Sin Título (Habana, 2000) / Untitled (Havana, 2000)2000Performance and video: milled sugar cane, black and white monitor, Cubans, DVD disc, DVD player13 ⅛ × 39 ⅜ × 164 feetPhoto: Casey Stoll
© Tania Bruguera
Sin Título (Habana, 2000) / Untitled (Havana, 2000)2000Performance and video: milled sugar cane, black and white monitor, Cubans, DVD disc, DVD player13 ⅛ × 39 ⅜ × 164 feetPhoto: Casey Stoll
© Tania Bruguera
Sin Título (Kassel 2002) / Untitled (Kassel 2002)2002Performance and video installation: Germans, guns, black outfits, wood scaffolding, 40–750 watt light beams, DVD disc, DVD player, projector19 × 59 ⅗ × 13 feetCollection Museum für Moderne Kunst, FrankfurtPhoto: Sebastian Isacu
© Tania Bruguera
Sin Título (Kassel 2002) / Untitled (Kassel 2002)2002Performance and video installation: Germans, guns, black outfits, wood scaffolding, 40–750 watt light beams, DVD disc, DVD player, projector19 × 59 ⅗ × 13 feetCollection Museum für Moderne Kunst, FrankfurtPhoto: Sebastian Isacu
© Tania Bruguera
Poetic Justice2002–03Teabags, fabric, thread, canvas, wood, LCD screen, DVD, 1 minute continuous loopdimensions variableInstallation view: 8th Istanbul Biennial, Turkey
© Tania Bruguera
Cátedra Arte De Conducta / Center for Behavior Art Studies2002–09Creation of a research center in Havana, Cuba; collaboration with Cuban and international artists and art institutions to study the relationship between the performative arts and politics and its implementation in societyPictured: Workshop with Anri Sala
Photo: Cátedra Arte De Conducta
© Tania Bruguera
Cátedra Arte De Conducta / Center for Behavior Art Studies2002–09Creation of a research center in Havana, Cuba; collaboration with Cuban and international artists and art institutions to study the relationship between the performative arts and politics and its implementation in societyPictured: Workshop with Thomas Hirschhorn
Photo: Cátedra Arte De Conducta
© Tania Bruguera
Memoria de la Postguerra III / Memory of the Postwar IIIdetails2003Editing a newspapers without name, date or news; political slogans used by the Cuban Revolution, reproduction of the posters used to advertise revolutionary slogans
Red ink, black ink, newsprint11 ⅕ × 16 inchesPhotos: Tania Bruguera
© Tania Bruguera
Memoria de la Postguerra III / Memory of the Postwar IIIdetails2003Editing a newspapers without name, date or news; political slogans used by the Cuban Revolution, reproduction of the posters used to advertise revolutionary slogans
Red ink, black ink, newsprint11 ⅕ × 16 inchesPhotos: Tania Bruguera
© Tania Bruguera
Autobiografia - Versión Dentro de Cuba / Autobiography - Version inside Cuba2003Space painted white, two Soviet speakers from the 1970s, egg cartons, wood stage, sixteen subwoofers, one disconnected microphone, three unfinished sheet rock walls, one electric bulb65 ⅗ × 49 ⅕ × 16 ⅖ inchesInstallation view: Museo Nacional de Belles Artes, Havana, Cuba
Photo: Ricardo G. Elias
© Tania Bruguera
Verantwortung Fur's Shicksal / Responsible for the Fate2004Site-specific participatory sound installation: booth, button to activate sound and recording, recording of the audience's opinions, computer, sound equipment, two loudspeakers, recording of the final statements by the Nazi officers on trial, hall used for the Auschwitz trial "4Ks 2/63 Ffm," Germans, survivors of the Holocaust and their relativesdimensions variablePhoto: Fritz Bauer Institute
© Tania Bruguera
Verantwortung Fur's Shicksal / Responsible for the Fate2004Site-specific participatory sound installation: booth, button to activate sound and recording, recording of the audience's opinions, computer, sound equipment, two loudspeakers, recording of the final statements by the Nazi officers on trial, hall used for the Auschwitz trial "4Ks 2/63 Ffm," Germans, survivors of the Holocaust and their relativesdimensions variablePhoto: Fritz Bauer Institute
© Tania Bruguera
Portraits2004–05Sound installation and performance: space painted white, historical speeches translated into applauses, recorded applauses, white speakers, white text in the wall with the historical information on the speeches, security guards with dogs randomly walking into the spacedimensions variableInstallation view: Kunsthalle Wien, Austria
Photo: Rüdiger Ettl
© Tania Bruguera
Portraits2004–05Sound installation and performance: space painted white, historical speeches translated into applauses, recorded applauses, white speakers, white text in the wall with the historical information on the speeches, security guards with dogs randomly walking into the spacedimensions variableInstallation view: Kunsthalle Wien, Austria
Photo: Rüdiger Ettl
© Tania Bruguera
Trust Workshop2007Use of psychology techniques: Ex-KGB agent, street photographers, eagles, monkeys, photographic paper, printer, ink, photo of Felix Dzerzhinsky4 × 3 × 2 metersPerformance view: 2nd Moscow Bienale, Moscow, Russia
Photo: 2nd Moscow Bienale
© Tania Bruguera
Trust Workshop2007Use of psychology techniques: Ex-KGB agent, street photographers, eagles, monkeys, photographic paper, printer, ink, photo of Felix Dzerzhinsky4 × 3 × 2 metersPerformance view: 2nd Moscow Bienale, Moscow, Russia
Photo: 2nd Moscow Bienale
© Tania Bruguera
Tatlin's Whisper #52008Decontextualization of an action: mounted police, crowd control techniques, audiencedimensions variablePerformance view: UBS Openings: Live The Living Currency, Tate Modern, London, UK
Photo: Sheila Burnett
© Tania Bruguera
Tatlin's Whisper #52008Decontextualization of an action: mounted police, crowd control techniques, audiencedimensions variablePerformance view: UBS Openings: Live The Living Currency, Tate Modern, London, UK
Photo: Sheila Burnett
© Tania Bruguera
Tatlin's Whisper #52008Decontextualization of an action: mounted police, crowd control techniques, audiencedimensions variablePerformance view: The 29th Biennial of Graphic Arts, Dogodek / The Event, The Cankarjev dom Culture and Congress Centre, Ljubljana, Slovenia, 2011
Photo: Jaka Babnik
© Tania Bruguera
Tatlin's Whisper #52008Decontextualization of an action: mounted police, crowd control techniques, audiencedimensions variablePerformance view: The 29th Biennial of Graphic Arts, Dogodek / The Event, The Cankarjev dom Culture and Congress Centre, Ljubljana, Slovenia, 2011
Photo: Jaka Babnik
© Tania Bruguera
El susurro de Tatlin #6 (Versión La Habana) / Tatlin’s Whisper #6 (Havana version)2009Decontextualization of an action: stage, podium, microphones, one loudspeaker inside and one loudspeaker outside of the building, two persons dressed in military outfits, white dove, one minute free of censorship per speaker, 200 disposable cameras with flashdimensions variablePerformance view: Tenth Havana Biennial, Central Patio of the Wifredo Lam Contemporary Art Center, Havana, Cuba
Video documentation of performance: HD video; 40 minutes 30 seconds; Edition of 5 (+ 1 AP)© Tania Bruguera
El susurro de Tatlin #6 (Versión La Habana) / Tatlin’s Whisper # 6 (Havana version)2009Decontextualization of an action: stage, podium, microphones, one loudspeaker inside and one loudspeaker outside of the building, two persons dressed in military outfits, white dove, one minute free of censorship per speaker, 200 disposable cameras with flashdimensions variablePerformance view: Tenth Havana Biennial, Central Patio of the Wifredo Lam Contemporary Art Center, Havana, Cuba
Video documentation of performance: HD video; 40 minutes 30 seconds; Edition of 5 (+ 1 AP)© Tania Bruguera
Autosabotage / Self-sabotage2009Performance: public conference, table, chairs, microphone, sound system, gun caliber 38 / 9mm, 9mm bulletsPhoto: Cesar Delgado Wixen
© Tania Bruguera
Autosabotage / Self-sabotage2009Performance: public conference, table, chairs, microphone, sound system, gun caliber 38 / 9mm, 9mm bulletsPhoto: Cesar Delgado Wixen
© Tania Bruguera
