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TEOR/éTica - art + thought

is an independent, private, non-profit organisarion, located in San José, Costa Rica. Both its name and its raison d’etre imply theory, aesthetics and ethics. Throughout the years, TEOR/éTica has been consolidated as one of the most dynamic and propositive cultural projects in Latin America. It is internationally renowned for its role in the development of artistic practices in Central America, and for propitiating new ways of thinking and thinking ourselvesfrom a critical stance.
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Lado V - Center for Study and Documentation

is part of and complements TEOR/éTica, a space dedicated to art and thought, founded in 1999 as an independent, private, non profit organisation, dedicated to the investigation and dissemination of contemporary artistic practices from Central America and the Caribbean.
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Lado V - Center for Study and Documentation

is part of and complements TEOR/éTica, a space dedicated to art and thought, founded in 1999 as an independent, private, non profit organisation, dedicated to the investigation and dissemination of contemporary artistic practices from Central America and the Caribbean.
Read more

NEWS

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TEOR/éTica anuncia Plan 2021

NEW PUBLICATIONS

NUEVONEW (1)

An Unfinished Place. Building Art Infrastructure in Central America

An Unfinished Place. Building Art Infrastructure in Central America brings together texts written by Virginia Pérez-Ratton over a period of fifteen years (between 1995 and 2009), many of which remained unpublished or have been difficult to access. The author dissects her own professional work, imparting her greatest expectations without reservation, and likewise her great sorrows and frustrations around arts administration. Her writings are affective and passionate. Pérez-Ratton’s perspective was one of an artist who nonetheless decided to be a museum’s director and a curator in order to radically change the conditions of art production of her own time.

Pérez-Ratton’s writings are affective, passionate, and assumes a firm stance over situations that she deems unnegotiable and urgent. It doesn’t come as a surprise that her opinions regarding what is the public responsibility of the curator and of institutions are still relevant today, demanding new responses from us. Originally written within the span of fifteen years (between 1995 and 2009), these texts are circulated here once more, inviting us to think about the dimensions of the difficult –and often misunderstood– labour of creating infrastructure, and of contributing to sustaining an artistic ecosystem.

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COLLABORATORS

This post is also available in: Español (Spanish)