207:, 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". 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.
254:, 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.
308:
178:, 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".
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works that are available to the public for home viewing free of charge. 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
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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. It has featured contributions from nearly one hundred authors such as anthropologists,
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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
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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
237:
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
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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
232:
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
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circulation of objects plays in the cycles of production and consumption, are intensely site-specific. 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.
191:
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.
90:(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.
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in 1998. 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.
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430:(1996–1999) and Columbia University (2004) in New York. She has also been an artist in residence at UNIDEE, the International Program by Fondazione Pistoletto in
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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.
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434:, Italy (2006), the International Artists Studio Program in Stockholm (2006), the International Residence of Recollets in Paris (2008) and
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426:, the National Foundation for the Culture and the Arts in Mexico (1995–1996), and both the School of Visual Arts (1995–1999), the
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since 2003, which is a publishing platform, archive, artist project, curatorial platform, and cultural enterprise founded by
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people in the field, can exchange time and skills—help each other get things done without using money. Idealistically,
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174:(2006), Aranda addresses the artificiality of the homogeneous construction of time through the case of
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1996–1999 Merit scholarship for young film-makers awarded by the
National Board of Review, New York
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1995–1999 Silas H. Rhodes merit scholarship awarded by the School of Visual Arts, (SVA), New York
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1995–1996 2-year grant from the
National Foundation for the Culture and the Arts (FONCA), Mexico
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2006 UNIDEE in
Residence – International Program 2006 (Fondazione Pistoletto) – Biella, Italy
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Aranda has been awarded numerous grants and merit scholarships, from institutions such as
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438:(2017). Her work has been shown in internationally renowned institutions such as the
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2005 Kantor / Zach Feuer
Gallery Curatorial Fellowship, Columbia University, New York
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form of video rental stores, and the technology that originally made it possible.
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1996–1998 Merit scholarship awarded by the School of Visual Arts, (SVA), New York
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2005 Member of "The
Generals", a new advisory board of Art in General, New York
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289:, which was run from May to August 2015. Julieta Aranda, Anton Vidokle, and
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BFA in filmmaking at School of Visual Arts NYC MFA Columbia
University
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is an editorial project by e-flux journal commissioned for the 56th
781:"e-flux: announcements: e-flux journal at the 56th venice biennale"
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2007 IASPIS – International Studio Program 2007 – Stockholm, Sweden
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2009 Art in General new commissions program, 2007–2008, New York
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from the article and its talk page, especially if potentially
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2002 Production grant from the Gulbenkien Foundation, Portugal
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and New York City. She received a BFA in filmmaking from the
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203:(2009), a solo presentation of four works installed in the
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2007–2008 Art in General new commissions program, New York
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2006 MFA, Columbia University School of the Arts, New York
675:"e-flux: announcements: e-flux video rental found a home"
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2005 Curatorial fellowship, Columbia University, New York
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2002 Jovenes Creadores, 1 year production grant, Mexico
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It is possible to open a time bank account at e-flux.
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There has been a miscalculation (Flattened Ammunition)
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artists, philosophers, poets, theorists and writers.
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An online platform initiated by Aranda and Vidokle,
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215:Julieta Aranda has been actively collaborating on
78:) is a conceptual artist that lives and works in
448:National Museum of Art, Architecture and Design
123:2004 Merit award, Columbia University, New York
568:. Solomon R. Guggenheim Museum. Archived from
452:Museo de Arte Contemporáneo de Castilla y León
858:Columbia University School of the Arts alumni
147:2008 International Residence Recollets, Paris
8:
650:"e-flux: announcements: e-flux video rental"
339:about living persons that is unsourced or
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410:Learn how and when to remove this message
114:2001 BFA, School of Visual Arts, New York
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440:Museum of Contemporary Art, North Miami
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562:"Collection Online: Julieta Aranda"
853:21st-century Mexican women artists
848:20th-century Mexican women artists
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754:Aranda, Julieta; Vidokle, Anton.
700:"e-flux: announcements: pawnshop"
598:Zaya, Octavio (1 December 2012).
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250:is an e-flux project by artists
806:"Julieta Aranda | Arts at CERN"
182:There has been a miscalculation
1:
808:. 4 July 2018. Archived from
878:School of Visual Arts alumni
873:Mexican contemporary artists
600:"The future was ceaselessly"
444:Solomon R. Guggenheim Museum
317:biography of a living person
205:Solomon R. Guggenheim Museum
344:must be removed immediately
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462:, Germany (2012); and the
16:Mexican artist (born 1975)
868:Women conceptual artists
530:"artnet: Julieta Aranda"
428:National Board of Review
172:You had no ninth of May!
99:1975 Born in Mexico City
446:, New York (2009); the
166:You had no ninth of May
86:(2001) and an MFA from
331:Please help by adding
298:Awards and recognition
94:Biographical timeline
84:School of Visual Arts
337:Contentious material
729:artandeducation.net
725:"art and education"
486:e-flux publications
458:(2010); the Kassel
450:, Oslo (2010); and
228:E-flux video rental
186:Aranda's 2007 work
88:Columbia University
863:Conceptual artists
756:"e-flux: timebank"
572:on 28 January 2016
456:Liverpool Biennial
315:This section of a
246:Released in 2007,
70:; born in 1975 in
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509:References
370:newspapers
252:Liz Linden
460:Documenta
322:citations
269:Time/Bank
264:Time/Bank
258:Time/bank
201:Intervals
195:Intervals
46:Education
609:13 March
470:See also
466:(2012).
348:libelous
248:Pawnshop
242:Pawnshop
176:Kiribati
40:, Mexico
384:scholar
481:e-flux
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