Unfriendly Skies: Birds, Buildings and Collisions
Group exhibit / October 29, 2015 to November 20, 2015
Project Land's End in Collaboration with Chris Rackley.
4 digital prints
Gallery, School of Art
George Mason University
Fairfax, VA
Article in the City Paper
In ‘Unfriendly Skies,’ Bird Art Doubles as Environmental Message / link
3 prints in portrait Biennial, Tuzla, Bosnia and Herzegovina.
6th International biennial festival of portait organised by the International Gallery of Portrait October 2nd- Nov 2 2015.
Tuzla, Bosnia and Herzegovina
Public lecture Flagler / Project Finding Baroque.
project “Finding Baroque” on April 15. organized by the college and the Crisp-Ellert Art Museum, will be at 7 p.m. in the Gamache-Koger Theater in the Ringhaver Student Center, 50 Sevilla St.
link news paper article / The Record
Forum Transculturel d'Art Contemporain, 7e édition - 2 au 12 avril 2015 Port Au Prince Haiti
Participating in the "Forum Transculturel d'Art Contemporain", guiding a workshop, presentation, also developing a new project.
Organized by Africamerica.org
La Bestia y el Soberano / MACBA
New Update / March 20 2015.
The beast and the sovereign as been reopened to the public. Article News paper El Pais (spanish)
The exhibition is an exploration of how contemporary artistic practices question and deconstruct the Western and metaphysical definition of political sovereignty: their new way of understanding freedom and emancipation beyond individual autonomy, as well as the modern form of the nation-state.
Update of the Exhibit after the Censorship of the exhibit in Macba Spain.
Context : Newspaper article about the censorship: English / Español / wkv-stuttgart (German)
Artist statement
As artists in the exhibition La bestia y el soberano we express our solidarity with the curatorial team and we hate and refuse the MACBA director's decision to close the exhibition, as authoritarian, and regressive.
We all were aware that we were participating in an exhibition which was a polemical intervention in political debates on sovereignty taking place these troubled days in Spain, on the verge of the most important shift in political hegemony in its recent history. Cancel the exhibition is thus suppress a project designed to encourage public, productive and progressive debate in such context. This unfortunate fact highlights the contradiction of promoting a project that the institution finally dare not assume.
Polemics and public debates are the essence of democracy and the mission of the museum is to contribute to that. With this decision the museum is betraying its mission, but also its own history, characterize by an outstanding contribution to the radical reinvention of the museum as a public space.
Efrén Álvarez, Angela Bonadies and Juan José Olavarría, Peggy Buth, Ines Doujak and John Barker, Edgar Endress Oier Etxeberria, Banu Cennetoglu and Philippine Hoegen, Jan Peter Hammer, Julia Montilla, Mary Reid Kelley and Patrick Kelley, Jorge RibaltaWu Tsang, Viktor Vorobyev & Yelena Vorobyeva.
[Castellano]
Ante el cierre de La bestia y el soberano
Las y los artistas participantes en la exposición La bestia y el soberano queremos manifestar nuestra solidaridad con el equipo curatorial, así como nuestra oposición y rechazo a la decisión autoritaria y reaccionaria del Director del MACBA de cerrar la muestra.
Eramos conscientes de participar en una exposición que suponía una polémica intervención en los debates que sobre soberanía están teniendo lugar en el Estado español; discusiones que se enmarcan en un importante cambio en la hegemonía política de su historia reciente. Cancelar la exhibición es, pues, reprimir un proyecto concebido para alentar un debate público, productivo y progresista en tal coyuntura. Este infortunado hecho pone en evidencia la contradicción de promover un proyecto que la institución, finalmente, no se atreve a asumir.
Los debates públicos son la esencia de la democracia, y la función de un museo es contribuir a ellos. Con su decisión la institución está traicionando su misión. Pero también su propia historia, caracterizada por una destacada contribución a la radical reinvención del museo como un espacio público.
Efrén Álvarez, Angela Bonadies and Juan José Olavarría, Peggy Buth, Ines Doujak and John Barker, Edgar Endress Oier Etxeberria, Banu Cennetoglu and Philippine Hoegen, Jan Peter Hammer, Julia Montilla, Mary Reid Kelley and Patrick Kelley, Jorge RibaltaWu Tsang, Viktor Vorobyev & Yelena Vorobyeva.
The project Acts of Knowledge will be installed as part of the exhibit The beast and the sovereign
19 Mar. - 30 Aug. 2015 Museum of contemporary art (MACBA) Barcelona
16 Oct. 2015 - 17 Jan. 2016 Württembergischer Kunstverein (WKV) Stuttgart
Projects in recents books;
1/ Acts of Knowledge, 2/ Whitening Identities, 3/ Scream at the Economy
The project “Acts of Knowledge”
Book: Digital Society and Postmodernism
Edited by Dayee Jeong
Humanist Publishing Group in Korea.
humanistbooks.com
The project “The mask of the shoe shiner” and “Whitening Identities”, will be part of:
Book: The Racial Imaginary: Writers on Race in the Life of the Mind – March 24, 2015
by Claudia Rankine (Introduction), Beth Loffreda (Introduction), Cap Max King (Introduction)
http://www.fenceportal.org/?page_id=5662
The project “Scream at the Economy” by Floating Lab Collective part of:
Book: Global Activism
Art and Conflict in the 21st Century
Edited by Peter Weibel
The MIT Press
http://mitpress.mit.edu/books/global-activism
Atlas Book by Akademie Schloss Solitude
Original Image contributed to the Atlas
The Solitude Atlas publication will be a collection of short texts from former fellows of the Akademie, Stuttgart-Germany.
Video "Prelude for Meditation" will be display in Cuba, as part of VIDEOARDE.
Inauguration Casa de las Américas, March 27, 2015
Exhibition in Festival Internacional de Videoarte de Camagüey April 1st & 2nd
Link to watch video
The exhibition Videoarde. Critical video in Latin America and the Caribbean belongs to a three-part project Laura Baigorri is developing in Latin America and the Caribbean (2008-2011) with the support of the network of cultural centers of AECID (Spanish Agency for International Cooperation and Development) and Instituto Cervantes.
Acts of Erasure part of the “RACIAL IMAGINARY” exhibit
Acts of Erasure in Exhibit
“RACIAL IMAGINARY” AT PITZER COLLEGE
at Nichols Gallery through December 5, 2014
Pitzer College’s exhibition, “Racial Imaginary,” the visual art component of a larger project that includes a book of essays, musings and poems, demonstrates the fecundity of race and identity for artists of all media and aesthetic proclivities. The featured artists primarily working in video, sculpture and photography, engage with the question of what it means to create race-based art in an era in which racial divisions are simultaneously dismissed as archaic but are more entrenched than ever.
Exhibit Performance Biennial
El Milagro Chileno, by Floating Lab Collective
Exhibit:
The project “El Milagro Chileno / The Chilean Miracle”,
V Bienal Internacional de Performance DEFORMES
Valdivia, Chile – December, 2014
Current Exhibit
Gallery All We Art
Exhibition: New Art Resolutions
Opening Reception: January 15, 2015
1666 33th St NW - Georgetown
Washington DC 20007v
January 15 - February 19
Current Research Project
Finding Baroque / St. Augustine FL.
Baroque was at the forefront of the Spanish colonial enterprise. Baroque is an art synthesis created as a Catholic response to the Protestant insurgency–a counter- reformation aesthetic and ideology. Since its incipience in the New World, Baroque was an instrument of colonization and it was vigorously implemented across the Spanish colonies. Masters like Sebastián López de Arteaga or the Italian Jesuit Bernardo Bitti in Cuzco, Peru, were brought to the Americas to train indigenous people to fulfill the need of disseminating religious art and also to create content for churches and other Christian institutions, such as monasteries and educational institutions.
But Baroque was an aesthetic form that works in a contradictory manner allowing in its “horror vacui” (fear of empty space) the insertion of critique disguised in the image-saturated canvas. Baroque worked poorly as a colonizing instrument. Its visual and verbal forms are ample, dynamic, porous, and permeable. In the New World, it immediately began to incorporate the cultural perspectives and iconographies of the indigenous and African laborers and artisans who built and decorated Catholic structures. Cultural heresies often entered unnoticed.
More info in: www.findingbaroque.wordpress.com
Selected for the residency by Virginia Center for the Creative Arts (VCCA).
June 1st to June 30
Selected for one of the fellowships supported by a grant from the National Endowment for the Arts for community-based, socially engaged or relational artists.
http://www.vcca.com