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| FRONT > CLANCCO > CV |
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Sergio Muñoz Sarmiento is an artist, writer, and lecturer interested in cultural production stemming from the discursive sites of art, law, and philosophy.
His most recent project, CLANCCO, uses corporate strategies to engage the discursive sites of law and cultural production. CLANCCO places a special emphasis on the intervention and understanding of real property, public/private space, intellectual property, and pedagogy through the artistic practices known as sculpture and drawing.
He attended Cornell Law School primarily as a conceptual art project and to experience the fundamental basis of power and its structure. Realizing that law could be used as another material for the understanding and making of culture, he decided to embark on a project of merging, and therefore erasing, the boundaries between art + law.
CLANCCO may be viewed at www.clancco.com |
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California Institute of the Arts |
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Whitney Independent Study Program |
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2006
CLANCCO Rose Bowl Swap Meet Biennale, Pasadena, CA. Project proposal accepted and funded by Outpost for Contemporary Art, Los Angeles, CA (October)
CLANCCO’s Bronco Swap Meet Biennale, Bronco Swap Meet, El Paso, TX
2001
In The Trace of the Law, Deep River Gallery, Los Angeles, CA
1999
Copula in Effigy, Apex Art, New York, NY
(Periods), Institute of Contemporary Art at the Maine College of Art, Portland, ME
1997
O Bailan Todos, O No Baila Nadie, California Institute of the Arts (D301), Valencia, CA
Web Site: http://strikingdistance.com
1996
Bestial Imbecility, California Institute of the Arts (D300), Valencia, CA
Papilla Philenor-Omnes Asterie, California Institute of the Arts (A402), Valencia, CA
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University of Southern California, School of Fine Arts |
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Taught visual culture courses. |
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Occidental College, Department of Art and Art History |
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Taught seminar on violence in film and contemporary art. |
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Staff Attorney/Director of Education |
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Volunteer Lawyers for the Arts, NY, NY |
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Provide legal services and educate artists in areas of free speech, intellectual property, contracts, and entity formation. |
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Harvard University, Dept. of Visual and Environmental Studies |
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Taught Art & Law seminar and studio course on Bruce Nauman |
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Professor of Contemporary Art |
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Lower Manhattan Cultural Council |
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Dean Titlebaum Scholarship |
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Armory Center for the Arts |
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Windows of the World Studio Residency |
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Lower Manhattan Cultural Council |
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Whitney Independent Study Program |
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Philip Morris Graduate Fellowship |
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California Institute of the Arts |
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University of Texas-El Paso, Fine Arts Department |
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Clandestine Construction Company International |
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Clandestine Construction Company International (CLANCCO), founded in 1968, is an artistic umbrella project which primarily investigates juridical, economic, and social structures and their effects on the aesthetic.
CLANCCO does so primarily by incorporating corporate strategies and structures which allow it the malleability and the jester-chameleon-like effect of diversifying into different physical spaces and linguistic structures in order to implement architecturo-sculptural projects, as well as innovative and spontaneous experiments, across the United States and abroad.
CLANCCO works on inter-material and inter-conceptual projects which are either self-driven or commissioned, and which increasingly bridge diverse spaces such as architecture, sculpture, drawing, and writing. In order to disseminate its projects to a wider audience, CLANCCO has launched a subsidiary, The Center for the Study of Thought and Consciousness, where the discourses of art, visual culture, law, and pedagogy will be researched and discussed via lectures and symposiums.
Additionally, a unique feature which facilitates CLANCCO’s projects and distinguishes us from other construction companies is CLANCCOs in-house legal counsel, which focuses primarily on elucidating the effects of property law, first amendment law, and intellectual property law on cultural production and reception. The interrelation between art, law, and visual culture is made available via writings, short news updates, and interviews on our Summary Judgment and Radio Red ☼ Black Ink pages.
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2007
Presence of the New, Shotgun Space, Los Angeles, CA
2005
Faculty Exhibition, Department of Visual and Environmental Studies, Harvard University
2002
Hegel (and You), Brigitte March Gallery. Stuttgart, Germany
Symposium on Sculpture, Yeditepe University, Istanbul, Turkey
Empire/State: Artists Engaging Globalization, Art Gallery of the Graduate Center, The City University of New York, NY
Up Close, Armory Center for the Arts, Pasadena, CA
2001
Song Poems, Cohan, Leslie & Brown Gallery. New York, NY (Traveling)
Angstrom Gallery, Dallas, TX (2002) catalogue
Rosamund Felsen Gallery, Los Angeles, CA (2002)
Capital Art, Track 16 Gallery, Santa Monica, CA. Catalogue
2000
ES2000 International Biennial of Standards, Centro Cultural Tijuana, Tijuana B.C., Mexico.
1999
Interplay, Museum of Contemporary Art, Tucson, AZ
Five Continents and One City, Museum of Mexico City, Mexico (November 1999-March 2000). Catalogue. United States representative
Touring the Frame, Rosamund Felsen Gallery, Los Angeles, CA
Exit Texas, Arlington Museum of Art, Arlington, TX. Catalogue
Dr. Krenslove: or how I learned to stop worrying and love the museum, American Fine Arts, Co. New York, NY
Free Coke, Greene-Naftali Gallery, New York, NY
DrawPlay, Miller-Durazo Gallery, Los Angeles, CA
1998
Couch Not Included 2, Gallery Untitled, Dallas, TX
Open Studios, Whitney Museum of American Art Independent Study Program, New York, NY
Under Construction, Gen Art, New York, NY. Curated by Deborah Singer
1997
Cambio, Chelsea Arts Complex, New York, NY
Demonios Publicos, Concejala de Cultura, Villa Nueva de Los Infantes, Ciudad Real, Spain
Attaché, Gemini GEL, Los Angeles, CA
Green, California Institute of the Arts, Valencia, CA. Catalogue
Dreams of Life and Death, The Drawing Room: Special Projects in Contemporary Art, Santa Monica, CA
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The Trouble with Pictures: Law and Visual Culture |
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Law Text Culture, Published by Legal Intersections Research Centre, University of Wollongong, Wollongong Australia, Fall 2006 |
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Cabinet Journal, Published by Immaterial Incorporated, Brooklyn, NY, Spring 2003 |
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Capital Art: On the Culture of Punishment |
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Published by Smart Art Press, Santa Monica, CA, February 2001 |
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Five Continents and One City Exhibition Catalogue |
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Published in English and Spanish by Museo de la Ciudad de Mexico, November 1999, Mexico, D.F. |
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PRESENTATIONS AND SYMPOSIUMS
Intellectual Property and the Ownership of Aesthetic Experience, paper to be presented at the College Art Association, Dallas, TX (Feb 2008)
Strategies of Occupation: Grabbing land and the political agency of the artist, symposium organized by ApexArt and The Vera List Center for Art and Politics at The New School, New York, NY (Nov 2007)
Profit vs. Nonprofit Arts Organizations: What’s Right for You?, presentation at the Brooklyn Arts Council, Brooklyn, NY (Oct 2007)
Symposium on sedition and freedom of speech, for the theatrical performance of Sedition, at the Westport Country Playhouse, Westport, CT (Aug 2007)
Legal Issues Affecting Artists, presentation for the New York State Bar Association, Entertainment Arts and Sports Law Society, Jack the Pelican Gallery, Brooklyn, NY (June 2007)
Visiting Artist presentation on Gordon Matta Clark and outlaw culture, Columbia Law School, New York, NY (April 2007)
Presentation on intellectual property, contracts, and non-profit entity formation applicable to visual artists, Bronx Museum, Artists In The Marketplace Program, New York, NY (April 2007)
Presentation on the legal ramifications of intellectual property and free speech on artistic practices, School of Visual Arts, New York, NY (March 2007)
Visiting artist presentation on CLANCCO and outlaw culture, Lower Manhattan Cultural Council, Workspace Residency Salon Series, New York, NY (December 2006)
Presentation on the legal ramifications of intellectual property and free speech on artistic practices, Juilliard School, New York, NY (November 2006)
Veni, Vidi, Vici: A Treatise on the Art of Corporations, presented at The San Francisco Art Institute, San Francisco, CA (April 2006)
Art & Law: The Conflict of Site-Specificity, paper presented at conference, Rethinking the Private in Private International Law: New Methods, at Cornell Law School, Ithaca, NY (April 2006)
Art, Law, and Intellectual Property, presentation for Art and Law class at the School of Visual Arts. New York, NY (November 2005)
Transparency Symposium, presentation at the Ecole des Mines de Paris, sponsored by Cornell Law School Clarke Program in East Asian Law and Culture and hosted by the Centre de Sociologie de l’Innovation, Ecole des Mines de Paris (April 2005)
Colloquium Series Lectures Presented in Spring 2005, presentation of new work on photography and transparency, Cornell Law School Clark Program in East Asian Law and Culture (February 2005)
Law, Language, Landscape, or, no one loves a structure more than a post-structuralist, presented at the Department of Visual and Environmental Studies, Harvard University (February 2005)
Post-border Metropolis: A Sort of Fairytale, lecture on art practices on Texas/Mexico and California /Mexico border regions. Presented at the Fisher Gallery, University of Southern California (October 2002)
Images of America: NAFTA and Globalization on the Texas/Mexico Border, presented at the Spring Arts Festival on Globalization, University of Southern California (May 2002)
Art Education Methodologies, presented to students of California State University-Los Angeles at the Armory Center for the Arts (March 2002)
The Age of Silence, presented paper at the California Institute of the Arts, “Conference on September 11th” (October 2000)
Visiting Artist Lecture, presented at the School of Fine Arts, University of Southern California (May 2000)
The Space of Silence: Comparative Analysis of the Spanish Translation of Sandra Cisneros’ House on Mango Street by Elena Poniatowska, presented at the Chicano Studies Dept., California State University-Northridge (June 2000)
Conflicts of Resolution, presented at the Cultural Policy Conference at the Andy Warhol Museum and the Three Rivers Arts Festival (February 2000)
International Conference on Visual Art and Globalization, Mexico City Museum, Mexico City (November 1999)
The Property of Place: Yes, We Have No Lettuce and Tomatoes, curatorial lecture presented at the Fine Arts Dept., University of Texas-El Paso (October 1999)
Art in the Age of Cynical Reproduction, presented at the School of Fine Arts, State University of New York-Oswego (March 1999)
The Cult as Difficult, presented at the Institute of Contemporary Art, Maine College of Art (February 1999)
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