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These early settlers built their Profile80 Autodestruccin 1, 2012 (installation view). Such a progressive, collective and organic way of building ensured that the homes and neighbourhood in which they evolved were (and still are) definitively unfinished to use a favoured Duchampism of Cruzvillegas. If the political position behind autoconstruccin ever seems unclear, it is because the artists dialectical attitude is fully present on every level of the work conceptually, politically and materially. Where most privileged Westerners, who have been culturally trained to condemn poverty, might perceive such conditions as nothing more than an affliction to be endured by the poor, Cruzvillegas sees extraordinary ingenuity, methodology and community-building through building. This, however, does not imply an uncritical embrace of these conditions. Rather, he seeks organically to account for the complexity, ambiguity and potential contradiction contained in any sociopolitical problem. All of which is to say, akin to Ajusco, that the so-called definition and even meaning of autoconstruccin, as well as the kind of work generated under its aegis, is in a continual state of expansion. This is precisely why and how, under Cruzvillegass auspices, autoconstruccin has been able to manifest in so many guises, places and modes: from small autonomous sculptures to large sculptural-cum-architectural installations; from mobile musical collaborations to an hourlong film, even a For the Mexican artist, the term autoconstruccin has referred to a series of projects rooted in the ad hoc, self-built homes of his native Ajusco. Courtesy the artist and Kurimanzutto, Mexico City play. Indeed, the term could be said to designate more of a spirit and an ethic than, say, a theory-driven aesthetic. And yet his works are often united by an identifiable formal sensibility, whose predominantly found-object or poor-material aesthetic influence is as indebted to Robert Rauschenberg, David Hammons and Jimmie Durham as it is to Gabriel Orozco. The difference between them and Cruzvillegas, however, is the highly personal, specific and inherently protean programme to which his cultural and material universe adheres. Neither a condemnation or affirmation of poverty, such a work celebrates the ingenuity people are liable to bring to such circumstances. The spirit of collaboration and hybridity that informs the artists evolving method can be seen in his musical projects titled any guesses. Autoconstruccin, at the CCA in Glasgow in 2008, and later, at the end of his DAAD residency in Berlin, The Self Builders Groove (2011). At the core of both projects were songs the artist had written primarily about Ajusco, produced, in the Berlin project (in collaboration with Gabriel Acevedo Velarde and Sebastian Grfe), in the space, to quote Cruzvillegas from the attendant publication, between a punk three-chord strategy, sample dub tradition, rebajadas slow motion earsplitting, hip-hop appropriation and Tyrolese-Tibetan electro-digital tunes. In the Glasgow version, a pedal-powered vehicle (evolved from a bicycle) with speakers attached to it, made in collaboration with Glaswegian John OHara, roamed the city and broadcast the songs.

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Also nominated for the same honor were Mick Garris’s The Stand (ABC), Alistair Reid’s Tales of the City (PBS), Ken Cameron’s Oldest Living Confederate Widow Tells All (CBS), and Joseph Sargent’s World War II: When the Lions Roared (NBC). John Frankenheimer won the Emmy Award for outstanding individual achievement for directing a miniseries or special for Against the Wall (HBO), based on the 1971 Attica State Prison riot in New York. Also nominated were Spottiswoode, Ardolino, Jordan, and Betty Thomas for My Breast (HBO). Hume Cronyn won the outstanding lead actor Emmy under Jordan’s direction for To Dance with the White Dog. Kirstie Alley won the outstanding actress Emmy and Michael A. Goorjian the supporting actor award under Robert Allan Ackerman’s direction for David’s Mother (CBS). Cicely Tyson won the supporting actress Emmy under Cameron’s direction for Oldest Living Confederate Widow Tells All. DGA Awards: Rod Holcomb won the DGA Award for directorial achievement in dramatic specials for the pilot film of ER (NBC). Nominated for the same honor were John Frankenheimer’s Against the Wall, John Dahl’s The Last Seduction (HBO), Betty Thomas’s My Breast, and Joseph Sargent’s World War II: When the Lions Roared. BAFTA Awards: The BAFTA for best single drama was won by Richard Spence’s Skallagrigg. Nominated in the same category were Diarmuid Lawrence’s A Breed of Heroes, Peter Kosminsky’s The Dying of the Light, Gavin Millar’s Pat and Margaret, and Betsan Morris Evans’s Suffer the Little Children. Winning the BAFTA for best drama serial was David Blair’s Takin’ Over the Asylum. Nominated in the same category were Anthony Page’s Middlemarch, and Michael Winterbottom’s Family. Gerry Poulson’s Stanley’s Dragon was nominated for best children’s program. Juliet Aubrey was named best actress for her performance under Page’s direction in Middlemarch. Golden Globes: John Frankenheimer’s The Burning Season (HBO) won the Golden Globe for best TV movie or miniseries. Also nominated in the same category were Christopher Menaul’s Fatherland (HBO), Jack Gold’s The Return of the Native on Hallmark Hall of Fame (CBS), Jeremy Kagan’s Roswell (Showtime), and Robert Butler’s White Mile (HBO).

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