Dukkha (Double Dip) is a sequel to Guzman’s Dukkha series that he started during a residency at Art OMI in New York (2014) and the musical composition of his DNA ELOO, which he presented during the Havana Biennale (2015) and Art Rotterdam (2016).
The exhibition Dukkha (Double Dip) presents a new assemblage of geometric thread – and photo sculptures in which influences of Constructivism come together with the culture of the Congolese Diaspora in Panama.
Dukkha is a concept from Buddhist philosophy that teaches us that nothing in life is permanent – nothing is now the same as it was a moment ago. Guzman’s visionary images show the world, cultures and humanity in transition.
The exhibition Dukkha (Double Dip) shows a fascinating universe in which cultural influences from all over the globe come together: the enigmatic anatomy drawings by Jean-Michel Basquiat meet the geometrical spatial drawings by Gego, which merge with the ritual ‘cosmos drawings’ by Günther Uecker as well as the nail patterns in Congolese Nkisi figures. With this métissage, a mixture of cultural influences, Guzman embodies a new sensibility and a universal consciousness in which art as pan-humanistic expression, in all its vitality, forms the core.
Translated excerpt from a text written by art historian Janna E. Adriaanse
A major aspect of Dukkha is on researching the rather violent clash of cultures as an inevitable result of our former colonial times; as well as to analyze the contradictory relationship of colonial aesthetics to the formerly colonized countries, its population, cultures and vice versa.
In all the projects of Antonio Jose Guzman there is a relationship with the location at which he presents the project. He calls this “Sociological mapping”. In all his projects he is looking for cultural connection, for opportunities for communication, for an open confrontation with other cultures.
The ‘El Organo Oriental. Transillumination Sequence #1’ (ELOO) project, which he developed especially for the 12th Havana Biennial, is a logical extension of these principles. It highlights the significance of the organ in Cuban culture and the rich tradition of the organ in Amsterdam, the city in which Guzman lives and works.
Guzman places an original Cuban organ in a large space so that the sound is given free rein. The organ plays music that has been composed using the information elements from the artist’s DNA. The enlarged sheets made by a robot laser engraver with the unique organ score fill the space. This makes the DNA not only audible but also visible.
Excerpt from a text written by Rob Perree for The 12th Havana Biennial.
For the works in Dukkha Transfigured landscapes, I use Nkondi, an animistic manifestation from the Republic of Congo. In Congolese rituals, the Nkondi nails protect homes and towns. In Dukkha I use Nkondi and threads essentially to investigate vernacular religions and Diasporic networks in contemporary society.
A collaborative site-specific installation following a residency at Windward School in Los Angeles, California. Produced with a grant from the Frederick R. Weisman Art Foundation.
The project was one of the most intricate undertakings in the history of the program, developed with contributions from more than a hundred participating students. The project maps the critical topographies of Los Angeles from the 70′s to now, by focusing on the cultural politics of space, time, and segregated neighborhoods. The result of Los Angeles Mapping Project was a large installation composed of photos, drawings, light boxes, objects and sculptures that illustrates how racial segregation still plays a major role in everyday American life.
Looking at Los Angeles Mapping Project it is very apparent that the city is a four race area, it’s not just about black – white and Latino – white relationships, but also about all the complex relationships among Latinos, blacks and Asians as well as class relationships within these communities.
In Piertopolis I use my Panamanian – Indigenous, African and Sephardic Jewish background to create a multidisciplinary installation. The project and installations has been inspired by The New Babylon project of COBRA artist Constant, Piertopolis features an architectural design for an installation of a life-size landscape made out of piers and walking bridges.
The Piertopolis constitute a record of my journeys to spaces that are related to my DNA ancestry and my own existence. The series incorporate influences of the documentary the Powers of Ten and by the book Cosmic View (1957) from the Dutch writer Kees Boeke, which presents a seminal view of the universe, from the galactic to the microscopic scale. The images takes us on an adventure in magnitudes, we see piers, mountains and cities from Google earth perspective, images taken in different piers around the globe, microscopic images of water and sand taken with a microscope.
I intend the photo series and installations of Piertopolis as a meeting place, a transit point, a public performance center, a refuge. Piertopolis is a welcome space to memories, real or imagined and a mapping loop into new worlds and images.
Migration, or the condition of being a subject beyond borders, has always represented one of the most productive resources of aesthetic practices, contributing to the changing of settled cultures.
My Pan African symbiotic research focuses on the issue of Pan Africanism, Post colonialism, Afro Futurism, space and migration from very different perspectives, in order to explore what Mieke Bal defined as “migratory aesthetics”. The State of L3 is a project that connects three continents, in search of the African identity and the relationship between distance relatives in those continents. The State of L3 as Collective is aware that our decolonization is a process of change, destruction and an attempt to regain and lose power.
While countries still had to learn how to put independence into practice, colonial powers had to accept the loss of power over foreign countries. However, both sides have to deal with their past as suppressor and suppressed. This complicated relationship mainly developed from the Eurocentric perspective from which the former colonial powers saw themselves made the process of decolonization rather tense and emotional.
This series of monumental projects challenge the traditional notion of space and time by transforming the aesthetics and perception of natural and artificial spaces. Our relation with time is different depending on the society, culture, and the communities we live in, we perceive time differently that our ancestors.