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21 documents
Cuauhtémoc Medina
Cuauhtémoc Medina
Museo Universitario Arte Contemporáneo
Julieta Aranda: Stealing One’s Own Corpse (An Alternative Set of Footholds for an Ascent into the Dark)
e-flux Announcement
Posted: April 8, 2021
Institution
A Southerly Gale: Francisco Toledo, 1940–2019
Cuauhtémoc Medina
For more than three decades Francisco Toledo was the reference point for a cultural practice that invents common space as a form of ethical expression. Mexico in particular, and the Global South in general, have lost a multifaceted artist, one of inexhaustible depths. In today’s Mexico, no one knows who will continue to protect the causes that Francisco defended. The danger that the beauty he created in his cultural institutions will be lost is a ghost that haunts our nightmares with an oppressive sense of dread.
e-flux Journal
Posted: October 1, 2019
Subjects
Memorials & Obituaries
e-flux Criticism
Posted: December 3, 2018
Category
Aesthetics
Subjects
Biennials, Historicity & Historiography, Modernity
Power Station of Art
Cuauhtémoc Medina appointed Chief Curator of 12th Shanghai Biennale
e-flux Announcement
Posted: November 24, 2017
Subjects
Curating, Biennials
Institution
Art Gallery of Ontario
Francis Alÿs: A Story of Negotiation
e-flux Announcement
Posted: November 21, 2016
Category
Performance, Borders & Frontiers
Subjects
Middle East
Institution
Azkuna Zentroa—Alhóndiga Bilbao
Jeremy Deller: The infinitely variable ideal of the popular
e-flux Announcement
Posted: June 18, 2016
Category
Labor & Work
Subjects
Pop Culture, United Kingdom
Institution
MACBA Museu d’Art Contemporani de Barcelona
Andrea Fraser. L’1%, c'est moi
e-flux Announcement
Posted: April 21, 2016
Category
Psychology & Psychoanalysis
Subjects
Subjectivity, Optics & Perception
Institution
Museo Tamayo
Francis Alÿs
e-flux Announcement
Posted: March 23, 2015
Category
Painting, Performance
Subjects
Video Art, Mexico
Institution
REDCAT (Roy and Edna Disney/CalArts Theater)
Summer 2014
e-flux Announcement
Posted: June 27, 2014
Category
Performance, Music
Subjects
Video Art, Human - Nonhuman Relations, Science, Animals, Subjectivity, Abstraction, Post-Internet
Institution
A History of Infinity and Some Fresh Catastrophes: On Raqs Media Collective’s The Capital of Accumulation
Cuauhtémoc Medina
1. Moving Titles
An animated sequence at the beginning of Raqs Media Collective’s two-screen film The Capital of Accumulation (2010) performs the title of the work’s reversal of the most important of Rosa Luxemburg’s economic studies, The Accumulation of Capital (1913). 1 What can this mean as a reflection on the legacy, the corpse, and the spirit of Rosa Luxemburg?
In her 1913 book, Luxemburg boldly exposed the shortcomings of Karl Marx’s understanding of the process of the...
e-flux Journal
Posted: October 1, 2012
Category
Marxism , Capitalism
Subjects
Video Art, Socially Engaged Art
"The Deep of the Modern," Manifesta 9
Jonas Žakaitis
e-flux Criticism
Posted: June 2, 2012
Category
Labor & Work, Nature & Ecology
Subjects
Pollution & Toxicity, Geology
Museo Universitario Arte Contemporáneo
Enrique Jezik
e-flux Announcement
Posted: July 18, 2011
Subjects
Mexico, Violence, Representation
Institution
Proyecto de Arte Contemporáneo de Murcia (PAC)
Jimmie Durham and his metonymic banquet
e-flux Announcement
Posted: January 21, 2010
Category
Religion & Spirituality, Sculpture
Subjects
Site-Specific Art
Institution
Why is this question not asked? What exactly does it mean to be working under the auspices of this singular ism?
e-flux Books
Posted: January 1, 2010
Category
Contemporary Art, Ideology, Museums, Aesthetics, Colonialism & Imperialism
Subjects
Contemporaneity, Art Activism, Art Criticism, Art Market, Conceptual & Post-Conceptual Art, Knowledge Production, Museology, Art Collectives, Historicity & Historiography, Autonomy, Artistic Research
Contemp(t)orary: Eleven Theses
Cuauhtémoc Medina
1.
It would appear that the notion of “the contemporary” is irredeemably vain and empty; in fact, we would not be entirely mistaken in suspecting “contemporary art” to be a concept that became central to art as a result of the need to find a replacement, rather than as a matter of legitimate theorizing. For above all, “contemporary” is the term that stands to mark the death of “modern.” This vague descriptor of aesthetic currency became customary precisely when the critique of “the...
e-flux Journal
Posted: January 1, 2010
Category
Contemporary Art, Capitalism, Economy
Subjects
Contemporaneity, Wealth & Inequality
Mexican Pavilion at the Venice Biennale
Teresa Margolles at 53rd Venice Biennale
e-flux Announcement
Posted: May 17, 2009
Subjects
Mexico, Global South
Institution
Americas Society
Dialogue between Graciela Iturbide and Cuauhtemoc Medina
e-flux Announcement
Posted: February 22, 2008
Category
Latin America
Subjects
Authoritarianism
Institution