The Dodo’s Verdict is a video installation and performance that e - PDF document

The Dodo’s Verdict is a video installation and performance that explores the increasing degrees of abstraction of markets and currency resulting from the convergence of economic dematerialization, the dominance of The prestidigitatorial inventions of the capital market order of the New Economy have produced a mirrored labyrinth of �nance in which wealth is produced by a seemingly endless re�ection of untethered signs. In this elaborate aesthetic, where language and rituals seem designed to bamboozle and mystify, are betting, In Lewis Carroll’s s novel Alice’s Adventures in Wonderland, the Dodo Bird announces at the end of a running competition “everybody has won and all must have prizes.” In The Dodo’s Verdict, Cordova excavates the nuances of the �nancialized art market as a system that cultivates market opacity and asymmetry of information while providing illusions of transparency, credibility and objective determination of quality in a So, she inverts the equation, satirizing the proliferation of art awards as a kind of agent and indicator of a speculative investment. How does art, itself a fabricated currency, contribute to this elaborate ritual of video GRAN PREMIO INMEDIATOS ANASHOWAAUADARTISTA LIAR’S POKER $ $ JUEGAGANAR RSONASLIJACART 4. NADITOM5. ELIJA . UÁNTASAPARCUÁNTASAPARTODOSAPARECETODOS.”RESTORSONAQUIVOCADORETARLA 9. NADARSONATOMAUENTANDO APARECEMAYORAPARECEAPARECEMAYORMAYORAPARECEAPARECE UÁNTASAPARE TOTALRDATANDONTONCRSONA DARLTADOR TOTALRDATADORDARSONASTABA TANDO Brief Encounters with Tezcatlipoca is a semi-scripted performance presented at the Material Art Fair in Mexico City. This project draws a correlation between the role of exploiting the deliberately ambiguous legal boundaries that exist at the intersection of The performance used the fair booth to launch Tezcatlipoca Alternative Advisors, a [�ctional] alternative investment advisory services company. To promote Tezcatlipoca’s services investment specialists o�ered teaser consults with fair visitors. The specialists explained to potential clients various art-�nance services o�ered, mixing real and illegal Against the back wall of the booth hung a sheet of black glass etched with the phrase “Alternatives are the new reality.” Formally the black glass panel refers to computer and phone screens, portals behind which capital moves. Metaphorically it refers to the obsidian mirrors Aztec shamans used as instruments of magic to travel to the world of the gods and This project highlights the investor-collector-patron as the catalytic agent of �nancialization of the art world by appropriating the advisor-client relationship and �nancial instruments, (eg: art collateralized loans, art funds, freeport transactions and storage, foundation structures, Mixing real and �ction, legal and illegal within the consumerist context of a fair, this piece suggests that in a dematerialized economy professional advisors have assumed the role of BRIEF ENCOUNTERS WITH TEZCATLIPOCA THE BARREL DIVIDED 20 x 28 inches Series of prints of found images of real awards or “deal toys” commissioned by Pemex, Cemex, and Bimbo to commemorate signi�cant �nancial transactions, typically either lines of credit or bond issuances. The prints were made using dust collected from the headquarters of each corporation to reveal the image in the printing process. These analog prints of low-resolution digital images are blown up until the images begin to pixelate and breakdown. These dust prints hover between the visible and invisible, clean and dirty, and manual and cognitive labor. As part of a larger body of work that explores deal toys as physical embodiments of cognitive labor, these works use the aesthetics of success, or dominance, in transnational banking culture to suggest the degree to which the foundations of daily life, bread, cement, and oil are �nancialized. These images reveal sensitive deal information that can have national consequences, such as the Pemex bond issuance (center) and suggest the mechanics of transnational banking. THE WORLD BROKEN DOWN INTO PIECES 20 x 28 inches Omnipresent, Omnipotent, Loveless video A monument to the cycles of credit and liquidity, the form of the sculpture is the negative space inside of a �st. Frozen inside the ice are several hundred coins. The piece depends on the ambient and body heat produced by the viewer’s presence to speed up the melt of the ice, returning the coins back into the Series of digital collages that reference neoclassical economics as divine meditation or a self-contained crystal that bares little relationship with reality, and instead These works draw a correlation between capital and organizational structures that are designed to maximize value, and geometric arrangement as expression of the in�nite perfection of god. Each of these collages acts as individual mosaic, UNTITLED SERIES (THEOLOGICAL ECONOMICS) UNTITLED SERIES (THEOLOGICAL ECONOMICS) Select collages from the seriesDimensions variable -cial crisis and its aftermath. Select collages from the seriesDimensions variable Select collages from the seriesDimensions variable Mementos of signi�cant business deals, corporate awards are anthropological relics of the business transactions that shape global economies and o�er glimpses This piece reveals how myopic emphasis on corporate achievement reduces personhood to a collection of inherently valueless objects and examines how awards Series of �ctional awards that display commonly used business colloquial expressions. These pieces question contemporary notions of achivement by suggesting a need to be critical of the value systems and motives of the awarding body and that in the prevailing neoliberal business climate awards are a potent tool for reinforcing power stuctures and dictating preferred awards No MasElefantes Blancos No More White Elephants Nao maisElefantes Brancos photo credit: Crystian Cruz Freely distributed posters which outline step by step how to make an e�ective gas mask out of commonly found household objects and a soccer ball to protect protesters from tear and pepper gas. These masks are made in the form of an elephant head, a reference to the “white elephant stadiums” constructed for PeBa Pna ODMa ?e cDnOa ?e eNKPHa KoM eG boM?e DnOeMDoM CoGe PHa ODMa ?e ADOa a?eNDva ?e eNKPHa NobMe o conOoMno GGPe a NOMDK oA AoaH MPbbeM PeBa T coNa Ga OeGa NobMe Ga CoGaM e coNOPMaM o OecD?o eH GGPe an? 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