Monday, September 18, 2017

Orphans of Painting

Orphans of Painting
Curated by Raul Zamudio
Opening September 14, 6:00-8:00pm
September 14-October 14, 2017
Ethan Cohen Fine Arts
251 w 19th St. NY, NY, 10011

(Elan Jurado, Black Spew, HD video with audio, 10 min 1 sec. 2010)

Orphans of Painting is an exhibition of international artists who, on the one hand, may identify first and foremost as painters but expand their practice into other formal registers creating hybridized art forms somewhat disparate from their primary medium. Evincing this is the painter German Tagle whose appropriation of Andrew Wyeth’s Christina is morphed into a wall painting with audio extract from David Lynch’s Lost Highway. This work raises an interesting ontological question: is it a wall painting with auditory element or is it a sound work with visual component?

In contrast are other artists in the exhibition who are not painters per se, but work in a variety of media and their participation includes work that conceptually veer towards painting but from another formal point of departure. Exemplary of this is Kay Rosen’s video titled Blue Monday (2015). Known for her text-based works and installations, Rosen’s contribution underscores language’s imagistic quality or in this case the work’s title alluding to music via synesthesia while underscoring the monochrome’s capacity to evoke emotion; e.g. green with envy, red with anger etc.  

The subject matter in the individual works comprising Orphans of Painting may be topical, historical, or personal, but what unifies them is a politics of form, specifically usurping the rhetoric of medium specificity and in the process extending painting into different areas as well as its retrieval by other media including sculpture, photography, video, performance and installation. In doing so, the artworks presented embody well what is poetically referred to in the exhibition’s title; that is to say, they are artistic orphans of sorts with an ostensibly corrupted and mongrel pedigree, but nothing that can be identified as being singularly derived from easel and canvas.

Isaac Aden
Bik van Der Pol
Claudia Baez
Ryan Brown
Armand Boua
Robert Costello
Deshawn Davis
Martin Durazo
Andrea Frank
Jeffrey Hargrave
Elan Jurado
Yayoi Kusama
Despo Magoni
Fabian Marccacio
Ferran Martin
Emma McCagg
Anna  Navasardian
Kay Rosen
Avelino Sala
Julia San Martin
Riiko Sakkinen
German Tagle
Jon Tsoi
Ai Weiwei
Julia Winter
Guan Yinfu


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Saturday, September 02, 2017

Julia San Martin: Dialogos

Julia San Martin: Diálogos 
Curated by Raul Zamudio
July 18-August 1, 2017
Y Gallery, New York, NY

Julia San Martin: Diálogos, is a solo exhibition by the internationally exhibited Chilean artist consisting of painting, photography, video, installation and a combination of these. The dialogical in the exhibition’s title is manifold and one aspect entails artworks presented within the gallery as well as inserted in various sites around the city: a park, a restaurant, a subway station and so forth. As such, the artworks can be construed as a type of street art on the one hand, but they are also what one would find in a gallery or a museum. The inverse is equally as idiosyncratic: as artworks in a gallery do they elide their previous contexts originating in public spaces, or have they now become deified objects made so through the machinations of the art world’s infrastructure of critics, curators, museums, art fairs, the market, and most imperatively the gallery? Furthermore, the artworks’ individual subject matter evokes a dialogism in being topical and rife with commentary about the social and political conditions of the world we live in.    


Many of the artworks ostensibly incorporate recurring figures as both a unifying formal device and conceptual trope. Often the images seem to converse with each other or with the viewer through the use of pronouns in textual elements found in the artworks. Lastly, as an artist who holds dual Chilean and U.S. citizenship and who was affected by September 11, which is to say, both the World Trade Center Attacks and the day of the U.S. backed overthrow of the Allende government by a military junta, diálogos also consists of a conversation of the past with the present and vice versa.  


Sunday, September 25, 2016

Acts of Sedition

Kyle Goen, New Flag of Iraq (Interim), repurposed American flag and screen printing ink (unique)


51" x 85.5", 2010

Due to the passing of my dear friend and colleague Adolfo Doring, an artist who has exhibited at WhiteBox and in other venues I had the honor to work with, there is a rescheduling of the opening of Acts of Sedition at WhiteBox to Friday, October 21st in order to attend his services. I hope you can join us in remembrance of his art and life on Thursday, October 20 7-9pm at 1076 Madison Avenue between 81st and 82nd aves, NYC

Acts of Sedition is a multi–media exhibition of international artists that indirectly takes its cue from two previous WhiteBox shows that addressed different facets of the U.S. elections. Sedition (2008) paralleled the general election leading to President Obama’s first term, while #makamericagreatagain (2016) was prescient in focusing on the primaries and subsequent emergence of Donald J. Trump who is now the 2016 Republican Presidential nominee. Whereas Sedition took the pulse of the national political climate,#makeamericagreatagain was more partisan as well as incorporating social media as a curatorial strategy.Acts of Sedition is like a third party, for it takes the aforementioned exhibitions as a point of departure but extends their thematic concerns to the contemporary world–at-large yet linking international geo-political strife to the U.S. political landscape and forthcoming Presidential elections. Artworks to be exhibited that underscore this, for example, include Carlos Aires’ collaged dollar bills.These works consist of currency that have been superimposed with imagery of Iraqi war dead in coffins draped in American flags as well as homeless individuals.

On one level the work may be construed as questioning U.S. war policies and economic disparity, however because money is traded in transnational financial markets whose value can fluctuate according to global events, Aires’ work reveals the symbiosis of local, national and international politics. Another work that highlight’s an aspect of the exhibition’s foci is Dread Scott’s A Black Man Was Hung By Police Yesterday (2015). Taking the form of a flag, Scott’s sculpture is meant to be displayed in public and is based on a similar banner hung outside the offices of the N.A.A.C.P in Manhattan from 1920-38 to draw attention to lynching of African-Americans in the Jim Crow South. In the same manner that N.A.A.C.P. attempted to alert the public of the racial violence being inflicted on our fellow Americans, Scott’s updated version was to make people aware of the institutional violence inflicted on the African-American community by certain members of the police. The work forces us to think of how the horrors of the past are still with us today but under different guises producing the same atrocious results: unabated racial violence that is seemingly institutionalized.
Acts of Sedition argues that although sedition in colloquial nomenclature refers to subversive acts by individuals towards institutions of power, what has now manifested are acts of treason by those same entities against a myriad of communities and even the sacrosanct ideals that has made the U.S. a beacon and haven for tolerance, inclusivity, freedom and democracy. Violence against the African-American community, xenophobia, attempts to repeal Roe vs Wade, sexual orientation and transgender discrimination, the dominance of Superpacs in our political infrastructure that buy politicians and elections are just a few of the many acts of sedition by antidemocratic and authoritarian forces that this exhibition pushes against.

FISH STORY





















Fish Story, curated by Raul Zamudio, is an exhibition of international artists who work in painting, work-on-paper, sculpture, photography, video, and installation. The exhibition’s title is culled from Allan Sekula’s 1995 eponymous multimedia artwork. Sekula’s project explored the machinations of globalization through the geopolitics of trade at the nexus of the international shipping industry. Fish Story revisits Sekula’s iconic corpus within different contexts twenty-one years later. As part of Contempo 2016: International Contemporary Art Festival in which art exhibitions will be presented in the city of Varna and in shipping containers on the shores of the Black Sea, Fish Story will be thematically opportune.

Wednesday, June 15, 2016

INFERNO /PT I


INFERNO PT I
curated by Raul Zamudio
June 24- August 10 2016
Pristine Galerie, Monterrey, Mexico

Jaishri Abichandani/USA/India
Kader Attia/Germany/Algeria
Brenda Charles/Mexico
Adolfo Doring/USA/Mexico
Shahram Entekhabi/Germany/Iran
Kendell Geers/Germany/South Africa
Ivaylo Hristov/Bulgaria
Kenneth Tin-Kin Hung/USA
Gabriel Johann Kvendseth/Norway
Yolanda Leal/Mexico
Julia San Martin/Chile
Damian Ontiveros/Mexico
Juan Carlos Granados/Mexico

Ruben Verdu/Spain