The Supreme Exodus - What Trip It's Been! by Antonio Jose Guzman

Photo by Ibou Havas - Dakar, Senegal 2019

Photo by Ibou Havas - Dakar, Senegal 2019

It’s been a golden journey, as all my passion and ideas for this project started coming true in Havana, I could actually make a book. Being in the art circuit for more than fifteen years, I learnt that art environments in the west are saturated by imperialistic control and that one of the biggest game changer was curator Okwui Enwezor, he stood for change, engaging and connecting a diasporic world. The 58th Venice Biennale 2019 made my belief stronger about the power of artivism and social change. The power where you can get positive social contributions and ideas spread across with not limitations.

So, grateful to end part of this journey here in Venice admiring the monumental works of my dear friends Remy Jungerman and Iris Kensmil at the Dutch pavilion. Kahlil Joseph, Ryoji Ikeda and Hito Steyerl new works. To witness how Arthur Jafa win the Golden Lion and the jury acknowledge Teresa Margolles and Otobong Nkanga.

I take this opportunity to thank once again the Mondriaan Fonds, Juanito Delgado’s Detras del Muro, Lolliet Marrero and Iva Jankovic for making this journey remarkable and for all the amazing memories which I will cherish for lifetime. The opportunities provided by The Supreme Exodus have been great and I am truly grateful for it as well as the experience provided in Dakar, Tokyo and the Havana Biennial and of course not forgetting the many amazing institutions like Bozar, Minerva Art Academy, Koyo Kouoh's RAW Material Company and the Mondriaan Fonds that saw how my collective The State of L3 lead the direction to this project. The immense exposure and hands on experience has not only helped me develop but also improved to create a huge transatlantic network of artists, curators and musicians.

So often we dwell on the things that seem impossible rather than on the things that are possible. So often we are depressed by what remains to be done and forget to be thankful for all that has been done. – Marian Wright Edelman.

Thanks Bienal de la Habana! by Antonio Jose Guzman

Gracias gente linda de la Habana, gracias Malecon - Con mucho Ache!

The Supreme Exodus - 13th Havana Biennial by Antonio Jose Guzman

The Supreme Exodus - Behind the Wall - 13th Havana Biennial - Sunday, April 14th.

Behind the Wall emerged in 2012 as part of the official exhibition of the 11th Havana Biennial. At that time curatorially it was conceived as a way to intervene one of the most significant public spaces of the Cuban capital. The traditional Havanan Malecón, which extends from the corner of Prado and Malecón to the Maceo Park at the height of the Caleta de San Lázaro, on that occasion welcomed a diverse public, demonstrating that contemporary art has an unquestionable ability to call . It also allowed us to investigate closely the socio-cultural functioning of a strongly rooted and complex community.

For the 13th edition of this important event, Detrás del Muro is presented as part of the official exhibition, but also as a sociocultural project that seeks to make its work a constant resource in favor of the sociocultural and community development of the city. On the one hand, Liquid Stage, which is the theme of the artistic intervention that will take place next April, and on the other hand DEDELMU, the origin of an artistic institution focused on cultural promotion, artistic production and community work that will have headquarters in Malecón no. 307 corner to Galiano.

Thirty Cuban artists will be present, among them some National Prizes of the Plastic Arts such as Pedro de Oráa, Pedro Pablo Oliva, Roberto Fabelo and Eduardo Ponjuán; and forty foreign artists from 14 countries, including Antonio Jose Guzman (The Netherlands - Panama), Javier Marín (Mexico), Enrique Martínez Celaya (Cuba-United States), Laurent Grasso (France), Grimanesa Amorós (Peru-United States), José Dávila (Mexico) and Per Inger Bjorlo (Norway).

Photos: Samantha Pellarini

the supreme exodus "on the road to Havana" by Antonio Jose Guzman

Most of The Supreme Exodus research in Japan involved learning on how to accept where I’am in my artistic journey and to appreciate the project for what it is, not what I want it to be. The wabi-sabi philosophy parallels my ongoing journey as an artist developing continuously my artistic practice. 

“Wabi-sabi is a beauty of things imperfect, impermanent, and incomplete.
It is a beauty of things modest and humble.
It is a beauty of things unconventional.”
–Leonard Koren, artist + writer

Wabi-sabi emerged in 15th century Japan and embraces imperfection, impermanence, and the passing of time. Wabi loosely translates to simplicity, fulfillment, peace, and modesty. Sabi loosely translates to the acceptance and appreciation of the persistence of time.

With the generous support of Mondriaan Fonds

Photos by Iva Jankovic & Marlise Steeman

Location: Nieuw Dakota - Amsterdam Noord & Kapitaal Utrecht

The Supreme Exodus Laboratoire AGIT’art Dakar by Antonio Jose Guzman

In Dakar, Senegal with Atelier GF Workstation: Producing costumes, investigating West African textiles and research on the legendary Dakar Laboratoire AGIT’art, for our performance at the Havana Biennial 2019.

LABORATOIRE AGIT’ART - founded in Dakar in 1974, was a revolutionary and subversive art collective that sought to combine traditional African performance and creativity with a modern aesthetic. Established by the artist Issa Samb, the filmmaker Djibril Diop Mambéty, painter El Hadji Sy and the playwright Youssoupha Dione, Laboratoire Agit’Art started an interdisciplinary collective, devising street performances, improvisational happenings, installations and workshops. Although diverse in their practice, they were united in critiquing and challenging the prevailing négritude philosophy in Senegal.

Their outlook was political, and community focused, publishing manifestos and creating installations out of street detritus that raised issues about African contemporary society. Today Laboratoire Agit’Art are considered to be one of the most influential African art collectives of the twentieth century.

The Supreme Exodus: Masquerades - Négritude Movement - Laboratoire Agit-Art - Afro Latin American Art.

Dakar Team: Iva Jankovic, Samba Thiam, Ibou Sane.

With the generous support of Mondriaan Fonds

Photos by Ibou Havas

Groninger Parade by Antonio Jose Guzman

The Supreme Exodus Performance - The Crown of Joy: From Masquerades to Cultural Resistance.

In collaboration with Groninger Museum, Curator Suean van der Zijpp (Groninger Museum), Minerva Art Academy, Iva Jankovic and the Prince Claus Conservatorium (Hanze University of Applied Sciences).

The performance is based on DNA ancestral studies and on an analysis of Sylvia Wynter’s 1973 Maskarade: A Jonkunnu Musical Play. Maskarade belongs to the earlier theoretical works of Wynter’s. The performance research on issues of postcolonial history, migration, cultural appropriation, Yoruba culture, Afro Latin-American identity and political transcultural theoretical praxes.

Sylvia Wynter: The Jamaican writer and cultural theorist is best known for her diverse writings that pull together insights from theories in history, literature, science, and black studies, to explore race, the legacy of colonialism, and representations of humanness.

The spirit of performance, play, and collaboration remained central to Dada, even as the movement spread outward from Cabaret Voltaire to other nations and continents. Dadaists believed that the value of art lay not in the work produced, but in the act of making and collaborating with others to create new visions of the world.

This project was made possible by the generous support of the Mondriaan Fund and Stichting Beringer Hazewinkel.

GRRR! Exhibition - Groningen, The Netherlands

TSE Collaborators: Iva Jankovic, Sanne Boekel, Margriet Brouwer, Refiq Abbasov, Sebastian Laverde, Antonia Oana, Jurjen Galema, Els van Raaij, Mandy La, Kim Tuin, Mirthe van Wermeskerken, Nancy Tu, Paola Q. Rees, Sammy-Rae Niekoop, Chen Zhang, Pami Chemshirova, Benjamin Houwen, Mairi Munro, Lola Díaz Cantoni, Annet Allers.

Photos: Iva Jankovic & Samantha Pellarini

Transillumination #1 Series at One Art Space New York by Antonio Jose Guzman

“EXIST… an Ode to Ballet” – Curated by Ramón Rik Singley

One Art Space 23 Warren street, New York - 646.559.0535

Opening Reception: Saturday, December 15th, 2018, 6:00 pm- 9:00 pm

Artists: Sasha Huber, Suzanne Unrein, Antonio Jose Guzman, Mary Ann Strandell, Mauren Brodbeck, Amy Hill, Beth Chucker, Ngabo Cesar, Roshanak Khalilian, Aaron Coley, Sonia Barrett, Patrick-Earl Barnes, Christine Cox, Noelle Céspedes, Michael Dote, Gabriele Perici, Kayla Mencia and John K. Cobra…

This important show to end the year is comprised of video, paintings, illustrations & photography from these artists hailing from the U.S. and Europe. This show is going to be a visually stunning foray of works as we end this year and peer into 2019 with new dreams and aspirations. We look forward to seeing you!

To Henri Bergson, the existence of which we are most assured and which we know best is unquestionably our own, for of every other object we have notions which may be considered external and superficial, whereas, of ourselves, our perception is internal and profound. And so he asked, “What, then, do we find?” In this privileged case, what is the precise meaning of the word exist?

The voice and pagination of the works presented for this Group Show exhibition, for me, is a ballet; an ode to Alexey Brodovitch and his famed book of photographs in 1945, titled Ballet. This was the first and only book Brodovitch authored as a photographer, as he was primarily known as an Art Director for Harper’s Bazaar, Portfolio and other publications of the time. The images were of the famous Ballets Russes de Monte Carlo in the mid-1930s. To this day, Ballet is legendary and highly respected amid modernists and germane to the lexicon which helps to didactically explain the meaning of the beauty and importance of a well-composed image and its ilk.

 Thank you,

Ramón Rik Singley II

Opening - The Supreme Exodus LAB by Antonio Jose Guzman

“Collective rituals like The Supreme Exodus serve to bind groups together. The fourteenth-century scholar Ibn Khaldun referred to this as Asabiyyah, which, roughly translated from the Arabic, means “social cohesion” or “solidarity”. Khaldun believed that Asabiyyah was rooted in kinship but could be extended to tribes and nations through the sharing of ritual and ideology” The Supreme Exodus

Photos by Harma Kaput 

Minerva Art Academy - The Supreme Exodus LAB by Antonio Jose Guzman

The Supreme Exodus LAB

Last months students worked together with artist Antonio Jose Guzman to create an exuberant collection of costumes, masques and head pieces. Inspired by the ongoing project of Guzman on migration, DNA and origin, the students make costumes of the most diverse materials. The exterior of matrasses – symbolic for the items migrants take with them across the border-, folded paper, dolls and flags. In addition, fifty m2 textile is screenprinted to use in the costumes. In addition to the presentation in the Koepelzaal, the costumes will be worn in a procession during the Biennial of Havana in April 2019. 

The project is part of The Supreme Exodus, an ongoing project in which Guzman is inspired by the recent history of migration in Latin-America. Artist Antonio José Guzman constructed his monumental project from images of migration and demonstrations in Latin-America and the graphic image of his own DNA. He examines views on socio-cultural identity and migration problems. His installations can be seen as a data visualization of a continuous investigation into displacement and exile in Latin-America and the rest of the world.

Project Coordinators: Sanne Boekel, Margriet Brouwer & Iva Jankovc

Photos by Harma Kaput

The Supreme Exodus LAB by Antonio Jose Guzman

Antonio José Guzman is Artist in Residence 2018 at Minerva Art Academy.

Minerva Art Academy in collaboration with Antonio José Guzman is proud to present the results of The Supreme Exodus LAB, on November 30th at 16.00. Four students of NAIP (Prince Claus Conservatoire) will perform during the opening; an improvisation on the visualised DNA of Guzman himself. On December 14th, the exhibition will end with a spectacular parade that starts at 15.00 at Praediniussingel 59. During this parade, students will walk in the costumes and students of NAIP will perform their music on the spot.

Students worked together last month with artist Antonio Jose Guzman to create an exuberant collection of costumes, masques and head pieces. Inspired by the ongoing project of Guzman on migration, DNA and origin, the students make costumes of the most diverse materials. The exterior of matrasses – symbolic for the items migrants take with them across the border-, folded paper, dolls and flags. In addition, fifty m2 textile is screenprinted to use in the costumes. In addition to the presentation in the Koepelzaal, the costumes will be worn in a procession during the Biennial of Havana in April 2019. 

Project Coordinators: Sanne Boekel, Margriet Brouwer & Iva Jankovc

The Supreme Exodus LAB
The project is part of The Supreme Exodus, an ongoing project in which Guzman is inspired by the recent history of migration in Latin-America. Artist Antonio José Guzman constructed his monumental project from images of migration and demonstrations in Latin-America and the graphic image of his own DNA. He examines views on socio-cultural identity and migration problems. His installations can be seen as a data visualization of a continuous investigation into displacement and exile in Latin-America and the rest of the world.

Artist in Residence 2018
Each year in 2017, 2018 and 2019, Minerva Art Academy invites a different international top artist (Fine Art or Design) to work as an Artist in Residence. The AIR-project takes place at some of the workshops, for example metal or electronics, as part of the study programme. A learning and inquisitive working environment arises through the link with the artist in residence. Students and the AIR work together in an intensive research in which physical experiments are conducted. These experiments lead to a joint result and can be the starting point for new research. 

Important dates 
The Supreme Exodus: 30 November – 14 December 2018
Opening: 30 November 16.00 
Finissage: 14 December 
Havana Biennial: April 2019 

tokyo art meetings - the fading and the fleeting by Antonio Jose Guzman

東京アートミーティング - 衰退とつかの間

Atelier GF Workstation is in Tokyo doing our pop-up Transcultural Transit Talks. Our talks are a ephemeral experience that allows people to communicate with us in a collective experience centred around creativity, sound and technology. Our pop-up experiences are ephemeral by their very nature. They last for only a brief period of time. They are transitory and as a result, exciting and compelling. The Supreme Exodus “Tokyo Transit Talks and Impromptus” create a sense of urgency and interrupt daily routines to explore our transcultural motivations.

We meet different art initiatives in Tokyo and talk with artists on the streets of Asakusa. Our goal is to assemble ideas and talks with groups in Tokyo and Dakar that understand the unique and diverse history of art & textiles into our creative processes, from a wide variety of disciplines, cultures and backgrounds.

The Supreme Exodus Tokyo by Antonio Jose Guzman

From Tokyo to Dakar! Afro-Asian Threads: Indonesian Batik, Japanese Shibori, West African Indigo dyeing textiles and Prints.

In Tokyo researching textiles based on Yoshiko Iwamoto Wada: Arimatsu to Africa: Shibori Textiles Developed for African Trade in 1948–49. Published in the Textile Society of America - 2016.

Tokyo research - Indigo, Sashiko, Boro and linen blend fabrics by Antonio Jose Guzman

Researching textiles for customs to be develop in Minerva Art Academy Groningen, Dakar and Amsterdam for our performances at The Havana Biennial.

The Supreme Exodus Textile Research at Asakusa, Tokyo:

  1. Aizome at Wanariya Indigo Workshops: Japan’s Ancient Art of Indigo Dyeing.

  2. Japanese Indigo, Sashiko style printed, Boro and linen blend fabrics

Blue is one of Japan’s most loved and significant colors. Specifically, the deep blue of indigo has been a popular kimono color since ancient times. Japan has its own dyeing technique called “aizome,” literally indigo dyeing, utilizing a plant called “tade.” Aizome has been introduced to Japan in Nara period (710 – 794), and it is said that depending on different factors, such as mixture and time, this Japanese indigo can be separated into a total of 48 different shades.

Shibori binds the Japanese, the West Africans and Gujaratis - the tie and dye technique of fabric printing. The shibori art dating back to the eight century uses the same resist techniques used by the bandhani artistes in Kutch and Jamnagar districts of Gujarat. Some textile scholars think that Bandhani is older than shibori and was exported from India to Japan which mastered production, techniques in layout and design and that from Japan was exported to Africa during the colonial textile trades between Asia and Africa.

Monochromatic Series at De Museumfabriek, Enschede by Antonio Jose Guzman

De Museumfabriek Het Rozendaal 11, Enschede

6 October 2018 - 30 June 2019

The exhibition features new work by ten well-known Dutch artists and designers. They participated in an artistic research project of the Textiel Factorij and traveled to India to work with Indian artisans with whom they researched on old traditions and new technical possibilities of textile. There are works by Aliki van der Kruijs, Antonio Jose Guzman, Iva Jankovic, Anastasia Starostenko, Gerard Jasperse, Gerard van Oosten, Esther Jongsma, Ruud Lanfermeijer, Sujata Majumdar, Lieselot Versteeg, Saar Scheerlings, Marloeke van der Vlugt, Marlies Visser and Meeta Mastani.

The Textile Factory

The Textile Factory is an artistic research project based on the shared heritage of the Netherlands and India. In the days of the United East India Company there was a lively trade in Indian chisels: cotton painted with multicolored patterns. Dutch artists and designers worked in India together with age-old techniques and have thus given a contemporary interpretation to this cross-cultural exchange. The result: new designs that show an interaction between craft, design, dressing behavior and visual language in India and the Netherlands, in the past and present. The Textile Factory promotes sustainable knowledge exchange and contributes to the preservation of the shared cultural heritage.