May 242018
May 242018
May 122018
Entrevista de Alí Majúl para Canal Cultura
El artista cubano Carlos Martiel* conversó con Alí Majúl sobre el cuerpo y el performance, el deseo, el racismo estructural en el arte, la mierda que tenemos de mundo, el dolor, la descolonización en el arte, el ser un artista negro en un mundo de blancos, de migración, entre otros temas.
¿Quién es Carlos Martiel?
Respondiendo a esta pregunta se pudiera escribir un libro, porque el universo y las facetas que componen a cada ser humano son infinitas, y van de la luz a la sombra. Somos muchas existencias contenidas dentro de un mismo cuerpo. Somos unos con nuestros padres, otro con los amigos, otros con los amantes, y así sucesivamente con cada círculo que rodea nuestra vida. Resumiendo la cuestión, soy un artista, nacido en Cuba, descendiente de inmigrantes haitianos y jamaiquinos que emigraron a Holguín a mediados de 1920. Desde muy joven he estado interesado en cuestiones o problemáticas, relacionadas a mi cuerpo, sus libertades en un contexto como Cuba, los límites de lo permisible, la racialidad, entre otros tantos temas que han surgido con mi madurez. Todo esto me llevó a expresarme desde el performance como un medio de empoderamiento.
Un artista comprometido con lo que considero la memoria de libertad, esa memoria ancestral que está metida en lo más profundo de mi ADN, y que ningún mecanismo de opresión puede suprimir.
(más info aquí)
Apr 252018
Sharjah Biennial 14: Leaving the Echo Chamber (SB14), questions the possibilities and purpose of producing art when history is increasingly fictionalised, when ideas of “society” are invariably displaced, when borders and beliefs are under constant renegotiation, and our material culture is under the constant threat of human destruction and climate degradation.
SB14 will feature exhibitions by curators Zoe Butt, Omar Kholeif and Claire Tancons, bringing together a range of experiences and works—including major commissions, large-scale public installations, performances, and films—to explore how contemporary life, enabled by rapid technological change, has created a seemingly inescapable “echo chamber” of information, complex personal networks, and shifting narratives that are physical, spiritual, and virtual.
On view in SAF buildings and courtyards across the city’s arts and heritage areas, as well as other spaces in Sharjah, Leaving the Echo Chamber will explore subjects ranging from migration and diaspora, to concepts of time and interpreted histories, in relation to today’s continuous loop of mediated information. Invited to respond to the overarching issues and concerns of Leaving the Echo Chamber, the curators will present three distinct exhibitions, for which they have invited a selection of artists from around the world, as well as from the UAE and the surrounding region, to participate.
An initial selection of participating artists in each of the three exhibitions follows below with the complete lineup to be announced in the coming months:
Look for Me All Around You, curated by Claire Tancons
Look for Me All Around You questions if obscurity is the harbinger of futurity, darkness the site of seeing, and blackness the scene of unmasking. In Look for Me All Around You, what is being “looked for” is not what is being “looked at”—if only it could be seen. Standing witness to the imperilment of the contemporary in the atomised space between “me” and “you,” Look for Me All Around You seeks to eschew the sole realm of the retinal embedded within hegemonic structures of looking, learning, and feeling. It strives instead, through mechanisms of repossession of perception, to reflect and deflect encroaching conditions of dispossession and diasporisation.
Look for Me All Around You will include works by Caline Aoun, Aline Baiana, Nikolaus Gansterer, Eisa Jocson, Isabel Lewis, Ulrik López, Carlos Martiel and Wu Tsang.
(more info here)
Apr 242018
Apr 232018
Entre los meses de agosto y octubre de 2017, la Bienal de Cuenca receptó 130 portafolios de artistas ecuatorianos que fueron remitidos al curador de la XIV edición, Jesús Fuenmayor. El comisario venezolano preseleccionó 20 carpetas de artistas nacionales cuyos talleres visitó en Cuenca, Guayaquil y Quito. Tras ese ciclo de visitas, Fuenmayor eligió trece nombres que se suman a los cuarenta artistas internacionales invitados directamente por el curador. Aunque la totalidad contabiliza 53 invitados en tanto hay varios artistas que trabajan en pareja o forman parte de un colectivo, serán 45 los proyectos u obras a presentarse dentro de la muestra oficial, 26 de los cuales son obras comisionadas expresamente para la ocasión. Esto y otros detalles vinculados al evento se darán a conocer este jueves en la rueda de prensa programada por la institución.
Adicionalmente, será la ocasión en que la Bienal presente la imagen oficial de la XIV edición, desarrollada por el equipo de diseño y comunicación de la Bienal. Esta propuesta visual aspira reflejar el concepto de “Estructuras vivientes. El arte como experiencia plural” propuesto por Fuenmayor para el evento.
En el acto estará presente el Alcalde de la ciudad, Marcelo Cabrera Palacios; la representante en Cuenca del Ministerio de Cultura, Tamara Landívar; el Curador General, Jesús Fuenmayor; el Curador Pedagógico, Félix Suazo; el Director Ejecutivo de la entidad, Cristóbal Zapata y varios artistas locales e intencionales que son parte de los invitados a la muestra oficial.
ARTISTAS INTERNACIONALES INVITADOS A LA MUESTRA OFICIAL DE LA XIV BIENAL
1 Rey Akdogan (Alemania-USA)
2 Lara Almárcegui (España- Holanda)
3 Carla Arocha (Venezuela- Bélgica) y Stéphane Schraenen (Bélgica)
4 Diego Barboza (1945-2003, Venezuela)
5 Lothar Baumgarten (Alemania)
6 Erick Beltrán (México-España)
7 Julien Bismuth (Francia-USA)
8 Jessica Briceño (Chile)
9 Nina Canell y Robin Watkins (Suecia)
10 Leyla Cárdenas (Colombia)
11 Yaima Carrazana (Cuba-Holanda)
12 Benvenuto Chavajay (Guatemala)
13 Lygia Clark – Eduardo Clark (Brasil)
14 Patricia Dauder (España)
15 Jorge Eielson (1924-2006, Perú)
16 José Gabriel Fernández (Venezuela-USA)
17 Finishing School (Nadia Afghani, Matt Fisher, Ed Giardina, Jason Plapp, Jean Robison) (USA)
18 Dara Friedman (USA)
19 Pablo Helguera (México-USA)
20 Ana Guedes (Portugal)
21 Fritzia Irizar (México)
22 Birger Lipinski (Suecia) y Laercio Redondo (Brasil)
23 Cecilia López (Argentina)
24 Carlos Martiel (Cuba-USA)
25 Ana Mazzei (Brasil)
26 Felipe Meres (Brasil-USA)
27 Oscar Abraham Pabón (Venezuela- Holanda)
28 Ishmael Randall-Weeks (Perú-USA)
29 Jimmy Robert (Francia-Rumania)
30 Matheus Rocha Pitta (Brasil)
31 Sergio Vega (Argentina-USA)
32 Franz Erhard Walther (Alemania)
ARTISTAS ECUATORIANOS DE LA XIV BIENAL
1 Adrián Balseca (Quito)
2 Pablo Barriga (Quito)
3 Ilich Castillo (Guayaquil)
4 Pamela Cevallos (Quito)
5 Gabriela Chérrez (Guayaquil)
6 Jenny Jaramillo (Quito)
7 José Luis Macas (Quito)
8 María José Machado (Cuenca)
9 David Orbea (Guayaquil)
10 Estefanía Peñafiel (Quito-París)
11 Santiago Reyes (Quito- París)
12 Manuela Ribadeneira (Quito-Londres)
13 Juliana Vidal (Cuenca)
(mas info aquí)
Apr 172018
Reception: Thursday, May 31, 6-8 pm
June 1 – September 23, 2018
Relational Undercurrents is the first major survey of twenty-first century art of the Caribbean. It employs the archipelago as an analytical framework, focusing on locating thematic continuities in the art of the Caribbean islands, placing Hispanophone artists in visual conversation with those from Anglophone, Francophone, Dutch, and Danish backgrounds.
Relational Undercurrents works against traditional understandings of the Caribbean as discontinuous, isolated, and beyond comprehension as a result of heterogeneous populations, multiple linguistic traditions, and diverse colonial histories. Instead, Relational Undercurrents is divided into four sections: Conceptual Mappings, Perpetual Horizons, Landscape Ecologies and Representational Acts. Each grouping features artists whose works have informed and shaped those themes. Relational Undercurrents includes painting, installation art, sculpture, photography, video, and performance.
It is accompanied by a lavishly illustrated catalogue with essays by curators, critics, and scholars that discuss particular artistic traditions in Cuban, Puerto Rican, Dominican, and Haitian art, and theorize the broader decolonial and archipelagic conceptual frameworks within which such works are produced. The catalogue is coedited by Flores and Michelle Ann Stephens, Professor of English and Latino and Caribbean Studies at Rutgers University, New Brunswick. Stephens is coeditor of Archipelagic American Studies, also published by Duke University Press.
(more info here)
Wallach Art Gallery | 615 W 129th St, New York, NY 10027
Apr 122018
Supermarket – Stockholm Independent Art Fair
with Kunstverein Familie Montez
12–15 April, 2018
Thursday–Saturday 11–20, Sunday 11–18
(more info here)
Supermarket – SIAF | Slaughterhouse 5, Fållan 10, Slakthusområdet (Metro Globen), Stockholm.
Mar 272018
Mar 212018
March 28, 2018
19 hrs
Join us for a very special conversation in conjuction with our newest exhibition with artist Carlos Martiel and New York–based independent researcher, scholar, and curator Vivian Crockett as they discuss Martiel’s newest piece “Intruder (America)” in relationship to Martiel’s long-term performance practice and its themes.
Intruder (America) is the first of two iterations of a new performance by Cuban artist Carlos Martiel. The piece derives its inspiration from the current migratory crisis that has quickly intensified and exacerbated in the United States after the election of Donald Trump. Within this context, Crockett and Martiel will examine how themes such as migration, displacement, systemic violence, anti-black racism and xenophobia on global and nationally specific scales, among others, have informed Martiel’s practice and tactics of engagement.
BIOGRAPHY
Carlos Martiel (born 1989, Havana). He Lives and works in New York and Havana. He graduated in 2009 from the National Academy of Fine Arts “San Alejandro,” in Havana. Between the years 2008-2010, he studied in the Cátedra Arte de Conducta, directed by the artist Tania Bruguera. Martiel’s works have been included in: 57th Venice Biennale, Venice, Italy; Casablanca Biennale, Casablanca, Morocco; Biennial “La Otra”, Bogotá, Colombia; Liverpool Biennial, Liverpool, United Kingdom; Pontevedra Biennial, Galicia, Spain; Havana Biennial, Havana, Cuba. He has had performances at Walker Art Center, Minneapolis, USA; The Museum of Fine Arts Houston (MFAH), Houston, USA; Museo de Arte Contemporáneo del Zulia (MACZUL), Maracaibo, Venezuela; Padiglione d’Arte Contemporanea, Milan, Italy; Robert Miller Gallery, New York, USA; Nitsch Museum, Naples, Italy. He has received several awards, including the Franklin Furnace Fund in New York, USA, 2016; “CIFOS Grants & Commissions Program Award” in Miami, USA, 2014; “Arte Laguna” in Venice, Italy, 2013. His work has been exhibited at The Museum of Latin American Art (MOLAA), Long Beach, USA; Zisa Zona Arti Contemporanee (ZAC), Palermo, Italy; Patricia and Phillip Frost Art Museum, Miami, USA; Benaki Museum, Athens, Greece; National Museum of Fine Arts, Havana, Cuba; Tornielli Museum, Ameno, Italy; Museum of Modern Art of Buenos Aires, Argentina; among others.
Vivian Crockett is a New York–based independent researcher, scholar, and curator focusing largely on art of African diasporas, (Afro)Latinx diasporas, and Latin America at the varied intersections of race, gender, and queer theory. She is a PhD candidate in art history at Columbia University whose dissertation examines artistic practices and discourses in Brazil in the sixties and seventies. Her scholarly and cultural work seeks to assert a radically political analysis of modern and contemporary art and to foster the remembrance and visioning of cultural spaces and practices that merge a commitment to artistic and cultural production with sociopolitical justice and collective liberation. She is the 2017–18 Mellon Museum Research Consortium Fellow in Media and Performance Art at the Museum of Modern Art, New York.
(more info here)
AC Institute | 16 E. 48th St, New York, NY 10017 (4th Floor)