Artwork Survey: 2000s

Tania Bruguera

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  1. Sin Título (Habana, 2000) / Untitled (Havana, 2000)
    2000
    Performance and video: milled sugar cane, black and white monitor, Cubans, DVD disc, DVD player
    13 ⅛ × 39 ⅜ × 164 feet

    Photo: Casey Stoll

    © Tania Bruguera

  2. Sin Título (Habana, 2000) / Untitled (Havana, 2000)
    2000
    Performance and video: milled sugar cane, black and white monitor, Cubans, DVD disc, DVD player
    13 ⅛ × 39 ⅜ × 164 feet

    Photo: Casey Stoll

    © Tania Bruguera

  3. Sin Título (Kassel 2002) / Untitled (Kassel 2002)
    2002
    Performance and video installation: Germans, guns, black outfits, wood scaffolding, 40–750 watt light beams, DVD disc, DVD player, projector
    19 × 59 ⅗ × 13 feet
    Collection Museum für Moderne Kunst, Frankfurt

    Photo: Sebastian Isacu

    © Tania Bruguera

  4. Sin Título (Kassel 2002) / Untitled (Kassel 2002)
    2002
    Performance and video installation: Germans, guns, black outfits, wood scaffolding, 40–750 watt light beams, DVD disc, DVD player, projector
    19 × 59 ⅗ × 13 feet
    Collection Museum für Moderne Kunst, Frankfurt

    Photo: Sebastian Isacu

    © Tania Bruguera

  5. Poetic Justice
    2002–03
    Teabags, fabric, thread, canvas, wood, LCD screen, DVD, 1 minute continuous loop
    dimensions variable

    Installation view: 8th Istanbul Biennial, Turkey

    © Tania Bruguera

  6. Cátedra Arte De Conducta / Center for Behavior Art Studies
    2002–09
    Creation 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 society

    Pictured: Workshop with Anri Sala

    Photo: Cátedra Arte De Conducta

    © Tania Bruguera

  7. Cátedra Arte De Conducta / Center for Behavior Art Studies
    2002–09
    Creation 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 society

    Pictured: Workshop with Thomas Hirschhorn

    Photo: Cátedra Arte De Conducta

    © Tania Bruguera

  8. Memoria de la Postguerra III / Memory of the Postwar III
    details
    2003
    Editing 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, newsprint
    11 ⅕ × 16 inches

    Photos: Tania Bruguera

    © Tania Bruguera

  9. Memoria de la Postguerra III / Memory of the Postwar III
    details
    2003
    Editing 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, newsprint
    11 ⅕ × 16 inches

    Photos: Tania Bruguera

    © Tania Bruguera

  10. Autobiografia - Versión Dentro de Cuba / Autobiography - Version inside Cuba
    2003
    Space painted white, two Soviet speakers from the 1970s, egg cartons, wood stage, sixteen subwoofers, one disconnected microphone, three unfinished sheet rock walls, one electric bulb
    65 ⅗ × 49 ⅕ × 16 ⅖ inches

    Installation view: Museo Nacional de Belles Artes, Havana, Cuba

    Photo: Ricardo G. Elias

    © Tania Bruguera

  11. Verantwortung Fur's Shicksal / Responsible for the Fate
    2004
    Site-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 relatives
    dimensions variable

    Photo: Fritz Bauer Institute

    © Tania Bruguera

  12. Verantwortung Fur's Shicksal / Responsible for the Fate
    2004
    Site-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 relatives
    dimensions variable

    Photo: Fritz Bauer Institute

    © Tania Bruguera

  13. Portraits
    2004–05
    Sound 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 space
    dimensions variable

    Installation view: Kunsthalle Wien, Austria

    Photo: Rüdiger Ettl

    © Tania Bruguera

  14. Portraits
    2004–05
    Sound 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 space
    dimensions variable

    Installation view: Kunsthalle Wien, Austria

    Photo: Rüdiger Ettl

    © Tania Bruguera

  15. Trust Workshop
    2007
    Use of psychology techniques: Ex-KGB agent, street photographers, eagles, monkeys, photographic paper, printer, ink, photo of Felix Dzerzhinsky
    4 × 3 × 2 meters

    Performance view: 2nd Moscow Bienale, Moscow, Russia

    Photo: 2nd Moscow Bienale

    © Tania Bruguera

  16. Trust Workshop
    2007
    Use of psychology techniques: Ex-KGB agent, street photographers, eagles, monkeys, photographic paper, printer, ink, photo of Felix Dzerzhinsky
    4 × 3 × 2 meters

    Performance view: 2nd Moscow Bienale, Moscow, Russia

    Photo: 2nd Moscow Bienale

    © Tania Bruguera

  17. Tatlin's Whisper #5
    2008
    Decontextualization of an action: mounted police, crowd control techniques, audience
    dimensions variable

    Performance view: UBS Openings: Live The Living Currency, Tate Modern, London, UK

    Photo: Sheila Burnett

    © Tania Bruguera

  18. Tatlin's Whisper #5
    2008
    Decontextualization of an action: mounted police, crowd control techniques, audience
    dimensions variable

    Performance view: UBS Openings: Live The Living Currency, Tate Modern, London, UK

    Photo: Sheila Burnett

    © Tania Bruguera

  19. Tatlin's Whisper #5
    2008
    Decontextualization of an action: mounted police, crowd control techniques, audience
    dimensions variable

    Performance 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

  20. Tatlin's Whisper #5
    2008
    Decontextualization of an action: mounted police, crowd control techniques, audience
    dimensions variable

    Performance 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

  21. El susurro de Tatlin #6 (Versión La Habana) / Tatlin’s Whisper #6 (Havana version)
    2009
    Decontextualization 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 flash
    dimensions variable

    Performance 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

  22. El susurro de Tatlin #6 (Versión La Habana) / Tatlin’s Whisper # 6 (Havana version)
    2009
    Decontextualization 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 flash
    dimensions variable

    Performance 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

  23. Autosabotage / Self-sabotage
    2009
    Performance: public conference, table, chairs, microphone, sound system, gun caliber 38 / 9mm, 9mm bullets

    Photo: Cesar Delgado Wixen

    © Tania Bruguera

  24. Autosabotage / Self-sabotage
    2009
    Performance: public conference, table, chairs, microphone, sound system, gun caliber 38 / 9mm, 9mm bullets

    Photo: Cesar Delgado Wixen

    © Tania Bruguera