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Juan Vicente Aliaga is a lecturer in the Fine Arts Faculty of the Valencia Polytechnical University (UPV). He is the author of Bajo vientre. Representaciones de la sexualidad en la cultura y el arte contemporáneos (Lower abdomen. Representations of sexuality in contemporary culture and art, 1997), Arte y cuestiones de género. Una travesía del siglo XX (Art and gender issues. A journey through the 20th century, 2004), and Orden fálico. Androcentrismo y violencia de género en las prácticas artísticas del siglo XX (Phallic order. Androcentrism and gender violence in the artistic practices of the 20th century, 2007), and co-author of Identidad y diferencia. Sobre la cultura gay en España (Identity and difference. On gay culture in Spain, 1997). He has curated many exhibitions, among them: Formas del abismo. El cuerpo y su representación extrema en Francia 1930-1960 (Forms of the abyss. The body and its extreme representation in France 1930-1960, Koldo Mitxelena, San Sebastián, 1994), Claude Cahun (IVAM, Valencia, 2001), Micropolíticas. Arte y cotidianidad (Micropolitics. Art and the everyday, EACC, Castelló, 2002), Pepe Espaliú (MNCARS, Madrid, 2003), Hannah Höch (MNCARS, Madrid, 2004), VALIE EXPORT (Camden Arts Centre, London, 2005), La batalla de los géneros (The battle of the genders, CGAC, Santiago de Compostela, 2007). He is also a correspondent for Artforum.

In November 1999, Juan Vicente Aliaga was invited to give a lecture at MACBA as part of the seminar "Art and action. Between performance and object, 1949-1979" under the title "Sexualities and politics in contemporary performance". Published previously in the Valencian magazine Debats, Quaderns Portàtils has recovered the text in a revised and updated version, under the title "Battlefield. The impact of sexuality and the mark of AIDS on some artistic performance practices".

Technical details

Publication date:
2008
Author:
Collection:
Quaderns portàtils
Support:
Pages:
20
Editorial category:
Quaderns portàtils
Design:

Design by Cosmic

I like to work with what is often called "cultural heritage", but the materials that I use are banal and clichéd, like sugar blocks, doors, couscous, rugs, official documents.
Latifa Echakhch