The act was an allusion to the myth that, during the Spanish colonization of Cuba, Indigenous people ate nothing but dirt, a choice of death over captivity. She received a Guggenheim Foundation fellowship (1998), and has been awarded residencies at Skowhegan (2002); Headlands Centers for the Arts (1998); Fundación Museo de Arte Contemporáneo de Maracay (1998); Art in General (1997); and ART/OMI (1995). With its provocative critique of the strange power dynamics that guide life in post-revolution Havana, the work embodies Bruguera’s practice, which often involves provoking viewers into considering visible and invisible means of governmental oppression.“I started thinking about appropriating the structure and the resources of power as my medium, as my material,” sheThe leading source of art coverage since 1902. The daughter of a diplomat, Bruguera spent her early childhood in Paris, Lebanon, and Panama.After returning to Havana in 1979, she studied at the Elementary School of Plastic Arts (1980–83), the San Alejandro School of Plastic Arts (1983–87), and the Higher Institute of Art (1987–92). Tania Bruguera. Buenos Aires, Argentina.Gonzáles-Mora, Ileana Magda "Obsesiones", August 13, 1998. Tania Bruguera lives and works in Queens, New York.A weekly digest of things to watch, read, and hear from the comforts of your home, selected by Art21-featured artists and Art21 staff.Investigating stories of silenced or marginalized communities, artists have employed their practices as tools for effecting change.Tania Bruguera explains the term Arte Útil in relationship to the social responsibility of art. Tania Bruguera is an artist and activist whose performances and installations examine political power structures and their effect on society's most vulnerable people. Interview by Susan Sollins at the Queens Museum in Queens, New York, on March 24, 2014.Educator-in-Residence Nick Kozak offers politically neutral ways of teaching on protest art and activism in the classroom.Artist and co-curator of “Monument Lab” Ken Lum shares the findings of this public engagement project, which served as a participatory exercise in spatial production, and questioned the role of monuments and public art in civic spaces.Art21 is a 501(c)3 non-profit organization; all donations are tax deductible to the fullest extent of the law.An always-on video channel featuring programming hand selected by Art21Curated by Art21 staff, with guest contributions from artists, educators, and moreExplore over 700 videos from Art21's television and digital seriesEducator-in-Residence Joseph Iacona shares the impact socially engaged artists have in classrooms with trauma-impacted students. Below is a guide to some of Bruguera’s most incisive performances.

Visitors was born in 1968 in Havana, Cuba, where she observed failings of the Cuban revolution, which gave way to economic hardship, creative censorship, and unchecked forms of power for officials. D'Art International Magazine. Bruguera started by producing these reenactments for herthesis at the Instituto Superior de Arte in Havana, and she continued doing them for the next 10 years, re-creating works such as Mendieta’s famed Mendieta’s practice centered the spiritual marriage of abstract female forms and earth, and in the “she left imprints and made carvings of her body into the earth, decorating the silhouettes with natural materials such as twigs, flowers, fire, and even animal hearts. Primitive ritual reveals the most hidden corners of our cultural memory and its signifiers. Bruguera, a politically motivated performance artist, explores the relationship between art, activism, and social change in works that examine the social effects of political and economic power. In 2014, she was apprehended by the Cuban government for attempting to stage a performance in Havana’s Revolution Square. As she explains, “For me the most important moment for an art piece is when people are not sure if it’s art or not.” She describes this juncture as the “productive moment.” Bruguera has been awarded and arrested for her presentations. During the performance, which spanned roughly an hour, a nude Bruguera slowly consumed native soil mixed with salt water meant to symbolize tears. She had planned to set up a microphone and invite people to express their visions for Cuba.Political and social justice are at the core of Tania Bruguera’s performances, events, community projects, and exhibitions. Surrounding the video are nude male performers who stand atop mounds of sugarcane mash, Cuba’s most lucrative export. By creating proposals and aesthetic models for others to use and adapt, she defines herself as an initiator rather than an author, and often collaborates with multiple institutions as well as many individuals so that the full realization of her artwork occurs when others adopt and perpetuate it.She expands the definition and range of performance art, sometimes performing solo but more often staging participatory events and interactions that build on her own observations, experiences, and interpretations of the politics of repression and control. 2001El Peso de la culpa, Conceived in 1997; printed ca.

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