Artist: Ishmael Randall Weeks
November 17, 2016 – December 23, 2016
Los Angeles, USA
Exploring the legacies of modernism and Arte Povera, Randall Weeks will present a room-sized sculptural installation, Ejercicios Para Un Nuevo Mundo V (Exercises For A New World V) that consists of cranium-size chunks of raw mineral ore (silver, gold and copper) sourced from three mines in the Peruvian Andes. The stones have been drilled and attached to steel-pipe armatures that were bent into forms representing outdoor playground structures common to Latin American housing developments of the 1960s.
Two wall works, Paisaje/Repisa I-II (Landscape/Shelf I-II) will also be presented. Each consists of shelves made of copper plating over steel that has been coated with the mineral dust that was left over from the process of creating the sculptural installation. The shelves hold a copperized mold of a calcified tree that was found in a mine, a copper-plated styrofoam plate, and some fragments of minerals.
Artists: Andrea Galvani, Marlena Kudlicka, Andres Marroquin Winkelmann, Jose Carlos Martinat, Ishmael Randall-Weeks.
Lo Real Absoluto
in collaboration with Jorge Villacorta
April 13, 2016 – June 17, 2016
Artists: Omar Barquet, José Bedia, Jorge Méndez Blake, Carlos Cárdenas, Los Carpinteros, Enrique Martínez Celaya, Eugenio Dittborn, Gonzalo Fuenmayor, Carlos Garaicoa, Guillermo Kuitca, Gilda Mantilla, Moris, Vik Muniz, Oscar Muñoz, Damián Ortega, Liliana Porter, Sandra Ramos, Pablo Rasgado, Camilo Restrepo, Graciela Sacco, Ana Tiscornia, José A. Vincench, Ishmael Randall Weeks, and many others.
A Sense of Place – Selections from the Jorge M. Pérez Collection
Curated by Patricia Hanna and Anelys Alvarez
December 3-6, 2015
Miami, FL, USA
Despite the fact that these artists are working in a globalized society, where technology and communication transcend physical boundaries, many continue to construct personal and cultural identities by exploring ideas that are specific to their own experiences and places of origin. The show will examine the idea of building such an identity; how artists use abstraction, architecture, politics and memory to carve out a sense of place; and how these concerns are reflected in Pérez as a collector and in Miami as a developing city. Artists in the show include a mix of well-known and emerging art stars from Argentina, Brazil, Colombia, Cuba, Mexico, Peru, and Uruguay, including: Omar Barquet, José Bedia, Jorge Méndez Blake, Carlos Cárdenas, Los Carpinteros, Enrique Martínez Celaya, Eugenio Dittborn, Gonzalo Fuenmayor, Carlos Garaicoa, Guillermo Kuitca, Gilda Mantilla, Moris, Vik Muniz, Oscar Muñoz, Damián Ortega, Liliana Porter, Sandra Ramos, Pablo Rasgado, Camilo Restrepo, Graciela Sacco, Ana Tiscornia, José A. Vincench, Ishmael Randall Weeks, and many others.
Jorge M. Pérez was named one of the most influential Hispanics in the U.S. by TIME magazine, and is considered a visionary for his contributions to South Florida’s cultural and artistic landscape, as well as his integration of world-class art into each of his real estate developments.
A Sense of Place is being held at Mana Wynwood Convention Center, 318 NW 23rd Street, Miami, Florida.
Artists: Claudia Alvarez, Afruz Amighi, Rina Banerjee, Christian Ruiz Berman, Sanford Biggers, Cui Fei, Leonardo Drew, Rashawn Griffin, Rachel Eliza Griffiths, Wenda Gu, Ginny Huo, Tamiko Kawata, Iván Navarro & Courtney Smith, Kambui Olujimi, Cecilia Paredes, Soo Sunny Park, Yinka Shonibare, Nari Ward, and Ishmael Randall Weeks.
New Ways of Seeing: Beyond Culture
May 10 – July 12, 2015
Dorsky Gallery – Curatorial Programs
Long Island City, NY, USA
New Ways of Seeing: Beyond Culture features works by emerging and seasoned artists of African/ African American, Asian/Asian American, Latino/ Hispanic, and Middle Eastern heritages who are changing and expanding the vocabulary and agendas of the art world by injecting ideas from their world cultures and experiences. These proactive artists utilize materials and imagery in innovative ways that address themes including race, gender, ritual, craft, and language. Their materials often challenge existing associations and subvert expectations. They break down barriers to create new mythologies. Their works conflate the local and global, past and present, fact and fiction. These artists are “transcending the limits of individual cultures.”1
The phrase “New Ways of Seeing” acknowledges that many past and present interpretations of culture are flawed, incomplete, or even false. As we know, scholars from ancient to Post-Colonial and Postmodern times had different views and agendas, often excluding women. In another direction, cultures borrow from, adapt, and change each other in myriad ways.
Artist: Ishamel Randall-Weeks
May 5 – July 7, 2014
Arróniz Arte Contemporáneo
Mexico City, Mexico
Artists: Leonor Antunes, Alexander Apóstol, Alexandre Arrecha, Felipe Arturo, Alessandro Balteo Yazbek, Alberto Baraya, Carlos Bunga, Los Carpinteros, Jordi Colomer, Livia Corona, Felipe Dulzaides, Magdalena Fernández, Fernanda Fragateiro, Carlos Garaicoa, Mario García Torres, Terence Gower, Patrick Hamilton, Quisqueya Henríquez, Diango Hernández, Andre Komatsu, Runo Lagomarsino, Pablo León de la Barra, Maria Martínez-Cañas, Daniela Ortiz, Jorge Pardo, Manuel Piña, Ishmael Randall-Weeks, Mauro Restiffe, Pedro Reyes and Chemi Rosado-Seijo.
Beyond the Supersquare: On Modernism
May 1, 2014 – January 11, 2015
Bronx, NY, USA
The indelible influence of Latin American and Caribbean modernist architecture on contemporary artists will be explored by The Bronx Museum of the Arts in the exhibition Beyond the Supersquare, on view May 1, 2014 through January 11, 2015. The exhibition features 30 artists and more than 60 artworks—including photography, video, sculpture, installation, and drawing—that respond to major Modernist architectural projects constructed in Latin America and the Caribbean from the 1920s through the 1960s. Beyond the Supersquare examines the complicated legacies of Modernist architecture and thought—as embodied by the political, economic, environmental, and social challenges faced by countries throughout Latin America—through the unique perspective of artists working today.
The exhibition represents the culmination of a four-year research initiative at the Bronx Museum spearheaded by Executive Director Holly Block and Independent Curator María Inés Rodriguez. Many of the exhibition themes have grown out of a three-day conference held at the Bronx Museum in October 2011, during which artists, architects, urban planners, and scholars convened to discuss the enduring impact of Modernist architecture and ideas in Latin America and the Caribbean.
Beyond the Supersquare explores how contemporary artists from Latin America, the Caribbean, and other regions have responded to the aggressive rise of Latin America’s urban centers and the ways in which those urban areas have evolved since the mid-20th century. Also examined is the social critique of political, social, economic, and environmental issues in Latin America and the Caribbean, including unstable economies, ad hoc urbanism, militarized police forces, and rapidly exhausting natural resources. Exhibition designer Benedeta Monteverde of Mexico City has worked closely with the two curators to generate the exhibit plan for the galleries at the Bronx Museum.
Beyond the Supersquare will be accompanied by a volume, co-published by The Bronx Museum of the Arts and Fordham University Press, featuring original scholarship by noted Latin American architects, historians, and curators. Beyond the Supersquare: Art & Architecture after Modernism in Latin America will include material presented at the Museum’s 2011 Beyond the Supersquare conference led by Ms. Block and Ms. Rodríguez. The advisors for the conference were Carlos Brillembourg (Carlos Brillembourg Architects), Felipe Correa (Somatic Collaborative and Harvard Graduate School of Design), Ana Maria Duran (Estudio A0), Belmont Freeman (Belmont Freeman Architects), Jose Lira (University of Sao Paulo), Ligia Nobre (Independent Curator), and Pedro Reyes (Artist).
The volume will also include an image-rich folio highlighting artworks from the exhibition. Drawing from architectural projects of the 1940s to the 1960s, as well as from socially engaged artistic practices of the present day, the anthology will examine the consequences of the heroic and utopian ideals popular in architectural discourse during the Modernist era, which are evident in the vastly uneven economic conditions and socially disparate societies found throughout the region today
My work encompasses site-specific installations, sculpture and video to works on paper. In these works, issues of urbanization, transformation, regeneration, escape, collapse and nomadic existence have been predominant. While the work in the drawing studio serves as a means for a more intimate exploration of these issues, the foundation of my larger scale work lies in the alteration of found and recycled materials and environmental debris, often on site (including such source materials as books and printed matter, empty tins, old tires, bicycles, boat parts and building construction fragments) that are often altered to create sculptural objects and architectural spaces. These works take the visual form of functional objects while stripping them of their productivity to address notions of labor and utility, forcing an examination of our understanding of culturally specific forms while simultaneously exploiting and adapting their particular codes and associations.
Traducido del inglés
Mi obra abarca instalaciones de sitio específico, escultura y video hasta obra en papel. En estas obras, temas de urbanización, transformación, regeneración, escape, derrumbe y existencia nómada han sido predominantes. Mientras que el trabajo en el estudio de dibujo sirve como una forma más íntima de exploración de estas ideas, la base de mi obra a gran escala está en la alteración de materiales encontrados y reciclados y desechos ambientales, a menudo in situ (incluyendo fuentes como libros y material impreso, latas vacías, llantas viejas, bicicletas, partes de barco y fragmentos de construcción), que son a menudo modificados para crear objetos esculturales y espacios arquitectónicos. Estas obras toman la forma visual de objetos funcionales mientras que los despojan de su productividad para abordar nociones de labor y utilidad, forzando un análisis de nuestro entendimiento de formas culturalmente específicas, mientras que explotamos y adaptamos sus códigos y asociaciones particulares.
Selected Biographical Information
Education / Training
- 2000: Bard College, BA.
- Skowhegan School of Painting and Sculpture.
Prizes / Fellowships
- 2012: MACRO RESIDENCY, Rome.
- 2011: New York Foundation for the Arts (NYFA).
- 2010: ART OMI Residency, OMI, New York, USA.
- 2009-10: Marie Walsh Sharpe Foundation ‘space program’, New York, USA.
- 2008: ART MATTERS foundation, New York, USA.
- 2009: Residencia La Curtiduria, Oaxaca, Mexico.
- 2008: Residencia Kiosko, Santa Cruz, Bolivia.
- 2008: Sculpture Space, Utica, NY, USA.
- 2007: Mención Honorífica, IX Bienal De Cuenca, Ecuador.
- 2007: Skowhegan School of Painting and Sculpture, Maine, USA.
- 2005-6: Foundation for Contemporary Arts, New York, USA.
- 2003: Vermont Studio Art Center, Vermont Beca.
- 2013: “Cuts, Burns, Punctures”, Drawing Center, New York, USA.
- 2013: “Quoin”, Eleven Gallery, New York, USA.
- 2012: “Parquette”, MACRO (museum of contemporary art Rome), Italy.
- 2010: “Aún Sin Titulo I”, Galería Revolver, Lima, Perú.
- 2010: “Aún Sin Titulo II”, Espacio Ex-Culpable, Lima, Perú.
- 2010: “Maquette For Landscape”, Galería Federica Schiavo, Roma, Italy.
- 2010: “Un Muro de Tochos”, Galería Arróniz Contemporáneo, Mexico, DF, Mexico.
- 2009: “Ishmael Randall Weeks”, Galería Eleven Rivington, New York, USA.
- 2008: “Refugio”, Galería Lucia De La Puente, Lima, Perú.
- 2008: “Experimentos, Camuflajes y Bunkers”, Galería Kiosko, Santa Cruz, Bolivia.
- 2013: “Migrating Identities”, Yerba Buena Center for the Arts, San Francisco, California (Curator: Betti-Sue Hertz).
- 2013: “Panorámica”, Museo Palacio de Bellas Artes, México DF, Mexico.
- 2013: “Arte Al Paso. Colección Contemporánea del Museo de Arte de Lima”, Museo Banco de la Republica, Bogotá, Colombia.
- 2012: “The Camino Real Arcades”, AMIL space, Lima (Curator: Pablo Leon de la Barra).
- 2012:“The Peripatetic School: Itinerant drawing from Latin America”, Banco De la Republica, Bogotá, Colombia. (Curator: Tanya Barson).
- 2012: “S-Files Bienal”, Museo del Barrio, New York, USA. (Curators: Elvis Fuentes, Trinidad Carillo).
- 2010: “Greater New York”, MOMAPS1, New York, USA. (Curators: Klaus Biesenbach, Connie Butler, Neville Wakefield).
- 2010: “Planet of Slums”, Third Screening, NYC (Curadores: Omar Lopez-Chahoud & LaToya Ruby Frazier).
- 2010: “El Comienzo del Fin”, Patricia Ready Galeria, Santiago, Chile (Curator: Revolver Galeria).
- 2010: “Lush Life”, Collete Blanchard Gallery, NYC (Curators: Omar Lopez-Chahoudy Franklyn Evans).
- 2010: “Does the Angle Between Two walls have a happy Ending?”, Galeria Federica Schiavo, Rome, Italy (Curator: Ishmael Randall Weeks).
- Tanya Barson, Isobel Whitelegg, Pablo Leon de la Barra & Moacir Dos Anjos, “The Peripatetic School: Itinerant Drawing from Latin America”, Ridinghouse, 2011.
- Sigismond de Vajay & André Baldinger, “Of Bridges and Borders”, JRP-Ringier.
- Toit Du Monde & KBB, EBS, Editoriale Bortolazzi Stei srl, Pg 253-67.
- Cynthia Hahn, Amy Levin “Objects of Devotion and Desire” Hunter College Press, Pg 16, 66-67, 2011.
- Christopher Von Ginhoven, “A Vailed Intimacy”, Catalogue for “Bruma” at 20 Hoxton square Gallery, London. 20 Hoston Square and Revolver Gallery, 2011.
- Klaus Biesenbach, Connie Butler, Neville Wakefield, “Greater New York 2010”, MoMa PS1, pg. 112-13 & 162-63, 2010.
- David McFadden, “Slash: Paper Under the Knife”, Museum of Arts and Design & 5 Continents Editions, pg. 184-87, 2009.
- Lauren Cornell, Massimiliano Gioni, Laura Hoptman, “Younger Than Jesus: Artist Directory” The New Museum and Phaidon Press, pg. 507, 2009.
- X Bienal de la Habana, “Integración y Resistencia en la era Global”, Centro de Arte Contemporaneo Wilfredo Lam, La Havana, Cuba, pg. 454-55, 2009.
- Armando Williams, “Visiones del Arte Contemporaneo en el Perú” Galeria Lucia de la Puente, Lima, Perú, 2008.
- Miguel Zegarra-Jorge Villacorta, “La Construcción del Lugar Común” Museo De Arte Contemporaneo, Lima, Perú, 2008.
- IX Bienal de Cuenca, “Espacios, Tiempos Identitarios” Bienal de Cuenca, Ecuador, pg. 64-67 2007.
- Rodrigo Quijano, ‘Llámenme Ishmael: Notas sobre Balances y Tensiones en la Obra de Randall Weeks’, Catalogue for Estructuras, Simulacros, ICPNA, Lima, Perú, 2006.
- Jorge Villacorta, Augusto Del Valle, Miguel López, Sharon Lerner, Paulo Dam, Luis Alvarado, “Post-Illusiones. Nuevas Visiones, Arte Critico en Lima (1980-2006)” Fundación Wiese, pg. 113, 2006.
- Lima Art Museum (MALI).
- JUMEX Collection.
- Middlesbrough Institute of Modern Art (MIMA).
- Museo d’Arte Contemporaneo, Roma (MACRO).
- Madeira Corporate Services Collection, Portugal (curator Adriano Pedrosa).
- Albright-Knox Gallery.
- Deutsche Bank Collection (Liz Christensen, curator).