Julieta Aranda

Julieta Aranda (born in 1975 in Mexico City, Mexico) is a conceptual artist that lives and works in Berlin and New York City.[1] She received a BFA in filmmaking from the School of Visual Arts (2001) and an MFA from Columbia University (2006), both in New York. Her explorations span installation, video, and print media, with a special interest in the creation and manipulation of artistic exchange and the subversion of traditional notions of commerce through art making.[2]

Julieta Aranda
Born1975
Mexico City, Mexico
EducationBFA in filmmaking at School of Visual Arts NYC MFA Columbia University

Biographical timeline
  • 1975 Born in Mexico City
  • 1995–1996 2-year grant from the National Foundation for the Culture and the Arts (FONCA), Mexico
  • 1996–1998 Merit scholarship awarded by the School of Visual Arts, (SVA), New York
  • 1995–1999 Silas H. Rhodes merit scholarship awarded by the School of Visual Arts, (SVA), New York
  • 1996–1999 Merit scholarship for young film-makers awarded by the National Board of Review, New York
  • 2001 BFA, School of Visual Arts, New York
  • 2002 Production grant from the Gulbenkien Foundation, Portugal
  • 2002 Jovenes Creadores, 1 year production grant, Mexico
  • 2004 Merit award, Columbia University, New York
  • 2005 Curatorial fellowship, Columbia University, New York
  • 2005 Member of "The Generals", a new advisory board of Art in General, New York
  • 2005 Kantor / Zach Feuer Gallery Curatorial Fellowship, Columbia University, New York
  • 2006 MFA, Columbia University School of the Arts, New York
  • 2006 UNIDEE in Residence – International Program 2006 (Fondazione Pistoletto) – Biella, Italy
  • 2007 IASPIS – International Studio Program 2007 – Stockholm, Sweden
  • 2007–2008 Art in General new commissions program, New York
  • 2008 International Residence Recollets, Paris
  • 2009 Art in General new commissions program, 2007–2008, New York

[1]

Work

Aranda's complex body of work exists outside the boundaries of the object, and is characterized by the struggle of catching sight of elusive concepts such as time, circulation, and imagination. Her installations and temporary projects, which often examine social interactions and the role that the circulation of objects plays in the cycles of production and consumption, are intensely site-specific.[2] Much of her work takes up the concept of time, sometimes to consider alternative notions of the temporal experience, and other times to approach the arbitrariness of time and freedom from time.

You had no ninth of May

In You had no ninth of May! (2006), Aranda addresses the artificiality of the homogeneous construction of time through the case of Kiribati, an archipelago in the Pacific that, in 1995, changed the position of the International Date Line (IDL). Through a series of installation pieces that conceptually and formally map the international date line at Kiribati, the artist investigates officially assigned time and calls into question concepts such as "today" or "tomorrow".[2][3]

There has been a miscalculation

Aranda's 2007 work There has been a miscalculation (Flattened Ammunition) is an experiment on the functioning of time. This work consists in a transparent Plexiglas cube containing approximately 100 science-fiction novels with a story line taking place before 2007 (the year in which the work was first produced), which have been shredded, almost pulverized. It also contains a hidden computerized air compressor that unexpectedly and violently blows the dust around at random intervals, recalling a sudden sandstorm. This way, Aranda's work makes books endlessly circulate and swirl in an empty cube, leaving them incessantly suspended in a past future.[3]

Intervals

For Intervals (2009), a solo presentation of four works installed in the Solomon R. Guggenheim Museum, Aranda explored and inverted the notion of time as a strictly assigned linear designation marked by clocks and calendars. In this exhibition, all the works were proposed to partially describe, in the artist's words "a sense of time's passage according to subjective experience, rather than subscribed to a strict system of measurement that assigns a fixed duration to any given event".[3] Each piece captures time's passage in an individualized sense, addressing what the artist conceives as "subject formation" and the assertion of one's dominion over one's own time as a condition for individualism.[2][3]

E-Flux

Julieta Aranda has been actively collaborating on e-flux since 2003, which is a publishing platform, archive, artist project, curatorial platform, and cultural enterprise founded by Anton Vidokle in 1998.[4] Aranda is both a contributor and editor of e-flux journal, and in collaboration with Vidokle, has produced several e-flux art projects that explore unusual models for the circulation and distribution of art.

E-flux video rental

Conceived in 2004 in collaboration with Anton Vidokle, e-flux video rental (EVR) comprises a free VHS video rental store, a public screening room and an archive. Its collection is selected in collaboration with a large group of international curators, and consists of over 500 art films and video works that are available to the public for home viewing free of charge.[5] The project was originally presented in a storefront in New York, and has been presented at various locations around the world, with the inventory of videos continuously increasing. After seven years as a traveling project, EVR was donated to the Moderna Galerija in Ljubljana in 2011 for its permanent display, which is a reconstruction of the original storefront at 53 Ludlow Street, New York. As a video rental store entering a museum collection, EVR will preserve and make available for future study not only the videos that comprise it, but also the social form of video rental stores, and the technology that originally made it possible.[6]

Pawnshop

Released in 2007, Pawnshop is an e-flux project by artists Liz Linden, Julieta Aranda, and Anton Vidokle. Both an exhibition and an artwork in itself, this project was originally located in e-flux's 53 Ludlow Street storefront, which temporarily became a pawnshop dedicated to the pawning of artworks. Its initial inventory consisted of over 60 pawned works from a group of artists invited to participate in the project, and after it was opened for business, further artists were able walk in with a work they wanted to pawn. After the initial 30 days, the artworks that have not been retrieved by their original owners became available for sale.[7]

Time/bank

An online platform initiated by Aranda and Vidokle, Time/Bank is based on the premise that everyone in the field of culture has something to contribute and that it is possible to develop and sustain an alternative economy by connecting existing needs with unacknowledged resources. On a practical level, it is a platform where artists, curators, writers and other people in the field, can exchange time and skills—help each other get things done without using money. Idealistically, Time/Bank can become a place where certain types of actions and ideas, that seem to have no value in our market-driven society, can gain a sense of worth.[8][9]

It is possible to open a time bank account at http://www.e-flux.com/timebank/user/register

Supercommunity

SUPERCOMMUNITY is an editorial project by e-flux journal commissioned for the 56th Venice Biennale, which was run from May to August 2015. Julieta Aranda, Anton Vidokle, and Brian Kuan Wood have been co-editors of this project, which addresses e-flux journal and its readership as the supercommunity and presents a daily piece of writing that often adopts the form of poetry, short fiction or screenplay.[10] It has featured contributions from nearly one hundred authors such as anthropologists, artists, philosophers, poets, theorists and writers.

Awards and recognition

Aranda has been awarded numerous grants and merit scholarships, from institutions such as FONCA, the National Foundation for the Culture and the Arts in Mexico (1995–1996), and both the School of Visual Arts (1995–1999), the National Board of Review (1996–1999) and Columbia University (2004) in New York.[1] She has also been an artist in residence at UNIDEE, the International Program by Fondazione Pistoletto in Biella, Italy (2006), as well as at IAPSIS, the International Artists Studio Program in Stockholm (2006) and at the International Residence of Recollets in Paris (2008).[1] Her work has been shown in internationally renowned institutions such as the Museum of Contemporary Art, North Miami (2009); the Solomon R. Guggenheim Museum, New York (2009); the National Museum of Art, Architecture and Design, Oslo (2010); and Museo de Arte Contemporáneo de Castilla y León, Spain (2010), as well as at international art festivals such as the Liverpool Biennial (2010); the Kassel Documenta, Germany (2012); and the Shanghai Biennale (2012).

Exhibition Timeline

Solo exhibitions
Year Exhibition title Institution City Country
2017 AS THE GROUND BECOMES EXPOSED Galleria Francesco Pantaleone FPAC Palermo Italy
2014 If a body meet a body Galería OMR Mexico City Mexico
2014 Tools for Infinite Monkeys (open machine) Ignacio Liprandi Art Contemporáneo Buenos Aires Argentina
2014 Video Art at Midnight No. 56 Babylon Kino Berlin Germany
2014 Notes for a time/bank Vdrome (online)
2014 Untitled NuMu Guatemala Mexico
2013 The knot is not (the rope) ABC (Art Berlin Contemporary) Berlin Germany
2013 If a body meet a body Museo Villa Croce Genova Italy
2013 Where there is smoke.. Galleria Francesco Pantaleone FPAC Palermo Italy
2013 尸Γσ₠§§ ㏌ Goethe-Institut Library New York USA
2012 I wanted to give it to someone else ArtPositions, ArtBasel Miami USA
2012 I wanted to give it to someone else MACRO Rome Italy
2012 Between Timid and Timbuktu Marilia Razuk Gallery São Paulo Brasil
2012 Time/Bank dOCUMENTA 13 Kassel Germany
2012 e-flux video rental (with Anton Vidokle) Moderna Galerija Ljubljana Slovenia
2012 Multifamiliar N.B.K Berlin Germany
2012 Time/Bank Stella Foundation Moscow Russia
2012 Time/Bank STUK Leuven Belgium
2011 Between Timid and Timbuktu: (a time without events) Gallery Niklas Belenius Stockholm Sweden
2011 In Search of Lost Time Galería OMR Mexico City Mexico
2011 Time/Bank (collaboration with Anton Vidokle) Portikus Frankfurt Germany
2011 Kopfbau (collaboration with Anton Vidokle) ArtBasel Basel Switzerland
2011 If you tell the story well, it will not have been a comedy Galeri Niklas Belenius Stockholm Sweden
2011 La Hora de la Hora Galería OMR Mexico City Mexico
2011 The tale of the tiger is longer than the tiger's tail… Zona MACO Mexico City Mexico
2011 Arts & Leisure Performa New York City USA
2010 If you tell the story well, it will not have been a comedy Kunstverein Arnsberg Arnsberg Germany
2010 e-flux video rental (collaboration with Anton Vidokle) Fondazione Giuliani Rome Italy
2010 All the Memory of the world (we can remember it for you) New Museum New York USA
2009 Intervals Guggenheim Museum New York USA
2009 ….and all I got was this lousy T-shirt Art in General New York USA
2009 Pawnshop (in collaboration with A. Vidokle and L. Linden) Vitamin Art Space Beijing Germany
2008 Publick Occurrences Both Forreign and Domestick Galerie Michael Janssen Berlin Germany
2008 There has been a miscalculation. Galerie Michael Janssen, Volta Art Fair Basel Switzerland
2008 we may be done now, but we are not through yet... Fruit & Flower deli New York USA
2008 270 x 400 Word Stockholm Sweden
2008 One way only Art in General New York USA
2008 You had no ninth of May! Sala Díaz Austin, Texas USA
2007 Present Future Galerie Michael Janssen, Artissima Turin Italy
2007 There has been a miscalculation Ersta Konsthall Stockholm Sweden
2007 e-flux video rental (with Anton Vidokle) Maus Maus Lisbon Portugal
2007 e-flux video rental (with Anton Vidokle) 9th Lyon Biennial Lyon France
2007 e-flux video rental (with Anton Vidokle) Centre Culturel Suisse de Paris Paris France
2007 e-flux video rental (with Anton Vidokle) Carpenter Center Boston USA
2007 Pawnshop (with A. Vidokle and L. Linden) e-flux New York USA
2006 e-flux video rental (with Anton Vidokle) Arthouse Austin, Texas, USA
2006 e-flux video rental (with Anton Vidokle) 1st Biennial of Architecture and Landscape Canary Islands Spain
2006 e-flux video rental (with Anton Vidokle) PIST Istanbul Turkey
2006 e-flux video rental (with Anton Vidokle) Mucsarnok Kunsthalle Budapest Hungary
2006 e-flux video rental (with Anton Vidokle) Extra-City Antwerp Germany
2005 e-flux video rental (with Anton Vidokle) Portikus Frankfurt Germany
2005 e-flux video rental (with Anton Vidokle) INSA Art Space Seoul South Korea
2005 e-flux video rental (with Anton Vidokle) Moore Space Miami USA
2005 e-flux video rental (with Anton Vidokle) Manifesta Foundation Amsterdam Netherlands
2005 e-flux video rental (with Anton Vidokle) KW Institute for Contemporary Art Berlin Germany
2004 e-flux video rental (with Anton Vidokle) e-flux New York USA
2000 Safety Instructions VII Havana Biennial Havana Cuba
1999 Springs of Action La Panaderia Mexico City Mexico
1999 Medidas de Emergencia La Panaderia Mexico City Mexico

Group exhibitions
Year Exhibition title Institution City Country
2014 The Reluctant Narrator Museu Coleção Berardo Lisbon Portugal
2014 Islands off the Shore of Asia Para/Site Hong Kong China
2014 In __ we trust: Art and Money CMA (Columbus Museum of art) Ohio USA
2014 Coupling Taylor Macklin Zürich Switzerland
2014 8 Berlin Biennale Berlin Biennale Berlin Germany
2014 Secret Codes Galeria Luisa Strina São Paulo Brazil
2014 7,000,000,000 Espai d'art contemporani de Castelló Castellon de la Plana Spain
2014 Ökonomie Der Aufmerksamkeit Kunsthalle Wien Vienna Austria
2014 BICI 1a Cartagena Biennale Cartagena Colombia
2014 Ir para Volver 12 Biennale of Cuenca Cuenca Ecuador
2013 AKTZ Kraupa-Tuscany Gallery Berlin Germany
2013 1:1 Moderna Galerija Ljubljana Slovenia
2013 The Past is Prese MOCAD (Museum of Contemporary Art) Detroit USA
2013 Toward a promise of inquiry Witte de With Center for Contemporary Art Rotterdam Netherlands
2013 The Possibility of an Island Import Projects Berlin Germany
2013 Una Posibilidad De Escape Para Asaltar El Estudio

De La Realidad Y Volver A Grabar El Universo

 Espai d'art contemporani de Castelló Castellon de la Plana Spain
2013 Draft Urbanism Biennial of the Americas Denver, CO USA
2013 AB, a project by Gabriele De Santis Nomas Foundation Rome Italy
2013 The Spirit of Utopia Whitechapel Art Gallery London UK
2013 Money After Money Eye of Gyre Tokyo Japan
2012 Unsaid/Spoken Ella Fontanal Cisneros and CIFO collections Miami USA
2012 El mañana ya estuvo aquí Museo Rufino Tamayo Mexico City Mexico
2012 No glot... c'lom fliday Shanghai Biennial (postcard project)
2012 Predicting Memories Vienna Art Week Vienna Austria
2012 9th Gwangju Biennial Gwangju Biennial Gwangju South Korea
2012 Searching for the Fountain Moderna Museet Stockholm Sweden
2012 Not Me: Subject to Change 2012 CIFO Grants & Commissions Program Exhibition Miami USA
2012 Ñew York AMA Art Museum of the Americas, Washington DC USA
2012 Blind Cut Marlborough Chelsea Gallery New York USA
2011 Latin American Pavilion Venice Biennale Venice Italy
2011 Living as Form CREATIVE TIME New York USA
2011 AUSSER HAUS Kunstverein Heidelberg Heidelberg Germany
2011 Based in Berlin Atelierhaus Monbijoupark Berlin Germany
2011 Art Brussel Gallery Niklas Belenius Stockholm Sweden
2011 Weltraum. Die Kunst und ein Traum Kunsthalle Wien Wien Germany
2011 Menos Tiempo que Lugar Museo de Arte Raúl Anguiano Guadalajara Mexico
2011 Animal Kingdom – There Was an Old Lady Who… Schinkel Pavillon Berlin Germany
2011 Untitled Istanbul Biennial Istanbul Turkey
2010 Time/Bank. (collaboration with Anton Vidokle) 6 th Liverpool Biennial Liverpool UK
2010 Time/Store (collaboration with Anton Vidokle) e-flux New York USA
2010 Chartreuse Jeune Casa Tabarelli Bolzano Italy
2010 Bigminis Musée d'art contemporain de Bordeaux Bordeaux France
2010 CGEM: Apuntes sobre la emancipación MUSAC León Spain
2010 Take Me To Your Leader! The Great Escape into Space The Museum of Contemporary Art Roskilde Denmark
2010 These gifts must always move Sutton Gallery Fitzroy Australia
2010 Avenue of the Americas LentSpace, Lower Manhattan Cultural Council New York USA
2010 Held up by Columns Renwick Gallery New York USA
2010 Not a Place, an Outlook Governor's Island New York USA
2010 Morality Act VI: Remember Humanity Witte de With Rotterdam Netherlands
2010 Model Kits MUSAC Leon Spain
2010 Gabinete Blanco La Colección Jumex Mexico City Mexico
2010 In and Out of Context REDUX New Museum New York USA
2010 Defending our values Lightbox/The Module Centro Cultural Andratx Andratx Spain
2009 Convention Museum of Contemporary Art (MoCA) Miami USA
2009 Fax Drawing Center New York USA
2009 Paper Exhibition Artists Space New York USA
2009 Impakt festival Academiegalerie Utrecht Netherlands
2009 Autres Mesures Centre Photographique de la île de France Paris France
2009 Geography and Myth Bard College New York USA
2009 Escultura Social: A New Generation of Art from Mexico City Nasher Museum, Duke University Durham USA
2009 Cargo Autocenter Berlin Germany
2009 28th Biennial of Graphic Arts Ljubljana Biennial of Graphic Arts Ljubljana Slovenia
2009 Auszeit Kunstverein Arnsberg Arnsberg Germany
2009 Narcotica at Schalter Galerie im Regierungsviertel Berlin Germany
2009 Central Nervous System No.2 Galerie im Regierungsviertel Berlin Germany
2009 Art Cologne 2009 Art Cologne Cologne Germany
2009 Video Pyramid, On from here Guild & Greyshkul New York USA
2009 The Forgotten Bar Project Peter Bergman Stockholm Sweden
2008 YES A R Contemporary Milan Italy
2008 One of these things is not like the other things galleria 1/9 unosunove Rome Italy
2008 The Future as Disruption The Kitchen New York USA
2008 Friday 13th Fashion Week Kronprinzenpalais Berlin Germany
2008 L'Argent (Money) Frac île-de-France Paris France
2008 Salon of the Revolution The House of Artists Zagreb Croatia
2008 The End Was Yesterday – Part II Kunstraum Innsbruck Innsbruck Austria
2008 Escultura Social: A New Generation of Art from Mexico City Museo Alameda San Antonio, TX USA
2008 The Hypnotic Show Silverman Gallery San Francisco, CA USA
gollark: You also can't really reverse transactions in a cryptocurrency, but that could be seen as a good thing.
gollark: Governments probably wouldn't unless they're being really experimental for some reason, yes, since unless they make themselves the only issuers they can't muck with the money supply all the time.
gollark: Proof of work is wildly wasteful, proof of stake is just built-in inequality, and I don't know of any saner ways.
gollark: My main problem with cryptocurrencies is the fact that they end up needing to replicate unreasonably large amounts of data everywhere, and allocation of coins is a hard problem without any reasonably good solutions.
gollark: You obviously run into the issue of "what if the key is leaked", though.

See also


References
  1. "artnet: Julieta Aranda". artnet.com. Retrieved 1 December 2015.
  2. "Collection Online: Julieta Aranda". Guggenheim.org. Solomon R. Guggenheim Museum. Retrieved 1 December 2015.
  3. Zaya, Octavio (1 December 2012). "The future was ceaselessly". Arte al Dia. Retrieved 13 March 2018.
  4. "e-flux: about". e-flux.com. Retrieved 1 December 2015.
  5. "e-flux: announcements: e-flux video rental". e-flux.com. Retrieved 1 December 2015.
  6. "e-flux: announcements: e-flux video rental found a home". e-flux.com. Retrieved 1 December 2015.
  7. "e-flux: announcements: pawnshop". e-flux.com. Retrieved 1 December 2015.
  8. "art and education". artandeducation.net. Retrieved 1 December 2015.
  9. Aranda, Julieta; Vidokle, Anton. "e-flux: timebank". e-flux.com. Retrieved 1 December 2015.
  10. "e-flux: announcements: e-flux journal at the 56th venice biennale". e-flux.com. Retrieved 1 December 2015.
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