"Progressive Transition" - PRINT SALON - Latin American Art Triennial "Salao" Woodcut by Carlos Barberena "Progressive Transition" - PRINT SALON - Latin American Art Triennial Curated by Alexis Mendoza & Luis Stephenberg OPENING RECEPTION: FRIDAY, NOVEMBER 22nd, 6:00PM - 9:00PM ON VIEW: NOVEMBER 22, 2019 – JANUARY 22, 2020 BORICUA COLLEGE ART GALLERY, BORICUA COLLEGE, BRONX, NY Bronx Campus 890 Washington Ave.Bronx, NY 10451 Artists: Coco144, Liliana Avalos, Elie Angles, Carolina Bazo, Carlos Barberena, Eliezer Berrios, Betty BP Cole, Luis Cordero, Pepe Coronado, Ada Pilar Cruz, James Cuebas, Elsie Deliz, Marcos Dimas, Carlos Jesús Martínez Dominguez, Alex Fernández, Linda Fernández, Reynaldo García Pantaleón, José Gómez, Emma González, Diana-Gitesha Hernández, Rafael Lanfranco, Miguel Lescano, Rejin Leys, Vidho Lorville, George Malave, Carlos Pamparana, Lynn Ratner, Yelaine Rodríguez, Moses Ros, Fernando Ruíz Lorenzo,Roger Santiváñez, Gonzalo Salas, Juan Sánchez,René de los Santos, Minerva González Suvidad, Nicolás Tarnawiecki, Nitza Tufiño, Paola Paula, Palen Obesa, Susan Olivera, Patricia Orbegoso and Jorge Zavala.  Progressive Transition PRINT SALON Latin American Art Triennial Fall 2019 The Boricua College Art Gallery is pleased to present Progressive Transition, part of the 2019 Latin American Art Triennial organized by the Bronx Hispanic Festival Inc. This exhibition is in collaboration with El Taller Boricua de Grabado (The Boricua Printshop), Taller Cono Norte and Pepe Coronado Print Studio. The broad range of Triennial artists includes representation from Argentina, Bolivia, Chile, Colombia, Costa Rica, Cuba, Dominican Republic, Ecuador, El Salvador, Guatemala, Honduras, México, Nicaragua, Panamá, Paraguay, Perú, Puerto Rico, Spain, Uruguay and Venezuela. The project will create awareness of the rich international network with Latin American artists, many with strong links to New York City. Progressive Transition explores the action and effect of moving from one state to another. More broadly, the project shows the drive towards transformation in the arts. The artists’ need to “feel part of something” that can likewise be recognized and defined by others will be explored within the exhibition. The work on view represents the artistic transition seen against a landscape of societal progress. The project highlights cultural exchange and, at its core, examines the implications of transition on an evolving Latin American culture.  "The Jungle" (after Lam) Linocut by Carlos Barberena, 2010 In a globalized setting, Progressive Transition seeks to understand the particular need for affirmation in search of healing with regards to the spaces left behind within the sphere of immigration. Transition moves forward both for society and on a personal level.
The flowering of change —of transition — is to be seen everywhere in the field of creativity. Just as muralism in Mexico marks a reflection of national content, newly emerging cross-cultures expand into multiple, sometimes competing identities. New terms used in the United States such as Newyorican, Chicano, Dominica-ish or Latinx, all impact the artistic and personal sense of identity. The inability to continue relying on traditional identities encourages an interest in emerging new identities. The artists represented in Progressive Transition belong to a variety of different generations. They have found motivation as regards to notions of immigration, religion, social justice, history and environmental awareness-raising, examining problems relevant to them, and underscoring that Latin American art has its roots in the sociopolitical. Latin American art benefits from the recent increase in the number of artists— – linked by language— who live and work all over the world. They circulate internationally and influence the rising generation, making ever more types of communication possible in a world of ever-expanding, transitioning identities. Progressive Transition is organized by Alexis Mendoza, New York Latin American Art Triennial Chief Curator, and Luis Stephenberg, New York Latin American Art Triennial Director.
0 Comments
The Petty Biennial.2 "Exodus" Linocut by Carlos Barberena. 2019 "THE PETTY BIENNIAL.2" Curated by Courtney Cintron, Sabrina Greig, and Adia Sykes OPENING RECEPTION: THURSDAY, NOVEMBER 7th, 5:00PM - 7:00PM ON VIEW: NOVEMBER 7, 2019 – FEBRUARY 14, 2020 GLASS CURTAIN GALLERY, COLUMBIA COLLEGE, CHICAGO Gallery Hours: Monday-Wednesday, and Friday, 9 a.m.-5 p.m. Thursday, 9 a.m.-7 p.m. With more than 100 biennials and triennials around the world, the large-scale international events have been a valued mode of artistic display in contemporary exhibition practices that have fueled the mass production and consumption of contemporary art. Used as a means to flex global status and distinction, the hegemonic format is a frequent topic of debate and critique. The Petty Biennial.2 is an exhibition project that seeks to challenge and reimagine dominant biennial culture by centering multiple cultural diasporas as a nexus of local exchange and dialogue for marginalized and queer communities. The Petty Biennial.2 engages with pettiness as an act of seizing agency within the telling of one’s own story. Pettiness is a claiming of space. Pettiness creates a space where one asserts themselves unapologetically, confronting a society that values and privileges whiteness above all, while finding solidarity from a community of peers. Pettiness is therefore a performative gesture that seeks liberation through exposing, and finding humor in oppressive social systems. The Glass Curtain Gallery will serve as the project’s anchor site, with two satellite locations at Heaven Gallery in Wicker Park and NYCH Gallery in Pilsen. The exhibition will feature the work of sixteen participating artists across the disciplines of painting, drawing, printmaking, performance, photography, sculpture, installation, and video. Participating Artists include: D. Denenge Duyst-Akpem, Alexandria Eregbu, Liz Gomez, Jacquelyn Carmen Guerrero, Jesus Hilario, Jennifer Ligaya, Damon Locks, Zakkiyyah Najeebah, Carlos Barberena de la Rocha, Amina Ross, Luis A. Sahagun, Edra Soto, Yasmin Spiro, Raelis Vasquez, Rhonda Wheatley, and Santiago X  The Petty Biennial.2
Glass Curtain Gallery – Columbia College Chicago 1104 S Wabash Ave, 1st Floor, Chicago, IL 60605 November 7, 2019-February 14, 2020 Opening Reception: November 7, 2019 5-7 p.m. Gallery Hours: Monday-Wednesday, and Friday, 9 a.m.-5 p.m.Thursday, 9 a.m.-7 p.m. Satellite Exhibitions Heaven Gallery 1550 N Milwaukee Ave, 2nd Floor, Chicago, IL 60622 December 6, 2019-January 19, 2020 Opening Reception: December 6, 7-11 p.m. Gallery Hours: Friday & Saturday 1-6 p.m. Sunday 1-5 p.m. or by appointment NYCH Gallery 2025 S Laflin St, 1st Floor, Chicago, IL 60608 Opening Reception: January 10, 6-10 p.m. Gallery Hours: Monday-Saturday 11 a.m.-7 p.m. About The Petty Biennial The Petty Biennial, co-founded by La Keisha Leek and Sadie Woods, is not a biennial itself, but a curatorial investigation towards queering the canon of traditional biennials. Every two years, the founders pass the curation of the project on to a new team. This exhibition project that complicates dominant narratives of contemporary cultural, social, political norms. Inspired by digital media, this project embodies “petty” or “clapback” culture as a disruption in respectability politics and a performative assertion in the contemporary art world. It is a response to classist views towards communities of color and peripheral art practices. At the intersection of race, gender and sexuality, featured artists showcase a range of regional and national perspectives unique to North and Central America and the Caribbean. In 2017, Leek and Woods worked with academics, cultural producers, and curators to select artists for the inaugural Petty Biennial. The project selected seventeen artists for its exhibition produced Arts + Public Life of the University of Chicago along with an additional nine artists for ancillary programming produced in partnership with The Gray Center for Arts and Inquiry, Black Cinema House, and OpenTV. This program is partially supported by a grant from the Illinois Arts Council Agency. Graphic Resistance at Pilsen Outpost GalleryON VIEW: November 1st – December 1st, 2019 Pilsen Outpost Gallery Artist Talk and Printmaking Demo: Thursday, November 14th, 6-9PM  Pilsen Outpost cordially invites you to an outstanding exhibition, titled: "Graphic Resistance" Relief Prints by Carlos Barberena Artist Talk & Printmaking Demo: Thursday, November 14th, 6-9PM Carlos Barberena is a Nicaraguan self-taught Printmaker based in Chicago, where he runs the printmaking projects: Bandolero Press & La Calaca Press. He is also a member of the Instituto Gráfico de Chicago. Barberena is known for his satirical relief prints and the use of images from pop culture, as well as from political and cultural tragedies. He has exhibited individually in Costa Rica, Estonia, France, Mexico, Nicaragua, Spain and The United States of America. His work also has been shown in Art Biennials, Museums, Galleries and Cultural Centers around the world.  He has received various awards including: SPARK’s Grant, Chicago Artists Coalition & the Joyce foundation; the “National Printmaking Award 2012” given by the Nicaraguan Institute of Culture in Managua, Nicaragua; “Parchemin d’Honneur”, 8 Triennale Mondial de l’Estampe et de la Gravure Originale, AMAC, Chamalieres, Auvergne, France and the award- poster for the Ecology and Human Rights in Banana Plantations in Costa Rica, given by GEBANA in Berlin, Germany. He has been in such residencies as the Taller de Formación y Producción Gráfica, Antiguo Colegio Jesuita, Patzcuaro, México and Cross Currents: Cultural Exchange, Chicago-Havana. Barberena’s work is included in various public and private collections.  "Madre de Ayotzinapa" Exhibition runs from November 1st through December 1st, 2019 Pilsen Outpost 1637 W 18th St. Chicago, IL 60608 More info about the Artist: www.bandoleropress.com www.carlosbarberena.com |
BANDOLERO PRESS
|
RSS Feed