Artists: Jaishri Abichandani (USA/India), Luis Alonzo-Barkigia (USA/Mexico), Oreet Ashery (UK), Claire Fontaine (France), Martin Durazo (USA), Andrea Frank (USA/Germany), Kendell Geers (South Africa), Lazaro Juan (USA/Philippines), Despo Magoni (USA/Greece), Ferran Martin (USA/Spain), Emma McCagg (USA), Riiko Sakkinen (Spain/Finland), Romulo Sans (USA/Spain), Joaquin Segura (Mexico), Edgar Serrano (USA), S & P Stanikas (France/Lithunia), Sari Tervaniemi (Finland), Mehran Tizkar (Germany/Iran), Wojtek Ulrich (USA/Poland),Ruben Verdu (Spain/Venezuela), Adolfo Doring (USA/Mexico).
The Enemy Within is a metaphor that has been used in various
contexts. A quick Google search will reveal a broad array of its application including
a Star Trek segment in which Capt. Kirk is teleported through a transporter. Upon
materialization he is split into two persons: one good and one evil. The exhibition’s title also encompasses a book
by a political conservative, a fictional film about treason and murder in the American
government, and a documentary about “homegrown” terrorism in the U.S. What all
of these adaptations of The Enemy Within share is a narrative of internal
crisis of moral proportions.
The Enemy Within is a group exhibition of international artists who
work in diverse media including painting, work-on-paper, sculpture,
photography, video, and installation. The artworks presented dovetail, akin to
Kirk’s crisis of conscience, on internal and external contradictions in both
subject matter and form. Some artists, like Kendell Geers for example, uses
footage from the World Trade Center attacks and juxtaposes it with Rene
Magritte’s famous Treason of Images (1928-29)
painting consisting of a tobacco pipe with text underneath it that states, Ceci
n’est pas une pipe [This is not a pipe]. The
Enemy Within explores the paradoxical and contradictory nature of events,
history, politics and the social world-at-large to reveal how they are internally
and externally conflicted.
The Enemy Within" curada por Raul Zamudio es una exposición colectiva de artistas internacionales que trabajan en diversos medios, incluyendo la pintura, obra sobre papel, escultura, fotografía, vídeo e instalación. Las obras seleccionadas son una representacion interna y externa de contradicciones tanto en la materia y la forma. Algunos artistas, como Kendell Geers por ejemplo, utiliza imágenes de los ataques al World Trade Center y yuxtapone sobre la imagen la famosa traición de Rene Magritte, pintura que consiste en una pipa de tabaco con el texto debajo de ella que dice: Ceci n'est pas une pipe [Esto no es una pipa].
Joaquin Segura, The Battle of Hamburger Hill, McDonald's cheeseburgers and wrappers, toy U.S. flag, dimensions variable, 2008
#makeamericagreatagain is a group exhibition of diverse
media that will run during February and coincide with the initial Democratic
and Republican primaries.The
exhibition’s title is culled verbatim from Donald Trump’s campaign slogan. Appropriation
does not stop there, however, for #makeamericagreatagain thematically rubs up
against demagoguery prevalent in the current American social and political
landscape and rhetoric espoused by primary candidates to engender fear in the
The appropriated hashtag also serves as curatorial device to
further expand the exhibition into social media. The exhibition-viewing public
and those not physically present to see the show, will be asked to upload
images or texts with the hashtag of #makamericagreatgain onto Twitter,
Instagram or Facebook. These contributions will become part of the exhibition
and will be interventions into existing social media sites with the same hashtag.
On February 1, Iowa-based artists under the cloak of journalism, will infiltrate the Iowa Republican Caucus and record the event live and transmit in real time via large projector and sound system into WhiteBox.
Shape-Shifters explores the protean
nature of identity in numerous contexts as well as the way some artworks are
formally unstable in being hybrids of painting and sculpture or photography and
performance, for example. The exhibition explores this via a diverse group of
fourteen artists that work in various media including painting, work-on-paper,
photography, sculpture, video, installation, sound art, and performance.
Apart from the
individual works that uniquely address the exhibition thematic, its curatorial
structure shape- shifts too, for it initially entails the presentation of seven
foreign artists and one Bulgarian artist. The first Bulgarian artist will
then select another Bulgarian artist to replace a foreign artist. The
substitution of a foreign artist with Bulgarian artist will occur in increments
throughout the exhibition’s duration, so every other day there will be a new
group of artworks.
The exhibition will end with the inverse of how it began;
that is, with a completely new presentation of artists consisting of seven
Bulgarian artists and one foreign artist. This component of Shape-Shifters ontologically expands curatorship, the role of the artist, and the exhibition
As such, Shape-Shifters will
be inherently paradoxical; at what point can the exhibition be complete: when
it opens, during its presentation, or when it reaches its termination date?
A catalog will be
published to accompany the exhibition with reproductions of exhibited artworks,
bios of the artists and artists’ statements, installation shots recording the
exhibition’s transformation and an essay by the curator.