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On a large loss that puts on the table to discuss issues

photos courtesy Henaro
sun Under the opening of the exhibition "Art / Latin America: state of siege" in the city of Valparaiso, as part of the events constituting the Triennial Chile 2009, Friday 9 October at 12 noon will be held at the National Council for Culture and Arts of Valparaiso, an informal meeting of curators and researchers involved in this series of five exhibitions that were opened that day. Attendees
desk:
Henaro Sol (Mexico), Maris Bustamante (Mexico), María Sol Baron Pino (Colombia), María Victoria Maher (Colombia), Gustavo Buntinx (Peru), Graciela Carnevale (Argentina); Paulina Varas (Chile), Alberto Madrid (Chile), Juan Castillo (Chile) and Gabriel Peluffo (Uruguay) exhibit curator STATES OF SITE.

starts with a discussion of the Mexican artist formerly of NO-group Maris Bustamante, from which opens a conversation between members of the board (with audience participation) on issues related to operational files , historiographical methodologies, field research and museology, art and land, art and politics and other topics relating to local scenes and critical historiography of Latin American contemporary art.

The desk is approached as an instance of exchange of experience and may be of interest to students and researchers in the cultural field. Go

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at the Triennale in Chile




chutzpah!! Trim culture, personnel layoffs, closing (or risk) of important cultural initiatives, projects canceled or suspended ... The majority of cultural producers have wages (which have the advantage of monthly salary) weak or close to it while others, verrry few truly gross charge amounts. tremendous. (Sol)




Work: Dan Perjovschi

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From: http://www.exonline.com.mx/diario/noticia/comunidad/expresiones/la_alta_burocracia_cuesta_5_mil_becas/737542

The high bureaucracy costs 5 000 scholarship

s Luis Carlos Sánchez While in the second half of the culture sub-sector suffered a reduction of over one and a half million dollars of its budget, 30 high-level officials of the National Council for Culture and the Arts (CONACULTA), the National Institute of Fine Arts (INBA ) and the National Institute of Anthropology and History (INAH) receive a total of more than 40 million pesos a year, an amount that would reach the same period for create more than five thousand young artists program grants, awarded by the National Fund for Culture and the Arts (Fonca).

According to information Transparency Obligations Portal of the federal government, these public servants' salaries remain among 85 000 956 to 190,000 pesos a month, but up to now announce any cut in their perceptions. Meanwhile, the Draft Budget Federal Expenditures for 2010 envisages a reduction of 23.87 percent for the subsector, which is not known so far to affect the perceptions of staff. The industry's highest salary belongs to the president of Conaculta, Consuelo Sáizar, who receives a monthly amount of 190 000 21 pesos, only 18 thousand dollars below the President of the Republic. This amount added in a year reaches two million 280 thousand 255 pesos. Among his monthly compensation includes six thousand 750 pesos for cell phone expenses and right up to two vehicles, plus the cost of maintenance.


Teresita Alvarez Vicencio, director general of the INBA, collecting 171 000 901 pesos monthly, the same amount each month will receive Alfonso de Maria y Campos, INAH director.

The combined salary of the three officials amounts to about six million 405 thousand 887 pesos per year, ie a million pesos more than 745 000 what it cost in 2008 the National Theatre Shows, as investment of four million 660 thousand pesos. Twenty

officials with salaries of over one million dollars per year are in the Conaculta: two of them hold the technical secretary, with a monthly collection of 161 thousand 336 pesos, 12, CEO of structure (which includes the addresses Library, Cultural Liaison, Popular Culture, Fonca, Social Communication and the National Center for the Arts, among others), who earn 119 thousand 747 pesos, and eight, the deputy general director, with a percepcióde 85 000 965 pesos each one. With

Sáizar, the 23 officers represent an annual cost to the treasury 30 million 617 thousand 106 pesos.

between INAH and the INBA add up to seven high-ranking officials perceive, among all, nine million 846 thousand 905 pesos per year.

INBA Assistant Directors-General of Artistic Education and Research, Administration and Fine Arts received each month 95 thousand 354 pesos, that in one year totaling three million 432 thousand 764 pesos. The INAH
administrative secretary and technical secretary also receive 95 000 354 pesos, which added a year is two million 288 thousand 509 dollars from the treasury. Excelsior Consuelo Sáizar sought yesterday to fix a position on that, but until The closure of this issue went unanswered.

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(...)





Image courtesy: Andrea Valencia file and Neus Mexico participates in the TRIENNIAL CHILE 2009
NO-EXPOSURE ON THE RESEARCH GROUP OF SOL HENAR


Henaro Sol Mexican curator was invited to participate in Triennial of Chile to develop research on
Non-Group, a leading Mexican group of the seventies. The exhibition will be held under the curatorial ART / LATIN AMERICA: State of siege led by Uruguayan Gabriel Peluffo Linari in which they are exposed five-productions of important files American collectives: Non-Group (Mexico, 1977-1983)
Tucumán Arde (Argentina, 1968), Collective Action Art - EACH (Chile, 1979-1985);
RED Workshop 4 (Colombia, 1972 - 1976), Collective Shares of Art - EACH (Chile, 1979-1985) and EPS Huayco (Peru, 1980-1982).
This is the first time that takes place an exhibition on the production of the Non-Group. Its four members were MARIS BUSTAMANTE (owner of the patent for taco), Melquiades Herrera (Nobel Prize in painting), RUBEN VALENCIA (holder of the title of critical kicker) and Alfredo Núñez (owner of dropouts). They are the four members / founders in the early stages but also collaborated Katia Mandoki, Andrea di Castro and Hersúa. Non-Group was one of the groups that developed the first practical non-theoretical objectual the Juan Acha defended and discussed for example, when he led the 1st Symposium Latinomericano Objectual Art-No (1981, Medellín, Colombia) to which he invited participate to the Non-Group.
Influenced by the strident movement against "the conceptual fayuca" (as one of its members say, Rubén Valencia), the Non-Group generated participatory communication strategies with (the) public (s) in each their "mounts Plastic moment, "a term mainly promoted by Maris Bustamante and the events they called organized and is now known under the name or art-action performances.
Production of Non-Group was characterized by acid position before the official scene, the humor and the defense of non-objectualism what was distinguished from most collaborative strategies or group for that period. The group stayed together for six years and became involved in projects outside of Mexico in the cities of Paris, Medellin, Los Angeles and Sao Paulo. In 1983 the group opts for individuals and each of the four pillars of the Non-Group decided to continue with his own creative process.

The exhibition brings together an important set of heterogeneous documents of the Non-Group: photographs, posters, art-object, publications, video, text, text, handbills, photocopy art, prints and exhibits for the first time also Colombia editorial draft Agenda 83, the artistic-political agenda that produced the No-group in solidarity with the Colombian reality and the dissident movement M-19 Movement (April 19). For this publication involved a forty other producers, many of them members of other groups with whom the Non-Group maintained a close relationship: Process Pentagon (Felipe Ehrenberg, Carlos Aguirre, Lourdes Grobet), Group MIRA (Melecio Galván, Arnulfo Aquino, Rebecca Hidalgo, Jorge Perez Vega) Peyote and the Company (Adolfo Patiño) and Group Addition (Oliverio Hinojosa) plus the involvement of other visual artists, graphic communications, cartoonists, photographers and writers.

In one of the members of the Non-Group, Melquiades Herrera, exhibited some documents produced after the group disbanded. Part of the photographic series "Surreal Mexico News, photographs Hinojosa on it and some videos made in collaboration with Jorge Prior.

Parallel to the exhibition will take place from 6 to 8 October at the Centro Cultural Matucana 100 (Santiago, Chile) Discussion Images, imagination and critical imagination, directed by Richard Kelly. In this Henaro Sol curator participate with a presentation entitled "NO-GROUP (1977-1983), a collective jiggling the artistic straitjacket." Among the guests at the various symposia include Manuel Borja (Spain), Néstor García Canclini (Argentina-Mexico), Andrea Giunta (Argentina), Ana Longoni (Argentina) Rolnik Suely (Brazil) and Marcelo Expósito (Spain). In the city of Valparaiso where they will present the exhibition, the artist Maris Bustamante will speak on the plurality of production of Non-Group and Non-Mexican objectualism. (Day and time tbc). GENERAL INFORMATION



LATIN AMERICAN ART Exhibition
: State of siege
Guest Curator: Gabriel Peluffo Linari (Uruguay)
NO-GROUP EXHIBITION, research: SOL HENAR

Center for the Study of Contemporary Urban Development - Santo Domingo no DUC . 4, Valparaiso, Chile

Opening: Friday, October 9 - 19.30 hrs. Closing: December 5 www. trienaldechile.cl