Ocula MagazineContentsView All
Featured ContentView All
Havana Biennial 2019: Constructing the Possible Ocula Report Havana Biennial 2019: Constructing the Possible 17 Apr 2019 : Federica Bueti for Ocula

I first visited Havana in November 2016, a few days after Fidel Castro died, and just under a year before Hurricane Irma hit Cuba in September 2017. Since then, much has changed, including the hand-painted signs that punctuate the journey from the airport to the city centre, which today do not celebrate the revolution so much as the 'Unidad y...

Read More
Andrew Stahl and Guo Xiaohui Ocula Conversation Andrew Stahl and Guo Xiaohui

The exhibition Beyond Boundaries at Somerset House in London (12 March–2 April 2019) marked the historic contributions of the Central Academy of Fine Arts, Beijing (CAFA) and the Slade School of Fine Art, University College London, on the occasion of their 100th and 150th anniversaries, respectively. Spread across several rooms of Somerset House's...

Read More
The National 2019: New Australian Art Ocula Report The National 2019: New Australian Art 13 Apr 2019 : Elyse Goldfinch for Ocula

The National 2019: New Australian Art features work by 70 contemporary Australia-based artists split across three venues: the Art Gallery of New South Wales (AGNSW), Carriageworks, and the Museum of Contemporary Art Australia (MCA) (29 March–21 July 2019), as curated by Isobel Parker Philip, curator of photographs at AGNSW; Daniel Mudie Cunningham,...

Read More

Julieta Aranda

b. 1975, Mexico

My work is focused on the aesthetic potential of the role played by circulation. Not being media-specific, I manipulate existing circulation formats, in an effort to generate viable propositions for alternative transactions of cultural capital. These explorations have taken several forms, including printed media, installation, video and the creation of alternative spaces.

Thinking about circulation:
Circulation tends to be understood as the implicit enabler in the production / consumption cycle. While this understanding maybe useful, it is nonetheless a simplification, which creates an artificial equivalence that excludes other functions and potentials that maybe embodied by the art object. Since circulation networks tend to follow the logic of desire, I think that by interfering in them it is possible to complicate the exchanges and interject a measure of productive confusion into the prevalent modes and models of operation. A way to introduce resistance and disruption as malfunctions, rather than crises.

I believe that for art, to be truly political, is not to support an ideology, but to present a possibility for autonomy within a given context. So, as artists, how can we generate disruptions within the structures, as they are now? Is it enough to take the parts of the system and reassemble them in a different way? Or do we want to propose a new system altogether? Do we care about the quality of the base materials? Maybe we don’t want to bring anything new to the table, but rather work on complicating existing relationships, in order to propose a model that can function in several levels: Producing subjectivity while avoiding the full disclosure of fixed narratives, and without trying to attain absolute specificity.

There is an implicit relationship of reciprocity between mainstream networks of cultural circulation and the new ones being proposed. What happens when new forms are absorbed? How can you resist a system that has factored in resistance as part of its circuit of expansion? What we are given as a model for resistance, also works as an assumption: It assigns references, perpetuates readings and presupposes the conditions both for resistance and for what is being resisted. It denies the unexpected, and this predictability makes the cycles of cultural production rather similar to the cliffhanger show, “The Perils of Pauline” (a 1917 silent serial shown in weekly installments featuring a perpetual damsel in distress. At the end of each installment she was placed in a situation that looked sure to result in her imminent death. The start of the next episode showed how she was rescued or otherwise escaped the danger, only to face fresh peril again.) Thinking of art/cultural production as a “damsel in distress,” why do we, in fact, want to rescue her? How do we escape the genre and revitalize things? Is it possible to propose a circulation model that will remain vital and current?

…we always think about revolutionary movements in terms of crisis: a force that surges above ground and ruptures the structure (REPLACES the structure). But one should question the usefulness of such an approach, since the force that comes above ground never becomes aware of its own weaknesses, and eventually it also has to be replaced. I believe on artists/cultural producers operating as moving targets, since this implies establishing a set of diagonal relations within the field; never fully within, never fully without. No ruptures but disruptions, no breaking the parts, but changing their function.
 

Read More

Featured Artworks

View All (10)
Today was once a distant future (1) by Julieta Aranda contemporary artwork Julieta ArandaToday was once a distant future (1), 2018 Fiberglass and sand
220 x 75 x 40 cm
Galería OMR
The more you find out about something, the less you believe it (1) by Julieta Aranda contemporary artwork Julieta ArandaThe more you find out about something, the less you believe it (1), 2018 Cold ceramic, modelling foam and glaze
39 x 39 cm
Galería OMR
The more you find out about something, the less you believe it (2) by Julieta Aranda contemporary artwork Julieta ArandaThe more you find out about something, the less you believe it (2), 2018 Cold ceramic, modelling foam and glaze
48 x 40 cm
Galería OMR
Ghost Nets by Julieta Aranda contemporary artwork Julieta ArandaGhost Nets, 2018 Acrylic paint
Galería OMR
6v - Recognition by Julieta Aranda contemporary artwork Julieta Aranda6v - Recognition, 2016 glass, plaster and found book wrapped in latex
10 x 43.5 x 10 inches
Galería OMR
We have never experienced very important things by Julieta Aranda contemporary artwork Julieta ArandaWe have never experienced very important things, 2012 Giclée print on cotton paper
73 x 110 cm
Galería OMR

Recent Exhibitions

Contemporary art exhibition, Group Exhibition, Ghost Nets at Galería OMR, Mexico City
Closed
24 May–30 June 2018 Group Exhibition Ghost Nets Galería OMR, Mexico City

Represented By

Be among the first to know when new artworks and exhibitions by Julieta Aranda are added to Ocula.

WeChat

Scan the QR Code via WeChat to follow Ocula's official account.

iCal GoogleYahooOutlook