Verónica Tello
Biographic Data
| ID | 4585992 |
|---|---|
| NAME | Verónica Tello |
| GIVEN NAMES | Verónica |
| FAMILY NAME | Tello |
| SIGNATURE | TELLO V |
| AFFILIATIONS | Russian State Agrarian Correspondence University |
| ORCID | 0000-0001-9462-695X |
| VERIFIED | Yes |
| TOTAL WORKS | 5 |
| TOTAL CITATIONS | 12 |
| AUTHOR COUNT | 5 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2014 |
| LATEST PUBLICATION YEAR | 2021 |
| H-INDEX | 2 |
A Partial History of South–South Art Criticism
From 1981 to 1990, the Australian art journal Art & Text and the affiliated Art & Criticism Monograph Series had a productive, if at times fragmented, relationship with a small but influential group of Chilean arts workers during the Pinochet regime (1973–1990). Initiated by the Australian-Chilean artist, Juan Dávila, this collaboration — including key figures such as Paul Taylor, Paul Foss, Nelly Richard, Patricio Marchant and Francisco Zegers −…
What is Contemporary about Institutional Critique
Beginning with a brief analysis of what is broadly considered to be the ‘canon’ of institutional critique, this essay asks: is there anything ‘contemporary’ about institutional critique? By contemporary here I mainly refer to the experience of being with others in time, and the capacity to register the disjunctive subject positions that co-exist (ie, within art institutions). In order to pursue this enquiry, I focus on what has recently been term…
Is Contemporary Art Postdevelopmental?
Over the past eight years or so, what I term ‘art as NGO’ has emerged as consistent impulse in the field of contemporary art. It is predominantly characterised by collaborations between artists (from or living in the Global North) with subjects from the Global South, including migrants. Such practice is itinerant, appearing in spaces of the North – London, Copenhagen, Hamburg – as well of the South – Tanzania, the Congo, Athens. There are multipl…
Counter-memory and and–and
This essay traces a critical genealogy of counter-memory – spanning critical theory, film and contemporary art – bound to what Rosi Braidotti terms nomadic subjectivity. Engaging with the work of feminist and postcolonial theorists and artists, this essay charts the import of nomadic subjectivity as a method for staying with the many times and histories of global contemporaneity. It aims to move beyond thinking of counter-memory as simply a means…
The Aesthetics and Politics of Aftermath Photography
This article reconsiders the politics and aesthetics of aftermath photography. Many critics have argued that the emerging, experimental genre of documentary photography ‘abstracts’ and renders ‘sublime’ the traumatic historical events that it takes as its subject matter. While these terms accurately reflect the aesthetics of aftermath photography, their politics cannot, the author argues, be so easily dismissed. The article reconsider the genre t…
Counter-memory and and–and
This essay traces a critical genealogy of counter-memory – spanning critical theory, film and contemporary art – bound to what Rosi Braidotti terms nomadic subjectivity. Engaging with the work of feminist and postcolonial theorists and artists, this essay charts the import of nomadic subjectivity as a method for staying with the many times and histories of global contemporaneity. It aims to move beyond thinking of counter-memory as simply a means…
The Aesthetics and Politics of Aftermath Photography
This article reconsiders the politics and aesthetics of aftermath photography. Many critics have argued that the emerging, experimental genre of documentary photography ‘abstracts’ and renders ‘sublime’ the traumatic historical events that it takes as its subject matter. While these terms accurately reflect the aesthetics of aftermath photography, their politics cannot, the author argues, be so easily dismissed. The article reconsider the genre t…
The Aesthetics and Politics of Aftermath Photography
This article reconsiders the politics and aesthetics of aftermath photography. Many critics have argued that the emerging, experimental genre of documentary photography ‘abstracts’ and renders ‘sublime’ the traumatic historical events that it takes as its subject matter. While these terms accurately reflect the aesthetics of aftermath photography, their politics cannot, the author argues, be so easily dismissed. The article reconsider the genre t…
Is Contemporary Art Postdevelopmental?
Over the past eight years or so, what I term ‘art as NGO’ has emerged as consistent impulse in the field of contemporary art. It is predominantly characterised by collaborations between artists (from or living in the Global North) with subjects from the Global South, including migrants. Such practice is itinerant, appearing in spaces of the North – London, Copenhagen, Hamburg – as well of the South – Tanzania, the Congo, Athens. There are multipl…
Counter-memory and and–and
This essay traces a critical genealogy of counter-memory – spanning critical theory, film and contemporary art – bound to what Rosi Braidotti terms nomadic subjectivity. Engaging with the work of feminist and postcolonial theorists and artists, this essay charts the import of nomadic subjectivity as a method for staying with the many times and histories of global contemporaneity. It aims to move beyond thinking of counter-memory as simply a means…
What is Contemporary about Institutional Critique
Beginning with a brief analysis of what is broadly considered to be the ‘canon’ of institutional critique, this essay asks: is there anything ‘contemporary’ about institutional critique? By contemporary here I mainly refer to the experience of being with others in time, and the capacity to register the disjunctive subject positions that co-exist (ie, within art institutions). In order to pursue this enquiry, I focus on what has recently been term…
A Partial History of South–South Art Criticism
From 1981 to 1990, the Australian art journal Art & Text and the affiliated Art & Criticism Monograph Series had a productive, if at times fragmented, relationship with a small but influential group of Chilean arts workers during the Pinochet regime (1973–1990). Initiated by the Australian-Chilean artist, Juan Dávila, this collaboration — including key figures such as Paul Taylor, Paul Foss, Nelly Richard, Patricio Marchant and Francisco Zegers −…
Art (4 works) · History (3 works) · Law (3 works) · Political science (3 works) · Politics (3 works) · Sociology (3 works) · Aesthetics (2 works) · Critical Theory and Political Philosophy (2 works) · History (2 works) · Law (2 works)