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Alicia Herrero
Alicia Herrero is an Argentinian-born artist most known for her pieces Public Considerations: A Symposium in Three Acts and Museum of the Political Economy of Art. Born in 1959, she began her artistic career in 1982 and she remains active today. Her art takes many forms – her media use spanning from installations, drawings, paintings, performance art, and video. Her projects explore technologies related to language, economics, law, gender studies, and colonialism. These themes are discussed in her Art & Capital series (her series of work which contains pieces from 1998-present). Herrero has reached international recognition for her body of work, with her pieces being displayed in Buenos Aires, Rotterdam, Zurich, Berlin, and New York. Currently, her work is on display at the Centro Cultural Kirchner (CCK) and the Centro Cultural de la Cooperación Floreal Gorini in Buenos Aires.

Life
Alicia Herrero was originally born in Argentina, and still resides there today. Herrero studied Arts at the Universidad Nacional de Arte (UNA) in Buenos Aires and graduated in 1987. Many of her works heavily question what qualifies something as artistic and appropriate for gallery display, while others are not. By questioning institutionalized classifications in the art world and blurring the barriers on what classifies something as greater or lesser of an artistic object, her inspiration for her pieces emulate the philosophy from the Dada art movement. She has been an active artist since 1982 and she continues to have her works on display at multiple galleries. She also travels to give workshops and lectures at different universities, and she has been published in an array of novels and magazines.

Art & Capital Series
Herrero is most known for her Art & Capital series. The series includes her work from 1997-today. It is split into three different sections – Economy, Museum/Collection, and Cultural Productions/Lines of Flight. The purpose of her series is to examine how people’s view of art within specific institutional contexts is structured by one’s culture that they live in, and how it determines their meaning, values, and beliefs. The Art & Capital series also analyzes how the art world promotes art as a commodity and how it impacts consumer culture. The Museum of the Political Economy of Art is her most well-known piece, which is actually a series of works by her. It includes 7 works of hers that are all arranged in a gallery setup. The purpose of this piece is to show a museum without a fixed place, willing to include critical exercises and research on political economy of the art field all expressed with different medias. Since this work includes many different pieces from the series, it is considered a part of all sections in the Art & Capital series.

ECONOMY Herrero includes 12 pieces in her Economy section of the Art & Capital series. These pieces include: Museum of the Political Economy of Art (2012), Action-Instruments Box Presentation (2012), Plus-Valía (Surplus-Value) (2012), Errata-Catalogue (2012), Action-Instruments Box (2012), Auctions Market & Money (since 2008), Suite Auction Drawings (since 2008), Errata (since 1998), Posters (2008/9), Maps (2008), Industrial Design (2001), and Enchanted Landscape (1998).

MUSEUM/COLLECTION Similarly to Herrero’s Economy section, she includes 12 pieces in this section of her series. These pieces include: Museum of the Political Economy of Art (2012), Displays (2009), Conversazioni (2009), A&A-Lost In History (2007), Conversaciones (2006), Conversaciones (2005), Minigarden (2005/2006/2009), Imperio/Things (2005), Alice Ville (2005), Cultural Productions (2004), Chat (2001), and My Booty (1997/2002).

CULTURAL PRODUCTIONS/LINES OF FLIGHT Unlike Herrero’s other two sections of her Art & Capital series, the Cultural Productions/Lines of Flight section includes 14 works. These works include: Museum of the Political Economy of Art (2012), Public Considerations, A Symposium In Three Acts (2010/2011), Revolutionary Travel! (2010/2011), Culture Secretary (2009/2010), Cultural Capital (2009), DeNationality (2008), Capital Flow´s (since 2008), LIPAC (since 2007), The Paradigm Confines Tour (2007), Links (2006), Magazine in Situ (since 2004), EPA! (2003/2006), Sucesos Archive/Elipse (2003), and Guided Tour (2001). Out of these pieces, Public Considerations is considered one of her most notable works. Public Considerations was a 3-part live enactment that took place in 3 different locations throughout Buenos Aires, and the purpose of the experience was to demand political scenarios be revised in order to preserve democracy.

Galleries
Herrero has been exhibited in an array of galleries since she began her artistic career in 1982. Her work has been exhibited in Buenos Aires, Rotterdam, Zurich, Berlin, Miami, and New York – to name a few. Currently, she has pieces being exhibited until 2019 in Buenos Aires. She has had her work shown at the Henrique Faria gallery (Buenos Aires), the Mirta Demare International Visual Art (Rotterdam), the Arcimboldo Gallery (Prague), the Centro Cultural de la Ciudad de Asunción (Paraguay), Sotheby's (London), the Museo del Chopo (Mexico), and more. Herrero has 20 solo exhibitions under her belt throughout a variety of countries, along with a much longer list of group shows she has been a part of.

Publications
Alicia Herrero has been published in a variety of works. Herrero herself is a co-editor in the “Magazine In Situ,” an online art magazine. Besides that, she has been published in "Art & Politics Now" (Thames and Hudson, London), "It’s the Political Economy, Stupid: The Global Financial Crisis in Art and Theory" (Pluto Press, UK), "Praxistest Künstlerische Projekte Zur Vermittlung Akueller Kunst" (Schoeppinger Forum für Kunstvermittlung, Germany), and "Rethinking Marxism: Association for Economic and Social Analysis" (Routledge/Taylor & Francis, USA). Her publications have been translated to be understood in English, Portuguese, Spanish, and German.