A Magyar Képzőművészeti Egyetem Képzőművészet-elmélet Tanszéke tisztelettel meghívja Önt
Dr. Rachel Weiss Ph.D. (Professor Emerita, Department of Arts Administration and Policy, the School of the Art Institute of Chicago) Now What? Quandaries of Art and the Radical Past című tanulmánykötetének (Fordham University Press. 2021.) bemutatójára, amelyre a szerző jelenlétében kerül sor.

Rachel Weiss-szel Dr. Turai Hedvig Ph.D. művészettörténész beszélget.

A könyvbemutatóra a Magyar Képzőművészeti Egyetemen (Budapest, Andrássy út 69-71, belépés az Izabella utca felőli bejáraton), a második emeleti 215-ös teremben, 2022. november 11-én, pénteken, 14.00 órától kerül sor.

A beszélgetés nyelve angol.

A szerző összefoglalója a kötetről, illetve szakmai önéletrajza alább található.

(További információ:
Szoboszlai János, a Képzőművészet-elmélet Tanszék vezetője:
szoboszlai.janos@mke.hu)

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Invitation

The Department of Art Theory and Curatorial Studies, Hungarian University of Fine Art, cordially invites you to the book presentation of Dr. Rachel Weiss Ph.D., (Professor Emerita, Department of Arts Administration and Policy, the School of the Art Institute of Chicago).

The book Now What? Quandaries of Art and the Radical Past (Fordham University Press. 2021.) will be presented by D.r Hedvig Turai Ph.D., art historian.

The event takes place on 11^th November, 2022, at 2pm, in the main building of Hungarian University of Fine Art (Andrassy u. 69-71, Budapest, entrance from Izabella street), on the second floor, in the room 215.

(More information: Janos Szoboszlai, Head of Department of Art Theory and Curatorial Studies, Hungarian University of Fine Art, Budapest: szoboszlai.janos@mke.hu)

The book

“The book is an exploration of artworks and films which have returned to radical histories and, in particular, to ones that have been subject to erasure or which have been otherwise lost or occluded over time. In looking at these acts of return, I explore questions about how, through the poetics of art and film, we can better understand and live within the condition of aftermath that trails from traumatic historical moments. The moments returned to—the Cuban Revolution, the coup against Salvador Allende, the ambiguous 1989 ‘revolution’ in Romania, and the mayhem caused in 1970s West Germany by the Red Army Faction—stand as historical watersheds, foundational and precipitate moments in the history of radical politics. The book is structured as a quartet of case studies that read poetic tellings of these key radical movements, their failure, and the trauma that comes in their wake: above all, it explores their refusal to accept the bargains that the present has been given to make with the meanings of the past.
Unlike much work on trauma, Now What does not presume an endpoint of resolution and healing. While those are desirable outcomes, in the abstract, it seems more honest to admit that we are always on the way to them, never quite arriving: such pasts are never fully reconciled. Instead, the text looks carefully at how creative and poetic expressions can tell those stories in ways that open a territory of experience in between the poles of malignant repetition and chimeric release. Not asking these histories to provide the answers we need in the present, the tellings explored, instead, find ways to live with their pasts, and to survive them, asking the urgent question of how we might live differently in those aftermaths, with neither illusion nor disillusion.”
(RW)

The Author

Dr. Rachel Weiss Ph.D., Professor Emerita, Department of Arts Administration and Policy, the School of the Art Institute of Chicago

PUBLICATIONS

Books

Now What? Quandaries of Art and the Radical Past, Fordham University Press. 2021.
Making Art Global (Part 1): The Third Havana Biennial; Afterall Books, 2011. (Awarded the Jean Goldman Book Prize, Chicago; shortlisted for The Art Book Prize, Author’s Club, London)
To and From Utopia in the New Cuban Art, University of Minnesota Press, 2011. (Named Choice Outstanding Academic Title 2011, American Library Association)
On Art, Artists, Latin America and Other Utopias by Luis Camnitzer (editor), University of Texas Press, 2009. (Recipient of CAA’s Frank Jewett Mather Award, 2010)
Por América: La Obra de Juan Francisco Elso (editor and lead author), Mexico City: Universidad Nacional Autónomo de México, Instituto de Investigaciones Estéticas, 2000. With additional essays by Luis Camnitzer, Orlando Hernández, Alfredo López Austin, Cuauhtémoc Medina and Gerardo Mosquera. (Named Best Book of the Year, 2000, National Chamber of Mexican Art Book Publishers). Supported by a writer’s residency award at Ucross Foundation, Clearmont, WY, 1997.
Global Conceptualism: Points of Origin 1950s-1980s (exh. catalog; co-editor (with Jane Farver and Luis Camnitzer) and co-author), New York: Queens Museum of Art, 1999. Other contributors include Stephen Bann, Lászlo Beke, Okwui Enwezor, Claude Gintz, MariCarmen Ramírez, Margarita Tupitsyn and Peter Wollen.
The File Room (on-line exh. catalog for project by Antoni Muntadas; editor and co-author), Chicago: Randolph Street Gallery, 1995. Other contributors include Herbert Schiller, Carol Becker, Judith Russi Kirshner, Robert Atkins and Clemente Padín. http://www.thefileroom.org/publication/titlepage.html
Ante América/Regarding America (exh. catalog, published in Spanish and English editions; co-editor (with Gerardo Mosquera and Carolina Ponce de León) and co-author). Bogotá: Banco de la República de Colombia, 1992. Other contributors include Dan Cameron, Osvaldo Sánchez, Gabriel Peluffo, Charles Merewether and Germán Rubiano Caballero.
América: Cambio de Foco/ America: Change of Focus (exh. catalog, published in Spanish and English editions; co-editor (with Gerardo Mosquera and Carolina Ponce de León) and co-author), Bogotá: Banco de la República de Colombia, 1992. Other contributors include José Hernán Aguilar and Casimiro Xavier de Mendonça.
Being América: Essays on Art and Identity in Latin America Today (editor), Fredonia: White Pine Press, 1991. Contributors include Elena Poniatowska, Claribel Alegría, Martín Espada, Luis Rafael Sánchez, Julio Ortega, Alfredo Jaar, Marta Lamas, Cristina Pacheco and Guillermo Gómez-Peña.
The Nearest Edge of the World: Art and Cuba Now (exh. catalog; editor and co-author), Boston: Polarities, Inc., 1990. Other contributors include Gerardo Mosquera and Kellie Jones.
Imagining Antarctica (exh. catalog; editor and co-author), Linz, Austria: Ars Electronica Festival and Stadtmuseum Linz, 1986. Other contributors include Walter Sullivan and Alan Henrikson.

Contributions to Anthologies and Catalogs

“El ciclo vital de un movimiento: El arte visual cubano en la década de 1980,” in Belkis Ayón, (exh. catalog, Museo Nacional Centro de Arte Reina Sofía, Madrid), 2022.
“More Light,” in Paweł Kwiek, (Arton Foundation, Warsaw), 2022.
“Performing Revolution: from Volumen Uno to Postguerra,” in Cuban Art: Dreams and Deceptions, (Cisneros-Fontanals Foundation and MFA Houston), 2017.
“Difficult Times: Watching Mendieta’s Films,” in Covered in Time and History: The Films of Ana Mendieta, Howard Oransky, ed., (exh. catalog, U California Press), 2015.
“Cuban Aesthetics,” in Encyclopedia of Aesthetics Revised edition, Michael Kelley, ed., (Oxford University Press), 2014.
“Quinta Bienal de la Habana,” “La sexta Bienal de la Habana,” “La Órbita de la Séptima Bienal de la Habana: Planeta Buenavista,” and “Novena Bienal de la Habana,” in Bienal de La Habana: Palabras Críticas, 1984-2010, Israel Castellanos-León, ed, (Havana: Centro de Arte Contemporáneo Wifredo Lam), 2013.
“Utopía” in Caja de herramientas, Mabel Tapia, ed., (exh. catalog, Madrid: Museo Nacional Centro de Arte Reina Sofia), 2012.
“The Body of the Collective, and Changing Fortunes of Utopia in Cuban Art,” in Utopia and Contemporary Art, (Copenhagen: Hatje Cantz/Arken Museum), 2012.
“El puño de Lázaro,” in Altamente confidencial (Lázaro Saavedra en su Isla), Magaly Espinosa and Wendy Navarro, eds., (Quito: Galería Arte Actual), 2011.
“Visual Art, 1959-1989,” in Cuba: People, Culture, History, Alan West Duran, ed., (Scribner World Scholar/Gale), 2011.
“Transparencia,” in Informe, (Mexico City: Museo Universitario de Arte Contemporáneo/MUAC), 2009.
“Untitled Notes on Not Seeing,” in Denis Cosgrove and Kathryn Yusoff, eds., Bipolar, (London: The Arts Catalyst), 2008.
“The Pavilion’s Dare,” in Alexander Schmoeger, Lisa Schmidt-Colinet, Eugenio Valdés Figueroa, Florian Zeyfang, eds., Pabellon Cuba: 4D – Four Dimensions, Four Decades, (Berlin: b_books), 2008.
“The Faces of Nin,” in René Francisco: El Patio de Nin (exh. catalog, collateral to the 52^nd Venice Biennale), 2007.
“Performing Revolution: Arte Calle, Grupo Provisional, and the Response to Cuban National Crisis 1986-89,” in Blake Stimson and Gregory Sholette, eds., Collectivism After Modernism: The Art of Social Imagination After 1945, (Minneapolis: University of Minnesota Press), 2007.
“A Few Thoughts on the Angry Inheritance,” in Hans Askheim, ed., And Yet It Moves!, (lead essay) (London, MOT), 2006.
“Utopiary,” in Jörn Ruesen, Michael Fehr, and Thomas Rieger, eds., Thinking Utopia: Steps Into Other Worlds, (Oxford and NY: Berghahn Books with the Karl Ernst Osthaus Museum, Hagen, Germany), 2005.
“From Place to Place,” in The Renaissance Society 1990-2000 (lead essay) (Chicago: The Renaissance Society), 2004.
“Scare Quotes,” in Javier Panera, ed., Cecilia Paredes, (lead essay) (Salamanca: Centro de Fotografía Universidad de Salamanca), 2003.
“Enrique Chagoya,” in Robert Schweitzer, ed., Rayuela/Hopscotch: Fifteen Contemporary Latin American Artists, (Scranton: University Art Gallery, The University of Scranton), 2002.
“Epilogue,” in Luis Camnitzer, New Art from Cuba (second edition), (Austin, University of Texas Press), 2002. With Luis Camnitzer.
“Impressions of an Unstable Moment,” in Santiago B. Olmo, ed., Antoni Socias, (lead essay) (Palma de Mallorca: Casal Solleric), 2000.
“Among Africas/ In Americas,” in Renée Baert, ed., Territories of Difference, (exh. Catalog, Banff: Walter Phillips Gallery), 1993.
“I världen med Carlos Capelán”(“In The World with Carlos Capelán”), in Cecilia Nelson, ed., Carlos Capelán, Lund: Lund Konsthall), 1992.

Contributions to Journals and Magazines

“None of the Art Stuff Makes Sense Anymore: an Interview with Luis Camnitzer,” in ARTMargins, 2021.
“The Body of the Collective and the Changing Fortunes of Utopia in the New Cuban Art,” in Revista de Estudios Globales & Arte Contemporáneo (REGAC), special issue on NON-TEXTUAL UTOPIAS, (Barcelona University´s AGI Research Group), 2018, http://revistes.ub.edu/index.php/REGAC/issue/view/1623 .
“Some Thoughts After Kapur and Mathur,” in Art Journal (College Art Association), 2018.
“The Farewell to Utopia in Revolutionary Cuban Art: An Interview with Rachel Weiss,” with Olga Viso, Walker Art Center Sightlines Magazine, https://walkerart.org/magazine/olga-viso-rachel-weiss-post-revolutionary-cuban-art , 2018.
“To Build the Sky,” Walker Art Center Sightlines Magazine,
https://walkerart.org/magazine/excerpt-rachel-weiss-to-from-utopia-new-cuban-art, 2017.
“To Defend the Revolution is to Defend Culture—But Which Version?,” in ARTMargins (MIT Press), 2017.
“Some Thoughts on the Right Way (for us) to Love the Cuban Revolution,” in PUBLIC Journal (Toronto), 2016.
“The Bienal, ‘Before it Changes’,” in Art Nexus (Bogotá/Miami), 2015.
“Grupo Antillano,” in caa.reviews (College Art Association), 2015.
“Thinking Back on Global Conceptualism,” in MoMA post: Notes on Modern and Contemporary Art Around the Globe http://post.at.moma.org/themes/19-global-conceptualism-reconsidered , 2015.
"Recordando un pasado intenso, y la sorpresa que nos lleva,” in Errata# Revista de Artes Visuales special issue # 9 “Éticas y estéticas,” Gabriel Peluffo y Bruno Mazzoldi, eds. (Bogotá: Instituto Distrital de las Artes y la Fundación Gilberto Alzate Avendaño/Secretaría de Cultura Recreación y Deporte de Bogotá), 2013.
“Tall Tales, Apocryphal Visions, and Hoaxes,” in Nowhereisland, Claire Doherty, ed. (online, London: Cultural Olympiad), 2012.
“Trusting the Public: the 11^th Havana Bienal, in Art Nexus (Bogotá/Miami), 2012
“José Bedia: Transcultural Pilgrim,” in African Arts, 2012.
“El puño de Lázaro,” in Irrupciones al sur: nuevas formas de antagonismo politico-artístico en América Latina, special issue of Tercer Texto (online: published by Third Text, London), Miguel López and Ana Longoni, eds., 2012.
“Between the Material World and the Ghosts of Dreams: An Argument about Craft in Los Carpinteros,” in Journal of Modern Craft (Oxford: Berg), Spring 2008.
“Reescruire l’Art Conceptual,” in Papers d’Art, (Girona: Fundacio Espais), No. 93, 2007.
Special Issue on Censorship, Social Identities, editor with Nicholas Lowe, and author, “After the Storm in Cuba: A Case of Withdrawal,” (Abingdon: Routledge), Spring 2007.
“Visions, Valves and Vestiges: The Curdled Victories of the Havana Bienal,” Art Journal (New York: College Art Association), Spring 2007.
“Ninth Bienal of Havana,” Art Nexus (Bogotá/Miami), 2006.
“Notes from Planet Buena Vista: the 7^th Havana Bienal,” New Art Examiner (Chicago), 2001.
“The Orbit of Planet Buena Vista,” Art Nexus (Bogotá/Miami), 2001.
“Some Notes on the Agency of Exhibitions,” Visual Arts and Culture (Sydney, Australia), 1999.
“The Second Johannesburg Biennale,” Art Nexus (Bogotá/Miami), 1998.
“Magnet at the Global Edge: The Sixth Bienal of Havana,” New Art Examiner (Chicago), 1997.
“The Sixth Bienal of Havana,” Art Nexus (Bogotá/Miami), 1997.
“The Launchpad of Chicagoism,” Art Nexus (Bogotá/Miami), 1997.
“The March of Paradigms,” New Art Examiner (Chicago), 1995.
“About Place,” Art Nexus (Bogotá/Miami), 1995.
“The Long Process of Getting to the Nearest Edge of the World,” Journal of Arts Management, Law and Society (Washington DC: Heldref), 1995.
“5th Bienal de La Habana,” Review: Latin American Literature and Arts (New York: The Americas Society), 1994.
“Notes on the 5th Bienal,” Representing Artists (Barbados, W.I.), 1994.
“The Rebate that Roared: Art and Economics at the Border,” Art Nexus (Bogotá/Miami), 1994.
“The United Colors of Whitney,” Art Nexus (Bogotá/Miami), 1993.
“Ellen Rothenberg: An Excerpt from the Anne Frank Project,” Art New England (Boston), 1993.
“Acerca de Ante América en EUA,” FANAL, revista del Museo de Arte y Diseño Contemporáneo (San José Costa Rica), 1993.
“The End of Quotation: Bulgaria's Moment of Truth,” Afterimage (Rochester: Visual Studies Workshop), 1992.
“Gerardo Mosquera: A Case of US Hostility Toward Cuba,” Third Text (London: Routledge), 1992.
“The 4th Bienal of Havana: A Perspective,” High Performance (Santa Monica), 1992.
“Interrogating Identity,” High Performance (Santa Monica), 1992.
“Between Spring & Summer: Soviet Conceptual Art in the Era of Late Communism,” Art New England (Boston), 1991.
“Magicians of the Real World (The Third Bienal of Havana),” High Performance (Santa Monica), 1990.
“The Third Bienal of Havana,” Lund Art Press (Lund, Sweden), 1990.
“Gifted Visions: African-American Folk Art,” Art New England (Boston), 1990.
“Unknown New York,” Art New England (Boston), 1990.
“A Different War: Vietnam in Art,” Art New England (Boston), 1990.
“Mass Miracle,” Mass. College of Art (Boston), 1990.
“Art Against Nature: Japanese Art in the Eighties,” Art New England (Boston), 1990.
“Necessity, Invention and New Cuban Art,” Wolgan Misul (Art Monthly), (Seoul, Korea), 1990.
“Remo Campopiano,” Art New England (Boston), 1989.
“Creating Freedom: Revolutionary Culture in South Africa,” TresMundo (Havana: Centro Wifredo Lam), 1989.
“Marjorie Agosin's 'Zones of Pain',” Sojourner, 1988.
“Boycotting the Truth,” Black New York and Daily Muse, (New York/Boston), 1987.
“Antarctica & Concepts of Order,” Leonardo, (San Francisco: International Society for Art, Science & Technology), 1984.

Miscellaneous Writings

“Third World Brings Its Culture to Third Bienal of Havana,” Boston Sunday Globe, 1989.

“Colombian Senator Denied Visa,” The Guardian Newsweekly, 1988.

Testimony, US Congress Committee on the Judiciary, Subcommittee on Civil & Constitutional Rights, 1987.

CURATORIAL PROJECTS: (selected)

Curadores Come Home!, (Havana: Espacio Aglutinador), 2013.

Global Conceptualism: Points of Origin 1950s-1980s: project director, with Luis Camnitzer and Jane Farver. (New York: Queens Museum of Art, 1999). Curatorial team: Lászlo Beke, Shigeo Chiba, Okwui Enwezor, Gao Minglu, Claude Gintz, Mari Carmen Ramírez, Terry Smith, Reiko Tomii, Margarita Tupitsyn, Wang Kyung-sung, Peter Wollen. Traveled to Walker Art Center (Minneapolis), Miami Art Museum, MIT List Visual Art Center (Cambridge). Supported by grants from the Rockefeller Foundation, National Endowment for the Arts, Andy Warhol Foundation, New York State Council on the Arts, Lannan Foundation, Peter Norton Family Foundation, Korea Foundation, Trust for Mutual Understanding, Japan Foundation, Asian Cultural Council, Institut für Auslandbeziehungen, Shiseido Co. Ltd., British Council, New York Council for the Humanities, AT&T. Catalog.

The Next Museum (lecture series), (Chicago: School of the Art Institute Visiting Artists Program, 2000). Including Carol Duncan, Zaha Hadid, Peter Wollen, Irit Rogoff, Mary Jane Jacob, Connie Wolff, Liisa Roberts and John Hanhardt.

New Artists in Chicago (emerging artist exhibition and performance series); project director, with Judith Russi Kirshner, Janet Carl Smith and John Hallmark Neff (Chicago: Terra Museum of American Art, 1998).

Rolando Castellón: Post-Columbian Artifacts (Chicago: Betty Rymer Gallery, 1997). Brochure.

Ante América: co-curator, with Gerardo Mosquera and Carolina Ponce de León. (Bogotá: Biblioteca Luis Angel Arango, 1992). Traveled to the Museo Alejandro Otero (Caracas), Queens Museum of Art (NY), Yerba Buena Center for the Arts (San Francisco), Spencer Museum (Lawrence KS), Museo de Arte y Diseño Contemporáneo (San José, Costa Rica). Supported by grants from The Rockefeller Foundation and the Banco de la República de Colombia. Catalog.

Cambio de Foco: co-curator, with Gerardo Mosquera and Carolina Ponce de León. (Bogotá: Biblioteca Luis Ángel Arango, 1992). Traveled to the Museo Alejandro Otero, Caracas. Catalog. Supported with grants from The Rockefeller Foundation and the Banco de la República de Colombia. Catalog.

Some of the Consequences: Two Americans After Vietnam (work by Bill Short and Bill Burke): (Plymouth State University, 1992). Brochure.

From a Moment of Truth: Works on Paper from Bulgaria (Plymouth State University, 1992). Brochure.

Among Africas/ In Americas (Banff: Walter Phillips Gallery, the Banff Centre, 1990). Catalog.

The Nearest Edge of the World: Art and Cuba Now: co-curator, with Gerardo Mosquera. (Boston: Polarities, Inc. and Havana: Cuban Ministry of Culture, 1990). National tour 1990-1994. Supported by grants from The Rockefeller Foundation and the New England Foundation for the Arts. Catalog.

Seeing Through Paradise: Artists and the Terezin Concentration Camp: co-organizer. (Massachusetts College of Art, 1989). Supported by grants from the Massachusetts Council on the Arts & Humanities and Facing History & Ourselves. Catalog.

Pedro Meyer and Graciela Iturbide: Contemporary Mexican Photographers: (Massachusetts College of Art, 1989).

Out of Balance: An Installation by Alfredo Jaar: (Massachusetts College of Art, 1989).

Surviving Visions: The Art of Iri and Toshi Maruki: co-curator, with Henry Isaacs. (Massachusetts College of Art, 1988). Supported by grants from the Massachusetts Foundation for the Humanities and Public Policy, the Massachusetts Council for the Arts and Humanities, the Boston Globe Foundation, Hitachi Foundation and Kodansha International USA-Ltd. Catalog (contributors include John Berger, John Dower, Denise Levertov, Kenzaburo Oe, Leon Golub and Magdalena Abakanowicz).

Latinoamérica Despierta (festival) (Massachusetts College of Art, Villa Victoria Community Cultural Center and Roxbury Community College, 1988). Supported by grants from the Massachusetts Foundation for the Humanities & Public Policy, Bank of Boston, New England Foundation for the Arts, WBZ-TV, Boston Phoenix, Massachusetts Council on the Arts & Humanities.

Arte Cubano en Boston (Massachusetts College of Art, 1988).

The Board Room by Antonio Muntadas (Massachusetts College of Art, 1987). Supported by a grant from the Massachusetts Council on the Arts & Humanities. Brochure.

Rituals and Surfaces: Work by Carlos Capelán (Massachusetts College of Art, 1987).

Rashid Lombard: Photographs from South Africa (Massachusetts College of Art, 1986).

Luis Camnitzer: the Uruguayan Torture Series (Massachusetts College of Art, 1986).

Imagining Antarctica (Ars Electronica Festival and Stadtmuseum Linz, Austria, 1986, international tour 1986-88). Supported by a grant from the National Science Foundation. Catalog.

Rift/Rise by Rita Myers (Massachusetts College of Art, 1986).

Politics, Culture and the Struggle for Liberation: The Situation in South Africa (festival) (Massachusetts College of Art, Roxbury Community College, African National Congress, TransAfrica, 1986). Supported with grants from the Massachusetts Foundation for the Humanities & Public Policy, Roxbury Community College Foundation, Haymarket Peoples Fund.

Unforgettable Fire: Drawings from Hiroshima: co-curator, with Henry Isaacs. (Massachusetts College of Art, 1985). Supported by a grant from the Hiroshima Peace Foundation. Catalog.

Dreamland Burns by Squat Theatre (Eventworks, Boston, 1985). Supported by a grant from the Massachusetts Council on the Arts & Humanities.

Komar and Melamid: Paintings and Murals (Massachusetts College of Art, 1984). Brochure.

Diamanda Galas in Concert (Eventworks, Boston, 1983).

Whorled in the Balance: The Perils of Pandora (live international artists’ satellite telecast) Producer and director. (Centre Georges Pompidou, Paris and Canadian National Museum of Science & Technology, Ottawa, in collaboration with SAW Gallery, Ottawa, 1982). Supported by grants from the Canadian Department of Communications, Canada Council and Massachusetts Council on the Arts & Humanities.

PROFESSIONAL AFFILIATIONS

National Council of Arts Administrators (2016- 2020)
International Association of Art Critics (1994- present)
College Art Association (1994- 2020)
American Association of Museums (1993- 2020)
International Council of Museums (1993- 2020)
ArtTable (1994- 1999)

EDUCATION

Researcher University of Cambridge/ Scott Polar Research Institute (non-matriculated), 1984
MFA Massachusetts College of Art, 1980
BA (High Honors) Marlboro College, 1976