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Caribbean-Crossroads.Pdf 2 June 12, 2012 – January 6, 2013 The present series of educational resources are intended to complement and support your curriculum. They are broad enough to cover a wide range of themes and subject matters that you can easily utilize in your classrooms. All of them use the exhibition as its point of departure. The resources that you will find are of two types. Some materials are intended for your students such as, books, poems, videos, and websites. In addition, we offer resources for you, teachers, to ruminate on and critically analyze some of the deeper issues and themes raised on El Museo’s exhibition. 3 We have organized the handbook in a thematic way, based on the two main themes covered in the exhibition: and In addition, we have selected some emblematic artworks from the exhibition, and here provide specific information regarding the artist’s biography, statement, and analysis of the artwork. We wish you the best of luck on your journey. Now let’s get to work! Education & Public Programs Department El Museo del Barrio Content 5 6 - Counterpoints 7 o Articles o Newspaper / Magazine Articles o Websites o Selected Artworks . About the artwork . About the artist 4 . Additional resources - Patriot Acts 28 o Articles o Newspaper / Magazine Articles o Videos o Selected Artworks . About the artwork . About the artist . Additional resources 63 Historical Context Introduction to the Caribbean - Mantz, Jeffrey W. "Caribbean." Encyclopedia of Food and Culture. Ed. Solomon H. Katz. Vol. 1. New York: Charles Scribner's Sons, 2003. 321- 326. Gale U.S. History In Context. Web. 27 June 2012. - "Caribbean, The." International Encyclopedia of the Social Sciences. Ed. William A. Darity, Jr. 2nd ed. Vol. 1. Detroit: Macmillan Reference USA, 2008. 447-449. Gale U.S. History In Context. Web. 27 June 2012. Caribbean Map Films related to the Caribbean Caribbean Countries’ Timelines 5 o Bahamas o Belize o Colombia o Costa Rica o Cuba o Curacao o Dominican Republic o Florida, Louisiana, and Alabama o Guadeloupe o Guyana o Haiti o Honduras o Jamaica o Martinique o Mexico o Nicaragua o Panama o Puerto Rico o Suriname o Venezuela Exhibition Themes 6 Counterpoints Counterpoints reflects on the economic developments of the Caribbean, focusing on the shift from plantation systems and commodities such as sugar, tobacco, and fruit to the oil and tourism industries. These have had tremendous aesthetic and social impact while proving to be a source of wealth and conflict. As Cuban anthropologist Fernando Ortiz demonstrated, two essentially different economic models produced sharp contrasts in the 7 development of Caribbean societies. Sugar was a transnational business which relied on the latifundia (plantation or hacienda) system, new technologies and low-skilled laborers. The tobacco industry was developed locally and employed highly-trained technical workers who were key to the growing middle class. Today, a new counterpoint is unfolding, in which the oil and tourist industries collide. One requires ideal, pristine beaches and waters while the other threatens the same important resources. Both are heavily dependent on scarce natural resources which are threatened by climate change. (Caribbean: Crossroads of the World Catalogue) Adlai Murdoch, H. (2009). A Legacy of Trauma: Caribbean slavery, race, class, and contemporary identity in Abeng. Research in African Literatures, (40)4, 65-88. Caribbean Racial Formations." Encyclopedia of Race and Racism. Ed. John Hartwell Moore. Vol. 1. Detroit: Macmillan Reference USA, 2008. 274-278. Gale U.S. History In Context. Web. 27 June 2012. Guerrón Montero, K. (2011). Heritage, identity and globalization: The case of the island tourism in the Caribbean. Bulletin of Latin American Research, (30) 1, 1-6 Náter, Laura. "Caribbean." Tobacco in History and Culture: An Encyclopedia. Ed. Jordan Goodman. Vol. 1. Detroit: Charles Scribner's Sons, 2005. 107-111. Gale U.S. History In Context. Web. 27 June 2012. 8 Sawh, R., & Scales, A.M. (2006). Middle passage in the triangular slave trade: The West Indies. The Negro Educational Review, (57)3-4, 155-170. Stinchcome, A.L. (1994). Freedom and oppression of slaves in the eighteenth-century Caribbean. American Sociological Review, (59), 911- 929. West-Durán, A. (2005). Puerto Rico: The pleasures and traumas of race. Centro Journal, (17)1, 46-69. Archibold, R.C. (2012, April 7). China buys inroads in the Caribbean, catching U.S. notice. The New York Times. Associated Press. (2000, March 17). Montserrat celebrates slave revolt. The New York Times. Wilkinson, B. (2011, November 2). Race comes to the fore again in Trinidad. The New York Amsterdam News, p. 16. 9 The Abolition of the Slave Trade http://abolition.nypl.org/home/ The abolition of the Trans-Atlantic slave trade was a long, arduous, and tortuous process that spanned almost nine decades. Ultimately, a conjunction of economic, political, social, and moral factors contributed to the slow extinction of the legal slave trade and the end of the illegal introductions that, in several countries, had taken its place. Explore this forgotten story with the help of essays, books, articles, maps, and illustrations. (Source: Schomburg Center for Research in Black Culture, New York Public Library) Lest We Forget: The Triumph over slavery http://digital.nypl.org/lwf/flash.html Though victimized, exploited and oppressed, Africans in the Americas have been active, creative agents of their own history, culture and political future. 10 Their story is about living, surviving, and winning in the face of seemingly insurmountable obstacles. Lest We Forget documents and interprets the obstacle-ridden but life-affirming experiences of the Africans who were enslaved in the Western Hemisphere. (Source: Schomburg Center for Research in Black Culture, New York Public Library) African Age: African & African Disaporan Transformations in the 20th Century http://exhibitions.nypl.org/africanaage/ By the end of the 19th century, Africans and peoples of African descent— except the Ethiopians, the Haitians and the Liberians—were living under some form of European colonial domination. The history of Africa and its Diaspora was dismissed as insignificant at best, inexistent at worse. Black cultures were ridiculed, stereotyped, and scorned. But over the course of the last 100 years black peoples the world over launched epic struggles for freedom, civil rights, and independence. Africana Age retraces this turbulent history of challenges, tragedies, and triumphs. (Source: Schomburg Center for Research in Black Culture, New York Public Library) Caribbean plantation systems and industries: sugar, tobacco, coffee, fruit, oil, and tourism Triangular trade, slave trade Complex relationships in the Caribbean: - Cuba and USA - Puerto Rico and USA, - Haiti and the Dominican Republic 1. (Puerto Rico 1955) We have to dream in blue (Tenemos que soñar en azul), 1986 Oil on canvas Collection John T. Belk III & Margarita Serapion 11 Cabanillas, F. (2005). Arnaldo Roche:Africania a dos voces. Centro Journal, 17(2), pp 42-71. (Spanish) Gera, J. (2010). The search for identity in the art of Ana Mendieta and Arnaldo Roche-Rabell. Americana 6 (1) Arnaldo Roche is one of the most important artists to emerge from the Caribbean since Wifredo Lam came to prominence in the 1940's. Like Lam, Roche explores issues of identity rooted in his mixed Spanish and Afro- Caribbean ancestry. Lam's formal lineage can be traced to Cubism and Surrealism, while Roche is a born Expressionist, closer to Van Gogh than to Picasso. Roche is obsessed with memory, both its burial and retrieval, and this is echoed in his painterly technique; Roche often makes rubbings of his subjects' bodies, while laying them (or wrapping them) directly behind the surface of his canvas. He may also print ferns, lace, and other poetically charged objects 12 onto his painting's surface. What follows is a complex process of covering up and scraping away pigment. Initial impressions are concealed, revealed, transformed, made at once distant and corporal realities. Although Roche's work is always personal, there is a political subtext to much of his painting. His focus on the instability of self has a correlative in Roche's identity as a Puerto Rican: at once colonial subject and citizen of the world's most powerful country. Roche's paintings do not offer facile political solutions to the complexities of colonial identity. From his dual vantage point, Roche asserts that to be a colonial is to be in perpetual doubt and, in this sense, his is a geo-political form of Post-Modernism. Arnaldo Roche's paintings can be found in the permanent collection of major institutions worldwide, including: The Art Institute of Chicago, Illinois; Fundación Cultural de México, México D.F.; Hirshorn Museum and Sculpture Garden, Washington D.C.; Museo de Bellas Artes, Caracas, Venezuela; and the Metropolitan Museum of Art, New York. (Source: Latin American masters website. (n.d.). Arnaldo Roche Rabell. Retrieved from http://www.latinamericanmasters.com/english/artist_roche_about.html 2. (Barbados 1963) Sweet Island Cookie Cutters - Sweet Fuh So! (Cortadores de galleta isla dulce- İTan dulces!), 2010-2012 Laser engraved Andiroba wooden boxes, acrylic cookie cutters, foam core, carpet Courtesy of the artist 13 Cookie Cutters is a response to the developers’ vision of Barbados as a perfectly manicured environment, one that offers well-packaged, exclusive, home environments, built around golf courses and polo fields. With the majority of the lucrative west coast, as well as the south coast of the small island being largely over developed, interior spaces are increasingly being shaped into ‘community living’ centres or clubs, complete with white picket fences, man-made ponds and Miami styled, cookie cutter townhouses/villas/mansions. (Source: Annalee Davis website. (n.d.). Work detailed. Retrieved from http://www.annaleedavis.com/workdetailed/cookie_cutters.html ) The Caribbean was the cradle of New World globalization. With the exception of the indigenous population, our people all came from somewhere else, into the belly of the Americas.
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  • MAGALI REUS *1981, Den Haag, NL Lives in London, UK
    MAGALI REUS *1981, Den Haag, NL Lives in London, UK www.magalireus.com Education Depuis 1788 2006 - 2008 MFA Fine Art, Goldsmiths College, London, UK 2002 - 2005 BA (Hons) Fine Art, Goldsmiths College, London, UK Freymond-Guth Fine Arts 2001 - 2002 Foundation Art and Design, Gerrit Rietveld Academy, Amsterdam, Limmatstrasse 270 NL CH 8005 Zürich T +41 (0)44 240 0481 offi[email protected] www.freymondguth.com Tue – Fri 11 – 18h Solo Shows (selection) Saturday 11 – 17h Or by appointment 2015 The Hepworth Wakefield, UK Fondazione Sandretto Re Rebaudengo, Turin, IT Sculpture Centre, New York, USA 2014 The Approach, London, UK Circuit, Lausanne, CH 2013 Highly Liquid, Galerie Fons Welters, Amsterdam, NL Out of Empty, Albert Baronian Project Space, Brussels, BE 2012 BB #7: Magali Reus, BLACKBOARD at SPACE studios, London, UK Unsolo project room (1/9unosunove), Milan, IT 2011 ON, The Approach, London, UK 2010 Weekend, Galerie Fons Welters, Amsterdam, NL Background, IBID Projects, London, UK 2009 Background, La Salle de bains, Lyon, FR Some Surplus, Plan B Projects, Amsterdam, NL 2008 The Angle Between Two Walls, (with Brock Enright), MOT International, London, UK 2006 Playstation: A Billion Balconies Facing the Sun, Galerie Fons Welters, Amsterdam, NL Group Shows (selection) 2014 Monumental Fatigue, Freymond-Guth Fine Arts, Zurich, CH Frieze London, with Freymond-Guth Fine Arts Nature after Nature, Kunsthalle Fridericianum, Kassel DE To Meggy Weiss Lo Surdo, Happy Hours, CO2, Torino, IT Superficial Hygiene, De Hallen, Haarlem, NL Pool, Kestnergesellschaft, Hannover, DE Post/Post Minimal, Kunstmuseum St. Gallen, CH Andrea Rosen, New York, USA 2013 Rijksakademie Open, Rijksakademie van Beeldende Kunsten, Amsterdam, NL Silent Hardware, David Dale Gallery, Glasgow, GB Slip, The Approach, London, UK Shadows of a Doubt’, Tallinn Art Hall, Tallinn, ES, cur.
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