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DTSTART;VALUE=DATE:20150522
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SUMMARY:Chilean Miracle\, Milagro Chileno
DESCRIPTION:Chilean Miracle examines the transformations Chile witnessed since the 1970s\, following Augusto Pinochet’s brutal dictatorship and the arrival of neoliberalism’s no less ruthless global capitalism. \n\n\nUsing theorist\, curator\, and art historian Andrés Grillo’s and Angie Saiz’s curatorial texts as a jumping-off point\, artists Sergio Acevedo\, Mario Z\, Francisco Huichaqueo\, María José Rojas\, Hugo Leonello\, Angie Saiz and Alejandra Herrera respond to a phenomena still unfolding within the socio-political contexts in which they live\, while also interrogating the claims and conventions of the exhibition space. \n\n\nCurators Saiz and Grillo with Macarena Gomez Barris will address the scope and limitations of neoliberalism in relation to the works on view in an artists panel on June 1st. \nOpen Studios: FRI MAY 22- TUE MAY 26 \nReception: May 27th 7-10PM with a performance by Alejandra Herrera Silva \nConcert: Mario Z & The Museo Realmente Contemporáneo / Guest: Benjamin Wildenhaus: May 29th 7-10PM \nArtists Talk with Macarena Gomez Barris: Mon\, June 1st  7pm \nGallery Hours: Wed-Sun\, NOON-6PM or by appointment \nCURATORIAL TEXTS \nThe September 11th of 1973 marks a crucial date to Chile. That day a State’s coup headed by Augusto Pinochet gaves term to the three years of Salvador Allende’s marxist  and democratic government. Involved in the active discourse of the cold war\, the nationalism and the Chilean ultraright-wing saw in Pinochet the restoration of order and the country’s dignity contaminated before by the left. The followed history is already known: a brutal dictatorship\, world famous for the repression and atrocities imposed on the society. \nBehind of the repressive action\, however\, the creation of a new socio-economic model was brewing. A neo-liberal experiment that puts in action the thought of economist Milton Friedman and that would conduct a deep transformation\, creating a graft through the horror\, in an absolute detriment of the historical course of the country. \nWith that\, it would occur at the historic course\, an individual and collective split with all kinds of imbalances\, a mute and unable history to reconnect itself\, being then\, the neo-liberalism incapable of giving direction and coherence to a single speech. Islands of identity sense\, coated and reconnected by the apparatus grafted\, still in the diminishment of its original meaning. \nThe “Chilean miracle”\, the economic success of the country\, has shown an image of excellence that is legitimized in the idea of a society composed after the differences experienced since the 1970s\, which\, on the contrary\, have survived in the new model. \nIn this perspective\, it is of great value return to wonder which are the real scopes of this transformation?\, which the benefits and which disadvantages? And in the same way\, what is the possible visual story of that “miracle”? \nThe experience acquired is replicable anywhere in the world where extensive economic transformations are imposed to populations who are unable to react. The gained experience of split living in Chile as a natural\, determines a vision reflecting on the invited artists as critical exercise of a society that is increasingly alien to its history. \nANDRÉS GRILLO . December 2014 \nChilean Miracle: \nHistory is sometimes alien to its society; the broad transformations dilute the gap between the promise of a stable future and the anxiety of its actual outcome. \nThis is an exhibition project born from the innocent hope of a possibility / betting and putting effort towards the objective / when achievement is reached\, distrust and exaltation /thus… \nBy the rule of three\, percentage of success – possibility – impact\, where \nA is equal to the curatorial work (commendation) \n100 is equal to habitat (displacement) \nnº% is equal to the expected result \nX is equal to real visibility (Is\, To be) \nIn the equation: \nA      =      100 \nX                           nº% \nOnly if we define that: \nCuratorial \n1. Formulation and development of an exhibition project. 2. A theoretical creation\, fruit of lobby\, which brings personal rewards. 3. Also\, the sum of the efforts to achieve the grant to travel. \nAnnex Commendation: 1. Term of Roman origin; agreement by which an individual or customer of lower position is located under the protection of a superior. 2. Put under the protection of a higher authority as God or a saint. \nFactor: \n1. Element\, circumstance or influence that contributes to produce a result. 2. Amount multiplied by another to find the product. (Habitat\, referring to the influential socio-cultural agents in the context chosen) \nAnnex Displacement: 1. Shift or transfer of a person or thing from one place to another. 2. To remove a person from an office or staff position to put to another in his place. \nExpected Result: \n1. According to Fondart effect to achieve according to the objectives in a project\, determining the means of verifying them. 2. Arbitrary will conditioned to the multiplicity of unpredictable and random actions of the chosen context. \nAnnex Miracle: 1. Extraordinary and wonderful event that cannot be explained by the regular laws of nature and is attributed to the intervention of God or a supernatural being. 2. Extraordinary event that causes admiration or surprise. \nVisibility: \n1. According to Fondart\, a phenomenon to occur within the context chosen in relation to the reasons for the need of realizing the project. 2. What can be perceived by sight. 3. That which is clear and manifest. \nAnnex Is (To be): 1. Exist within reality. 2. To occur or take place. 3. To Serve or be destined for something specific. \nX Conclusion: \nThe impact % to occur is impossible to predict / the order of factors can affect the product / the results are not all quantifiable and provable\, because the past form cannot assure the future outcome and\, therefore\, the specific quantification of the present looses meaning beyond the distance between both contexts / sometimes\, miracles can happen. \nANGIE SAIZ\, April 2015. \n  \nABOUT THE ARTISTS \nFrancisco Huichaqueo (1977) holds a degree in painting from the University of Chile with highest distinction\, also has studies in Documentary Film Film School Chile. He serves as academic in Experimental Video\, Digital Animation and Drawing and Color at the University of Chile and the Arcos Institute. It has cured three samples of video art\, animation and experimental film\, Plastic Videos\, Video Instances of Art and Lenguamadre presented at the Museum of Visual Arts in 2007\, 2008 and 2009 respectively. Additionally he has participated as in the events: XI Festival del Bosque Video and Film Festival Concepción. His work has been subject to analysis in various bodies including the 5th International Festival of Animation and Time FLIP 2009 TVN 25 and Via X. Besides that receives frequent invitations to discuss the process of their work in cultural centers and exhibition spaces Europeans in the context of the exhibition tour Warriache funded by the Chilean Ministry of Foreign Affairs. \nHugo Leonello (1977) He did his studies at the Faculty of Arts of the University of Chile. His work has been exhibited in Chile\, Mexico\, Ecuador\, Argentina\, Spain\, France and USA\, both individually and collectively. It has been benefited from scholarships\, as FOECA and FONCA\, State Fund and National for Culture and the Arts of Mexico (2009\, 2012)\, special support performing work abroad of To National Council for Culture and the Arts in conjunction with the Directorate General of International Affairs of Mexico (2012) and the Development Fund for the Arts and Cultural de Chile (2004). Among the awards outstanding selection for XV Biennial of Painting Rufino Tamayo\, Mexico 2011 (Hons)\, Arteamericas ninth edition\, USA (2011)\, V National Biennial of Visual Arts Yucatan (2012)\, IX Biennial FEMSA Monterrey Mexico 2009 (collection FEMSA)\, Fotografest\, Festival of Dance and Electronic Media Photography Video of Mexico (2008)\, Peripheral\, Art Base\, Meeting New Trends and Languages of Contemporary Art in Argentina (2006)\, the honorable Mention in Young Art\, Chile (2004)\, and the selection for the Biennial of Video and New Media\, Juan Downey de Chile (2003). \nMaría José Rojas (1974) is an artist Visual Artist Medial and Theatrical designer. Develops his work in the conjunction of these three disciplines media installation\, video and object construction. The themes that the artist addresses are born from a concern for pointing invisible or subtle aspects of reality\, making the viewer complicit in a space of contemplation and awareness of their perception. Finding situations the edge of perception and our sense of reality speaks of a spiritual motivation in their art. His work has been exhibited in Chile\, England\, Poland\, Iceland\, Switzerland and the United States. \nSergio Acevedo (1982)\, is a visual artist with a degree in Fine Arts from the University Uniacc and Diploma in Cultural Management at the same institution. His artistic production has developed in building projects in-situ and\, recently\, in the work of unique pieces outcome of the investigation of materiality and conceptual translation operations. Currently\, projects exhibitions both inside and outside the country\, which are part of a series of works designed under this last line. It also makes editing and production work in visual arts. Lives and works in Santiago de Chile. \nMario Z (1970)\, visual and sound artist. He studied percussion at the National Conservatory of Music of the University of Chile and graduated in Fine Arts in Painting mention Arcis University. His work has developed from painting\, installation\, sound and experimental music\, exerting media manipulation\, forming a transfer of meaning thereof thereby constructing new discourses and paradoxes. He has exhibited in major museums and galleries and abroad. Her work is in private and institutional collections. He won the “International Competition for the creation and audiovisual authorship Juan Downey” (2013) of the 11th Biennial Medial Arts at the National Museum of Fine Arts in Santiago\, Chile and is nominated for “Altazor” award in the categories of installation and video art (2014). Lives and works in Santiago de Chile. \nAngie Saiz (1977) is visual artist producing work in painting\, photography\, public intervention and video installation. His work develops aesthetic problems from imaginary biographical and crossing and crises between new technologies and concepts of time\, limbo and ruin. He has exhibited at important venues in Chile\, including the Museum of Contemporary Art\, Museum of Visual Arts MAVI and Metropolitan Gallery. He has also participated in samples outside the country in areas such as YAKU in Quito Water Museum and Marta Traba Gallery in Sao Paulo. It also works as a producer in visual arts projects and performs editorial work in related publications. He currently lives and works in Santiago de Chile\, and performs exhibition projects inside and outside the country.\nAlejandra Herrera Silva (1978) received her BFA from Universidad de Chile and further studies in Valencia\, España and Belfast\, Ireland. She was co-founder of PERFOPUERTO (Independent Organization of Performance Art in Chile\, 2002-2007) and has received several grants from FONDART (National Fund for The Arts and Culture) and DIRAC (Department of Cultural Affairs Ministry of Foreign Affairs). Her work is installation and performance based. Her body becomes a site of exploration\, where issues of gender reference the inevitable biological implications that the body has as a social and political being. In recent years\, she has been working on the issue of maternity and domestic life. Her work has been presented in performance festivals such as: Trouble in Belgium\, Anti in Finland\, Staglinec in Croatia\, 7A11D in Canada; and other countries such as Germany\, Poland\, Japan\, Mexico\, Venezuela\, Argentina\, United States\, and Northern Ireland. Since 2007\, she lives in Los Angeles\, California. \nOrganized by: Alejandra Herrara Silva
URL:https://www.h-r.la/event/chilean-artist-open-studio-alejandra-herra-silva-project/
CATEGORIES:exhibition
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DTSTART;VALUE=DATE:20150628
DTEND;VALUE=DATE:20150720
DTSTAMP:20160522T204814Z
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SUMMARY:Johanna Breiding "Epitaph for Family"
DESCRIPTION:Opening reception: Sunday\, June 28\, 2015 \nExhibition: June 28-July 19\, 2015 \nGallery hours: Thu-Sun 12-6pm \nEvents staged during this exhibition include: \nFRI JULY 3: Your Motion Says: Dance to Arthur Russell: Christopher Argodale\, Shade Theret\, Peter Hernandez\, Eydie Mcconnell & Nika Kolodziej\, Tatiana Lubovski-Acosta\, and Emily Jane Rosen 9PM FB \nTUE JULY 7: tir talk (1): conversation with Johanna Breiding\, Jennifer Moon and Tyler Matthew Oyer; screening of She Male Snails. 7PM FB \nFRI JULY 10: HRLA Volunteer drop-in session — come by and learn about getting involved with HRLA. 5-7PM \nSAT JULY 18: Music and Visuals: Bulbs\, Peter Kolovos\, Zeek Scheck 8PM \nSUN JULY 19: Interview with Johanna Breiding and Jennifer Moon at KCHUNG Radio 1630AM 6-8PM \nEpitaph for Family is a multi-media project exploring love\, intimacy\, loss\, and queer family-making through the image and connotations of the horizon line. \nDrawing distinction between that which is distant and within reach\, the horizon line serves as an orientational tool that locates one at home. It determines space by assuming a linear perspective and a single\, stable spectator\, defining notions of time\, place\, and the subject. \nExtending a line from the metaphor of the horizon to the idea (and ideal) of family\, Epitaph for Family explores the way in which family serves as a locator\, as the primary introduction to community\, and an orienting device that shapes one’s relationship to gender\, race\, class\, and intimacy. As a pre-determined structure\, family becomes practical\, prescribing a socioeconomic and political agenda towards heteronormativity and legibility. \nThe project turns toward the notion of queer family-making to examine various constructions of family\, as well as the desires\, needs\, and ideologies that influence family-making and relationships. It questions the difference between\, and sameness within\, queer and heteronormative family structures\, and how these constructs define the individual and community. If one’s position in the world is determined by their inhabitance in space\, can one find place on unstable ground? Through formal connections\, disruption and repetitive acts\, the project aims to destabilize the notion of family as a reachable end\, skewing the centrality of this ideal through rearticulation and refusal. \nEpitaph for Family consists of a major installation of 16mm film projections of the horizon line at the Pacific Coast\, suspending the viewer within the blue hour (l’heure bleu) before sunrise and after sunset; and a multichannel video depicting queer-identified individuals discussing their experiences of family and love (connecting the horizon line to the dinner table). Participants include: Dean Spade\, Calvin Burnap\, Rachel Carns\, Darius Morrison\, taisha paggett\, Julie Tolentino\, Samuel White\, Don Romesburg\, and Asha Romesburg. \nThe exhibition also includes a series of traditionally constructed still-life photographs that reconsider the dinner table’s role as a space of representation\, exchanging familiar objects with their deviant others (butter becomes Cristo\, an hour glass loses its sand); and an archival film essay of home footage reflecting on memory\, loss and belonging\, made in collaboration with Jennifer Moon (Jennifer Moon & The Revolution) and Cary Cronenwett (director of Maggots and Menand Piece of Mind); and a 35mm photographic slide projection of objects and people positioned between the photographer and the offing\, piercing through the horizon. \nThe project also includes commissioned texts by Maggie Nelson\, Malene Dam\, and Don Romesburg\, and an exhibition catalogue designed by Bullhorn Press. \nABOUT THE ARTIST \nJohanna Breiding’s practice stems from photography\, considering the medium’s history\, its representational role and limits. Expanding to video and installation\, Breiding locates her work within the intersection of analog and digital technologies\, the construction of gender and cultural identity\, and a critique of heteronormative ideologies within the personal and social space. Recent projects address a range of topics\, including the death of analog photography via small town Keeler in Owens Valley\, CA; the art historical canon of Land Art through portraiture and landscape photography; and the notion of hyperobjects and the (Post­) Anthropocene. Breiding currently teaches undergraduate and graduate courses in New Genres at San Francisco Art Institute\, and junior high art workshops through Urban Arts in South Central\, LA. She is based in Los Angeles and San Francisco\, and originally from Switzerland.
URL:https://www.h-r.la/event/johanna-breiding-epitaph-for-family/
CATEGORIES:exhibition
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