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.
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)
OPENING RECEPTION AND PERFORMANCE: TUESDAY, MARCH 6, 2018 7 – 9PM
MARCH 6 – 30, 2018
AC Institute is pleased to present Intruder (America), a new piece by Carlos Martiel on March 6th, 2018 at 7 pm. The exhibition will be on view from March 6 – 30, 2018.
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.
As the first of a two-part piece being presented in the United States, the second piece will be presented in Europe. Both continents have an exceeding impact in the world’s migration pattern and have been the catalyst for the current migratory effects around the world. The piece reflects on the political migrations that have restricted access to immigrants and those seeking political asylum in the United States, similar to the xenophobia and hostility that many immigrant groups face today inside immigration detention centers.
(more info here)
AC Institute | 16 E. 48th St, New York, NY 10017 (4th Floor)
El destacado artista cubano se presenta por partida doble
En el marco del ciclo El Centro en movimiento II. Máquinas e imaginarios –que tiene como protagonistas a la acción y la performance– el artista cubano reconocido a nivel internacional Carlos Martiel realiza dos actividades abiertas al público.
El sábado 17 presenta Encomienda, una performance inscripta en la línea en la que viene trabajando hace varios años y que aborda problemáticas como la raza, la otredad, la condición sexual, lo propio y lo ajeno. La fuerte presencia del cuerpo humano en la producción del artista tiene como objetivo concientizar y fomentar la memoria colectiva de todos aquellos que presencian sus actos performáticos. En palabras de la curadora invitada Marisa Caichiolo, “a Martiel no le interesa borrar cada trazo, cada huella; solo quiere que su cuerpo quede marcado con su historia, con sus raíces y la de sus antepasados; una marca imborrable que queda perpetuada para toda la vida.”
Previamente, el viernes 16 brinda una charla abierta en la que, junto a los curadores Marisa Caichiolo y Rodrigo Alonso, conversará sobre su proceso de creación –que tiene como eje a la acción performática– y repasará su trayectoria artística. ¿En qué consiste una performance? y ¿qué impacto genera o pretende alcanzar en su público? son algunas de las preguntas que abordarán Martiel y los curadores, en diálogo con el público. La actividad se inscribe en el ciclo Hablemos de Arte, que complementa la programación de Artes Visuales del CCK con charlas y conferencias que proponen nuevas miradas sobre los temas abordados en las exhibiciones y los demás ciclos.
Ambas actividades son gratuitas y con cupo limitado, por lo que requieren de reserva previa. La reserva se realizará en cada caso presentándose en el mostrador de atención al público (Sarmiento 151, Planta baja, Hall central) con DNI o pasaporte. La performance del sábado 17 es apta para mayores de 18 años.
(más info aquí)
Centro Cultural Kirchner (CCK) | Sarmiento 151, C1041AAE CABA, Argentina
Carlos Martiel
Performance ENCOMIENDA
Sábado 17 de febrero,19h.
(más info aquí)
Centro Cultural Kirchner (CCK) | Sarmiento 151, C1041AAE CABA, Argentina
Desde el 10 de Febrero – Jueves a domingos y feriados, de 13 a 20h,- salas del cuarto piso.
En el marco de la programación de verano del CCK, se presenta la segunda edición de El Centro en movimiento. La serie incluye una exposición de fotografías, video-instalaciones y performances que tienen este año como eje temático central el vínculo del movimiento con las máquinas.
Curada por Rodrigo Alonso, la exhibición reúne obras procedentes de distintas disciplinas y ofrece un amplio panorama de las dinámicas generadas, inducidas o sugeridas por la incorporación y avance de la técnica en la vida cotidiana. Una serie de performances llevadas a cabo por artistas locales y por el cubano Carlos Martiel acompañan esta propuesta.
(más info aquí)
Centro Cultural Kirchner (CCK) | Sarmiento 151, C1041AAE CABA, Argentina
By Melina Paris for RANDOM LENGTHS NEWS
This past Saturday, the Cuban-born, New York-based artist, Carlos Martiel, stood unclothed, alone in a dark room. A motion sensor triggered by people walking in, illuminated a constellation on the artist’s body.
Stars from the flags of countries in the Western Hemisphere were fixed with string to his body. The artist stood completely still. Various- sized stars on his body and four more on the floor in front and behind him were lit in iridescent blue.
The constellation represented a conceptual map in which no state is superior to another. Instead, they come together within a unified field. The visual of Martiel’s nakedness cloaked in galactic darkness combined with the unprejudiced constellation that was sewn on to him was striking in its beauty; it also implied peace and fixed nature. The performance was called América.
Another perspective is that the performance asserted the legacy and history of the Western Hemisphere as if it’s written into the skin, indeed, into the very DNA of those of us rooted in the New World.
(more info here)
January 20, 2018
5:30 pm – 8:00 pm
Representational Acts is presented as part of the Pacific Standard Time Festival: Live Art LA/LA, organized by REDCAT and supported by a major grant from the Getty Foundation. It is linked thematically to a section in MOLAA’s PST: LA/LA exhibition, Relational Undercurrents: Contemporary Art of the Caribbean Archipelago.
Representational Acts features performance pieces by:
Carlos Martiel (Cuba), Andil Gosine (Trinidad), Jimmy Robert (Guadeloupe)
Each artist represents a different linguistic region of the Caribbean. Their works show how representation is an active process rather than a passive translation of the visible world. A reception with the artists will follow the performances. Doors open at 5:30PM and performances begin at 6:00PM Space is limited and reservations are recommended.
(more info here)
Museum of Latin American Art (MOLAA) | 628 Alamitos Avenue, Long Beach, CA 90802
by Laila Pedro for Hyperallergic
Havana-born artist Carlos Mariel does the kind of stripped-down durational performance work that’s the best argument for the power of the form — its immediacy and intensity perfectly embody why some ideas need to be (can only be) transmitted in this way.
His minimal, gutting performances employ a few elements to crack open history, politics, and emotions, revealing how these are inseparable from embodied experience. This year’s “Hacerse Olvido (To Become Forgotten),” for example, had exactly two components: Martiel, and a rubber inner tube. Splayed across it, nude, on the gallery’s concrete floor, Martiel’s figure was a haunting evocation of the numberless nameless people who’ve drowned in the attempt to cross the shark-infested, tempestuous Florida Strait from Cuba to the US over the past half-century. (Not for nothing, he performed it in Havana.) In 2016’s “SOS,” Martiel stood in the center of a Caracas gallery wearing bloodstained clothes donated by eight Venezuelan dissidents.
Monday evening at Y Gallery, Martiel performs a work with his signature mix of wrenching clarity, physicality, and cultural freight: “’Continent’ … reflects on the way black bodies are sequestered, seized, and abducted; and the consequent plunder and despoil of the cultural and material wealth of the African continent.” Rather than leaving this history in the past, Martiel insists on its urgency for colonized and post-colonial contexts today.
Monday, November 27, 7-8 pm (Rescheduled from Wednesday, November 22)
Y Gallery (319 Grand Street, Lower East Side, Manhattan)
(more info here)
