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 friend and colleague Adolfo Doring, an artist who has exhibited at WhiteBox and in other venues I had the honor to with him in, 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, 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


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

Tuesday, June 14, 2016

Under A Black Sun

Under A Black Sun
May 26- June 13, 2016
curated by Raul Zamudio
Bergen Kjott, Bergen, Norway

Jaishri Abichandani/USA/India
Stefano Cagol/Italy
Adolfo Doring/USA/Mexico
Shahram Entekhabi/Germany/Iran
Andrea Frank/USA/Germany
Emma McCagg/USA
Romulo Sans/USA/Spain
Edgar Serrano/USA
S & P Stanikas/France/Lithuania
Torild Stray/Norway
Wojtek Ulrich/USA/Poland

Abdul Vas/Spain

Saturday, February 13, 2016

The Enemy Within

(partial installation view)

The Enemy Within
Curated by Raul Zamudio
February 6-April 6, 2016
Opening February 6, 5pm
Caguas, Puerto Rico

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]. 

Partial Installation Views

Saturday, January 30, 2016


curated by Raul Zamudio
and Juan Puntes,
co-curated by Blanca de la Torre
WhiteBox, NY, NY
February 1-21, 2016
Opening February 1, 6:00-9:00pm 

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 American public.         

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.     

Saturday, November 14, 2015


 Jaishri Abichandani, Spock As Me, digital photograph, 2011

Lora Azza and Dimitri Dimov, Rubik's Truth, Rubiks Cube, acrylic, table, 2014

Curated by Raul Zamudio
Opening reception November 24
November 24-December 10, 2015
Bulart Gallery
Varna, Bulgaria

Jashri Abichandani/US/India
Lora Azza/France/Bulgaria
Andriy Bazyuta/Ukraine
Robert Baramov/Bulgaria
Dimitri Dimov/France/Bulgaria
Adolfo Doring/US/Mexico
Olga Georgieva/Austria/Bulgaria
Ivaylo Hristov/Bulgaria
Nestor Kovachev /Austria/Bulgaria
Vladimir Ivanov/Bulgaria
Emma McCagg/US
Quintin Rivera Toro/Spain/Puerto Rico
Romulo Sans/US/Spain
Paolo Vivian/Italy

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 viewer’s experience.

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.