Artist: Iván Navarro
October 26, 2016 – December 23, 2016
Paul Kasmin Gallery
New York, USA.
Upon entering Mute Parade, the viewer is confronted by a towering pyramid of six drums with the words HIGH, TONE, TUNE, BASS, MUTE, and DEAF embedded in LED lights. This monumental work, titled TUNING, 2015, produces a visual representation of sound while simultaneously removing and negating the original function of the instruments; ‘playing a song,’ in the absence of sound. In the center of the adjacent room, two freestanding drums– each six-feet in diameter– incorporate neon, LED, mirrors, and electricity to produce Navarro’s iconic infinite vanishing points. Circular texts, written in light, repeat the words KICKBACKand KNOCKNOCKNOCK in a seemingly boundless loop. The inherent silence and stillness of the artworks creates an uncanny perception of audio and movement, probing the relationship between sight and sound.
A final installation consists of four 6 x 6 foot structures that make up the Impenetrable Room (2016). This new compositional innovation co-opts the materials and format of portable “road cases,” which are customarily used to transport and protect musical instruments. Refitting the cases with mirrors and neon light, Navarro transforms these static objects into deep spaces that appear to reverberate in perpetuity. Silent and monolithic, these self-contained rooms resonate with unspoken narrative power.
Throughout the exhibition, black and white paper squares are scattered across the floors of all three galleries. The words “Read You” and “Loud Unclear,” printed on opposite sides of the cards, call attention to the disjunction between the visual and auditory aspects of communication. Informed by the aesthetics and rhythms of military parades, Mute Parade contemplates the juxtaposed feelings of celebration and intimidation that martial music begets.
Artists: Vito Acconci, Artur Barrio, Rosemarie Castoro, Eduardo Costa, Cris Gianakos, Victor Grippo, Stephen Kaltenbach, Leandro Katz, Rosemary Mayer, Ana Mendieta, Marta Minujín, Hélio Oiticia, John Perreault, Regina Vater.
Acciones en la calle: Street Works in New York and Latin America circa 1970
Curator: Gillian Sneed
October 26 – December 4, 2015
Amelie A. Wallace Gallery
New York, NUY, USA
“Acciones en la Calle” considers the conceptual and performative strategies employed by artists in the 1960s and ’70s that rejected institutional spaces in favor of the street as the context and subject of their work. The exhibition’s point of departure is the six-part Street Works (1969-1970), a series of events during which numerous artists utilized urban public spaces in New York City’s streets as their performance and exhibition venues.
While New York is often considered the birthplace of this genre, street actions had also taken hold in Latin America, and relationships between Latin American and U.S. artists, critics, and curators developed. Latin American artists who sought exile from dictatorships or had been awarded grants came to New York, while many U.S. artists traveled to Latin America.
“Acciones en la Calle” demonstrates resonances and disjunctions between the works and their political, practical, and theoretical concerns. While the Civil Rights Movement and Vietnam War protests provided the backdrop against which street works emerged in the U.S., in Latin America limited art markets and repressive regimes left only the streets as venues for artistic intervention. These artists investigated the complex intersections of political repression, violence, and social marginalization in ways that challenged the traditional “center/periphery” model so often employed in canonical accounts of Latin American and U.S. conceptual art. Curator Sneed explains: “The relevance of these works could not be more urgent today, as activists across the Americas have returned to the streets to take action.”
The works in this exhibition revolve around three themes related to the urban setting: Site, Drift, and Debris. Site considers street works that mark or highlight the location where they unfolded; Drift engages works that wander through urban networks to produce dérives, or flows; and Debris explores what is revealed about a city’s inhabitants by the refuse that accumulates on their streets.
Artist: Gabriel Sierra
Numbers in a Room
September 20, 2015 – January 4, 2015
New York, USA
By modifying and extending the guiding information of the exhibition space, Sierra will restructure the lower level galleries, effacing and confusing distinctions between the architecture, the institution, and the works that comprise the exhibition. The combination of alternative and existing floor plans, signage, and objects in the space all refer to the codes for viewing and maneuvering through the context of an exhibition.
Increasingly layered in Sierra’s presentation, the various structures comprising an exhibition in an institution create a mirroring effect, where each thing recalls another thing. This indexical accumulation makes it unclear exactly where the exhibition begins and ends, bringing into question the semantics of the various navigational prompts within art institutions. The exhibition structure asks that the visitor adjust to its new form.
Sierra (born 1975, San Juan Nepomuceno, Colombia) is based in Bogotá, Colombia and has had solo exhibitions at the Renaissance Society at the University of Chicago (2015) and Peep-Hole in Milan (2013). Recent group exhibitions include the 56th Carnegie International, Carnegie Museum of Art, Pittsburgh (2013); The Ungovernables, New Museum Triennial, New Museum, New York (2012); and the 12th Istanbul Biennial (2011).
Artists: Claudio Vera and Martin Pelenur.
September 17th – October 24th, 2015
New York, NY, USA
It is embedded in human nature to be thoughtful and innovative for survival. Collectively, a dialogue surrounding this concept is excavated from Vera’s and Pelenur’s parallel bodies of work, to raise thought provoking questions that are inherent to humanity’s progression on earth, as well as, within society. How can humanity move forward in connection with the land, and how does one’s consciousness allow this process to unfold? Such primordial concerns with existence have continued through ancient times into contemporary civilization. To investigate Vera and Pelenur in this vein brings to light the association of physical and cerebral conditions, which are key to the balancing act that humanity must perform throughout time.
My taped projects are about surfaces, context and space.
I first started working with adhesive tape in 1966. Initially I used the tape to hold my paintings to the wall, but starting in 1970 I eliminated the painting and concentrated on the tapes as my primary medium. I wanted to explore the possibilities of using spaces where the viewer does not expect art to be found. This concept brought me to intervene staircases, landing platforms and outdoor walls and objects. Each work was created for a unique space. When covering a surface, the tape creates an additive grid full of amorphous patterns caused by air bubbles. When developing a tape project, sometimes paper or a photograph was the support and framework for the piece, but many times the project was able to become monumental as it seamlessly adapted to the architecture of the space. Also in 1970, I began to incorporate videotape as part of these projects. The taped projects became “Art on tape and tapes as art”.
Traducido del inglés
Mis proyectos con cinta tratan sobre superficies, contexto y espacio.
Comencé trabajando con cinta adhesiva en 1966. Inicialmente utilicé cinta para sostener mis pinturas sobre la pared, pero a partir de 1970, eliminé las pinturas y me concentré en las cintas como mi medio principal. Quería explorar las posibilidades del uso de espacios en donde el espectador no espera encontrar arte. Este concepto me llevó a intervenir escaleras, plataformas de aterrizaje, paredes exteriores y objetos. Cada obra fue creada para un espacio único. Al cubrir una superficie, la cinta crea una retícula de aditivo llena de patrones amorfos causados por burbujas de aire. Durante el desarrollo de un proyecto con cinta, a veces el papel o la fotografía era el soporte y el marco de la pieza, sin embargo, muchas de las veces, el proyecto fue capaz de convertirse en monumental al momento de adaptarse perfectamente a la arquitectura del espacio. También, en 1970, comencé a incorporar cinta de video como parte de estos proyectos. Los proyectos grabados se convirtieron en “Arte en cinta y las cintas como arte”.
Selected Biographical Information
Education / Training
- 1963: School of Visual Arts, New York, USA.
- 1959-1961: , University of Uruguay, Montevideo, Uruguay.
- 1954-1958: , National College of Buenos Aires, Buenos Aires, Argentina.
Prizes / Fellowships
- 1990: Visual Arts Fellowship, National Endowment for the Arts, Washington, D.C., USA.
- 1984: Visual Arts Fellowship, National Endowment for the Arts, Washington, D.C., USA.
- 1982: Creative Artists Public Service Program, New York State Council on the Arts, New York, USA.
- 1978: Visual Arts Fellowship, National Endowment for the Arts, Washington, D.C., USA.
- 1975: Creative Artists Public Service Program, New York State Council on the Arts, New York, USA.
- 2015: “Jaime Davidovich: Adventures of the Avant-Garde“, The Bronx Museum of the Arts, New York, USA.
- 2015: “Jaime Davidovich: Tapes Period. 1969-1975”, Henrique Faria, New York, New York, USA.
- 2013: “Museum of Television Culture“, Churner and Churner, New York, USA.
- 2010: “Biting the Hand that Feeds You”, ARTIUM, Vitoria Gasteiz, Spain.
- 2008: “Dr. Videovich”, Anthology Film Archives, New York, USA.
- 2004: “Jaime Davidovich Video Works 1970-2000”, The Phatory Gallery, New York, USA.
- 1991: “Forces/Farces”, Exit Art, New York, USA.
- 1989: “The Live! Show Retrospective”, The Museum of the Moving Image, New York, United States.
- 1978: “Jaime Davidovich: Art Turns on Television”, Coroborree, Iowa City, United States.
- 1976: “Baseboard”, The Kitchen, New York, USA.
- 1976: “Jame Davidovich Video VII”, Museum of Modern Art, New York, USA.
- 2010: “Changing Channels”, MUMOK, Vienna, Austria.
- 2009: “Compass in Hand”, Museum of Modern Art, New York, United States.
- 2009: “From the Archives: 40 Years, 40 Projects”, White Columns, New York, United States.
- 2008: “Arte no es Vida”, El Museo del Barrio, New York, United States.
- 2007: “Primera Generación. Arte e imagen en movimiento”, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.
- 2000: “The End: An 18-Year History of Exit Art”, Exit Art, New York, United States.
- 1990: “Ideas and Images from Argentina”, The Bronx Museum of the Arts, New York, USA.
- 1986: “Television’s Impact on Contemporary Art”, Queens Museum, New York, USA.
- 1977: “Art of the Seventies”, Fundació Joan Miró, Barcelona, Spain.
- 1972: “Arte de Sistemas”, Museo de Arte Moderno, Buenos Aires, Argentina.
- 1971: “Experiments in Art and Technology”, B.K. Smith Gallery, Painesville, USA.
- Thomas Riggs, St. James Guide to Hispanic Artists (New York: St. James Press).
- Marc H. Miller, Television’s Impact on Contemporary Art (New York: Queens Museum).
- Les Krantz, American Artists – An Illustrated Survey of Leading Contemporary Americans (Chicago: The Krantz Company Publishers, Inc.)
- Holland Cotter, “10 Galleries to Visit on the Upper East Side“, The New York Times, April 16, 2015, C33.
- Jacob Proctor, “Jaime Davidovich at Threewalls”, ArtForum, April 2015, 255.
- Joseph Jacobs, “When Video Was Young”, Art in America, 2007, .
- Lower Manhattan Cultural Council, “Site Matters”, Distributed Art Publishers, 2004, .
- Herman Rapaport, “Jaime Davidovich – A Video Promenade – Jorge Luis Borges Interview with Davidovich While Walking on University Place from 12th to 11th Streets, New York, 1982”, Points of Contact, Fall 1995, 16-21.
- Carolyn Kinder Karr, “Jaime Davidovich”, ArtForum, February 1974, 61-62.
- Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain.
- Museu d’Art Contemporani de Barcelona, Barcelona, Spain.
- Clarisa and Edgar J. Bronfman, New York, USA.
- Private Collection, New York, USA.
My work is characterized by the continuous displacement and use of diverse media and materials. The openness towards these media helps me defining the development of an artistic proposal, where the object’s time and history take a fundamental importance within the plastic discourse.
I am interested in the relation between different cultures and histories, between the so-called center and its periphery.
The concepts related to ruins and progress are part of my interests as an artist.
Raised in Lima in the 80’s during the Peruvian civil war influenced my practice and my relation with the objects and their symbolism.
The position of distance about cultural, economic and social events constitute an important part in the process and execution of my projects.
I find myself attracted to the residues of civilization and in mapping and conceptualizing these materials for my work.
Mi trabajo se caracteriza por el uso y continuo desplazamiento de diversos medios y materiales. La apertura hacia estos medios, me ayuda a definir el desarrollo de una propuesta artística, en donde el tiempo y la historia del objeto cobran una importancia fundamental en el discurso plástico y en su proceso.
Me interesa la relación entre distintas culturas e historias, entre el llamado centro y la periferia. Los conceptos relacionados con la ruina y la promesa de la modernidad son algunos de los intereses conceptuales en mi práctica.
Haber vivido en Lima durante la guerra interna de los años ochenta ha influido en mi práctica como artista así como en mi relación con los objetos y sus simbolismos.
La posición de distancia ante fenómenos culturales y económicos constituye una parte importante en el proceso y en la ejecución de mis proyectos.
Estoy atraído por los residuos de la civilización y en la idea de mapear y resignificar estos objetos en mi trabajo.
Selected Biographical Information
Prizes / Fellowships
- 2011: Sculpture Space Residency, Utica, United States.
- 2013: Lower Manhattan Cultural Council (LMCC), New York City, United States.
- 2010: International Studio and Curatorial Program (ISCP), New York City, United States.
- 2009: Pollock Krasner Grant, VSC, Vermont, United States.
- 2009: Art OMI, New York, United States.
- 2008: Fundacion Cineros de Patricia de Phelps, Skowhegan School of Painting and Sculpture, United States.
- 2013: “La Naturaleza de la Defensa”, Galeria Lucia de la Puente, Lima, Peru.
- 2012: “Because of Construction”, Y Gallery, New York, United States.
- 2009: “S/T”, Galeria Isabel Hurley, Malaga, Spain.
- 2008: “Residencia”, Espacio La Culpable, Lima, Peru.
- 2008: “Ruinas y Ciudades”, Galeria Lucia de la Puente, Lima, Peru.
- 2014: “Permission to be Global“, Museum of fine Arts Boston, Boston, United States.
- 2013: “Queens International“, curated by Hitomi Hiwasaki and Meiya Cheng, Queens Museum, New York City, United States.
- 2013: “The Name, The Nose”, curated by Raul Zamudio, MuseoLaboratorio, Citta San Angello, Italy.
- 2012: “New York”, Art Museum of the Americas, curated by Paco Cano, Eva Mendoza and Jodie Di Napoli, Washington DC, United States.
- 2012: “Tracing the Unseen Border” curated by Ian Coffre and Omar Lopez Chahoud, La Mama Gallery, New York City, United States.
- 2011: “Dublin Contemporary“, curated by Jota Castro and Christian Viveros Faune, Earls Terrace, Dublin, Ireland.
- 2011: “El Museo Biennial, The S files“, curated by Elvis Fuentes and Rocio Aranda Alvarado, Museo del Barrio, New York City, United States.
- Madeira Corporate Services Collection, Portugal.
- CIFO, Cisneros Fontanals, Miami, United States.
- Coleccion Patricia Phelps de Cisneros, New York, United States.