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.     

Wednesday, July 08, 2015


An Art/Curatorial Project
by Daniel Silvo and Raul Zamudio
August 6-15, 2015
7,500 years of history, 1685 miles, 5 artists, 4 artworks, 4 states, 2 countries, 2 videographers,
and 1 curator....

DUST/POLVO is titled both in English and Spanish because of its bicultural and bi-geographical nature and is a nomadic, experimental project that entails the interment of four artworks along the US/Mexico border.

One artwork will each be buried adjacent to the border in the states of California, Arizona, New Mexico, and Texas. Apart from burying the artworks, there will be video documentation which will be edited and shown as both a documentary and a shorter version to be incorporated as an art installation. 

DUST/POLVO operates on numerous fronts: one has to do with the mechanisms that operate and define material and symbolic value in art and its commodification, especially in regards to the market; another has to do with notions of spectatorship; and another still is an ontological exploration of authorship, art-making, and curating; but maybe the most topical dimension of the project in regards to the politically contested US/Mexico border, is that the artworks are authored by Mexican artists either living in Mexico or abroad. The artists whose works will be interred are: Alejandro Almanza, Felipe Ehrenberg, Rafael Lozano-Hemmer, and Sarah Minter. 

Raul Zamudio, a New York-based curator and writer, and Daniel Silvo, a Spanish artist, are collaborating on this art/curatorial project.

Friday, May 22, 2015

Romulo Sans: Between Heaven and Hell

WhiteBox Project Room presents
WhiteBox Art Center
329 Broome St
NY, NY 10002 



Curated by Raul Zamudio
On view May 20th to June 10th, 2015
Opening Reception Wednesday May 20th | 7-9pm
WhiteBox Project Room is pleased to present the solo show of Romulo Sans titled Romulo Sans: Between Heaven and Hell. Whereas in previous exhibitions Sans’ subject matter ran the gamut of gritty urban New York street culture to impeccably staged mise-en-scenes that converge haute couture with memento mori, Romulo Sans: Between Heaven and Hell is more topical by indirectly citing events within the context of social violence, Religious authoritarianism, political corruption, corporate greed, media collusion, and consumerism.

Exemplifying this is a photograph of what appears to be a runway model casually smoking a cigarette with a blue recycling bag over her head filled with environmentally toxic products. Is this some avant-garde fashion accessory or a poignant eco-political work about the complacency of culture and the culture of complacency? In another work, the word Caliphate is written in typography similarly used in Coca-Cola advertisements. On the one hand, the work mines Western Islamophobia and its perception of terror groups becoming ubiquitous to the degree that they are ostensibly corporate. On the other hand, it also alludes to shadow economies and vulture capitalism evinced, for example, in Western multinational corporations and their subsidiaries who indirectly foment religious and political turmoil for economic opportunity in their desire for global power 

Friday, April 10, 2015

Flux Art Fair Harlem

Flux Art Fair Harlem

Shahram Entekhabi, installation view, Flux Art Fair

Shahram Entekhabi
Shahram Entekhabi, Golden Edition, acrylic and glitter on photograph, 2010 (dimensions variable)  
Flux Art Fair Press Release:
A contemporary art fair in the culturally rich community of Harlem.  FLUX Art Fair is a dynamic artistic platform engaging an international community of collectors and those who simply appreciate art to discover artists and discover the vitality of Harlem. Driven by curators collaborating with artists, FLUX Fair contributes to the vibrancy of Harlem by expanding the scene beyond the walls of the fair, partnering with cultural institutions and creating opportunity for rising Harlem artists within the fair.  Guest Curators select lead artists to present significant signature works linking emerging artists to a broader spectrum of art collectors.
Artists and curators respond to the curatorial theme: “The 21st Century Artist is a Nomad”.  Harlem, an internationally acclaimed crossroads for the modern caravan of creativity, is a particularly relevant place to explore this theme.
A diverse, intimate, & progressive art fair with a global reach, FLUX Fair mirrors the community of Harlem.
“Like the historically imperative Harlem Renaissance of last century, Harlem today is becoming an important locus for contemporary art. Flux Art Fair will contribute to this in its inaugural presentation by exhibiting artists who work in diverse media and hail from within New York and beyond. Because fair participation and selection is via an eclectic group of curators and not commercial galleries, Flux Art Fair will become a significant alternative model to the art fair standard ubiquitous in New York and the international circuit.”
Raul Zamudio, Guest Curator – FLUX Art Fair 2015

Monday, February 09, 2015

Réquiem (for VZT)

ARTR Trafico de Arte se complace en presenter Réquiem (for VZT). Réquiem (for VZT)  es una exposición colectiva de artistas internacionales que trabajan en diversos medios, incluyendo la pintura, la escultura, la fotografía, el vídeo y el arte performativo. El réquiem es tradicionalmente una masa litúrgica católica por los muertos, pero en la exposición se utiliza como marco curatorial para explorar otros aspectos de la muerte dentro de los contextos sociales y políticos.

La exposición también cuenta con otra alusión en su título entre paréntesis, así, y que es en homenaje al curador y escritor Víctor Zamudio-Taylor, que murió prematuramente.

Una parte importante de la exposición se compone de artistas que trabajaron con Zamudio-Taylor en el pasado o que son obras de arte que fueron parte de su colección personal.

Curaduria por Raul Zamudio
Agradedimiento: Sophia Zamudio-Haas

Jaishri Abichandani
Oreet Ashery
Luis Alonzo Barkigia
Will Berry
Alejandro Diaz
Adolfo Doring
Yingmei Duan
Paula Elion
Karen Eliot
Claire Fontaine
Patrick Hamilton
Elan Jurado
Ferran Martin
Emma McCagg
Romulo Sans
Edgar Serrano
Riiko Sakkinen
Sari Tervaniemi
Ruben Verdu

[Edgar Serrano, Parallel Inventory, intervened postcards, dimensions variable, 2010-ongoing)

Saturday, October 04, 2014

Lucero Gonzalez Jameson: Angelus Novus

Lucero Gonzalez Jameson: Angelus Novus
October 2, 2014 - October 26, 2014
Curated by Raúl Zamudio / Reception October 16th: 6-8pm
La MaMa Galleria
47 Great Jones St.
New York, NY

Lucero Gonzalez Jameson: Angelus Novus is a solo exhibition of painting, sculpture and video by the New York-based artist Lucero Gonzlaez Jameson. The exhibition’s subtitle is culled from a similarly titled Paul Klee print that was in the collection of Walter Benjamin. Benjamin, a renown literary and cultural critic and writer associated with the Frankfurt School, used Klee’s work as metaphor about a two-faced “angel of history” looking backward to the past while the present piled up before it as “wreckage.” A conceptual motif in Benjamin’s “angel of history” is how the past is ever shaping the present as much as the historian, either consciously or not, shapes the past through their narration filtered through their subjectivity.

Lucero Gonzalez Jameson: Angelus Novus uses Benjamin’s concept of history as trope to explore dichotomies of past/present, history/myth, and the spiritual/corporeal. A series of artworks that introduce the exhibition, for example, are The Execution of Miramón No.2 (nd) and a corpus of self-portraits. Gonzalez Jameson’s painting is based on Edouard Manet’s iconic Execution of Emperor Maximilian (1868). In one of Manet’s most politically poignant canvases, the emperor is executed by fusillade along with Miguel Miramón who happens to be the artist’s great, great grandfather. Gonzalez Jameson’s rendition is more than homage to her colored familial past or art historical citation, for it is the artistic equivalent of what Benjamin stated as the task of the historian: “to brush history against the grain.” In counterpoint to this are Gonzalez Jameson’s nine self-portraits that are sequentially installed in the exhibition. One of these, however, is painted upside down and is flanked on each side by four upright self-portraits. In one sense, The Execution of Miramón No. 2 is rife with its progeny including the artist, albeit generations removed, while the auto-depictions are also permeated with the past. This doubling effect is akin to Benjamin’s “angel” that looks backward while the present perpetually accumulates before it. Accompanying the exhibition will be a publication with reproduced artworks, bio of the artist, and an essay by the curator.

Wednesday, May 07, 2014

How to Explain Pictures to a Dead Hare

Curated by Raúl Zamudio
Monterrey, México. 

May 15-July 9, 2014
Damali Abrams (GY/US) / Isaac Aden (US) / Stefano Cagol (IT) / Gianluca Capozzi (IT) / Gordon Cheung (UK) /
Ala Dehghan (IR)/ Patricia Dominguez (CL)/ Rainer Ganahl (AT) / Pablo Helguera (MX) / Lazaro Juan (PH) / Elan Jurado (USA)/Dominika Ksel (US) / JT Leroy (US) / Ferran Martin (ES) / Alex Nuñez (US) / Joe Politt (UK) / Vidisha Saini (IN) / Edgar Serrano (US) / Roi Vaara (FI)

How to Explain Pictures to a Dead Hare is a group exhibition whose title cites Joseph Beuys’ watershed 1965 performance by the same name. Like Beuys’ performance in which he “explained” artworks to a dead hare in the gallery where he enacted his piece, the exhibition presents works that question the art object’s ontology and the politics of spectatorship via diverse media including photography, video, painting, sculpture, work-on-paper, installation, performance, and sound and olfactory works.

Dominika Ksel’s interactive Untitled (2012), for example, manifests in the interiority of the spectator. Similar to Lygia Clark’s Sensorial Mask (1967), which was worn over the spectator's head and blocked external perception in order to trigger self-awareness and reflection, Ksel’s piece is a kind of rave of the mind; for its optical and audio ecstasy of light and sound within the cranium proceeds from the inside to the outside rather than the other way around. Through this radical reconfiguration of art and its consumption, of object and subject, Ksel's work shares an affinity with what Antonin Artaud stated about his Theatre of Cruelty: “it is through the skin that metaphysics must be made to re-enter our minds.”