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Alicia Herrero

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Alicia Herrerois a Buenos Aires-born contemporary artist who works with various media including installations, objects, paintings, enactments and video. His projects explore technologies related to language, economics, law, gender studies and colonialism.

Projects[edit | edit source]

Alicia Herrero works on the Art & Capital series from the 90’s which includes A visual theory of distribution (2017 [1]; Mundus Financial Corporation Inc. (2015); Museum of Political Economy of Art (2012); Public Considerations, a Symposium in Three Acts (since 2010); Essays on a Tribunal (since 2008); Suite Auction Drawings (since 2008); Auctions Market & Money (since 2008); The Revolutionary Journey! (since 2010).

Exhibitions[edit | edit source]

She has participated in several international art biennials like I Bienal Sur [2], Buenos Aires, Argentina (2017); VIII Mercosul Biennial of Porto Alegre, Brazil (2011); IV Internationella Konstbiennal, Göteborgs, Sweden (2007); I End of the World Biennial, Ushuaia, Argentina (2007); and V La Habana Biennial, Cuba (1994).

Her work has appeared in solo show or group exhibitions at CCK (Buenos Aires 2018); Una teoría visual de la distribución [A visual teory of distribution] Henrique Faria gallery, Buenos Aires (2017); It´s the Political Economy, Stupid, at DAAP Galleries, University of Cincinnati (2016), Galerija Nova (Zagreb, 2014), Gallery 400 - University of Illinois at Chicago (2013), Center of Contemporary Art Thessaloniki (Greece, 2012), Austrian Cultural Forum New York (2012); Algunos Artistas /90-Hoy [Some Artists/ the '90s till Today], Fundación Proa (Buenos Aires, 2013); Henrique Faria Buenos Aires (2013/2012); MALBA, Museo de Arte Latinoamericano de Buenos Aires (2012). Other olds exhibitions were at Dispari & Dispari, (Reggio Emilia, 2009); Shedhalle, (Zurich 2004); Neue Gesellschaft für Bildende Kunst NGBK, ( Berlin 2003) the Boijmans van Beuningen Museum, (Rotterdam 2001/2002); between others.

Her recent prizes and grants are Colección Oxenford (Buenos Aires, 2017); Bicentenario Grant, Fondo Nacional de las Artes (Buenos Aires, 2016); commission at DordtYart and Mondrian Foundation (Dordrecht, Holland, 2015); first prize, Salón Nacional de ArtesVisuales – Nuevos Soportes e Instalaciones [New Media and Installations] (Buenos Aires, 2014); National Grant for group projects, Fondo Nacional de las Artes (Buenos Aires, 2012); Capacete (Rio de Janeiro, 2011). She created in 2007 the LIPAC, Laboratory of Investigation in Contemporary Artistic Practices at the Buenos Aires University (CCRRojas). She has offered in the last three years, workshops, laboratories and performative lectures at Museo de Arte Contemporáneo de Montevideo, Uruguay (2016); Proyecto Casa Mario, Montevideo, Uruguay (2016); DordtYart, Dordrecht, The Netherlands (2015); MURA, Guadalajara, México (2013); SITAC-Campo de Pruebas, México df (2013); Eyebeam - Art + Technology Center, New York, USA (2012); Austrian Cultural Forum New York USA (2012); El Ranchito Matadero and Medialab Prado, Madrid Spain (2012); Cittadellarte-Fondazione Pistoletto, Biella, Italy (2010); Spazio Gerra Reggio Emilia, Italy (2009); Postgrado en Artes Visuales Contemporáneas, Scola Guignard – Minas Gerais Universidad Estatal, Belo Horizonte, Brazil (2011), organized by Capacete, Brazil (2011), between others. Their projects have been included in recent publications of international books: Art & Politics Now by Anthony Downey published by Thames and Hudson, London (2014); It´s the Political Economy, Stupid: The Global Financial Crisis in Art and Theory published by Pluto Press (UK) and Pori Art Museum (2013); Praxistest, with the participation of Judith Butler and Slavoj Zizek, Oliver Ressler and Gregory Sholette, between other writers ans artists.

Künstlerische Projekte Zur Vermittlung Aktueller Kunst, book series published by Schoeppinger Forum für Kunstvermittlung, Germany (2012); Rethinking Marxism, Association for Economic and Social Analysis /Routledge/Taylor & Francis, USA /UK and the book: Pedagogy in the Expanded Field publication of the 8 th Mercosul Biennial, chapter Art as Knowledge of the World, English, Portuguese and Spanish versions, Porto Alegre, Brazil, 2011, between other biennials catalogues and exhibition books. Among the collections her work is found in are: Museo de Arte Moderno de Buenos Aires MAMBA ; Museo de Arte Latinoamericano de Buenos Aires MALBA; Museo de Arte Contemporáneo de Rosario MACRO; Centro Arte Contemporáneo Mendes (Rio de Janeiro) and several private collections.

Bibliography[edit | edit source]

  • CUESTIÓN DE ESCALA[3] [SCALE QUESTION] by Laura Rosso, Pagina 12, Friday 22/12/2017
  • UN VIDRIO LLENO DE GENTE [A GLASS FULL OF PEOPLE] by Laura Isola, Perfil Culura/Arte, Sunday 17 /12 /2017
  • MARCEL DUCHAMP EN BUENOS AIRES: HUELLAS DE UNA VANGUARDIA INVISIBLE [MARCEL DUCHAMP IN BUENOS AIRES: FOOTPRINTS OF AN INVISIBLE AVANT-GARDE] by Fernando García, La Nación /Cultura, Sunday 10/12/2017
  • EL ARTE, EL FEMINISMO Y LOS GRANDES RELATOS. El lugar subordinado de las mujeres en el espacio social del arte es tematizado en muestras críticas. [ART, FEMINISM AND GREAT STORIES The subordinate place of women in the social space of art is thematized in critical exhibitions] by  Daniela LucenaRevista Ñ, Saturday 31/12/2017
  • UNA MUESTRA PARA PONER EN VALOR EL DISENSO [AN EXHIBITION TO PUT IN VALUE TO THE DISSENT] by Jessica Fabaro, TN, 2/12/2017 
  • LA MEDICIÓN, QUE SIN DUDA ESTÁ EN EL ORIGEN DE LA POLÍTICA Y DE LA ECONOMÍA, TAMBIÉN LO ESTÁ EN EL ORIGEN DEL ARTE [(THE MEASUREMENT, WHICH WITHOUT DOUBT IS IN THE ORIGIN OF POLITICS AND ECONOMY, IS ALSO AT THE ORIGIN OF ART], about individual show: A theory of Distribution, Ramona magazine, November 2017
  • THE MYSTERY OF MEASUREMENTS AND EXCESSES (desbordes) by Gonzalo Aguilar, catalogue of solo show at Henrique Faria gallery, November 15/December 27 /2017.
  • FRONTERA/BORDER by Dorota Biczel, catalogue of the group show:: Frontera, Henrique Faria gallery, October 4 /November 8/ 2017
  • LA MIRADA QUE SE SEPARA DE LOS BRAZOS by Florencia Battiti, curatorial text BienalSur, Centro Cultural Conti, September 15, January 2018.
  • EL MAPA AL REVES, BIENALSUR by Cristina Civale, Radar (Cultural supplement), newspaper Pagina 12, July 16, 2017
  • MACMO publication, Art, Education and Posteducation in the Radical South  PUBLIC CONSIDERATIONS, A SYMPOSIUM IN THREE ACTS, 2017
  • ALICIA HERRERO IN CONVERSACIÓN WITH TERESA RICCARDI, Terremoto magazine, Mexico, pages 46 to 49, May /2016
  • TODO SOBRE EL DINERO by Cristina Civale, Página 12 newspaper, pages 8 and 9, Las 12, 26/02/2016
  • EL PREU DE L’ART: UN POSSIBLE OBJECTE ARTÍSTIC by Helena Caballeria, Maria José Bonet, Vignesh Tolu and Melwani Andrea Romaní, Universidad Pompeu Fabra de Barcelona, 2015
  • ART AND POLITICS NOW by Anthony Downey, Thames & Hudson (UK) 2014
  • MUSEOS DE ARTISTAS by Tomás Ruiz-Rivas, VALF, Spain, 2014
  • IT’S THE POLITICAL ECONOMY, STUPID! by Vladimir Jeric Vlidi, LatinArt (about exhibition at Center for Cultural Decontamination in Belgrade organized by Rosa Luxemburg Foundation), Quito - Los Angeles, 2014
  • RETHINKING MARXISM - ASSOCIATION FOR ECONOMIC AND SOCIAL ANALYSIS /(2013), # 25/3, Routledge/Taylor & Francis, USA/UK (p. 121 to 133).
  • EMPEZÓ EL SITAC XI by Marcela Quiróz, SalónKritik, February 23, 2013
  • IT’S THE POLITICAL ECONOMY, STUPID:The Global Financial Crisis in Art and Theory publicado por Pluto Press (UK) y Pori Art Museum
  • MUSEO DE LA ECONOMÍA POLÍTICA DEL ARTE, Esfera Pública interview, Bogotá May 2013
  • CAPITAL ON/SCENITIES by Teresa Riccardi text of the solo show: Museo de la Economía Política del Arte (Museum of the Political Economy of Art) Henrique Faria (11 x 7) Gallery, Buenos Aires 2012/2013
  • ¡VENDIDA! by Cristina Civale, Página 12 newspaper, pages 8 and 9, Las 12, 04-05-12
  • THE ENACTING OF THE PUBLIC (FROM PERFORMATIVITY TO EMANCIPATION) in Alicia Herrero's PC Public Considerations, a Symposium in Thee Acts (book), Rojas-Lipac,UBA, Buenos Aires 2011, by Teresa Riccardi EUDEBA, 2011.
  • THE ENACTING OF THE PUBLIC (FROM PERFORMATIVITY TO EMANCIPATION) in Alicia Herrero's PC (excerpt) in the publication: Practical Test. Projects of Genuine Artists to Communicate Current Art to the Public, book series of the Schoeppinger Forum für Kunstvermittlung, Germany, 2011 by Teresa Riccardi 
  • INTERVIEW WITH ALICIA HERRERO by Pablo Helguera, chapter "Art as Knowledge of the World" of the book: "Pedagogy in the Expanded Field" publication of the 8th Mercosul Biennial, Portuguese version (pages 105, 106 and 107), Spanish (248, 249 and 250), English (375,376 and 377), Pablo Helguera and Monica Hoff, Porto Alegre, 2011, Brazil 
  • ALICIA HERRERO text of the The Revolutionary Journey!, Geopoetics-Catalogue 8th Mercosul Biennial, Porto Alegre, 2011 by Pablo Helguera 
  • SPECULATIONIS, LatinArt.com, 2011 by María Fernanda Cartagena
  • AUCTIONS MARKET & MONEY Project in RECIBO Nº 88, magazine, São Paulo, Brasil by Teresa Riccardi and Roberto Moreira (Traplev)

References[edit | edit source]

  1. "Alicia Herrero". www.aliciaherrero.com.ar. Retrieved 2018-04-16.
  2. "BIENALSUR". bienalunasur2017.org (in español). Retrieved 2018-04-16.
  3. CUESTIÓN DE ESCALA

External links[edit | edit source]

References[edit | edit source]


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