THE PARADIGM CONFINES TOUR
art system models a political-social matter. Robert Smithson,
in his 1972 text called Cultural Confinement (see dossier), wondered
about the scope of critical practice within previously settled
representational structures . About 20 years later, Benedict
Anderson in Imagined Communities , examined the authoritarian
legitimation of the nation-states by means of the construction
of a history, a patrimony, a heritage, a canon, and analyzed in
turn, the role of the museum in the colonial nation state configuration.
These readings constitute an alluring discourse axis from where
to articulate some perspective about the intricate relationship
between art and society.
In past editions such as Re-vista Espacios y Límites, Backstage
or the recent release Puesta en escena: una aproximación
a las instituciones, Magazine in situ calls attention to this
modeling and includes the art system itself in its investigation
framework. In this live/on-line presentations MIS investigates
and produces critical forms that display a discourse on progress
conceived of as link processes between different reflective productions
of the field agents (artists, authors, curators, researchers,
in situ originates in Buenos Aires in a social-political circumstance
in which the community is going through an agonistic representational
crisis, a moment of collapse that penetrates and reverberates
beyond identifiable locations and times.
Within art critical practice there was a lack of a device that
could articulate the interstices that the social moment was producing.
The standard modes regarding exhibition, publications, roundtable
discussions, project presentation, worked as disciplined device
models for specific purposes and did not allow for the possibility
of the articulation of a deconstructive process that went along
with the social bustle. Far from thinking that art could change
the world, it was a special context for aspiring to think for
something to change in the art discourse, other forms of inter-relation
between institutions - art field agents - society - education.
MIS pictures itself then, as a relational, moving device, that
can vary its physical locations and trans-localize itself as an
on-line edition. And in this way, it conceives an interstitial
space for the contemporary critical practice (artistic, theoretical,
investigative) that allows to make a process vivid and self-reflective.
Paradigm Confines Tour, according to these references, proposes
a getaway from the standard representational methodologies in
a 3 hour navigation tour that re-locates the more or less common
expected devices of an international biennial: trans-national
reflective conversation, interdisciplinary show, media range,
and along with them it presents a mise-en-scène on tour.
It is an exploration of a trans, meta-historical, post-medial
territory, an exciting and complex topography that allows to perceive
the different superposed and juxtaposed layers of which a landscape
is constructed. This abundance of concepts, in synchrony with
the exotic, exuberant nature of the site, dissolves positivistic
neutralisms in order to invite us to constitute a sort of “On
Travel Treatise on the Sciences of Geo-physical-political-cultural
Landscape” (a special service that will be provided by the
the voyage through the Confines of Paradigm everything moves vertiginously.
The boat is a moving setting: the invoked signs oscillate in a
swinging movement between being performers and audience. The roles,
the boat, the landscape, the sound track, the presented projects,
the lab, all those work as text and context in the same act.
vessel is a platform that comprises different areas: bar - kiosk
Bar: Sound Track (Raquel Garbelotti, Wagner Morales and Carla
Zaccagnini- Sâo Paulo) presents for the scène a musical
repertoire regarding the drift specially created for The Paradigm
Confines Tour. This sound track interacts and completes itself
with the silences, noises and voices of the voyage.
Link processes, are projects that go beyond the physical and chronological
time and create diagrams and circulation channels: entities on
travel - magazines - documentation - dossier. They develop themselves
within a critical availability and elaborate symbolic value and
use value. Transnational Republic is a conceptual nation that
works on behalf of the recognition of transnational organizations
that offer civil guarantees (on human rights, environment, and
social justice) that are independent from the nation states and
proposes the creation of a Transnational Republic.
is an ongoing project since 1994. It was created by Ricardo Basbaum,
and it connects communicational strategies, contemporary art and
trans-disciplinary discursive perspectives. It invites us to have
an artistic experience and to rethink the fate of the art works.
NBP puts forward a certain kind of space that is produced through
movement. In collaboration with Documenta 12, twenty new objects
are in circulation in Brasil, Latin America, Europe, Africa. One
of them will sail on this tour. The results will be presented
in June 2007 in the Documenta exhibition in Kassel.
Magazine Table, by Bik van der Pol, is an international traveling
archive of non profit publications that started in 2001 in P.S.1
Contemporary Art Center New York, and in every city it is presented,
a new open call for publications is made, all of which will continue
to travel in each new presentation.
in situ proposes, with regard to Link Processes, to work as an
interface. Through Transnational Republic every sailing guest
of this edition will be invited to get their transnational I.D.
card. In relation with NBP it puts forward a flexible curatorial
function: an available platform for New Projects that work on
the same multiplicity basis. The archive Traveling Magazine Table
will arrive in Buenos Aires and Rosario and will start its open
call in the post-biennial activities framework programmed by The
Paradigm Confines Tour.
it is an exploration on impertinent Cartographies. It will be
in charge of Francisco Alí Brouchoud (Posadas), Bill Burns
(Toronto), Jaime Iregui (Bogotá), Miren Jaio (Bilbao),
Carla Zaccagnini (Sâo Paulo). The work dynamics will consist
of a set of questions such as: what is the role of the critical
artistic and relational practices within biennials, considering
that the first biennial was done in 1895?, Do they respond to
the related community type that the new practices demand? What
contributions can certain deconstructive and post-colonial readings
make out of this kind of events? What kind of effectiveness can
projects as MIS put forward? Can they be effective as an institutional
critical practice operating with the same art mechanisms? what
criteria, what paradigm analysis should be the support when these
critical practices turn into an “object of study”?
are these practices getting away more and more from the specific
matters in which the visual studies stabilize its contours on
the domain of the visual? Is art, as Ricardo Basbaum says, the
most advanced research field that exists nowadays? If according
to the trans-locations, the navigation through the geographic-semantic
sides of the biennial is to navigate through the edges of its
staging, touching its borders and structures (political-territorial-economical-touristy-patrimonial),
it is also true that as you go away you enlarge its limits, you
expand its frames, and gentrify. However it cannot be denied that
this same distance allows to introduce other discourses and to
examine contradictions, but how do we journey them and how do
we trans-culturally go through the asymmetrical resources still
related to the nation states?
Paradigm Confines Tour wishes the attendants enjoy the program
of the trip.
Holt, Nancy (1979): The Writings of Robert Smithson, New York,
New York University Press.
 Anderson, Benedict (1991): Imagined Communities: Reflections
on the Origin and Spread of Nationalism, London and New York,