Monochromatic Transillumination #1 by Antonio Jose Guzman

DUSTY & THE ELECTRIC DUB -D.A.T.E.D. - (A.J. GUZMAN AURORA & ADAMS) Paris 2012 Antonio Guzman assembled his live Transillumination # 1 with singing and Voice of Aurora Adams.

DUSTY & THE ELECTRIC DUB -D.A.T.E.D. - (A.J. GUZMAN AURORA & ADAMS) Paris 2012
Antonio Guzman assembled his live Transillumination # 1 with singing and Voice of Aurora Adams.

This coming Saturday 28th of October as part of the elaborate research done for Project Monochromatic, I’ll be performing Transillumination #1, DNA sequences & Repetitive Compositions, developed with North American singer songwriter Aurora Adams. Performance goes from 4 until 8pm. It’s going to be a beautiful day at Nieuw Dakota, Amsterdam, so come over and grab some roti & drinks.

I’ll be also mixing and experimenting with electronic noise, ambient, abstract glitch, minimal, industrial, electro, dubtropica, drone beats and tracks from artists like Ryoji Ikeda and Philip Glass. Léon Perlee will play the barrel organ.

Transillumination #1 Its been composed together with Alejandro Matamala and Leon Perlee, its been played and arranged with Espíritu Tico and Tatiana Koleva in the marimbas, Heriberto Pinzon in the Piano, Leon Perlee and Organo la Tradición del Milenio in the barrel organs.

This massive transcultural production was part of the 12 Bienal de La Habana Biennial and the Bienal Centroamericana.

This project would not have been possible with out the support from The Mondriaan Fonds and Fundación Alemán Healy.

Programme:

12:00-22:00 Exhibition & Live Set

16:00, 18:00 and 20:00 – Performance by the artist (approx. 15 minutes)

Concert Series & Music for Barrel organ

Duration: continuous exhibition; artist’s performances approx. 15 minutes

24H Amsterdam: This event is part of the 24H Noord programme. 24H Amsterdam offers a chance to discover all that Amsterdam’s neighbourhoods have to offer in a 24-hour period, as theatres, museums, shops, hotels and clubs open their doors and throw up some special surprises. Each edition of 24H is dedicated to a different part of town.

I'am a native foreigner by Antonio Jose Guzman

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Aspects of migration in the collection of the Stedelijk Museum.

22 sep 2017 till 2 jun 2018

Lectures and Talks at the Stedelijk Museum about the works of Remy Jungerman, Ulises Carrión, Otobong Nkanga’s and about MOMA’S 2009 show In & Out of Amsterdam: Travels in Conceptual Art, 1960–1976.

The Stedelijk Museum Amsterdam is mounting a series of exhibitions in 2017 and 2018 that explore different aspects of the theme migration. “I Am a Native Foreigner” examines migration by focusing on the museum’s collection: what are artists views on migration, and how do they visualise it in their work? This collection presentation considers the effects of migration on artists both past and present, and reveals how they dealt with, and depicted, the impact of displacement. The title “I Am a Native Foreigner” is taken from a statement made by the Mexican artist Ulises Carrión (1941-1989), who settled in Amsterdam in the 1970s.

The work in “I Am a Native Foreigner” ranges from photographs of Dutch immigrants disembarking at New York’s Ellis Island around 1900, and Surinamese-born Dutch who made their home in the Bijlmer in Amsterdam southeast in the late ‘70s, to more recent images of refugees off the coast of southern Spain.

Some artists, like Remy Jungerman and Ed Hart, were once migrants themselves, and articulate that experience in their work. In the 1960s and ‘70s, they left their homeland, Suriname, for Amsterdam. In Jungerman’s work, the squashed toad motif serves “as a metaphor for something or someone who voluntarily steps out of their natural habitat. That step is a risk: you might end up being squashed flat, but you might escape.”

Some artists explore the relationship between migration and the colonial past of the Netherlands. In La Javanaise, Wendelien van Oldenborgh concentrates on ‘Dutch wax’, highlighting the way in which the Dutch appropriated the traditional batik technique to produce fabrics which were – and still are – immensely popular on the African market. Born in South Africa and resident in Amsterdam since 1976, Marlene Dumas scrutinizes the relationship between image and stereotype in Young Men, a series of portraits featuring males of North African appearance.

"I Am a Native Foreigner” is one of a series of exhibitions on the theme of migration staged by the Stedelijk in 2017 and 2018. As director Beatrix Ruf noted earlier this year: “It is important to always tell new stories, both with our collection and with separate exhibitions.”

ARTISTS
"I Am a Native Foreigner” is curated by Stedelijk curator Leontine Coelewij and includes work by:

Peter Alma (ID, 1886 – NL, 1969) | Halil Altindere (TR, 1971) | Francis Alys (BE, 1959) | Kors van Bennekom (NL, 1933 – 2016) | Rossella Biscotti (IT, 1979)| Miguel-Ángel Cárdenas (CO, 1934 – NL, 2015) | Ulises Carrión (MX, 1941 – NL, 1989) | Ad van Denderen (NL, 1943) | Rineke Dijkstra (NL, 1959) | Agoes Djaya (ID, 1913 – 1994) | Otto Djaya (ID, 1916 – 2002) | Marlene Dumas (ZA, 1953) | Aslan Gaisumov (Chechnya, 1991) | Gillion Grantsaan (SR, 1968) | Ed Hart (SR, 1936) | Nola Hatterman (NL, 1899 – SR, 1984) | Lewis Hine (US, 1874 – 1940) | Remy Jungerman ( SR, 1959) | Aart Klein (NL, 1909 – 2001) | Bertien van Manen (NL, 1942) | Meredith Monk (PE, 1942) | Otobong Nkanga (NG, 1974) | Wendelien van Oldenborgh (NL, 1962) | Michiel Schuurman (NL, 1974) | Barbara Visser (NL, 1966)

black achievers wall by Antonio Jose Guzman

Atelier GF Workstation is very pleased to announce that we are participating with Hamaquera from the Hogon Series, at the 30 year anniversary exhibition from the CBK Centre for Visual Arts Amsterdam Southeast. Featuring the works by 140 artists that have worked with CBK over the past 30 years.

Atelier GF Workstation is very pleased to announce that we are participating with Hamaquera from the Hogon Series, at the 30 year anniversary exhibition from the CBK Centre for Visual Arts Amsterdam Southeast. Featuring the works by 140 artists that have worked with CBK over the past 30 years.

Ontmoet en bekijk het werk van prominente kunstenaars die als Black Achievers de wereld van de beeldende kunst in Nederland kleur geven. Centrum Beeldende Kunst Zuidoost licht hun werk uit met een speciaal event: de Black Achievers Wall.

In het kunstcafé besprak master of ceremony Nicole Terborg -zelf journalist, programmamaker en presentator- de kunstwerken.  Ze deed dit met de kunstenaars zelf, speciale gasten en natuurlijk het publiek. Ook werd er gekeken naar en gesproken over Black Achievers die ontbreken en wie de Black Achievers van de toekomst zijn. Aanwezig waren:

Annet Zondervan, kunsthistoricus, directeur CBK Zuidoost

Ricardo Burgzorg, kunstverzamelaar, cultureel ondernemer

Neil Fortune, beeldend kunstenaar

Antonio Jose Guzman, beeldend kunstenaar

Raquel van Haver, beeldend kunstenaar

Remy Jungerman,  beeldend kunstenaar

Vincent van Velsen, curator, kunstcriticus

Met een muzikaal intermezzo van artiest Joya Mooi, waarbij zij zelf geïnterviewd zal worden.

De Black Achievers Wall is onderdeel van de jubileumtentoonstelling ‘30 x 30’, waarmee CBK Zuidoost haar 30-jarige bestaan viert.

Kunstcafé Black Achievers Wall – – zaterdag 7 oktober

Locatie: CBK Zuidoost

Latin American Cartographies by Antonio Jose Guzman

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Curated by Antonio Jose Guzman
Art, Social Cohesion and Urban Landscapes
19 MAY ’17 — 15 AUGUST ’17

BOZAR/Centre for Fine Arts
Support: European Commission
Collaboration: Recyclart Fabrik, Zinneke, Atelier GF Workstation

Opening hours
Tue – Sun, 10 am – 6 pm (14.07.2017, 10 am – 5 pm)
Thu, 10 am – 9 pm (Till 6 pm from 21.07 till 15.08)
Closed on Monday

This exhibition is a visual laboratory, a journey into the realities of a vibrant continent through different points of view and mediums: from video to sounds or installations. Artists, cultural platforms and activists are today at the forefront of generating new perspectives around violence, learning, memory, resilience or mobility. What critical role can they play in their urban contexts? In El Salvador, they organised a football game between the former army and the guerrilla members. Peruvian activists display the city as a non-formal learning space. A Mexican collective critically explores how a Belgian architect contributed to Medellín’s urban development in the 1920s. Brazil based artists propose a new city questioning waste and water management, accessibility and mobility. From Colombia, activists and artists place the issue of the air at the heart of resilient cities. It is part of the EU project ‘LAIC – Culture and Arts Supporting Social Cohesion in Latin American Cities’, developed by Interarts and BOZAR and funded by DG DEVCO of the European Commission.

Works by The Fire Theory, Bijari, La Ciudad Verde, EscueLab.org, LAALvaca, Método Salgari, Oscar Leone Moyano, Dália Rosenthal, Federico Martínez Montoya, Fernando Escobar, Charlotte Charbonnel, Deúniti, Goto, Mister Basurama, Cine de Plano, Guillermo Araujo, Maximiliano Nulchis Graffitti, Gris Perú, EPA!, minipimer.tv, Cartografías del Azar, Regina José Galindo, Humberto Vélez, Raquel van Haver.

Curator: Antonio José Guzman
Scientific Committee: Paul Dujardin, Mercedes Giovinazzo, Toni Cots (LAIC Project Coordinator), Sophie Lauwers and Conrado Uribe (LAIC expert)

Monochromatic - Ajrakh DNA pattern sequences by Antonio Jose Guzman

In collaboration with Textiel Factorij, Iva Jankovic (Mids), Sukor and Sufiyan Khatri, Mondriaan Fonds

A decade ago Guzman 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. For a presentation at the Habana Biennial, the artist constructed with Amsterdam’s barrel organist Leon Perlee an organ book with his DNA. The barrel organ book was scanned, and the artist made banners and sculptures with extracts of his DNA sequence, which is exactly the same sequence that Guzman used for block prints in India.

The artist did extensive research on the Spakenburg Indian chintz kraplap, a women’s traditional cloth that formed an integral part of the traditional wear for women in the villages of Spakenburg and Bunschoten. The selected kraplappen, part of the collection of the Zuiderzee Museum, are made of indigo painted patterns and red madras.

The Monochromatic series will be shown coming fall in Nieuw Dakota together with the Dukkha Series. The installation at Nieuw Dakota shows us a fascinating universe in which cultural influences from all over the globe come together: the enigmatic anatomy drawings by Jean-Michel Basquiat meet geometrical textile prints from northern India, which merge with the ritual ‘cosmos drawings’ by Günther Uecker as well as the nail patterns in Congolese Nkisi figures.

Urbanlab Medellin by Antonio Jose Guzman

LAIC: Cities in both Latin America and in Europe have become major global actors and strategic territories where tremendous social, political, economic, environmental and cultural changes are currently taking place. Both the EU and Latin America witness a myriad of public and private examples to regenerate public spaces and local communities. In that framework, culture and creativity can offer new perspectives and alternatives to challenges raised by social exclusion and urban development.

Exhibition: Latin American Cartographies BOZAR, Brussels,  May – July 2017

Curator: Antonio Jose Guzman | Organizers – Founders: Bozar, Interarts, European Union

Participants include Carlos Cadena Gaitán, from the arts collective ‘La Ciudad Verde’ in Medellín, Mariela Velasco, from the LAALvaca collective in Puebla, Juan Camilo Lema from the Escuelab project in Lima, Mauricio Brandão, from the Centro Bijari in Sao Paulo and Curitiba, as well as Melissa Guevara from The Fire Theory in San Salvador, joined by other artists and cultural actors from Latin America and Europe.

Urbanlab Medellin

The Colombian city of Medellín is currently hosting a series of encounters between artists and cultural activists to explore the role of the arts vis-a-vis social cohesion in Latin America.

Focusing on crucial contemporary challenges such as mobility, education, memory, violence or sustainability in urban contexts, the laboratory will offer a unique opportunity to experience and explore interdisciplinary and hybrid proposals, methodologies, cartographies, artworks and performances. To achieve this, five international groups – ‘nodos’ –  will be working across Medellín in the coming days to confront the challenges that one encounters in the cities of Puebla (Mexico), Lima (Peru), Curitiba (Brasil), San Salvador (El Salvador) and  Medellín.

Taking place between November 15th and 19th, UrbanLab is part of the EU-funded Project ‘LAIC – Latin American arts for Inclusive Cities’, developed by Interarts (Spain) and the Centre for Fine Arts (BOZAR). The LAIC project aims at promoting the role of arts and culture as a catalyst for inclusive and sustainable development as well as a vehicle to facilitate exchanges and joint actions between the EU and Latin America.

LAIC will culminate with an exhibition at BOZAR, in Brussels, in May-July 2017. A previous LAIC seminar at BOZAR in June 2016 already paved the way for UrbanLab.

Artez Psychogeographic Mapping Research by Antonio Jose Guzman

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A project at BEAR Arnhem guided by teacher / visual artist: Antonio Jose Guzman, focussing on psychogeographical mapping.

Base for Experiment Art and Research
Psychogeographical Mapping.

Project by Antonio Jose Guzman
Theoretical guidance by Laura Van Grinsven

PSY investigates the urban identity and the social interaction between different groups in the city; the project provides a cultural analysis of the spatial mobility and mapping of the Netherlands, the Benelux, the German Ruhrgebied, Paris, Berlin and other European cities, the project is in constant transformation.

PSY examines the psychological and socio-cultural social landscape. What is the socio-cultural mapping of the cities we are investigating? How do different population groups move through the city? With the use of data visualization, mapping and Debord’s psycho-geographical theories, we try to achieve these objectives. The new maps, which I will develop for this project, are based on socio-demographic data and the daily routes of the population. The primary goal of the project is to create a social and critical idea.

Guy Debord’s Naked City; present the most radical departure from the grid. In reaction to the rational city models embraced by Parisian postwar planners in the 1950s, he and his colleagues co-opted the map of Paris, reconfiguring the experience of the city through its authority. By manipulating the map itself, they intervened in the logic of the city, constructing an alternative geography that favored the marginalized, and often threatened, spaces of the urban grid.

Participating students:

Nina Kersaan
Eleonora Johanna Remmen
Jaap van Klinken
Zaid Al-Lozi
Matthijs Homs
Melanie Maria
Harriet Caldwell
Laura Daniels
Gioele Pomante
Nora Welgraven
Bram Groeneveld
Hester Louter
Samuel du Chatinier
Constanze C. Schreiber
Lotte Kwee
Chris Beunk

x Bienal Centroamericana by Antonio Jose Guzman

Antonio José GUZMAN
El cielo de mi memoria2015 / 2016
Instalación
Con la colaboración de Mondriaan Fund (Ámsterdam), Articruz (Panamá), Fundación Alemán Healy (Panamá), Atelier GF Workstation (Ámsterdam), The State of L3 (Ámsterdam)

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SOBRE LA OBRA
EL CIELO DE MI MEMORIA, 2015 / 2016

El “cielo” y el “tiempo” son temas primordiales en mis investigaciones. La pérdida de memoria representa un fenómeno preocupante en nuestra civilización; en momentos que olvidamos los desastres y genocidios del pasado, nuestras comunidades se encuentran aún más polarizadas y derechistas que antes. El pasado, tan directo, no parece hacernos aprender de nuestros errores. Mi trabajo se define como una obra dedicada a las estéticas migratorias, a la genómica y al fenómeno de apropiación cultural. Mi obra presentada en la última Bienal de la Habana, ELOO-El órgano oriental, nos muestra la nomenclatura de sonidos del ADN A de mi familia materna; A es un ADN indígena que se encuentra en Asia, Mongolia, Siberia, Alaska, y en todas las Américas.

El cielo de mi memoria –nombre inspirado en una Poesía de Proust– utiliza las partituras obtenidas gracias al sonido del ADN generado por el órgano oriental. Estas partituras serán usadas para ser tocadas con una marimba. Lo interesante de la marimba es que es un instrumento que nuestros ancestros indígenas apropiaron culturalmente gracias al intercambio migratorio con africanos que vinieron a las Américas con la esclavitud. La marimba, para mi, define lo que el escritor inglés Paul Gilroy llama “El Atlántico negro”. A-J.G.

dukka double dip by Antonio Jose Guzman

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Is summer time and Atelier GF Workstation is delighted to announce that the DUKKHA series will be shown at:

Dukkha (Double Dip), Galerie 23, Amsterdam, The Netherlands / Opening 29 May (16hrs)

Dukkha (Double Dip), Mon Capitaine, Middelburg, The Netherlands / Opening 5 June (16hrs)

Dukkha Double Dip is an ongoing series of events that brings together a series of multidisciplinary presentations in the Netherlands, Panama / MAC Museo de Arte Contemporáneo and Costa Rica / Bienal Centroamericana. Dukkha engages the public in a dialogue with the field of Genetics, textiles, Africania, animism, migratory aesthetics, soundscapes, Pan Africanism and Postcolonial theory.

For Dukkha I’ve been working my way through old photos. Scratching, painting and using nails on them with acrylics, wax and threads.

Atelier Gf Workstation is a globetrotting studio that exists in different circumstances and spaces like The Veluwe, Amsterdam Oost, AIR Open Ateliers Zuidoost, Cope, Panama City and Dakar. The Atelier developed Dukkha during residencies at Art Omi International Arts Center, New York,Windward School, Los Angeles and Lectures at The New School, New York.

Proudly sponsored by the The Amsterdams Fonds voor de Kunst (AFK) & The Mondriaan Fonds

http://www.aguzman.com

Photography by visual artist: Hester Louter

“In the End, we will remember not the words of our enemies, but the silence of our friends”. Martin Luther King, Jr.

Artslant Desks by Antonio Jose Guzman

It’s so complicated to describe my desk, or desks, that I don’t know were to start or which desk to show. The above photos are of my favorite desk located in the Veluwe. My real desk is actually more less my iPhone and a little Moleskine book I bring everywhere. That is where the ideas always originate, especially when I’m sitting on a train, boat, car, or an airplane.

Atelier GF Workstation is divided across four desks: my main desk is in the Veluwe, one of the most beautiful natural forests in the Netherlands. This is were I keep all my work, but I only work there in the weekends and from spring to fall, because it is too cold in the winter; the use of the heating system for such a large space is too expensive. The other desks are in Amsterdam, Dakar, and Panama. The last two are where I spend one or two months a year photographing and sketching the material that I will be developing the rest of the year in the Netherlands. This process is similar to the nomadic cycle of my projects, researching my DNA ancestry.

I know that this all seems very attractive, but in reality I spend most of the time in Amsterdam. Since my son was born two years ago, there is not so much time to move from one place to the other, and I want to be closer to him. So all my projects are thought up, as I said before, on my iPhone and Moleskine notebook.

All of my desks are a portrait an Afro-futuristic universe. That is because I work using Pan-African principles, DNA, cultural appropriation, and architecture. I believe that everyone should create his or her own universe to go thorough life. The projects I do in tropical climates are what keep me warm the rest of the year in the west. The ideas and the cultures from Dakar and Panama are of great influence in my work, and it is because of this way of working that my projects develop in such a transcultural way.

Right now during the winter, I’m doing less physical work than the work that I do in the Veluwe studio from spring to fall, using wood, paint, and iron nails. These days I spend mostly in Amsterdam editing videos, looking for grants, cataloguing my portfolio, contacting possible places to display my work, designing installations, Photoshopping, reading books, writing ideas, and parenting our beautiful son.

Antonio Jose Guzman is presented by Framer Framed, Amsterdam, in Intersections, a sector for international project spaces and artists’ initiatives at Art Rotterdam.

http://www.artslant.com/ind/articles/show/45058

Regresiones by Antonio Jose Guzman

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Viernes 29 de Enero a las 7:00PM en el Centro Cultural de España
Casa del Soldado, Ciudad de Panamá (Casco Viejo).

Screenings:

Hammer Museum, Los Angeles

Icaro Festival, Tegucigalpa

Musée du quai Branly, Paris

NCPA, Mumbai

Rush Arts Galleries,New York

The National Centre for the Performing Arts, Mumbai

Maiden Lane Exhibition Space NYC by Antonio Jose Guzman

The collaboration with my dear friend Jessica Segall at 125 Maiden Lane, New York is still on view till 12 October 2015.

Maiden Lane Exhibition Space
125 Maiden Lane
New York, NY 10038. 

The project feature my video work “Circles Atoms Transportation (Reengineered)”.

Flutteries, or A Feeling of Impending Doom, featuring works by Jessica Segall and Really Large Numbers (Julia Oldham and Chad Stayrook).

Segall’s work Paradise Begins With A Shipwreck, is a handmade, seaworthy replica of a faering, a Viking arctic sledging ship. Rather than sails, the ship’s mast supports a projection screen on which Segall will present a selection of video works dealing broadly with water.

Including works by Antonio Jose Guzman, Jessica Houston, Jody Wood and Brian Zegeer.

Segall’s work often looks to the future as something that will need to be survived. Her practice has an emphasis on the individual spirit, survivalism, adaptation, and off the grid technology.

Despite this, she describes her work as “radical optimism.” In keeping with this perspective, Paradise Begins With a Shipwreck does not allude to disaster, but to new beginnings, discovery, adventure, and the hope for a new world.

“Ancestral Blues – The Return to The State of L3”. by Antonio Jose Guzman

In the exhibition, themes such as migration, roots and identity are explored. The title Ancestral Blues was partly inspired by [the musical genre] Blues, sprung forth from great migration flows in the past.  Following German cultural theorist and art historian Fatima El-Tayeb, we propose a concept of the diaspora that includes individuals who may not have a “lost home” but, despite their status as “citizens”, have been marginalized.
— Amal Alhaag
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El Organo Oriental - 12th havana biennial by Antonio Jose Guzman

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HAVANA – May 20, 2015

During The 12th Havana Biennial, The Wilfredo Lam Center of Contemporary Art & The Development Center for the Visual Arts will open a unique exhibition featuring work from Panamanian Dutch artist Antonio Jose Guzman on May 22. In Project ELOO El Organo Oriental, the organ plays music that has been composed using the information elements from the Guzman’s DNA. The enlarged sheets of the unique organ score hang suspended in the space. This makes the DNA not only audible but also visible, the installation also includes photos of his highly regarded photo series the Forbidden Kingdom. In addition, the Cuban orchestra La Tradicion Del Milenio will support the exhibition on a daily basis.

Born in 1971 in Panama City, Panama, based in Amsterdam, The Netherlands, Antonio Jose Guzman was one of the first Panamanian artists to embrace scientific research and conceptual abstraction in his work. Guzman studied in Panama, New York, Costa Rica and at the Amsterdam’s Gerrit Rietveld Academie.

ELOO from Antonio Jose Guzman is a collaboration between the Wilfredo Lam Center of Contemporary Art and Atelier GF Workstation Amsterdam, the project has been generously supported by the Mondriaan Foundation from the Netherlands.

“In keeping with our dedication of exhibiting and researching the work by Latin American artists like Antonio Jose Guzman, The Wilfredo Lam Center of Contemporary Art is pleased to launch Project ELOO during the 12th Havana Biennial ,” says the Biennial Director Jorge Fernandez Torres at the Cuban renown television program Mesa Redonda. “Guzman’s work is groundbreaking and merits the attention of a wider audience. This exhibition combines his innovative work with fascinating aspects of his art process.”

“It’s important to say that in the 12th Havana Biennial upcoming artists like Antonio Jose Guzman will come into contact with legendary artists like Michelangelo Pistoletto; Daniel Buren, Anish Kapoor or Joseph Kosuth. The Havana Biennial, for many of these artists, will be a major release.”

ABOUT THE Biennial

Between the Idea and Experience

May 22 – June 22, 2015

Curatorial team: Jorge Fernandez Torres, Director Havana Biennial and Curator, Margarita Gonzalez Lorente, Artistic Director Havana Biennial and Curator.

Curators: Nelson Herrera Ysla, Jose Manuel Noceda Fernandez, Margarita Sanchez Prieto, Ibis Hernandez Abascal, Dannys Montes de Oca Moreda, and Jose Fernandez Portal.

This year, the program of activities includes performances from the worlds of dance, theatre, music, film and literature. In the words of one of the organisers: “It won’t be a Biennial for collectors or gallerists, but rather to make a connection with the city”. There will be no official opening or specific venue; art will spill out of the galleries, bursting into the streets which will be bubbling with ideas.

The 12th Biennial will be held in squares, parks and urban spaces, as well as in the usual venues for the event, including the Wifredo Lam Centre of Contemporary Art, the photo library Fototeca de Cuba, the Centre for the Development of Visual Arts and the Cuba Pavilion.

For more images and more information, contact:

Atelier GF Workstation, +31627340646, 

OMI New York - the New School by Antonio Jose Guzman

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Omi International Arts Center 2014

The Art Omi Residency is now underway with 30 Residents from 24 Countries.

I am very pleased to let you know that coming summer I will be attending Art Omi in Upstate New York. The Board of Directors of Art Omi, extended a formal invitation to join the 2014 Art Omi International Artists’ Residency. The residency will take place June and July in the village of Omi in Columbia County, Upstate New York.

The first week of the residency I’ll be working on a series of monotype projects with master printer Melissa Braggins of Pond Press, Rhinebeck.  The second week of the residency: around 30 professionals from the NYC area come to Omi to conduct studio visits. Open Studios Day is scheduled for the last Sunday of the residency.  On this day friends and the public are invited to join for brunch and to tour the studios and meet with the artists. I'll be also giving a lecture at the New School about my project The Day We Surrender to the Air.

Lilly Wei (Art in America – Art Today) will be the Critic Emerita with the first week of residency.

About Art Omi:

Omi International Arts Center offers four distinct residency programs: the Art Omi International Artists Residency for visual artists. The programs encourage residents to collaborate and explore new avenues of expression and experiment with media and techniques not always available to them at home.

Omi invites gallerists, critics, agents, publishers, curators and collectors to give talks and presentations. Their visits also benefit residents by providing them with exposure and access to the New York cultural scene.

Lilly Wei (Art in America – Art Today) will be the Critic Emerita with the first week of residency.

Omi International Arts Center is located in beautiful Ghent, New York, two and a half hours from New York City. Omi is situated on 300 acres of rolling farmland with spectacular views of the Catskills and the Hudson River Valley. The Fields Sculpture Park is a public exhibition space featuring over 80 contemporary sculptures.

Los Angeles Mapping Project by Antonio Jose Guzman

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31 MAY | 12 JUNE 2013

OPENING FRIDAY 31 MAY
H 6 – 10 PM

WE ARE VOID GALLERY
FERDINAND BOLSTRAAT 1
1072 LA AMSTERDAM
T +31204894869
INFO@VOID-AMSTERDAM.COM

Earlier this year the multidisciplinary artist Antonio Jose Guzman was part of the Windward School Art Residency in Los Angeles, California. During the residency the artist created a collaborative site-specific installation 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, created with contributions from more than a hundred participating students.

Over the course of the residency, the artist works with Windward students to create a site-specific installation at the Held & Bordy Family Gallery. The artist also share his working processes and ideas with teachers, artists, and community members from the greater Los Angeles area. Guzman’s creation incorporates work from Windward students in different classes and grade levels. Through a variety of assignments, Guzman challenged students to create a mapping of their identities, encouraging them to explore and aesthetically reimagine what it means to be a global citizen by documenting the physical and mental geographies they traverse in their everyday lives. The completed installation deploys a variety of media to represent an analysis of psychogeographic social interaction and spatial mobility.

The workshops and lectures that Guzman give during the residency were thematically developed for the students of the Windward School, the project maps with photography and drawings the critical topographies of Los Angeles from the 70′s to now, by focusing on the cultural politics of space, time, and segregated neighborhoods. Inspired by Guy Debord “unitary urbanism” the research is a study of the population demographics, unified environment and transit of Los Angeles. The research is a data visualization that generates an idea of the way the city is forming itself towards the future, the maps demonstrate areas of transculturalism or homogeneous cultures, incomes and preference.

Source: The Windward School, Los Angeles California