Sunday, May 28, 2017
 


Imminent Lawless Action: Buck-Morss v. Enwezor


This essay argues that the seemingly disparate concepts of art and law are connected by the question of dissent and its its own juridico/linguistic limitation. It is my contention that at this stage of our global order, the only space left for an artistic practice is that of questioning institutional frameworks through and against the language of law.

If in fact the United States is our current version of Empire, then it is precisely through a cultural production informed by but not limited to Western artistic notions of the avant-garde that the questioning of U.S. laws, the U.S. Constitution and their global materialization will be elucidated.

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Interview with Law Professor Eduardo M. Peñalver, on Art, Law and Property


This interview took place over email exchanges between December 20, 2005 and January 3, 2006. In this interview, Law Professor Eduardo M. Peñalver talks in part about property law, the legal differences between real and intellectual property, and the relationship of these discourses to art and cultural production.

In trying to ascertain the relationship between law and cultural production, I decided to approach scholars and practitioners who had practical, theoretical, and philosophical experience with the impact of law on art. Although there are many art theorists, art historians, and art practitioners who have a wealth of experience in their respective fields, I have chosen to approach this investigation from the viewpoint of a field traditionally excluded from studies of visual culture, art, and art history. I can only hope that this experiment proves me right. — Sergio Muñoz-Sarmiento

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Postcards & Billboard Project: Chinatown, NYC


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Aesthetic Property Project


“Solving [the mystery of capital] requires an understanding of why Westerners, by representing assets with titles, are able to see and draw out capital from them. One of the greatest challenges to the human mind is to comprehend and to gain access to those things we know exist but cannot see. Not everything that is real and useful is tangible and visible.”

-Hernando de Soto, The Mystery of Capital, (2000)

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2006 Rose Bowl Flea Market Biennale


rosebowl.jpg

The 2006 Rose Bowl Flea Market Biennale took place on Sunday, October 8th, 2006 at the Rose Bowl Flea Market in Pasadena, California. This was the second of an ongoing Flea Market Biennal Series initiated and organized by CLANCCO.

CLANCCO is proud to announce that the Rose Bowl Flea Market Biennale was a huge success, bringing shoppers, artists, curators and writers from all over southern California. With over 40 artists participating, the 2nd CLANCCO Swap Meet Biennale raised considerable funds both for its own BluePrint Art & Law Grant, as well as funds for Outpost for Contemporary Art’s mission.

Images of the event are now available on CLANCCO’s Flickr account, available here

The Rose Bowl Flea Market Biennale was organized and funded by Outpost for Contemporary Art. Please continue reading for more information on the CLANCCO Biennale and a list of participating artists.

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2005 Bronco Swap Meet Biennale


A Project on Mercantilism and Society

8408 Alameda Avenue

El Paso, Texas

January 7 & 8, 2006 7am to 4pm

Items Below Now Available For Purchase!

Most items seen below are now available for purchase online. If you’re interested in purchasing any of the items below, please email sergio_sarmiento@clancco.com

Installation 1

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