A decade ago Guzman’s joined the Genographic Project, an initiative of National Geographic that studies the DNA of thousands of people, helping them to find their ancestry. Guzman found his roots are African, Sephardi Jew and Native American.

The artist constructed with Amsterdam’s barrel organist Leon Perlee organ books with his DNA. The barrel organ books were scanned, and the artist made laser banners, cartoon sculptures and ultimately block prints in India with extracts of his DNA sequence.

Transillumination Sequence #1

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 the project ‘El Organo Oriental. Transillumination Sequence #1’ (ELOO) project, Guzman places an original Cuban organ in a large space so that the sound is given free rein.

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. The scores were also used to be played with a marimba, Piano and an artificial intelligence music sensor interfaced robot.

Punch cards are cardboard cards with holes. These punch cards controlled mechanical devices, before the invention of computers. The punch cards were the software for the machines. In an organ punch cards control the organ music. Punched pattern cards inspired the designed of IBM systems that store large amounts of data, leading us to the modern digital age.

Motion Capture Systems – MOCAPS

Inspired by a mechanical nkisi universe, the drawings, photographs and acrylics on paper feature landscapes and objects which presents a seminal view of Afrofuturism mythology. Researching ancient Kongo Bantu Cosmology teachings about communication, radiations and energy waves.

Dukkha Double Dip

The exhibition Dukkha 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 sequel to a series that Guzman started during a residency at Art OMI in New York. 

Transfigured Landscapes

For the works in Transfigured landscapes, I use Nkondi, an animistic manifestation from west Africa. In rituals, the Nkondi nails protect homes and towns. In Dukkha I use Nkondi and threads essentially to investigate vernacular religions and Diasporic networks.

Piertopolis – situationists landscapes

A Psychogeographic exploration of urban environments

In 1960 the Suriname-born artist Stanley Brouwn asked people on the street to show on a piece of paper how they would walk from point A to point B. For Brouwn walking was a way of becoming one with yourself, merging with your environment. The series are a documentation of borders and walks in different metropolis around the world.

The project was developed using ideas of the New Babylon project of COBRA artist Constant and Situationists theories from Jaqueline de Jong and Guy Debord. Debord not only recognized the tectonic shift from a society centered on commodity to one centered on image, but also developed a keen sense for its neuralgic points, such as its intolerance for the passage of time.

the state of L3

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. 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.

latin american cartographies

A visual laboratory, a journey into the realities of Latin America. Artists, cultural platforms and activists are today at the forefront of generating new perspectives around violence, memory, resilience or mobility. With Works by The Fire Theory, Método Salgari, Regina José Galindo, Humberto Vélez, Raquel van Haver. Curator: Antonio José Guzman.

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