Faith Wilding

Descripción del Artista

Es una artista multidisciplinaria, escritora y docente paraguayo-estadounidense, que se destaca por su contribución al desarrollo del arte feminista. Faith Wilding nació en la República del Paraguay y emigró a los Estados Unidos en 1961, a sus 18 años junto con su familia.​ En ese país comenzó a estudiar Bellas artes, obteniendo en un máster del Instituto de Artes de California. En paralelo comenzó a desarrollar una ferviente ideología feminista. Faith Wilding primero se involucró en el arte participando del Programa de Arte Feminista junto a Judy Chicago en la Universidad Estatal de California en Fresno, en 1970. Un año más tarde, cuando Chicago se asoció con la artista Miriam Schapiro, trasladaron el Programa de Arte Feminista al Instituto de Artes de California de Valencia, por lo que Wilding fue reubicada como estudiante de posgrado. Comenzó a trabajar en Waiting, un proyecto de un mes de duración, realizado especialmente para la exposición feminista Womanhouse, que se celebró en una casa vacía en Los Ángeles en 1972.​ Faith Wilding realizó una crónica acerca de su trabajo dentro del Movimiento Artístico Feminista en el sur de California, publicándola en un libro titulado By Our Own Hands (Los Ángeles, 1976). Durante treinta años, Wilding ha exhibido en exposiciones individuales y colectivas en todo el mundo. Su trabajo ha sido expuesto en el Museo de Arte de Bronx, el Museo Whitney de Arte Estadounidense y el Drawing Center, todos ellos en la ciudad de Nueva York; en Los Ángeles, en el Museo de Arte Contemporáneo y el Museo Hammer; en el Museo Riverside Art, Ars Electronica Center, entre otros. Su trabajo de audio ha sido difundido especialmente por RIAS de Berlín, WDR de Colonia, y la Radio Pública Nacional de los Estados Unidos. Desde 2002 Faith Wilding se desempeñó como profesora asociado de Performance, en la Escuela del Instituto de Arte de Chicago. También ha trabajado como investigadora en la Universidad Carnegie Mellon, y en el Programa de Artes Visuales del Vermont College y la Universidad de Norwich. Ha recibido varias becas y premios de arte, incluyendo una Beca Guggenheim en 2009. Wilding cofundó y colaboró con subRosa, una célula ciberfeminista reproducible de investigadores culturales que utilizan BioArte y Performance Táctico en la esfera pública para explorar y criticar las intersecciones de la información y de la biotecnología en los cuerpos de las mujeres, la vida y el trabajo. subRosa ha realizado exhibiciones, conferencias y ha publicado en los Estados Unidos, España, Gran Bretaña, Holanda, Alemania, Croacia, Macedonia, México, Canadá, Eslovenia y Singapur. En 2013 la Asamblea de Mujeres del Arte anunció que Faith Wilding recibirá en 2014 un premio a la trayectoria. Bio (ENG) Faith Wilding emigrated to the United States in l961 from Paraguay. She received her MFA at CalArts where she was a founding member of the Feminist Art Program. Wilding is a multi-disciplinary artist whose work addresses aspects of the somatic, psychic, and sociopolitical history of the body. Recent publications, lectures, exhibitions and performances focus on issues of cyberfeminist (women and technology) theory and practice, with particular emphasis on biotechnology. Wilding has exhibited and lectured widely in the USA and Europe. Her audio work has been commissioned and broadcast by RIAS Berlin; WDR Cologne; and National Public Radio, USA. Wilding has published in MEANING, Heresies, Ms. Magazine, The Power of Feminist Art, and other books and magazines. She is the recipient of two individual media grants from the National Endowment for the Arts. Currently, Wilding is a faculty member at the School of the Art Institute of Chicago and the MFA in Visual Art Program at Vermont College of the Union Institute and University. STATEMENT My art practice is complex and recombinant, and makes use of whatever media best accommodates the subject matter, content, and purposes of the project at hand. I work in many materials and formats including drawing, painting, printmaking, writing, artist books, performance, and electronic media. My recent mixed media collage works on paper, and my Rorschach-print based "wounds", "embryos" and "fetuses" for example, represent a cherished and long-standing commitment to drawing and printing as a way of exploring psychological and philosophical ideas and cultural phenomena in sensuous visual materials and tactile embodied forms. I think of these works as "recombinants", for they recombine not only traditional media such as watercolor painting and meticulous ink drawing with the much newer methods of collage and montage, but they also speak of the psychic state of the body today - the recombined war body, which has been violently cobbled together from nomadic social, cultural, and political fragments. The recombinant body, which is the subject of much of my work, is an uneasy, monstrous depository of melancholic historical fragments expressed as animal, human, organic, and machine parts. It is a body both beautiful and strange in its monstrous (im)possibilities. I think of my visual work as a kind of "applied theory" based in research about contemporary social and cultural phenomena and ideas. A recent project, Wall of Wounds, is an example of such "applied theory". "Show your wound!" is an imperative which seems to be the motivation fueling TV and radio talk-show entertainment all across America today. Wall of Wounds seeks to comment on this situation using sensuous printed stains and marks on skin-thin tissue paper to restore affect in opposition to the numbing spectacle of pain. At the same time it draws attention to the consumption aspect of the talk-show phenomenon, by inviting the viewer to acquire a personalized wound. I am currently very interested in random and involuntary processes and in the ideas they give me for consciously manipulated and developed images. Embryoworlds is another example of the way in which I combine theory and practice in my work. In this evolving project, I comment on the new "assisted conception" technologies, and on the effects of technoscience on women's lives and bodies globally. This project has everything to do with the languages of science and art which encode our deepest fears, desires, and longings in narratives of evolution, choice, idealization, immortality and perfectibility. For different exhibition venues, I present different aspects of this project which includes computer assisted prints on vellum; small paintings; writing; artist books; sculptural components; collaborative performance and WEB pages. I'm interested in the transformational and pedagogical possibilities of a radical art--an art which uses beauty as a terrorist tactic, rather than an end in itself.

Exposiciones en las que ha participado como artista

Earthkeeping / Earthshaking: arte, feminismo e ecologia

Colectiva