José Luis Falconi, PhD

Academic Publications

Aesthetic Theory/ Philosophy

Academic Publications:
Aesthetic Theory/ Philosophy

“Ad Usum, ad hoc (Or how to use this book)” In: José Luis Falconi (Ed.) Pedro Reyes’s Ad Usum: To Be Used

2018
The Cultural Agents Initiative at Harvard University (FAS) and Harvard University Press Cambridge, MA
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“Eleven Thesis on the Relation Between Art and Society (circa 2015)”

2014
In: José Luis Falconi, Jorge Munguía and Lucia San Román (Eds.), Notebook on Time (Citizen Culture)
Santa Mónica Art Museum
Santa Monica, CA
pp. 4-10
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“The Smooth Mechanism of Relics (Notes on the Efficiency of Nostalgia)”

2007
In: Svetlana Boym (Ed.) Nostalgic Technologies
CGIS/Provost Office for the Arts, Harvard University
Cambridge, MA
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“Doble Margen: ¿Es acaso posible la contemporaneidad desde la periferia?” [Double Margin: Is it ever possible to have contemporaries in the periphery?]

2016
In: Sergio Rojas (Ed.) Actas de la Conferencia Regional Latinoamericana de Arte
Universidad de Chile
Santiago de Chile, Chile
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“Stitched by Fire: The Thread of Sparks of Santiago Escobar Jaramillo’s Colombia, Tierra de Luz”

January - June 2012
In: Antípoda14: Antropología y temporalidad; Antípoda- Revista de Antropología y Arqueología Universidad de Los Andes, Facultad de Ciencias Sociales, Departamento de Antropología
Bogotá, Colombia
No 14, pp. 233 – 243
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“Back in the Picture (On the Place of Aesthetics in Democratic Life), José Luis Falconi interviews Doris Sommer”

March 2015
In: Atlántica: Journal of Art and Thought. Centro Atlántico de Arte Moderno (CAAM) N.55
Gran Canarias, Spain
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“Carlitos Way: Or the Artist as Framework, circa 2000 AD”

2008
In: Raphaela Platow (Ed.) Carlos Amorales: Discarded Spider
Contemporary Arts Center
Cincinnati, OH
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"Pedro Reyes: Ad Usum / To Be Used"

Ad Usum: To Be Used is the second volume in the series Focus on Latin American Art and Agency, which is dedicated to contemporary cultural agents, a term that is perhaps best understood through the words of Reyes himself: “changing our individual habits has no degree of effectiveness” as “progress is only significant if you start to multiply by 10, by 100, by 1,000.”

Rather than merely illustrate his work, this collection of images, interviews, and critical essays is intended as an apparatus for multiplying the possibilities when art becomes a resource for the common good.

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“Eleven Thesis on the Relation Between Art and Society (circa 2015)”

In: José Luis Falconi, Jorge Munguía and Lucia San Román (Eds.), Notebook on Time (Citizen Culture)

Notebook on Time is a project by Buró-Buró in collaboration with Lucía Sanromán and José Falconi, poet and art critic, whose introductory text offers a presentation of eleven theses around art practices operating in the public realm in an attempt to transform how we think and live.

Rather than merely illustrate his work, this collection of images, interviews, and critical essays is intended as an apparatus for multiplying the possibilities when art becomes a resource for the common good.

Learn more

“The Smooth Mechanism of Relics (Notes on the Efficiency of Nostalgia)”

In: Svetlana Boym (Ed.) Nostalgic Technologies

The-Smooth-Mechanism-of-Relics-(Notes-on-the-Efficiency-of-Nostalgia)

“Doble Margen: ¿Es acaso posible la contemporaneidad desde la periferia?” [Double Margin: Is it ever possible to have contemporaries in the periphery?]

In: Sergio Rojas (Ed.)
Actas de la Conferencia Regional Latinoamericana de Arte Universidad de Chile

Doble-Margen
“Doble-Margen2

“Stitched by Fire: The Thread of Sparks of Santiago Escobar Jaramillo’s Colombia, Tierra de Luz”

In: Antípoda14: Antropología y temporalidad; Antípoda- Revista de Antropología y Arqueología

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Back in the Picture (On the Place of Aesthetics in Democratic Life)

In: Atlántica: Journal of Art and Thought. Centro Atlántico de Arte Moderno (CAAM) N.55

José Falconi interviews Doris Sommer

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“Carlitos Way: Or the Artist as Framework, circa 2000 AD”

In: Raphaela Platow (Ed.) Carlos Amorales: Discarded Spider

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Mexico City-based Carlos Amorales is known for the flat, iconic imagery of his Liquid Archive of digital images, which inform his work in video animation, painting, drawing, sculpture and performance. This publication accompanies the artist’s 2008 exhibition at the Contemporary Arts Center Cincinnati.

This catalog presents a wide selection of works from 2003, including installations, drawings, video stills, exhibitions views, generously reproduced and presented in a clearly designed catalogue by Mevis & van Deursen. Exploratory essays and biographic information are also included alongside a conversation between Amorales and Joan Jonas.
 

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