circulating under the hashtag
#pierrehuyghe, garrido assembled over 600 into a stop motion animation which
percents the sculpture multiple viewpoints over a period from 2012 to 2015. In
emphasising the geographical transit of Huyghe's sculpture and its social life
on Instagram, Garrido offers a radically different perspective to the official
documentation generated by its institutional hosts or even its popular MoMA
livestream. Huyghe's creation instead rendered liquid and unstable, stuttering
as it scales up and down radically contracting under the pressure of a simulated camera vignette or
over enthusiastic crop. Annotated and re-grammed, is fanatically shifts from
turn to grayscale, before being diffracted by the nostalgic haze of an
Instagram filter. Uniform beekeepers flit past, fog descends, the bee colony
heaves and mutates, tourists seek caffeine, clouds loom and descend, vegetation
encroaches. Paving stones rise up, unknown figures visit, one wears a comically
large bird's head. Accelerating through time and space at six snapshots per
second, Huyghe's sculpture finds temporary refugee under a canopy of a European
weeping beeches, enjoys a stint amongst a landscape of brutalist architecture,
and finds sanctuary amongst the puddles of a museum forecourt.
 &#60;img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/b7fc187a503823659301ae9d163b6b246293aa70e13dee725b3b51796128e651/CG_soloshow14.jpg" data-mid="209137905" border="0"  src="https://freight.cargo.site/w/1000/i/b7fc187a503823659301ae9d163b6b246293aa70e13dee725b3b51796128e651/CG_soloshow14.jpg" /&#62;


The Social Life of ‘Untilled (Liegender Frauenakt)’ (2016)

 In Garrido's work,
three years of the artwork speeds by, compressed into two minutes and four
seconds, disorienting an absorbing. The transparency of the photographic
apparatus and the singularity of the photographer is obliterated, and in its
place emerges a kind of 'platform seeing,11&#38;nbsp; where it becomes possible to experience 684 parallel documentations
of the same artwork. In
this fragmented,
mutating aggregation there is a turn from an iconic representation of an
artwork in a discrete time and place, to
an affective understanding
of the artwork’s experience, its temporality, its life as a camera-prop and its capacity to bear witness to its
audience.
From this perspective, one
might speculate whether
Garrido's collected documentations are more truthful or faithful to the artist’s own
sensibility.
In a 2013 interview with
the Art Newspaper,Huyghe observed:
‘ [e]xhibitions revolver
more and more around the need to address a target public… I don't want to
exhibit something to someone anymore. I want to do the reverse: I want to exhibit someone to
something’12
for Huyghe and Garrido, visitors are actively
involved in the production of the artwork, which is conceptualized not in
terms of a passive object but a process or event unfolding over time. 


(…)


1. For an extended
analysis of the art museum’s relationship to
photography and reproduction,
see Michelle Henning, “
With and Without Walls: Photographic
Reproduction and the Art Museum” in Museum Media,
ed. Michelle Henning (Chichester: Wiley-Blackwell, 2015), 577-602; Alexandra
Moschovi, A Gust of Photo-Philia: Photography in the Art Museum (Leuven
University Press, 2020). 


2. Claire
Bishop, "Digital Divide," Artforum (September 2012), 434-432;
Victoria Walsh, Andrew Dewdney, on Emily Pringle, Modeling Cultural Value in
the New Media Cultures of Networked Participation (London: RCA/ AHRC, 2014). 


 3. This
is underscored by Mark Spiegler, the
director of Art Basel, who recently commented: ‘If I could ban
people from taking selfies are all three or four art fairs, I would.
It's demeaning
to artists. None of them want their work just to be the backdrop
to a selfie’. &#38;nbsp;In
the same article,
curator Alexei Glass-Cantor
observes ‘People step back and don't pay attention… They put themselves at the art at risk,’ (Georgina
Adam, ‘ Art Takes Second Place as Selfies Steal the Shows,’ The Art Newspaper
(1 June 2016), http//www.theartnewspaper.com/2016/06/01/art-takes-second-p`lace-as-selfies-steal-the-shows). 


 4. Boris Groys, In the Flow (London: Verso
Books, 2016). 


5 “How to Capitalize on Trends to Grow Your
Museum’s Value,” ACME Technologies (blog) (2 May 2019), https://www.acmeticketing.com/how-to-capitalize-on-trends-to-grow-your-museums-value/. 


6. Ellen Gamerman, “The Top Selfie-Worthy Museum
Shows of 2017,” Wall Street Journal (Online) (9 January 2017), https://www.wsj.com/articles/art-shows-that-shine-in-selfies-1483977882. 


7. Dena Yago, “Content Industrial Complex,” E-Flux
Journal, no. 89 (March, 2018) and Chapter 9, this volume.


8. Theopisti Stylianou-Lambert and Elena Stylianou,
“Editorial: Photography, Artists and Museums,” Photographies 7, no. 2
(2014): 117-30, https://doi.org/10.1080/17540763.2014.943053. 


9. The work is viewable online at https://vimeo/173522372. 


10. Margaret Ewing, ‘Close-up on Pierre Huyghe’s
Untilled and Q&#38;amp;A with Beekeper Andrew Coté, Inside/ Out, A MoMA/ MoMA PS1
Blong (17 July 2015), http://www.moma.org/explore/inside_out/2015/07/17/close-up-onpierre-huyghes-untilled-and-a-qa-with-beekeper-andrew-cote/. 


11. Andrian MacKenzie and Manna Munster, “Platform
Seeing: Image Ensembles and their Invisualities,” Theory Culture &#38;amp; Society,
36, no.5 (2019) 3-22. https://journals.sagepub.com/doi/full/10.1177/0263276419847508-.


12. Julia Michalska, “Pierre Huyghe Creates a Buzz
in Paris,” The Art Newspaper (Online), no. 249 (September, 2013). 


</description>
		
	</item>
		
		
	<item>
		<title>Joshua Simon, Art work and Art job [EN]</title>
				
		<link>https://cristina-garrido.com/Joshua-Simon-Art-work-and-Art-job-EN</link>

		<pubDate>Tue, 23 Apr 2024 14:07:51 +0000</pubDate>

		<dc:creator>Cristina Garrido</dc:creator>

		<guid isPermaLink="true">https://cristina-garrido.com/Joshua-Simon-Art-work-and-Art-job-EN</guid>

		<description>
	Joshua Simon
Curator, writer and cultural critic.
‘ 


Art work and Art job’Contribution to the book Cristina Garrido. El mejor trabajo del mundo/ Cristina Garrido. The Best Job in the World. Ed. Fundación DIDAC (2022).


“What am I working on? I am working on something that will change the world and human life as we know it.” With this Seth Brundle (Jeff Goldblum), answers reporter Veronica “Ronnie” Quaife (Geena Davis), in a reception at the Art Gallery of Ontario, Toronto, in the opening scene of David Cronenberg’s The Fly (1986). In this film, a remake of the 1958 film by the same name (directed by Kurt Neumann), Brundle is an inventor who is trying to teleport matter. Although his machine can do so with inorganic things — like Quaife’s stockings — he is unable to transmit living matter. As the movie progresses, things go wrong and as we know, instead of transmitting things, Brundle’s machine transforms him into, well, it is in the film’s title…


All this might sound far away from the professional life of an artist — but the shift from teleportation to metamorphosis we can say, is at its core. What is certain is that Brundle’s response, repeating the question “what am I working on?” should sound familiar to any artist. Usually, the second part of his answer “working on something that will change the world and human life as we know it” is not to be uttered out loud, although we do believe it to a large extent. Something more humble or even selfdeprecating, is the usual answer — something small, temporary, esoteric, might not even see the light of day, etc.


The title of Cristina Garrido’s exhibition at Fundaci.n DIDAC El mejor trabajo del mundo could read as both “the best job in the world,” and “the best work in the world.” As is the case in many languages, in artistic circles, when discussing the actual practice of artmaking, we use freely the word work to describe both the process and the product. When referring to as something we are working on, we are actually describing an ongoing project, a set of restrictions and considerations we are committed to, and to which we have submitted our talents and time — in this sense, we are always working on something that might change the world and human life as we know it. If we were to use the words work and piece, we would see how, the long, ongoing life of artistic work, of a commitment to a process of investigation and production, result sometimes — in failed and successful — attempts to which we can call pieces.

&#60;img width="5105" height="3501" width_o="5105" height_o="3501" data-src="https://freight.cargo.site/t/original/i/5ed5d47bf610cc4037ced738fbf9733d566ea9545074384dfbb34b28ffdbe1b6/10-CG-DIDAC.jpg" data-mid="209571903" border="0"  src="https://freight.cargo.site/w/1000/i/5ed5d47bf610cc4037ced738fbf9733d566ea9545074384dfbb34b28ffdbe1b6/10-CG-DIDAC.jpg" /&#62;Installation view of the exhibition The Best Job in the World. Fundación DIDAC (Santiago de Compostela, 2021). Image: Roi Alonso.

In a way, the pieces, the art works, are a by-product of the ongoing work — the labour of being an artist. This labour, as much as it a practice attempting to transmit things, is also a life of transformation. The daily activities of artmaking — whose outcome produces art as a piece — a teleportation of sorts, are in fact a constant struggle to produce oneself as an artist — to get all the mundane procedures and your professional, social and familial ties to support that — to allow for your perpetual metamorphosis.


Cristina Garrido has created a unique body of work which is dedicated to the realities of the art world and artistic practices. Taking from art history and institutional critique, Garrido created a series of sincere and humorous works which contemplate and perform the contradictions of artistic work — from its most commercial to its most personal. This is Art Now Vol. 1 (2013), is a book made up of fictional artworks that Garrido created from Components Database of Google SketchUp, positioning them in virtual exhibition spaces. Sensing the speculative qualities of art online almost a decade ago, Garrido sent these renderings to seven art critics and curators, who were invited to interpret the works of each “artist” and to invent biographical details for each of their careers. In her #JWIITMTESDSA? (Just what is it that makes today’s exhibitions so different, so appealing?) installation and research (2015), Garrido focused on the inventory and the look expected from contemporary art online (in gallery and museum sites, blogs and websites like “Contemporary Art Daily”). Making charts of this inventory and composing memes of empty bottles, racks, neon lights, draping fabrics and the likes, Garrido’s work demonstrated how our relation to artistic production has shifted from possibility to probability. This work deployed counter-speculation to provide a genuine look at the speculative nature of contemporary art production. Garrido further developed her interpretations of the

&#38;nbsp;ealities of artistic production and distribution systems, focusing on its display in art fair booths. Garrido’s highly speculative (and funny) film Boothworks (2017) [and parallel photo series “Best Booths,” and subsequent performance Booth Exhibitions are the Institutions of our Time (2020)], uses actual quotes of post-minimalist, conceptual, &#38;nbsp;and land art luminaries as the narration looking back at today and positioning gallery booths in art fairs as a new form of installation art/happening. This future art-documentary which describes the gallery booth at the art fair as the new frontier of artistic practice since the early 2000s. All these projects, although different, are looking at the way art looks in artbooks, online, in fairs — or to put it differently — they look at how things perform as art.
&#60;img width="1162" height="778" width_o="1162" height_o="778" data-src="https://freight.cargo.site/t/original/i/e34759490898c1231d19c405166d2cacfd00554d0ecabd02c13c42fcf16b5dd4/01b.jpg" data-mid="209571947" border="0"  src="https://freight.cargo.site/w/1000/i/e34759490898c1231d19c405166d2cacfd00554d0ecabd02c13c42fcf16b5dd4/01b.jpg" /&#62;
This Is Art Now Vol. 1, 2013


Her moving film and book The (Invisible) Art of Documenting Art, 2019, is dedicated to eight prominent art photographers who are documenting installations for galleries and institutions for catalogs and PR mainly in Europe. This project focuses its attention on art photographers who document art exhibitions, and in that sense make them public much more than other practitioners involved in the process (just think of Alfred Steiglitz’s photograph of Marcel Duchamp’s Fountain). The unseen practice of documentary photographers of contemporary art, taking installation views of exhibitions, is part and parcel of how we experience art. Complementing this project, is Garrido’s The Copyist (2018-2019), in which she invited Román Blázquez, a renowned authorized copyist of the Prado Museum, to work on a regular basis in the halls of the Centro de Arte Dos de Mayo contemporary art center. What resulted were oil on canvas paintings depicting the exhibition space which were gradually hung on the walls, becoming part of the exhibition itself. These projects look at the who is making things perform as art.


Garrido’s work has focused on the innerworkings of contemporary art systems while addressing their structural inequalities and discrepancies. She has created a variety of online interventions, videos, books, performances, installations and photographic displays, that used the tutorial, the documentary, the testimonial, the taxonomical, the classroom, the advertisement brochure, and other formats of mediating art, to address the production and circulation systems of art, with their economies of attention and hype as well as their realities of labour and commodification. In El mejor trabajo del mundo she looks both at how things perform as art and who is making them perform as art — it focuses on the two elements of mapping the field and enacting its blind spots.


El mejor trabajo del mundo [The Best Job in the World] looks at yet another unseen but well-established part of the art world — artists who have stopped making art. Life situations, circumstances but also conscious decisions can lead artists to stop making art. We know that Marcel Duchamp famously resigned from making art and retired to chess mastery. He was still involved with the re-issue of his readymades with Milanese gallerist Arturo Schwarz in 1964, and made secretly&#38;nbsp;Étant donnés (1946-1966). This leads to the question, when is the moment one ceases to be an artist? In one’s lifetime it might be in relation to their last artwork, or the moment they relinquish the title of artist — but then again, dead-artists, even though they stopped making work (sometimes centuries ago) are still artists. And so, when they die, these artists who decided not to make art again andm not to be considered artists, might be yet again regarded as artists — because art history or the art market, friends or others — would see them as such.
And so, looking at this well-established, but little documented phenomenon, Garrido’s research on artists from different generations and contexts who have voluntarily or involuntarily stopped practicing and exhibiting their work, puts the viewer in a position where she is both consumed by the work and reflecting on the conditions it portrays. The viewer is therefore encouraged to perceive her own self within the different contemporary art economies of viewing. In this case, how an artist becomes an artist not by their sheer willpower and talent, but by the viewer who validates them as such. The viewer becomes a transmission device for someone to metamorph into an artist.


Garrido is deploying a group exhibition of no-longer-artists. A kind of Art-brut in reverse — where all the participants are not non-artists, and yet, their distance from artistic practices today is what qualifies them to take part in the exhibition.


In her work, Garrido explores what contemporary art is made up of. Her conceptual gestures, in the form of art pieces, reflect on the fundamentals of contemporary art and the input of the mediators in the center of it. We see in her work how art appears and who are some of the invisible agents that allow it to exist. Training to become an artist, the setting for learning and making that makes the art school, is where the new is constantly being explored. Unlike any other field, as part of their practice, art students (fine arts, architecture, and curatorial studies students), go through a critic, which expands their ability to evaluate their own work outside of themselves. This is distinctive to the field and takes place within a setting that has the potential of being open and unscripted. From its silences to the occasional “hijacking the conversation,” the crits are an event that marks itself uncharted. Summoning the new here, takes place collectively, in the presence of works, students and faculty. Together, they are teleporting assignments and incomplete assignments, into art-works.
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Boothworks, 2017


After the 18th century, philosophy abstracted all categories of judgment in the service of all practical fields. An engineer or doctor did not need to ask herself anymore whether what she is doing is engineering or medicine. As so, while in other fields this has been forgotten, in the arts we are still required to ask what is art — what is the field itself that we are practicing in. In this sense, every artist is also a philosopher of art. Even the powerful history of philosophy, pragmatism and instrumentalization, has been unsuccessful in making the arts forget this core question which reflects on the function and meaning of art making and of living with art. Up until a few centuries ago, engineers, doctors and economists were demanded as well to ask themselves — as part of their practice — what makes their practice and field, what is its meaning and function. Those questions required each practitioner to also be a philosopher of the practice. As these questions are still vibrant to this day as part of artistic practice, the arts became the place which holds them at its core. When it comes to artistic practice and training, the way art schools do that is by inviting the students themselves to provide the scale and perspective on their own practice. No one is telling an art student what artworks to make and how. They bring the work, and then the conversation begins. Few if any are the contemporary art schools which would tell their students “this is how we make art here.” And so, the art school is also a site for evaluating a crisis of perspective authority — should this be treated as a complete work of art, as something on the way of becoming an artwork?


Through their workshops, classes, masterclasses and their crits, art schools are meant to teach you how to make art, to create pieces. But through socialisation, modeling, conversation (and now some courses on self-marketing mainly), you are learning to become an artist — to contain and sustain this way of working, this ongoing research and labour. All this is done in the service of exploring the new.


Exploring the new has been the hallmark of artistic practices since modernity’s inception. It was the practice of teleportation by metamorphosis — transmitting things by transforming the people involved in the practice (artists and viewers alike). Ken Lum’s 1989 Melly Shum HATES Her Job, is a billboard showing a young woman wearing glasses turning her head to the camera in an office setting. The work was installed facing the Witte de With street in Rotterdam, as part of Lum’s solo exhibition there in 1990. Back then the art space which invited Lum to exhibit, was called Witte de With Art Institute. Since January 2021 it is called Kunstinstituut Melly Rotterdam, after the woman depicted in Lum’s poster. This meme-before-there-were-memes, in the spirit of Vancouver post-conceptual photography of the time, can help us think of El mejor trabajo del mundo. By its setting and framing, we can see that Melly’s job is somewhat administrative and bureaucratic, nothing exciting. This is not the place where she can express her passions and talents. We get it why she hates her job. By naming the art space after the protagonist of the piece, this work became an icon, or even a monument, to the difference between how people experience their jobs (unfulfilled, frustrated, resentful), and how artists are supposed to view their practice (never simply as a job). But what happens when an artist hates her job as an artist? What does it mean that the work of making art — where one’s own passions and talents are supposed to be expressed — is something you no longer like?


What am I working on? I am working on something that will change the world and human life as we know it. I stopped making art.

	
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