Monday, November 12, 2018

White Anxieties

September 21-October 13, 2018
Curated by Raul Zamudio and Juan Puntes with Peter Wayne Lewis
Since the twenty-first century, the U.S. seems to be in a state of accelerated social transformation and this has been cause for alarm for many conservative, White Americans. One of the most notable benchmarks of these changes is Barack Obama’s election as America’s first African-American president. Researchers also predict that in the coming decades, Latinos/Hispanics will be the largest demographic in the U.S. superseding the current White majority. Other communities that have been historically marginalized and now ostensibly asserting their rights including LGBTQ, have added to the perception that we are living in a different America than in the past. Another phenomenon altering the American social landscape is the influx of immigrants that some construe as potentially usurping the purported dominant culture and its traditions. Even Donald Trump’s campaign slogan of Make America Great Again, subliminally harks back to a reactive era of intolerance and exclusivity.
White Anxieties is a mixed media, international group exhibition that takes the pulse of what haunts the conservative, American psyche. That is, an anxiety-inducing America that is less white, heterosexual, and male, and where other languages than English are spoken and where People of Color can openly express their cultural traditions without accusations of not being “real” Americans. Some works in the exhibition, for example, address the dismantling of Confederate monuments, the problematics of assimilation, and xenophobia’s prevalence while others target the most disturbing manifestation of American socio-political regression and of an America historically unresolved: David Duke and acolytes who run for political office while attempting to normalize their racial supremacist ideology.

Wednesday, October 25, 2017

Rent Is Too Damn High

Rent Is Too Damn High
Curated by Roma Primitivo Albear and Raul Zamudio
The Apartment
Apt.4S, 23 Avenue B, NY, NY
Opening October 18, 2017, 6-9pm
October 18-22, 2017
Artists: Diogenes, Julia San MartinAvelino SalaDamian OntiverosAaron Burr-Society, Claudia BaezAdolfo DoringStefano Cagol, Emma McCagg, Revjen Miller, Hawk Alfredson, Clayton Patterson, Agni Zotis, Toyo Tsuchiya, Rona Lebbo, Katya Zvereva, Daniel Sanchez, Nick McManus, Fly, Destiny Mata, Asya Stepanova, Russel Murphy, Roman Alver, Yasira Nun,Riiko Sakkinen, Marlis Momber, Antony Zito, Aubrey Roemer

Power Imagination Secret Society and Bureau of Curatorial Affairs are pleased to present Rent Is Too Damn High!, curated by Roman Primitivo Albear and Raul Zamudio.
Updating the platform of New York City’s independent political party by which the exhibition culls its title, Rent Is Too Damn High! is an exhibition of international artists that work in painting, work-on-paper, sculpture, installation, photography, video, and performance.
While the eponymous political party’s mandate was to reveal the ongoing displacement of communities in the wake of New York City’s real estate boom, Rent Is Too Damn High! expands these concerns to encompass other indirectly related issues that are of a global as well as a local nature. In doing so, Rent Is Too Damn High! comments on how transnational politics effects the social life of a neighborhood and vice versa. This symbiosis is easily discerned in the current U.S. presidential administration in which some of its members are both landlords in the greater New York City area and agents in policies negatively impacting the world-at-large. Further underscoring this dynamic is an art exhibition whose venue itself is in the ensuing battle of gentrification: in an apartment in New York City’s Losaida community.

Thanks to Cornerstone Cafe for their support of Rent Is Too Damn High!
[photo: Destiny Mata]

Sunday, October 01, 2017

The Border Pavilion

The Border Pavilion
Curated by Raul Zamudio
Part of Jeannette Doyle CF Project
Research Pavilion, Venice, Italy
Artists: Anney Bonney, Robert Boyd, Stefano Cagol, Shahram Entekhabi, Scherezade Garcia
Ferran Martin, Cleverson Oliveira, Damian Ontiveros, Nadja Verena Marcin, Rikko Sakkinen, Avelino Sala, Julia San Martin, Teresa Serrano, Celia Elsamieh Shomal, Daniel Silvo, S et P Stanikas, Carlo Zanni

“I saw all the mirrors on earth and none of them reflected me” 
Jorge Luis Borges, The Aleph and Other Stories

The Border Pavilion is a program of video works by international artists that focus on the global geopolitics of the border. As a component of the Research Pavilion’s thematic of engaging the Venice Biennial model of national representation in order to question the politics of its exhibition structure, The Border Pavilion extends this framework by encompassing what Edward Soja conceptualized as “ThirdSpace” and Homi Bhabha’s notion of the interstitial regarding agency in the wake of post-colonialism. That is to say, a social space and subjectivity that is syncretic and protean and foundational for an empowered and emancipatory political imaginary.  

[The Immigration sign is an American highway safety sign warning motorists to avoid immigrants darting across the road. It depicts a man, woman, and child with pigtails running. The signs were erected in response to over one hundred immigrant deaths due to traffic strikes from 1987 to 1990 in two corridors along Interstate 5 along the San Ysidro Port of Entry at the Mexico-United States border ]

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


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.