Friday, April 10, 2015

Flux Art Fair Harlem

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.”

Sunday, April 27, 2014


Gianluca Capozzi: Maleventum
April 19- July 19, 2014
Curated by Raul Zamudio
GiamArt Contemporanea
Vitulano, Italy

Maleventum is a solo exhibition of Gianluca Capozzi that will take place in Vitulano, Benevento, Italy. Consisting of painting, work-on-paper, video, and installation, the title is culled from two sources. One comes from Benevento’s ancient Roman description: Maleventum, which translates as “site of bad events.” Maleventum was considered so ominous that its name was changed in antiquity to something more benign: Beneventum, and finally from its Latin name to its current nomenclature as Benevento. The other allusion in the exhibition’s title is more contemporary, for it comes verbatim from the similarly named album by the Italian death metal band, Opera IX. 

Maleventum’s historical description was based on numerous factors concurrent with, and post ancient Rome. One entails the violent, bloody battles that took place in the expansion of the Roman Republic. Later in the sixth century AD, the Germanic Lombards seized Beneventum and although they eventually would adopt Catholicism, their burgeoning reign brought the worship of faunal pagan gods and rites that would rub up against Christendom. These perceived heresies initiated Benevento’s present-day myth and folklore as a place steeped in witchery and sorcery. The exhibition uses these sources as curatorial foil to investigate the uncanny dimension of the everyday, occult conspiracy theories, crypto-fascist politics, and the cult of personality.

Thursday, April 24, 2014

The Lady With The X-Ray Eyes

25.04 - 10.05

куратор раул замудио
[curator Raul Zamudio]
градска художествена галерия - каравелов 1
дамата с x-rey очи - куратор раул замудио (сащ ) - участват: ала дехган (иран), гордън чьонг (великобритания), деспо магони (гърция/сащ), ема маккаг (сащ), елън джурадо ( сащ), ко санг у ( южна корея/сащ), патрин хамилътн (белгия/чили), рубен верду (испания/венецуела), сари терваниевми (финландия ), торилд стрей (норвегия), феран мартин (испания), хоакин сегура (мексико)

Monday, February 17, 2014


Whitebox Art Center presents
Video Art from the Past to the Present into the Future
February 23-March 28 2014
Opening February 23, 5-7pm
curated by Raul Zamudio and Juan Puntes

TIME : : CODE is an exhibition of video art selected from White Box Art Center’s archive. The exhibition’s title and curatorial framework metaphorically weave the technical nomenclature for video and film synchronization, and the experimental film directed by Mike Figgis.  The former is addressed in the ostensible historical arc of the exhibition consisting of important works by early video pioneers including Michael Snow, Carolee Schneeman, Dara Birnbaum, Dennis Oppenheim and others, which are shown along side a succeeding generation of video artists who have innovatively engaged the medium as their predecessors.  The exhibition, however, resists conventional sequential mapping of video art via its other point of thematic departure: Mike Figgis’ Timecode (2000).   

Timecode was created by four cinematographers whom each shot a non-stop, 90-minute take. These individual shots were then simultaneously played on one screen split into four sections. TIME : : CODE adopts this trope via a constellation of video works that coalesce in their disparate shifts between single and multichannel, analog, digital and animation, as well as diverse display formats including LCD, CRT, projection, sculpture, and installation.  

Like the split screen of Timecode and its fracturing of both time and space, the exhibition creates a rhizome-like environment of video works that are as much in dialogue with each other as they are independent. The individual works run the gamut of subject matter that draw from the personal to the public, from reality to the imaginary, and coupled with TIME : : CODE’s exhibition presentation, critically engage social and political issues of our global contemporaneity.

Michael Snow | Carolee Schneeman | Dennis Oppenheim | Gary Hill
Helena von Karkkainen | Hans Breder | Jaime Davidovich | Jonas Mekas
Dara Birnbaum | Jean-Gabriel Périot | Dieter Froese | Braco Dimitrijevic | Blue Noses
Ai Weiwei | Stefano Cagol | Iván Navarro | Damian Ontiveros | Igor Molochevski
Gordon Cheung | Kiki Seror | Tania Candiani | Sislej Xhafa | Oreet Ashery
Larissa Sansour | Adolfo Doring | Wojtek Ulrich | Robert Boyd | S&P Stanikas
Mary Mattingly | Ferrán Martín | Yucef Merhi | Alina and Jeff Bliumis | Roi Varaa | Javier Tellez |Arlene Schloss

Whitebox Art Center
329 Broome Street
New York, NY 10002