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Biennals 10-13 CUBAN
Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba Jeanette Chávez Autocensura / Self-Censorship , 2006 Video, 2:52 min Image courtesy of the artist CONTENTS CUBAN ARTISTS 2-7 CUBAN ART 7-9 CUBAN ART: Biennals 10-13 CUBAN ART: Biennals: Journal articles 13 CUBA ART: Context 14-15 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER CUBAN ARTISTS Alfonzo, Carlos AS ALF Viso, Olga M. (ed.) Triumph of the Spirit, Carlos Alfonzo: a survey 1975-1991 . Miami: Miami Art Museum 1998. Bedia, Jose AS BED Jose Bedia: Fabula . Bogota: Galeria Fernando Quintana, 1993. Brugera, Tania AS BRU Tania Bruguera: esercizio di resistenza = exercise in resistance . Turin: Franco Soffiantino Arte Contemporanea, 2004. Campos-Pons, Maria Magdalena AS CAM Maria Magdalena Campos-Pons: meanwhile, the girls were playing . Cambridge Mass.: MIT List Visual Arts Centre, 2000. Capote, Ivan AS CAP Ivan Capote . Herausgabe: Havana Edition, 2007. Ivan Capote: Aforismos . AS CAP Cuba: Galeria Habana, 2007. Capote, Yoan AS CAP Yoan Ca pote. Herausgabe: Havana Edition, 2007. Carmona, Williams AS CAR Todos miran, pocos ven /they all look, but few only see . [Paris]: Corinne Timsit International Galleries, [n.d.] Castro, Humberto AS CAS Humberto Castro: le radeau d'Ulysse Paris: Le monde de l'art, [n.d.] [Text in French] Ceballos, Sandra AS CEB Ceballos, Sandra and Suárez, Ezequiel (curs.) Dónde está Loló: Pinturas: Sandra Ceballos . La Habana: Centro Wifredo Lam, 1995. Text in Spanish] 2 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER Cuenca, Arturo AS CUE Arturo Cuenca: Modernbundo . -
Death and the Invisible Hand: Contemporary Mexican Art, 1988-Present,” in Progress
DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by Mónica Rocío Salazar APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Charles Hatfield, Co-Chair ___________________________________________ Charissa N. Terranova, Co-Chair ___________________________________________ Mark Rosen ___________________________________________ Shilyh Warren ___________________________________________ Roberto Tejada Copyright 2016 Mónica Salazar All Rights Reserved A mi papá. DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by MÓNICA ROCÍO SALAZAR, BS, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES – AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS December 2016 ACKNOWLEDGMENTS Research and writing of this dissertation was undertaken with the support of the Edith O’Donnell Institute of Art History. I thank Mrs. O’Donnell for her generosity and Dr. Richard Brettell for his kind support. I am especially grateful to Dr. Charles Hatfield and Dr. Charissa Terranova, co- chairs of this dissertation, for their guidance and encouragement. I thank Dr. Mark Rosen, Dr. Shilyh Warren, and Dr. Roberto Tejada for their time and commitment to this project. I also want to thank Dr. Adam Herring for his helpful advice. I am grateful for the advice and stimulating conversations with other UT Dallas professors—Dr. Luis Martín, Dr. Dianne Goode, Dr. Fernando Rodríguez Miaja—as well as enriching discussions with fellow PhD students—Lori Gerard, Debbie Dewitte, Elpida Vouitis, and Mindy MacVay—that benefited this project. I also thank Dr. Shilyh Warren and Dr. Beatriz Balanta for creating the Affective Theory Cluster, which introduced me to affect theory and helped me shape my argument in chapter 4. -
Art History: International Art Exhibitions
FRICK FINE ARTS LIBRARY ART HISTORY: INTERNATIONAL ART EXHIBITIONS Library Guide Series, No. 42 “Qui scit ubi scientis sit, ille est proximus habenti.” -- Brunetiere* What Is an International Art Exhibition? International art exhibitions have a long history that has its roots in the 19th century. Salon exhibitions took place in Paris from 1667 onwards under the auspices of the French Royal Academy of Painting and Sculpture and were held on a biennial basis from 1855 onwards. That same year the Salons were held in the Palais de ‘l’Industrie constructed for the World’s Fair that year. A number of rival salons were established and in 1881 the government withdrew official support from the main Salon and handed over its direction to artists. Afterward, the Salon began to lose its prestige and influence in the face of competition from various independent exhibitions such as the Salon des Independents (1884), the Societe Nationale des Beaux-Arts (1890) and the Salon d’Automne (1903). The end of the 19th century was a time marked by an internationalist spirit that celebrated technological advancement and the accumulation of wealth through global colonial structures. The institution of world’s fairs was one feature of that spirit, the first one being held in London during 1851. Many of the fairs that followed throughout the 19th and 20th centuries included art buildings to display works by the current artists of the day. At times it is difficult to distinguish biennial and triennial art exhibitions from international art festivals, art fairs or trade shows. The first art fair one in the twentieth century was the 1913 Armory Show in New York which was open to progressive painters usually neglected. -
Studio Guenzani Via Eustachi 10 20129 Milano Tel
STUDIO GUENZANI VIA EUSTACHI 10 20129 MILANO TEL. 0229409251 [email protected] KCHO (Alexis Leyva Machado) è nato nel 1970 a Nueva Gerona, Isla de la Juventud (Cuba). Vive e lavora a La Habana. PRINCIPALI MOSTRE PERSONALI 2012 Cuba, Nice to meet you. National Museum of Brasil, Brasilia, Brasil Between Melancholy and the construction of the new man. 11 Biennal of Havana, Fortaleza San Carlos de la Cabana, Havana, Cuba Sacrifice at the Crossroads. Great Theater of Havana, Havana, Cuba 2011 Lives and allows live. Martha Machado Gallery. Isla de la Juventud. Cuba Anchored by a dream. Museum 26-7. Santiago de Cuba, Cuba. Monumento Final. Palacio Grimani. 54 Venice Biennal, Italy Entre la Pietra, el Metal y la Madera. La Jiribilla, Havana, Cuba Obras Recientes (Ouvres récentes). Malborough Gallery, Monaco Vision Nocturna. Malborough Gallery, Barcelona, Spain 2010 Vive y deja vivir. Parque Linea y L, La Habana, Cuba 2008 Kcho: Cadena de reunificaciòn familiar, Malborough Chelsea, New York United States. 2007 “El quaderno del ombre de los pies de barro”, Juan Ruiz Galeria, Maracaibo, Venezuela!“Retrasando lo inevitabile”, Galeria Marlborough, Madrid!2006 “Liegò el cubano”, Galeria Alonso Carces, Bogotà, Colombia!“Paso de los Vientos”, Galeria Joan Prats, Barcelona!“Vive y deja vivir”, IX Bienal de La Habana, Plaza Vieja y galeria La Casona, La Habana, Cuba!“La nave de Kcho”, Castillo de Santa Barbara, Patronato Municipal de Alicante, España!2005 Kcho - Otras palabras, Arte y Naturalezza, Madrid Kcho – Casa 5 – Las Playas Infinitas, Kunsthalle Attersee, Attersee, Austria 2004 Pocas palabras, Museo de Arte Contemporáneo de Zulia, Maracaibo, Venezuela Estudio abierto, Galeria Juan Ruiz, Maracaibo, Venezuela Capacidad de asombro, Museo de Bellas Artes, Caracas, Venezuela Núcleos del tempo. -
Juan Roberto Diago Durruthy B
Juan Roberto Diago Durruthy b. 1971, Havana, Cuba Education 1990 Graduate, Academia de Artes Plásticas San Alejandro, Havana, Cuba. Member, Unión de Escritores y Artistas de Cuba (UNEAC). Solo Exhibitions 2017 Diago: The Pasts of This Afro-Cuban Present, Cooper Gallery, Harvard University, Cambridge, MA 2016. Imprint of a Memory. MagnanMetz Gallery. New York. EEUU./ Sobre mis pasos ( Sur mes pas) Vallois Galerie. Paris. Francia/ 2015 Roberto Diago and Abstraction. Panamerican Art Projects. Miami, Florida, Tracing Ashes. Galerie Crone,Berlin. Alemania. 2014 La Piel que habla. Galería de la Biblioteca Pública Rubén Martínez Villena. La Habana, Cuba. Sobre mis pasos. Galería Tristá. Trinidad, Cuba. 2013 2013 El Poder de Tu Alma, Centro de Arte Contemporaneo Wilfredo Lam, La Habana, Cuba 2012 Entre Lineas | Between the Lines, Magnan Metz Gallery, New York, NY. Proyecto “D”.11 Bienal de La Habana, Parque John Lennon, Vedado, La Habana, Cuba. 2010 Exposición bi-personal “Los dos juntos”, Centro de Arte, Sala Electa Arenal, Holguín, Cuba. 2009 Un lugar en el mundo. Galería Villa Manuela. La Habana, Cuba. Utopia. Santa Fe Art Institute. New Mexico. Seminario Internacional “Rito y representación”. Casa Benito Juárez. La Habana, Cuba. 2008 Galería El Torco. Cantabria, España. Siempre Vuelvo. Galería Tristá. Trinidad, Cuba. 2006 Yo lo que quiero es vivir. Galería (e)spacio. Madrid, España. El Poder de la Presencia. Novena Bienal de La Habana. Muestra Central. La Habana, Cuba. Dibujos. Oficina del Historiador de la Ciudad. Camagüey, Cuba. Galería Sacramento. Aveiro, Portugal. 2005 Pan American Art Gallery. Dallas, Texas. Alegría de vivir Galería Habana. La Habana, Cuba. Un poco de mi. -
For Immediate Release Cubart
FOR IMMEDIATE RELEASE CUBART: CONTEMPORARY CUBAN ART Preview on March7; Open from March8- 30, 2013 NEW YORK, NY (February 8, 2013)–CUBART: Contemporary Cuban Art is an exhibition inspired by the recent XI Havana Biennial and the enthusiastic interest of American connoisseurs and collectors who traveled to the island to see it. Now, the work of influential Cuban Contemporary artists who participated in the last biennial will be seen in New York, exposing it to a new American audience. Featuring many of Cuba’s most influential contemporary artists, it will be on view from March 7 – 30 at Site/109, a pop-up exhibition space on Manhattan’s Lower East Side. CUBART is being presented by Emilio Calleja—founder of arteaméricas, one of the leading fairs dedicated to showcasing art from Latin America—in collaboration with Robert Borlenghi, president of Miami’s Pan American Art Projects. An overview of contemporary Cuban artistic practices, the exhibition draws attention to the influence of the island’s political climate on artistic statements. Curated by Miami-based curator Irina Leyva-Perez, CUBART will showcase many of Cuba’s leading artists, including Jose Angel Toirac, Abel Barroso, KCHO and Jose Manuel Fors—all of whom were exhibited in the 2012 Biennial. Reflecting the work of that prestigious group, CUBART examines the relationship between visual productions and social imaginaries, as well as expression through cultural and historical references. “Over the years, the Havana Biennial has established a reputation for showing quality exhibitions. The event brings together the most interesting and novel artistic proposals in the region, but particularly those from Cuba,” says Irina Leyva-Perez, the show’s curator. -
La Jungla De Kcho
KCHO'S JUNGLE LA JUNGLA DE KCHO JOSÉ MANUEL NOCEDA FERNÁNDEZ I Las versiones no están muy de modo en el arte contemporáneo. Lo In contemporary art, versions are not very fashionable. The legitimación de la cita sustituye poco a poco el concepto tradicio legitimation of the meeting is gradually replacing the traditional nal de versión, utilizado por siglos dentro de la historia del arte concept of odaptation, used in the history of art for centuries hasta el modernismo, por la apropiación y reinserción simbólica until the arrivul of Modemism, owing to the appropriation and de fragmentos gloriosos de esa historia dentro de campos opera the symbolic reinsertion of glorious fragmenta of that history Into tivos mucho más abarcadores. El arte cubano en los 90 promovió far broader operative fields. In the nineties, Cuban art prometed una vertiente citatoria de exhumación reiterada de iconos pun a citatory trend aimed at the reiterated exhumation of speciflc tuales del arte foráneo o nacional puestos o funcionar en calidad icons from foreign and domestic art, set to work as tropes in a de tropos en un contexto de máxima problematicidad. highly problematic context. Kcho participa a su manera dentro de este panorama. Parte In his own way, Kcho played a part in this scenario. A de su obra obedece a "versiones" muy extrañas e iconoclastas, pe portion of his work is connected with very strange, iconoclastic ro versiones al fin, que se vislumbran desde una referencialidcd a "versions", but versions all the same, perceived from references to Brancusi, Tatlin y ahora a Wifredo Lam. -
Bruce Nauman
BRUCE NAUMAN 1941 Born in Fort Wayne, Indiana Lives and works in New Mexico Education 1964 University of Wisconsin, Madison 1966 University of California, Davis Solo exhibitions 2021 Contrapposto Studies, Punta della Dogana, Venice 2020 Tate Modern, London touring to Stedelijk Museum, Amsterdam, and Pirelli HangarBicocca, Milan Models, Skulpturenhalle, Neuss, Germany 2019 Rooms, Bodies, Words, Museo Picasso Málaga, Spain Blue and Yellow Corridor, Jan Shrem and Maria Manetti Shrem Museum of Art, Davis, California 2018 Disappearing Acts, Schaulager, Basel touring to The Museum of Modern Art, New York and MoMA PS1, New York No, No, New Museum, Memorial Art Gallery, Rochester, New York Parameters, Estancia Femsa – Casa Luis Barragán, Mexico City Time Tunnel: Bruce Nauman’s Corridor Installation with Mirror, Natalie and James Thompson Art Gallery, San Jose, California 2017 ARTIST ROOMS, Tate Modern, London 2016 Contrapposto Studies, I through VII, Philadelphia Museum of Art, Pennsylvania Language Body, Center for Contemporary Art & Culture, Portland, Oregon 2015 Prints 1970-2006, Sims Reed Gallery, London Selected Works from 1967-1990, Gagosian Gallery, Paris Fondation Cartier pour l’Art Contemporain, Paris; Friedrich Kiesler Stiftung, Vienna; Skulpturenpark Waldfrieden, Wuppertal, Germany 2014 Bruce Nauman’s Words on Paper, Art Gallery of Ontario, Toronto 2013 Some Illusions -- Drawings and Videos, Sperone Westwater, New York Göteburgs Konstmuseum, Gothenburg, Sweden Bruce Nauman: Mindfuck. Hauser & Wirth, London 2012 One Hundred Fish Fountain, -
The D.A.P. Catalog Fall 2020
THE D.A.P. CATALOG FALL 2020 Featured Releases 2 Limited Editions 78 Journals 79 CATALOG EDITOR Previously Announced Exhibition Catalogs 80 Thomas Evans DESIGNER Martha Ormiston Fall Highlights 82 COPY WRITING Arthur Cañedo, Megan Ashley DiNoia, Thomas Evans, Emilia Copeland Titus Photography 84 Art 108 ABOVE: Architecture & Design 144 B. Wurtz, various pan paintings. From B. Wurtz: Pan Paintings, published by Hunters Point Press. See page 127. Specialty Books 162 FRONT COVER: John Baldessari, Palm Tree/Seascape, 2010. From John Baldessari, published by Walther König, Art 164 Köln. See page 61. Photography 190 BACK COVER: Feliciano Centurión, Estoy vivo, 1994. From Feliciano Centurión, published by Americas Society. Backlist Highlights 197 See page 127. Index 205 Plus sign indicates that a title is listed on Edelweiss NEED HIGHER RES Gerhard Richter: Landscape The world’s most famous painter focuses on the depiction of natural environments, from sunsets to seascapes to suburban streets Gerhard Richter’s paintings combine photorealism and abstraction in a manner that is completely unique to the German artist. A master of texture, Richter has experimented with different techniques of paint application throughout his career. His hallmark is the illusion of motion blur in his paintings, which are referenced from photographs he himself has taken, obscuring his subjects with gentle brushstrokes or the scrape of a squeegee, softening the edges of his figures to appear as though they had been captured by an unfocused lens. This publication concentrates on the theme of landscape in Richter’s work, a genre to which he has remained faithful for over 60 years, capturing environments from seascapes to countryside. -
Studio Guenzani Via Eustachi 10 20129 Milano Tel
STUDIO GUENZANI VIA EUSTACHI 10 20129 MILANO TEL. 0229409251 [email protected] KCHO (Alexis Leyva Machado) è nato nel 1970 a Nueva Gerona, Isla de la Juventud (Cuba). Vive e lavora a La Habana. PRINCIPALI MOSTRE PERSONALI 2014 Extraño dìa en la Playa. Centro de las Artes de San Augustìn. Oaxaca. México Via Crucis. Chancellery Palace of the Vatican, Holy See, Rome, Italy The Thinker. Contemporary Art Space “The Ship”, Kcho Studio Romerillo Laboratory for Art, Havana, Cuba 2013 Final Monument, Tega Gallery, Milan, Italy 2012 Cuba, Nice to meet you. National Museum of Brasil, Brasilia, Brasil Between Melancholy and the construction of the new man. 11 Biennal of Havana, Fortaleza San Carlos de la Cabana, Havana, Cuba Sacrifice at the Crossroads. Great Theater of Havana, Havana, Cuba 2011 Lives and allows live, Martha Machado Gallery, Isla de la Juventud, Cuba Anchored by a dream. Museum 26-7, Santiago de Cuba, Cuba Monumento Final, Palacio Grimani, 54 Venice Biennal, Italy Entre la Pietra, el Metal y la Madera. La Jiribilla, Havana, Cuba Obras Recientes (Ouvres récentes), Malborough Gallery, Monaco Vision Nocturna. Malborough Gallery, Barcelona, Spain 2010 Vive y deja vivir, Parque Linea y L, La Habana, Cuba 2008 Kcho: Cadena de reunificaciòn familiar, Malborough Chelsea, New York United States. 2007 El quaderno del ombre de los pies de barro, Juan Ruiz Galeria, Maracaibo, Venezuela ! Retrasando lo inevitabile, Galeria Marlborough, Madrid! 2006 Liegò el cubano, Galeria Alonso Carces, Bogotà, Colombia! Paso de los Vientos, Galeria Joan -
Festivals of Art, Carnivals of Representation: on Contemporary Art and Neoliberalism Tijen Tunali
University of New Mexico UNM Digital Repository Art & Art History ETDs Electronic Theses and Dissertations 12-1-2015 Festivals of Art, Carnivals of Representation: On Contemporary Art and Neoliberalism Tijen Tunali Follow this and additional works at: https://digitalrepository.unm.edu/arth_etds Recommended Citation Tunali, Tijen. "Festivals of Art, Carnivals of Representation: On Contemporary Art and Neoliberalism." (2015). https://digitalrepository.unm.edu/arth_etds/4 This Dissertation is brought to you for free and open access by the Electronic Theses and Dissertations at UNM Digital Repository. It has been accepted for inclusion in Art & Art History ETDs by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. , Tijen Tunalı Candidate Art and Art History Department Department This dissertation is approved, and it is acceptable in quality and form for publication: Approved by the Dissertation Committee: David L. Craven, Ph.D.,Chairperson Olivia L. Lumpkin, Ph.D., Chairperson Eleni Bastea, Ph.D. Kency Cornejo, Ph.D. Linda B. Hall, Ph.D. Catherine Zuromskis, Ph.D. i FESTIVALS OF ART, CARNIVALS OF REPRESENTATION: ON CONTEMPORARY ART AND NEOLIBERALISM BY TIJEN TUNALI B.S., Economics, University of Istanbul, 1996 B.A., Fine Arts, SUNY at Binghamton, 2004 M.A. Visual Studies and the New Media, SUNY at Buffalo, 2006 DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Art History The University of New Mexico Albuquerque, New Mexico December 2015 ii DEDICATION This dissertation is dedicated to the memory of my advisor Dr. David Craven (1952- 2012), who left behind many inspired students that will continue his legacy. -
Ar As El Archipiélago De Kcho
AR AS EL ARCHIPIÉLAGO DE KCHO Sergio López "Cuba es una ventana de 360 grados con vista al mar. La obra de Kcho se extiende por esas aguas, de un azul único, como si fuera un archipiélago cultural dentro de la topografía visual cubana. Kcho puede ser sinónimo de Cuba. Inquieto, alegre, señor de sí, pero que más parece un torbellino que lo mueve todo por donde pasa. Kcho es el paradigma del hombre cubano y de su destino: el mar" (Leonor Amarante, Brasil, 2002). promoción de las artes, París, Francia, ambos en 1995. Kcho nació en la Isla de la Juventud, una pequeña isla al En 1994 recibió una beca de la Fundación Ludwig de sur de Cuba, el 12 de febrero de 1970. Entre 1983 y Aachen, Alemania; aquí además exhibió su emblemática 1986 estudia en la Escuela Elemental de Arte de Nueva obra Regata, conjunto de barcas y diversos elementos Gerona y desde este mismo año se traslada a la capital recolectados por Kcho en la orilla del mar y que se para continuar estudios en la Escuela Nacional de Arte, exhibió por primera vez en la V Bienal de La Habana, graduándose en 1990. En 1992 expone por primera vez 1994. Esta instalación forma parte de la colección en el Museo Nacional de Bellas Artes de La Habana. permanente del Museo Ludwig, de Colonia, Alemania, y "Su obra resulta paradigma de un particular universo es un antecedente esencial de Archipiélago, 2003. artístico, fruto de un interés creciente que acentúa sus búsquedas en este sentido, haciendo que las "Me gusta trabajar con materiales usados por la energía dimensiones de su actividad creativa superen las concentrada que emana de ellos, tienen mucha luz.