W&N

Walter S. Fernández

2011-10-07T09:58:00.000-07:00

https://www.facebook.com/media/set/?set=a.10150103771271334.273251.655596333&type=3

Don’t Fuck with Post Painterly Abstraction: Review for Rafael J. Miranda and Walter Fernández’s Caribbean Russian Neoconstructivism (o Neo-constructiv

2011-05-19T09:28:00.000-07:00

publicado en Conboca

por: Ralph Vazquez

http://www.conboca.org/2011/05/19/don’t-fuck-with-post-painterly-abstraction-review-for-rafael-j-miranda-and-walter-fernandez’s-caribbean-russian-neoconstructivism-o-neo-constructivismo-caribeno-ruso-en-espanol/

An irreverent critique that approximates a legitimate hermeneutical exercise, this show is an invitation to reevaluate the importance of the action of interpreting art history and more specifically the history of abstract art. Very much in the essence of the spirit of art, the artists recur to the artifice to speak about aesthetic and theoretical truths.

In painting geometric abstraction is seen as the apex of nonobjective art, relentlessly reminding us of painting’s two-dimensional nature as a medium. Kandinsky and Malevich are found among some of the forerunners of pure nonobjective painting, and figures like the members of the original Abstract Expressionist troupe, Hans Hoffmann, Agnes Martin, Phillip Guston and Helen Frankenthaler carried this artistic medium through the transition from the early Modern definition of the painterly style to the contemporary articulate visual idiom that it is today. Currently artists like Merlin Carpenter, Sarah Morris and Julie Mehretu among a plethora of other artists continue to explore the vast theoretical and aesthetic expanse of this discourse, and to it they contribute ever changing paradigms that serve to exacerbate our deep connection with the notions behind abstract art. The term ‘post painterly abstraction’ I rip right out of the Clement Greenberg’s fleshy body of work, a term coined to forever signify an act of human intelligence; a reflex of a painter who seeks not just appropriation of abstract techniques but who also want to make a contribution to the exploration of the nonobjective.

In Rafael Miranda-Mattei and Walter Fernández’s most recent show there is a kind of visual archaeology of the history of abstract art, and from their hybrid style of hard edge, drip, gestural strokes and staining they communicate a sort of clash or colliding duality in their interpretation. This last comment is a connecting thread between their earlier individual work and this duo show; the sardonic and yet often enough laconic approach to the history of painting and conceptual art is pervasive all throughout their work.

Miranda-Mattei and Fernández zero in on the history and context of Russian Constructivism with the idea of reopening their case under a new light, the blazing Sun of the Caribbean. The tenets of the eastern European art movement are subjected to a reappraisal; a hermeneutical critique informed by the sociopolitical reality of Puerto Rico. According to Miranda-Mattei the criticism is mainly targeted at functionaries of the art world who “resist a deeper scrutiny of our history of art and who refuse to expand our aesthetic theoretical frontiers”, perhaps in order to enable our integration to the history of art of the rest of the continent; into the ranks of artists and cultural dispensers that shape the contemporary art world in our part of the world.

The appropriation of a Constructivist aesthete may perhaps speak to the arrest of the culture and art exhibition spaces in our island, by our corrupt and privatizing government on the one hand and on the other the thievery of the art dealers and gallerists. Dividing these two very unfriendly forces is a thin line populated by independent agents operating still emergent spaces (Art Lab, cart Watch, ÁREA, etc.) and proactive cultural dispensers. The exhibit makes no real threat to the art macrostructure but it does invite to further discuss the parallelisms between Russian art history and our own, certainly we at least share the existence of groups of artists devoted to social cause (DIVEDCO and the generation of ’50).

The original constructivists sought to revolutionize art in their historical moment, and deployed cultural and social forces that have reverberated throughout the history of so many other cultures, and it is from the inheritance of that aesthetic and theoretical trove from which Miranda-Mattei and Fernández pull out these new series of works.

Bravo Art Lab for a great show.

Ralph Vázquez-Concepción

Conboca Curator, Artist and Journalist

"NEOCONSTRUCTIVISMO CARIBEÑO"

2011-05-17T16:30:00.000-07:00

mas Fotos http://repuestoweb.org/?p=303

ART WORK: A National Conversation About Art, Labor, and Economics

2011-05-05T14:37:00.000-07:00

http://millergallery.cfa.cmu.edu/exhibitions/artwork/

http://www.facebook.com/media/set/?set=a.321992772435.152133.321929717435

Mirada al "neoconstructivismo caribeño"

2011-05-01T06:01:00.000-07:00

Mirada al "neoconstructivismo caribeño"

por Erica Sánchez
http://www.dialogodigital.com/index.php/Mirada-al-neoconstructivismo-caribeno.html

A partir del 28 de abril se presentarán las pinturas de Rafael J. Miranda y Walter Fernández. Suministrada

El público puertorriqueño podrá presenciar las más recientes obras de dos exponentes del neoconstructivismo caribeño ruso en una exhibición que lleva por nombre la denominación del movimiento. O quizás no tanto así.

En realidad, el concepto es un invento de los artistas Rafael J. Miranda y Walter Fernández, que buscando un posible título para la exposición que dará apertura el jueves, 28 de abril, decidieron jugar con la tendencia de los historiadores del arte a darle nombre a los movimientos. Al elegirlo, se hicieron una pregunta: “esta exhibición, ¿qué puede aportar ?”, explicó Miranda, graduado de la Escuela de Artes Plásticas en 2008, a Diálogo.

Entonces, con una intención humorística optaron por ese nombre que le da un giro al concepto del constructivismo, movimiento originado en Rusia en siglo 20 y que propone un paradigma en la manera como se percibe el proceso de enseñanza-aprendizaje haciendo de éste un proceso dinámico, participativo e interactivo del sujeto.

La muestra, en la Galería ArtLab 753 de Miramar, consistirá de los más recientes trabajos pictóricos de Miranda y Fernández, los cuales exploran la pintura a un nivel formal. Según el periódico Conboca, esta exhibición "evidencia cómo los planteamientos occidentales sobre el arte se transforman en cosas nuevas al pasar por las necesidades y circunstancias tan propias de estos artistas en el Caribe".

Miranda comentó que él y Ferández vieron una similitud en sus trabajos a ese nivel formal, por lo que decidieron unirse para realizar esta exposición.

Explicó, además, que en su caso nunca había hecho una exhibición de pintura, sino que su trabajo se había enfocado anteriormente en instalaciones y performance. Por esta razón, decidió pintar y el resultado fue “pura exploración de la pintura formal: en cuanto al medio, cómo se comporta y sus aplicaciones”.

Se trata, según un comunicado emitido por Conboca, de “una exploración geométrica de la pintura a través de la combinación gráfica de colores, papeles, texturas y distintos tipos de aplicación”.

Obra del artista Rafael J. Miranda

Sobre su compañero Fernández, graduado del programa de Artes Visuales de la Universidad Sagrado Corazón (USC), tanto Miranda como Conboca destacaron el trabajo que hace sobre distintas superficies como el papel y la madera, “con un tono crítico y algo sarcástico sobre la naturaleza del objeto de arte”.

Los artistas encontraron un lugar para exhibir estas obras en la Galería ArtLab, un local nuevo que responde a la necesidad de “espacios alternos” para que artistas como ellos expongan su producción.

A partir de las 7:00 p.m. del jueves, los trabajos estarán expuestos durante un mes en la sala. Puede ver otras obras de Rafael Miranda en su bitácora y de Walter Fernández en su página.

Oficio y exploración en ArtLab 753

2011-05-01T05:59:00.000-07:00

Oficio y exploración en ArtLab 753

Rafael J. Miranda y Walter Fernández presentan nueva exposición de pintura

http://www.elnuevodia.com/oficioyexploracionenartlab753-950637.html

Por Ana Teresa Toro

Una vez más los artistas contemporáneos dan fe de que, en materia de pintura, aún hay mucho por explorar. Pues, no hay camino similar si son distintos los creadores. De eso da cuenta la nueva exposición de los artistas Rafael J. Miranda y Walter Fernández, quienes presentan mañana jueves a las 7:00 p.m. dos nuevas propuestas en la galería ArtLab 753 en Miramar.

Con el sugestivo título “Neo-constructivismo caribeño ruso: muestra de pintura de Rafael J. Miranda y Walter Fernández”, Miranda admite que juegan un poco con “la carencia de curadores en el País que, más allá de coordinar exposiciones, tengan el espacio para teorizar a partir de la obra de un artista”. Igualmente, la muestra es una exploración en la que mientras uno trabajó pintura por la pintura en sí, el otro aprovechó sus piezas para presentar subrepticios comentarios acerca del mercado del arte, entre otros conceptos.

“Básicamente este trabajo nace por la necesidad de pintar pues, por lo general, trabajo performance o instalaciones. En este caso se trata de una exploración geométrica. Por algún motivo siempre me ha gustado la arquitectura, pero no soy arquitecto de oficio ni pintor de oficio”, comenta Miranda acerca de las piezas en las que trabajó “aspectos formales dentro de la pintura a nivel compositivo”.

“Me atreví a hacer otro tipo de planteamiento estético que va a tono con esta etapa en la que quiero dedicar más tiempo al oficio en sí de la pintura”, dice dejando claro que en esta ocasión creó sin el interés de desarrollar algún concepto en específico.

Por su parte, Fernández presenta una serie de pinturas en distintos tipos de superficies desde los cuales busca comentar algunos aspectos formales de la pintura con un tono crítico y sarcástico acerca de la naturaleza del objeto de arte.

“Hay algunos paralelismos a nivel formal en la obra”, abundó Miranda.

En cuanto al título, el artista explica que “es puro humor porque ciertamente hay una especie de ‘gap’, de brecha, en la que no se teoriza y estamos resaltando esa carencia con el título”, describe Miranda.

La exhibición estará disponible para visitas durante un mes. ArtLab 753 es un nuevo proyecto de galería ubicado en el # 753 de la avenida Manuel Fernández Juncos en Miramar. La inauguración contará, además, con la participación de la marca Pirgaua Express que ofrecerá una serie de interpretaciones de las pinturas en camisetas cocidas a mano que estarán disponibles para la venta el día de la apertura.

Desidia

2010-10-30T16:30:00.000-07:00

Elizabeth Robles

Rafael Miranda

Omar Velázquez

Roberto Gómez

Pedro Vélez

Kristine Serviá

Carlos A. Otero

Angel Rivera

Natalia Martínez

Public Collectors

W&N

http://www.uccs.repuestoweb.org/Unions_Contemporary_Collectors_Space/Entries/2010/10/29_Desidia.html

Friday, October 29, 2010

At Union's Contemporary Collector's Space laziness is our thing. Artists were invited to think about the matter of the abandon. In this case, an empty house, is an opportunity to consider the common ability to forget the others pain, the daily acts of corruption, the lack of energy and of sense of belonging. Laziness (desidia) reigns our lives and the apathy is a daily thing.

What to expect of an uninhabited place: modesty or sauciness, order or chaos, glory or oblivion.

http://www.thefractal.net/2010/10/desidia/

Del Otro Lado De Las Siglas

2010-08-19T18:09:00.000-07:00

Publicado por Carlos Antonio Otero Aponte en El naufragio de las palabras
http://www.elnaufragiodelaspalabras.com/2008/12/las-siglas-o-la-suma-de-dos-o-tres.html

sábado 20 de diciembre de 2008

Las siglas o la suma de dos o tres letras que no necesariamente forman una palabra nos remiten, por lo general, a una compañía, un producto o al código de algún secreto. En tal sentido W&N es la empresa de dos mentes creativas que se complementan para producir ideas artísticas desde el anonimato del código.
En este caso, el junte de letras adquiere personalidad y el trabajo realizado desenmascara a los personajes.
Y ocurre así debido al carácter de la obra hecha, cuando comienza a hablar de sus gestores.
Desde el 2005 Walter Fernández y Nani Alvarez han encontrado en la colaboración su fuerza creadora, al margen de los egos, del lado mercantilista del arte y de las tendencias complacientes.
Al pasar revista sobre lo que ha sido el desempeño de este duo se podría hablar de ¨lo inesperado¨ como una cualidad de su trabajo, tanto en el ámbito de obras creadas como en la conceptualización de otras ideas. Lo mismo realizan arte sonoro; que proponen figuras dibujadas. Lo mismo ponen a flotar un enorme lápiz en la laguna del condado con las palabras implícitas que naufragan (rozando entre lo escultórico y el ¨land-¿water?- art¨); que despliegan pancartas de gran formato para llamar la atención acerca de las tácticas de los adultos para disciplinar o reprimir la infancia.
Igual elevan a rango escultórico un pedazo de carro, o tumban (entiéndase ´dejan reposar´) una cabeza en el suelo en honor a los galeristas ¨caídos¨ que embabucan a los artistas, sobre todo a los más jóvenes.
Procedentes de disciplinas distintas, N estudió educación y W comunicaciones y pintura, decidieron que el arte habría de ser su vía de expresión y su manera de vivir. W aclara que viven del arte porque es lo que hacen; para ganar dinero ya se ocupan de otras tareas.
W&N son parte de una generación de artistas jóvenes que realizan una obra multidisciplinaria y que le apuestan a la labor artística colectiva, amparados en la autogestión.
El duo recibió a El Naufragio de las Palabras en el caserón sanjuanero donde habitan y trabajan, rodeados de sus cuatro gatos, sus libros, sus cuadros e inusuales piezas-objetos.
Para comenzar N opina que cada cual debe ¨crear su propio paradigma con las cosas como son o como deben ser. A nosotros nos preocupa lo que se enseña, lo que se aprende, porque vemos que no hay una visión holística de las cosas -en la Isla-¨.
La educación como concepto transformador y arma poderosa de cambio está presente en gran parte del trabajo de W&N. Pero no es educación panfletaria que promueve una idea con márgenes establecidos. Más bien llaman la atención para que el observador pueda reflexionar y autoeducarse.
Estas propuestas no siempre son del agrado, como ocurrió en Photo Miami hace un par de años cuando presentaron la pieza ¨Methods for obedience¨, que consistió de imágenes en ¨banners¨ de métodos disciplinarios contra niños, como un cocotazo o un correazo. Para este proyecto realizaron entrevistas a adultos en el Viejo San Juan, sobre cómo fueron disciplinados por sus padres.
¨A la gente les molestó lo que había ahí en la imagen¨, comenta N, y aclara que en ese sentido la muestra resultó efectiva porque los espectadores expresaron un sentimiento y eso provocó un comentario.
El proceso creativo de la pareja surge de las ideas que comparten a diario y van depurando hasta que determinan que lo pensado es o no viable y costo efectivo. ¨Estamos todo el tiempo pensando pero no todo se concreta, a veces es pura experimentación con materiales, y a veces lo que seguimos es cómo hacer algo con menos dinero¨, explica W.
Sus creaciones están en la línea del arte conceptual, y utilizan cualquier medio para llevarlas a cabo. N dice que se han concentrado, pero no limitado, a estudiar el arte conceptual de los años 60 y 70 que tuvo su auge en Estados Unidos, y que en la Isla también ha tenido su manifestación a partir de aquellas décadas.
¨Tenemos un interés mayor por el concepto, de cómo proponer y crear algo, más que por la mera cosa estética¨, indica N.
Ya sea una imagen apropiada o creada, o el uso de cualquier material, como un pedazo de tuvo PVC, cobra significado en las manos de W&N, quienes logran desentrañarle todas sus posibilidades. Con esto logran conferirle a la pieza o el objeto (o el material empleado) un lenguaje distinto enmarcado en un contexto socio-político. Lenguaje que por lo general es crítico e irónico, muy propio del arte conceptual.
Hasta ahora no han realizado exposiciones en solitario como W&N y han preferido laborar en colectivos en Puerto Rico y Estados Unidos, aunque reconocen que no siempre resulta más fácil.
¨El trabajo de colaboración es sumamente difícil, tienes que ceder más. Al final la idea prevalece pero cambia el medio o cómo llegar a eso que buscas¨, destacan ambos.
Lo primero que hicieron juntos fue un performance durante una premiación del polémico certamen de arte del Museo de Arte Contemporáneo en 2005. Allí invadieron el espacio disfrazados, cargaron cornetas, pitos y explotaron petardos para dramatizar la fanfarria de los eventos plásticos cuando se transforman en espectáculos de falsas adulaciones, pasarela y brilloteo.
Respecto a la escena local del arte coinciden en que hay de todo y buenos trabajos. E insisten en apostarle a la autogestión alejados de los controles de las galerías y los mecenas, lo cual les permite mayor originalidad. Según W, las galerias locales se han quedado rezagadas en su trabajo con el desarrollo de sus representados y, en parte, esto se nota con las participaciones de artistas locales en eventos internacionales donde van como parte de proyectos y no como invitados de galerias de la Isla necesariamente.
En lo referente a la ¨crisis económica mundial¨ y su impacto en el arte joven sostienen que no les afecta como artistas ya que no tienen como propósito principal la venta de sus obras. ¨Ese interés no existe. El arte no está hecho para venderse¨, destaca W.
En Internet han creado el espacio REPUESTO donde documentan el trabajo plástico contemporáneo en la Isla y divulgan proyectos creativos, como parte de su filosofía de la autogestión.
Muy pronto W&N se convertirán en padres lo que sin duda les traerá otra visión de mundo que se reflejará en el trabajo que realicen en adelante. Después de todo la preocupación por la niñez siempre ha estado rondando sus propuestas.

NOTA: Esta es la primera de diez entregas de conversaciones con artistas contemporáneos multidiscplinarios que conforman la nueva escena del arte en Puerto Rico. Se trata de artistas emergentes con cierta trayectoria y que experimentan con diversos medios para crear su propio lenguaje creativo. Con este proyecto se intenta mostrar parte del trabajo artístico que se realiza en el Puerto Rico de hoy a pesar de la ausencia de apoyo -en la mayoría de los casos- de las instituciones oficialistas que pretenden validar lo que es o no es arte, o quien es o no es artista en la Isla.

Presentación de Art/Work @ la huelga

2010-06-05T05:34:00.000-07:00

http://www.artandwork.us/

Art Work es un periódico y sitio en la Internet impulsado por Temporary Services que consiste de escritos e imágenes por artistas, activistas, escritores, críticos y otros sobre el trabajo durante el colapso económico y su impacto en el ámbito artístico. Ha sido presentado en universidades y espacios a través de Illinois, Dallas, Londres, Hawaii, Dellaware, New York, Winsconsin entre otros con el fin de crear discusiones sobre dicho tema.

El sábado 5 de junio de 2010 a las 4:30pm, en el antiguo edificio de arquitectura de la UPR de Rio Piedras, se llevará a cabo la presentación del periódico en Puerto Rico y un panel que contará con la presencia de Profesoras de la Escuela Graduada deTrabajo Social, psicólogos, Profesores de arte y artistas entre otros para la discusión y búsquedas de opciones al actual sistema económico.

Estará disponible la entrada al recinto riopiedrense por el portón de la Calle Gándara más cercano a la Ave. Barbosa o el terminal de la AMA.

Los esperamos

Las primeras 60 personas se llevan una copia de “ARTWORK” impresa.

http://www.facebook.com/event.php?eid=124143517620021

http://www.artandwork.us/download/

http://halfletterpress.com/store/index.php?main_page=product_info&cPath=20_10&products_id=133

http://gallery400.blogspot.com/2010/03/art-work-related-event_02.html

THE NEWSPAPER

2009-11-21T19:10:00.000-08:00

THE NEWSPAPER

Art Work is a newspaper that consists of writings and images from artists,
activists, writers, critics, and others on the topic of working within
depressed economies and how that impacts artistic process, compensation and
artistic property.

The newspaper will be distributed for free at sites and from people throughout
the United States and Puerto Rico, and will also be available soon from Half
Letter Press for the cost of postage.

The 40-page newspaper features the writings, images, and work of Julia
Bryan-Wilson, Holland Cotter, Tim Kerr, Nance Klehm, Harrell Fletcher,
Futurefarmers, Robin Hewlett, Nicolas Lampert, Lize Mogel, Dan S. Wang, Gregory
Sholette, Dylan A.T. Miner, Christina Ulke and Marc Herbst of the Jouranl of
Aesthetics & Protest, OurGoods, Chris Burden, Scott Berzofsky, John Duda,
InCUBATE, Linda Frye Burnham, ILSSA, Cooley Windsor, Brian Holmes, Nick Tobier,
Lolita Hernandez, Stacy Malasky, Nate Mullen, Aaron Timlin, Harold Jefferies,
W&N, Damon Rich, Teaching Artist Union, FEAST, 16 Beaver Group, W.A.G.E., Chris
Kennedy, Nato Thompson, Carolina Caycedo, Guerrilla Art Action Group, Anthony
Elms, Adam Trowbridge, Jessica Westbrook, and many other artists, art workers,
curators, interns, volunteers, writers, and activists.

THE WEB SITE

The web site portion of this project, at www.artandwork.us, will feature free
downloads of the newspaper in many versions for different kinds of readers,
including a print version meant for teachers to print and distribute to
students, and an e-book version for viewing on digital reading devices.

The website will also host discussions around the themes of the paper and a ton
of work that the 40-page print couldn’t fit! There will also be documentation
from the events and exhibitions nationwide that are planned in conjunction with
this project. We invite you to use this newspaper as an exhibition, to host a
discussion, to program an event, or just write in with your thoughts at
http://www.artandwork.us.

OTHER CONFIRMED EVENTS, EXHIBITIONS, DISTRIBUTION HUBS

*Before Temporary Services & SPACES finished their print run, our friend (and
Art Work contributor) Caroline Woolard used her participation in the Amsterdam
Biennale 2009 at the Mediamatic organization to print even more copies, and
bring them to Amsterdam! More information is here:
http://www.mediamatic.net/page/126971/en.

Copies of the paper are at Mediamatic from November 14 - December 13, 2009. A
few "rogue" copies made their way into some of our New York City contributors'
hands before Caroline took off for the Netherlands...

*The Bureau for Open Culture, an exhibition space at the Columbus (Ohio)
College of Art and Design, curates an even-smaller space, the "Agency for Small
Claims". Thanks to the quick work of James Voorhies at the Agency, you'll be
able to view and pick up copies of the newspaper in Columbus starting November
23, 2009. Check out more information on this at
http://www.bureauforopenculture.org/agency.html

*Skydive Gallery (and several individual artists) in Houston, Texas, will be
stocking copies of the newspaper for you to pick up, as soon as we get copies
out to them! Information on Skydive is here: http://www.theskydive.org/.

Also, Domy Books (with the help of our friend Kate Watson) will be a
distribution hub and are planning a future event. http://www.domystore.com/

*More cities and towns that people have committed to distributing in are
Anchorage, Alaska, Bennington, Vermont, and San Diego, California. Temporary
Services members will of course have newspapers to distribute in our home
cities of Urbana and Chicago, Illinois. There are many others, and we will keep
an updated list of points of distribution at http://www.artandwork.us.

You can download a copy of the newspaper itself at
http://www.temporaryservices.org/art_work/art_work_print.pdf. Be aware that
this is a 17 MB, hi res version meant for printing as a newspaper. We will soon
have links to a variety of versions to download and/or print, including an
ebook version, at http://www.artandwork.us.

YOUR INPUT IS NECESSARY!

As you can see, we are still looking for commitments from venues and/or people
that can be distribution points for us? Those who distribute commit to
receiving a number of newspapers in the mail that they will then give to people
in their towns and networks to read and discuss.

Venues - are you interested in programming a future event or exhibition at your
space using our newspaper as the catalyst? It could last a few hours to a few
weeks! Contact us at servers@temporaryservices.org.

Thanks for your support of our work!
Brett, Marc, and Salem
Temporary Services

PO Box 121012
Chicago, IL 60612
http://www.temporaryservices.org
servers@temporaryservices.org

Encounter with Art Blogs

2009-08-16T06:26:00.000-07:00

Cobertura del Encuentro de Blogs de Arte en el MAP

Dialogo Digital

http://dialogodigital.com/es/node/2274

Post-Data

http://post-data-post.blogspot.com/2009/08/charla-encuentro-con-los-blogs-de-arte.html

El naufragio de las palabras

http://www.elnaufragiodelaspalabras.com/2009/08/relato-y-opinion-sobre-encuentro-con.html

Autogiro

http://autogiro.cronicaurbana.com/?p=488

Fractal

http://fractalwords.wordpress.com/2009/08/10/individuos-en-un-colectivo-reflexionando-sobre-el-medio/

Museo de Arte de Ponce

2009-07-17T05:31:00.000-07:00

50 AÑOS
MIRANDO
AL FUTURO

Teniendo de telón de fondo la exhibición Museo de Arte de Ponce: medio siglo mirando al futuro MAP ha creado “Encuentros” una serie de conferencias creadas para dar foro a puntos de vista de la comunidad de artistas, arquitectos, escritores y público en general, de cara a la re-apertura del Museo de Arte de Ponce en 2010. En esta oportunidad MAP presenta la charla:

Encuentro con los blogs de arte de Puerto Rico
6 de agosto de 2009 – 6:00 pm
MAP@PLAZA

Los participantes discutirán el rol e importancia de los blogs en la difusión del arte en Puerto Rico haciendo un breve recuento y análisis de la evolución de los mismos, a través del estudio de casos particulares que nos ayudarán a conocer dónde y cómo estamos contando nuestras historias. Estos sitios en red son una bitácora en línea con reflexiones, comentarios e hipervínculos sobre arte contemporáneo puertorriqueño.

• Esta charla es auspiciada por el National Endowment for the Humanities
• La entrada es libre de costo y requiere reservación previa
• Para reservar tu espacio, llama hoy mismo al 787-840-1510 ó al 787-200-7090

Invitados

DondeVeoArte, Carmen Olmo (moderadora) www.dondeveoarte.com/
Autogiro, Javier Martínez http://autogiro.cronicaurbana.com
El naufragio de las palabras, Carlos Antonio Otero http://www.elnaufragiodelaspalabras.com/
Repuesto, W & N http://repuestoweb.org/
Trance Líquido, Liliam Nieves y Arnaldo Román (desde Berlín) www.tranceliquido.com/
BoxScore, Pedro Vélez (desde Chicago)
boxscoreendivselpuebloylacultura.blogspot.com/

Carmen Olmo-Terrasa (Moderadora)

Tiene un bachillerato por la Escuela de Artes Plásticas (San Juan, 1992) y una maestría por el Pratt Institute (NY, 1996) donde comenzó sus primeros estudios en arte digital. Trabajó en la primera revista de arte en Internet de Puerto Rico, El Cuarto del Quenepon, donde comenzó a desarrollar proyectos de arte en la Web. Desde 1998 desarrolla proyectos de diseño gráfico y multimedia en las artes: video-arte-net-art, blog-art y proyectos colectivos de nuevos medios. En 2007 funda el proyecto en línea DondeVeoArte.com.

Como preámbulo a la charla Encuentro con los blogs de arte de Puerto Rico el Museo de Arte de Ponce en Plaza las Américas presenta una selección de proyectos de NetArt y NetVideo.
Refresh: proyecciones de nuevos medios en el MAP

Proyecto organizado por el Museo de Arte de Ponce, Fundación Luis A. Ferré, Inc., en colaboración con Carmen Olmo (moderadora de la charla).

Fecha de presentación: del sábado 1 de agosto (a partir de las 3:00 pm) al jueves 6 de agosto de 2009

Habrá transmisión en vivo por Internet (Webcast de la conferencia) VAMOS INCLUIR ESTA INFORMACION CUANDO HAYAMOS HECHO LAS PRUEBAS NECESARIAS EL 31 DE JULIO, 2009

Artist Run Chicago at the Hyde Park Art Center

2009-06-26T18:18:00.000-07:00

the FGA (aka Fucking Good Art)

2009-06-11T19:22:00.000-07:00

The Program and the Vault:

survey and archive

curated by FGA (a.k.a. Fucking Good Art)

part of Artist Run Chicago

curated by Allison Peters Quinn and Britton Bertran

at the Hyde Park Art Center

Chicago

through July 5, 2009

http://www.hydeparkart.org/exhibitions/2009/05/artists_run_chicago.php

http://fuckinggoodartchicago.blogspot.com/

The Program 2001-2009

Gerald Davis, Kirsten Stoltman, Siebren Versteeg, Mike Wolf, Sasha Earle, Joseph Hardesty, CAR/David Robbins, Zac Lowing, Jay Heikes, Maria Alos, Lori Daniels, Jennifer Rochlin, Rosemarie Fiore, Juana Valdes, Scott Nedrelow, Carlos Ruiz Ruiz, Rebekah Levine, Vince Dermody, Michael Dvorkin, Jennifer Schmidt, Adam Scott, Marc Fischer, Stefano Pasquini

The suicide of Primo Levi; AC/DC VH1 Behind the Scenes; Korn; Triumph the Comic Dog and Conan O’Brien; Comic Book Review (cable access show); 1900 House; Max Hiller talks about communism and Rock ‘n Roll; Charlton Heston speaks for the NRA; Howard Stern vs Sinead O’ Connor; Gerald jumps off a cliff; The McLaughlin Group; SNL’s find the black people in the Nicks game; 20/20

The Program is a portable video exhibition modeled after television's well-known format. Artist videos are interspersed with regular shows, home movies, advertisements and news. Nothing is related and context is replaced and replaceable at the click of a remote control.

In 2001 VHS was still the most popular and affordable way to watch movies, save data and present video art. It also seemed like the logical solution to our money troubled, artist–run, curatorial collective machine known as FGA (a.k.a FUCKING GOOD ART). Our main goal was to organize a portable and domesticated video show--one we could distribute free of charge via US mail. We also wanted to present an art exhibition that could compete against late night television, soap operas, cable and football Sunday.

The first edition of The Program was made public on a chilly Chicago night (March 31^st 2001) in my two-bedroom apartment on Division Street. That night close to two- hundred people managed to share one single remote control, closely following Marc Fischer’s thoughtful essay on judgment and the democratization of video art. (Keep in mind this was way before Creative Commons and file sharing technologies)

From 2001-2004 The Program was screened in: Cueva Gallery, Milan; Sesto Senso (SUK), Italy; Art Chicago 02 (courtesy of Law Office sting at Zingmagazine’s booth); Waiting Room Gallery, Minneapolis; ONI Gallery, Boston; Bronx River Art Center, NY; Museo de las Americas, Puerto Rico; TBA Exhibition Space, Chicago. Close to four hundred copies were distributed freely in three years. All the copies were home-made with four raggedy VHS machines. People were also encouraged to make their own copies, edit alternate versions and to share them with others. Official alternate versions of The Program were edited by artist Stefano Pasquini and curator Rebekah Rutkoff.

The Program makes its final debut as part of Artist Run Chicago, curated by Allison Petters Quinn and Britton Bertran at the Hyde Park Art Center. Make sure to go there and change the channel at will.

visit the link for images, ephemera and Marc Fischer’s essay Judgment Day for Video Art:

http://fuckinggoodartchicago.blogspot.com/2009/06/program-2001-2009.html

************************************************

FGA’s VAULT

A selection of ephemera, digital files, video, sound work and objects (from past FGA collaborators and exhibitions) that will be permanently available for public browsing.

Artist and Objects included in the archives:

Jorge Castro: “CLON,” limited edition cd; “2 Sides,” poster with audio cassette and keychain by Andy Hall and Mindy Rose Schwartz (released on Academy Records in 1999); "Filler" (Michael Colligan, Fred Lonberg-Holm, Andy Hall, Matthew Hanner, Steve Lacy) from Whitewalls #44 (Double grooved clear vinyl record and insert); Photocopy Me magazine (edition unknown); "FGA #6" (Kinko's made zine with reviews by Lori Waxman, Shane Selzer, Leah Finch, Nato Thompson and Michael Bulka); 19 full-color postcards from the series "GOTOPUERTORICOUSA" by collective W&N (originally distributed at THE DAMS in Photo Miami Art Fair and THE DAMS 2 at Universidad del Sagrado Corazón, Puerto Rico); "MYOB" stencil by Felix Agosto; “Obsolete Shit” limited edition booklet by Stefano Pasquini; “What Future?” Noise and Sound Art compilation from Miami and Puerto Rico, originally distributed at Circa Art Fair '08; "Repuesto Blog," zine ( with images by Terence Hannum, Matt Hanner, Jennifer Schmidt); "Crash Your Own" paper modules by LM Rodriguez; “FGA #3” (reviews by Michael Bulka, Anthony Elms, Julia Marsh, Leah Finch); “Refurbished,” soundtrack and artwork by Gardy Perez (originally for exhibition More Confortable and Better at Dogmatic); "Springtime in Minnesota," photo-essay by Kasarian Dane (originally distributed during exhibition "MAGAZINE" at The Stray Show, 2002); selection of video works by Ozzie Forbes, Carmen Olmo, Lilliam Nieves and Arnaldo Roman; and a selection of xerox flyers by Gean Moreno.

Founded by Pedro Vélez and Michael Bulka in 1997, the FGA (aka Fucking Good Art) started as a poorly published xerox zine / online site dedicated to drunken rants and art criticism --this was before the term "blog" even existed. In 2001, with the help of artist/curator Lena Kuffner, the FGA evolved into a curatorial effort housed in diverse venues between Chicago and Puerto Rico. By 2004 the FGA had a swell group of collaborators (working for free) organizing exhibitions developed specifically for the web, rental spaces, art fairs and sound compilations.

What Future?

http://whatfutureistheforecast.blogspot.com/

The Dams 2

http://thedamscuratedbyfga.blogspot.com/

Shril at Hyde Park Art Center, Chicago

2009-06-10T18:24:00.000-07:00

http://www.joymore.org

FGA's The Program : 2001-2009 a video show about judgement where the viewer controls the clicker

2009-06-09T17:15:00.000-07:00

Artists:
Gerald Davis, Kirsten Stoltman, Juana Valdes, Siebren Versteeg, Mike Wolf, Sasha Earle, Joseph Hardesty, CAR/David Robbins, Zac Lowing, Jay Heikes, Maria Alos, Lori Daniels, Jennifer Rochlin, Rosemarie Fiore, Carlos Ruiz Ruiz, Rebekah Levine, Vince Dermody, Max Hiller, Michael Dvorkin, Jennifer Schmidt, Adam Scott, Stefano Pasquini, Irena Tieri, Ipek Duben.

List of TV shows and other stuff:
Man Ray's Le Retour a la Raison; The Suicide of Primo Levi; AC/DC VH1 Behinf the Scenes; Korn; Triumph the Comic Dog in Connan O’ Brian; Chicago Comic Book Review; 1900 House; Max Hiller talks about communism and Rock ‘n Roll; Charlton Heston speaks for the NRA; Howard Stern vs Sinead O’ Connor; Gerald jumps off a cliff; The McLaughlin Group; SNL find the black people in the Nicks game; 20/20; Chicago Politics

History:
The Program is a portable video exhibition modeled after television's well-known format. Artist videos are interspersed with regular shows, advertisements, and news. Nothing is related and context is replaced and replaceable at the click of a remote control.

In 2001 VHS was still the popular and affordable way to watch movies, save data and present video art. It also seemed like the logical solution to the money troubled artist -run curatorial machine FGA (a.k.a FUCKING GOOD ART). Our main goal was to organize a domesticated portable video show--one we could send people in the mail. We wanted an art exhibition that could compete against late night television, cable and Football Sunday.

In the end, it took four months to edit the five-hour video program. FGA presented the first prototype of The Program on Saturday March 31, 2001, in my two-bedroom apartment located on 1707 West Division Avenue. It was the perfect location: In the first floor we had Pizza Metro, next door to the Goldstar Bar and we were only one block away from the blue line. We expected only 20 visitors that night, mostly the artist in the show. The ones that showed up got a remote control, popcorn, coffee, beer, and a detailed menu with an essay by Marc Fischer. Some even got free copies of The Program. We made 25 to give away free of charge that night, a different number than the unexpected quantity of visitors that night. I counted close to three hundred-not bad for an apartment show.

From 2001-2004 The Program was screened in: Cueva Gallery, Milan; Art Chicago 02; Waiting Room Gallery, Minneapolis; ONI Gallery, Boston; Bronx River Art Center, NY; Museo de las Americas, Puerto Rico. Close to four hundred copies were distributed freely in three years. All the copies were home-made, with four raggedy VHS machines. People were also encouraged to make their own copies, edit alternate versions and to share them with others.

An officially blessed alternate version of The Program was edited by artist Stefano Pasquini in 2002 (exhibited at Sesto Senso Gallery in Bologna). New York based curator Rebekah Rutkoff also made a couple of adulterated versions she later presented in New York and at TBA Exhibition Space, in Chicago.

Today:
The Program makes its final debut as part of "Artist Run Chicago" at the Hyde Park Art Center. Make sure to go there and change the channel at will.

Also available at HPAC is VAULT:
A selection of ephemera, digital files, video, sound work and objects ( from past FGA collaborators and exhibitions) that will be available, permanently, for public browsing starting next Saturday.

Artist and objects included in the archives:
Jorge Castro's CLON; Photocopy Me (edition unknown); FGA fucking good art fanzine,
original Kinko made edition #6, ( reviews by Lori Waxman, Shane Selzer, Leah Finch, Nato Thompson, Michael Bulka); 19 full color postcards "GOTOPUERTORICOUSA" by W&N, edition of 1,000, (distributed at THE DAMS in Photo Miami and THE DAMS 2 at Universidad del Sagrado Corazón); "MYOB" stencil by Felix Agosto; Obsolete Shit issue 7, june 2008 by Stefano Pasquini; soundtrack from exhibition "What Future" at Circa Art Fair '08; "Repuesto Blog" zine ( with Terence Hannum, Matt Hanner, Jennifer Schmidt); "Crash Your Own" by LM Rodriguez; Andy Hall and Mindy Rose Schwartz "2 Sides" (released on Academy Records 1999) Poster with audio cassette and keychain; "Filler" (Michael Colligan, Fred Lonberg-Holm, Andy Hall, Matthew Hanner, Steve Lacy) Whitewalls #44, released on Academy Records 2002, (Double grooved clear vinyl record and insert); FGA #3, Sept 29 (reviews by Michael Bulka, Anthony Elms, Julia Marsh, Leah Finch); Poster for Studio Vetusta; Original postcard invite for the Stray Show ; Original art work for “Refurbished” soundtrack by Gardy Perez for exhibition "More Confortable and Better at Dogmatic"; Essay "Springtime in Minnesota" by Kasarian Dane (made for MAGAZINE at The Stray Show); FGA’s Top Ten over MCA’s 12x 12; and a selection of video works by Ozzie Forbes, Carmen Olmo, Lillian Nieves and Arnaldo Roman; selection of xerox flyers by Gean Moreno.

more info:
http://www.hydeparkart.org/exhibitions/2009/05/artists_run_chicago.php

2007 •EXERCISE 1: Evident & Invisible Interactions. Cuated by Kristine Serviá.

2009-06-09T17:09:00.000-07:00

2007•EXERCISE 1: Evident & Invisible Interactions. Cuated by Kristine Serviá.

EXERCISE 1:
Evident & Invisible Interactions

Synopsis:Exercise 1 is a project that intends to create a visual dialogue between distant groups through correspondence exchange. For this exercise, the dialogue takes place between a group located in the Caribbean and a group located in North America.

Description:

Everyday life flows in a constant reciprocity. There are instances where exchanges through interactions are evident, planned, and other moments when they appear subtle, indistinct, and invisible. Exercise 1 draws from both situations (evident and invisible interactions).

The projects’ intention is to create a parenthesis, an exchange of random items between the groups. In addition, the exercise alludes to one of the laws of motion, affirming:

“For every action, there is an equal and opposite reaction.” – Newton’s Third Law of Motion.

In Exercise 1 the presence of this reciprocal motion is essential.

1. The action of giving

2. The action of receiving

3. The reaction to what has been recieved.

Elements to make EXERCISE 1:

1. A group of individuals from San Juan, Puerto Rico.

2. A group of individuals from Chicago, Illinois.

3. Equal number of people in both groups.

4. One contact person in each group (location), in charge of sending the package.

PART 1
Note 1: Thinking about intentions exchange, distance, frontiers, language, translations, among others…
Note 2: Individuals donate, intervene, and document.

Deadlines: Posted at the end of this page.

Initial Contact: Each individual, in both groups, makes “a tangible piece”, taking in consideration the idea of the exercise as a thematic suggestion. It is important to consider the size and weight of your piece in small format, in order for the final package to be economical.

PART 2

Gathering: Once everyone (in both groups) has finished their pieces the contact person in each location will be in charge of gathering and packaging all the objects.

Sending: The contact person must go to the post office with the sealed package to get shipping estimate. Following, the contact person will meet with the group and arrange to collect the cost. The shipping cost will be shared among the group.

PART 3

Sending Simultaneously: Both the contact person in San Juan, and in Chicago, will send the package in the mail on the same day.

Receiving Simultaneously: The contact person will receive the package at both locations. The package will be opened when all in each group are present.

Random Repartition: In both locations, on the same day (time), in the presence of all individuals participating, the package will be opened. Once opened the group will decide how to randomly distribute the items among them.

PART 4

Documentation 1: In both groups, all individuals should photograph the original item received/selected.

REACTION: Subjectively, each individual will then react to the object/item received in the way they feel is best.

Documentation 2: In both groups, all individuals should photograph the altered/intervened object. The contact person should then gather copies of each individual’s documentation and resend it.

*The project EXERCISE 1 ends when each group receives evidence that the objects they sent where looked at, touched, or intervened.

PART 5

Conclusion: The project “EXERCISE 1” is effective with or without an exhibition. Both groups should agree to publicly exhibit the evidence of the dialogue once finished.

Evidence & Exhibition: Once the exercise has concluded, each group should have equal amounts of objects and photographs as evidence of the visual dialogue. This material can be publicly exhibited as the interaction.

Grupo:

W&N
Karlo Ibarra
Nora Maite Nieves
Rosemarie Perea
Abdiel Segarra
Javier Nicolau-López
Raquel Quijano
Michelle Miner
Elsa Melendez
Diego de la Cruz
Omar Obdulio Peña Forty
( _________________ )

Group:

Syniva Whitney
Jason Gabriel
Carla Duarte
Julie Krause
Young Cho
Michael Milano
Madeleine Primavera Bailey
Ye Sueng
Annie Egleson
Alison Rhoades
Kristine Serviá
Anndell Qintero

2007 •Rotten Poster Show, Inova (Institute of Visual Arts, Milawaukee) by Nicholas Frank.

2009-06-09T16:57:00.000-07:00

2007 • Rotten Poster Show, Inova (Institute of Visual Arts, Milawaukee) by Nicholas Frank.

"pay bill" - W&N 2007

2007 •COMA 13: Heatwave! in colaboration with EC Brown, Chicago, Illinois.

2009-06-09T16:54:00.000-07:00

http://occidentalmuseum.org/archives/coma13.htm
2007 • COMA 13: Heatwave! in colaboration with EC Brown, Chicago, Illinois.

Hot Mix

MP3 Mix Index

Alexander Stewart	Just a Little Love Affair (89 MB): Soul/crunk/psych/funk summer breaks mix
Anthony Elms	El Calor Emputece (78 MB): Percussive music from the Carribean and Brazil (MP4 files).
Bert Stabler	New Deutsch (90 MB): Comp. of German New Wave
Brian Taylor	Hot Mix (127 MB): Jorge Ben, Mystical and other stuff.
Bruce Neal	Being One Thing and Becoming Something Else (141 MB): Miscellaneous
Carl Warnick	Hot and Rough Summer (52 MB): Miscellaneous, lots of pop
Catie Olson	Come to the Sabbat (7 MB): Classic from Black Widow, and Catie's film sdtk
Chris Uphues	I Lost My Death's Head (3 MB): A single short track on acoustic guitar
EC Brown	Bangin hardhouse mix (91 MB): From my 1997 WCRX "Mix at 6" cassettes Summer Chores (170 MB): All vintage music from blogs: heavy psych, garage, rockabilly, folk, and Brigitte Fontaine
Erik Wenzel	The Dreams in Which I'm Dying Are the Best I've Ever Had (111 MB)
Flan -	Squamata (47 MB): Abstract electronics inspired by reptilian movements. From a collective in Puerto Rico. W&N - Jose Tomas
Frank Pollard	80's Hardcore (78 MB)
Jacob Christopher	Hot Mix (57 MB): TV theme music
Katyana (Oddio Overplay)	Sun-Drenched (160 MB): Sun themes, migrating from electronica to guitars. Live for the Sun (99 MB): Sunny, upbeat music to counteract a flooded home, broken AC, and airport security. Carnaval no salão (30 MB): Brazilian carnaval music, released 1966.
Keith Teleki (Zoltan)	Sweltering Sounds for Baby (185 MB): Baby/nursery-related sounds, experiments and music for his radio show (he's a new dad this summer).
Rob Ray/ Crunktronik	Put Me Out (30 MB): Ghetto house and electro mix

Music inspired on Squamata moves.
made in Puerto Rico 2007
collaboration W&N and Jose Tomas

repuesto.wetpaint.com/page/Flan

"Historia Gráfica de la ineptitud isleña"

2009-06-09T16:35:00.000-07:00

http://novela.repuestoweb.org

Desde el 1 de febrero al 18 de abril del 2009 en el UCCS estaremos publicando una imagen diaria de nuestra colección titulada "Historia Gráfica de la ineptitud isleña" como saludo a la 2da Trienal Poli/Gráfica de San Juan: América Latina y el Caribe. El 17 de abril del 2009 en el espacio de el UCCS se llevará a cabo un evento donde se presentará la publicación de la Novela.
http://uccs.repuestoweb.org/Unions_Contemporary_Collectors_Space/Entries/2009/4/20_Historia_Gráfica_de_la_ineptitud_isleña.html
http://union704.blogspot.com

Organizado por REPUESTO y Sonia Carmona

Todo por él

2009-06-09T16:31:00.000-07:00

"Pasion De La Cruz"

SAN JUAN NOISE FEST IV

2009-06-09T16:24:00.000-07:00

4to. Festival de ruido extremo de San Juan

Actuaciones de 15 minutos por:

HEAVY BROWSERS (Matt B, Pelle, Joa)
LAUTE GERÄUSCHE
W&N
MU.
OMAR OBDULIO PEÑA FORTY
TONY GONZÁLEZ-WALKER
FRANCISCO J TORRES
CHUCK GNOIDER
PUNTITO SINIESTRO
RAVEN STRAIN + CORNUCOPIA (collabo)
SHHH
JOA
LOBOGAMMA

Sábado, 20 de septiembre 2008
@ Centro de Horribles Artes (Chá)
Fairview, Trujillo Alto.
8PM - 11:45PM
$5

PURO RUIDO

"Less talk, more action"
- Emil Beaulieau

¿Absurdo?

2009-06-09T16:16:00.000-07:00

"FR" - W&N
14 de Agosto de 2008

¿Absurdo? Absurdo son todas las triquiñuelas y marometas que el artista colonial se ve forzado a hacer para demostrar o publicar su obra aquí en la isla del desenfreno, la rimbombancia comercial y la ignorancia. La ‘republiquita bananera’ que tanto pregona Anibalucho y sus sequaces independentistas no tienen que dárlosna USA (The Unaited States of America – por sus siglas en inglé), sino que está ya aquí, instamatic y a to’ color. Pues ahora yo entiendo. No se trata de analquía, anarkía o terrorismo desmedido, sino más bien de obras: videos, pancartas, collages, etc. que estos muchachitos/tas quieren presentar como contraexpo al sinnúmero de junk mail que las instituciones institucionalizadas y ‘galerías’ prostitulizadas, mafiolizadas despliegan, traquetean y refritean para una masa de gustos ramplones, locales y buyangueros. Pues no se asusten con estos eufemismos metafóricos insapientes y huérfanos de carácter que mi genialidad aporta. Sólo basta con que un ojo educado y una mente vibrante se den una vueltita por estos antros y verá a lo que me refiero. ¿Absurdo? Nada de absurdo tiene el que estos chicos/cas sólo traten de hacer de espías infiltrados, infiltrándose por entre este mundillo artístico y mafionisado que compone las galerías e instituciones de esta islilla. Sólo tratan estos chicos/cas de abrilnos más los pardos macos para que así nuestras mentes se abran a la misma vez, y de paso entiendan que el arte se hace por y con un propósito. ¿Absurdo? Absurdo es este mercado pueblerino, mercantíl y follonero, decorativo y descabezao que tanto carece de cojones y conocimiento sobre lo que el arte de verdad debe ser y es. Arrecuéldense; de bananas no solamente vive el hombre (y la mujer, de paso) sino también tenemos (debemos) de admitir otras especies como monjitas, curas, parroquianos, sacerdotes, comunistas, amas de casa, alcahuetes, anexionistas, cíclopes, chulos, acólitos, fanáticos, girlscouts, unicornios, cuernudos, putas, chillos, colonizaos, centáuros y tecatos, que están afuera de círculos mafiosos y elitistas para que esta orgía oligárquica se complete y sea de veldá veldá una demokrácia incluyente al estilo yankee doodle dandy. ¿Are we artists or mickey mouses? De otro modo, por favor; no miren para el lado ni nos critiquen u ofendan porque entonces... ¡nos veremos forzados a incendiar y molotovizar todas las galerías e instituciones del orbe colonial! Para que entonces podamos todos exclamar: ¡Arriba las bananas! Y en esta grata época del terrorismo, digamos todos a unísono: ¡Revolution wiz Love or no Revolution at all!
Gracias.
Dr. Pitt von Pigg Ph.DDD

14 de Agosto de 2008

http://www.dondeveoarte.com/absurdo/index.html

Reseña

• ARTNET, reseña por Pedro Vélez >> http://www.artnet.com/magazineus/reviews/velez/velez1-5-09.asp

Publicado en ARTNET
www.artnet.com

PUERTO RICAN SUN
by Pedro Vélez

"Absurdo," Aug. 15-Sept. 25, 2008, La 15, Calle Ernesto Cerra #703, Santurce, Puerto Rico
"Absurdo" was a small but magnificent satirical group exhibition about political corruption in Puerto Rico -- it seems to be something of a regular pastime down here -- which takes my vote as the island’s best show of 2008. It was based on a manifesto written by a pseudonymous island character, Dr. Pitt von Pigg. Despite his obviously bogus bona fides, von Pigg has nevertheless become a local cultural icon, and even has a fan page in Facebook. The "Absurdo" exhibition was held at La 15, a storefront gallery in the Santurce district of San Juan overseen by Jose Jorge Román.

As a stylist, Pigg favors nasty diatribes loaded with sexual innuendo and packed with attacks against the evil colonial force up north, the USA. He’s irresistible.

"Absurd are all the tricks and antics that the colonial artist is forced into as a way of showing or publishing his work here on an island," von Pigg writes, "with all the dissipation, commercial ostentation and ignorance of a little banana republic." When Pigg talks about "tricks and antics," he is referring to the ways that the perennial colonial status of Puerto Rico affects the collective psyche of its citizens, promoting a certain anxiety and victimology, not to mention moral corruption.

What gave "Absurdo" its special kick, however, was the fact that the artists in the show are all involved with a local network of blogs and independent publications that have arisen in part as a reaction to the blind eye the main media has turned towards recent scandals concerning local museums, art professionals, galleries and the government. The network has been a success, in the sense that it directs the critical conversation onto subjects that more traditional media have ignored. "Art blogs have changed the panorama," says Warren James, a Puerto Rican architect who works in New York. "They provide a window into newly minted art and artists."

One such blog is TranceLiquido.com, overseen by Lilliam Nieves and Arnaldo Román, who point out that the computer screen offers a new window into human intimacy. For "Absurdo," they show a photograph of a man whispering into the ear of a woman, who in turn has an expression of awe and seduction. Titled Networking the Pleasure, the image is overlaid with hip icons from software applications and web forums.

Another photo, called Decontextualizing Human Software, is a black-and-white image of Román’s face breaking up into pixilated squares, as his identity literally morphs from the 19th-century photographic representation into the 21st-century digital one. Here, the information highway leads into some dangerous territory, as the two artists point out that the web can carry attacks, rumors and general annoyance. New technologies produce new crimes.

New technologies also have made images more available than ever before -- for nefarious purposes, often enough. Carmen Olmo, an artist who recently had an exhibition at Galeria Guatibiri in Rio Piedras (one of the best shows of the year) and who also organizes web exhibitions via dondeveoarte.com, her own website, steals several zoological images from the web to create her multimedia work, 1931 Savage Sex (from the "Exploitation Lovable" series). A banner for the exploitation film hoax poster Ingagi, which shows a rather sleazy-looking gorilla holding a bare-breasted native African woman, is inset with a digital video screen, which shows a loop of monkeys copulating. The tagline on the banner reads, "Wild Women, Gorillas, Unbelievable," which seems to imply that a touch of bestiality can be found in true love.

Ingagi was made in 1931, earlier than King Kong, which debuted in 1933. The producers of Ingagi were sued for their unauthorized use of footage from an authentic ethnographic film that had been released 15 years earlier. Olmo’s work is a new loop in the historical string, reproducing and reinforcing a sexual taboo, which is sometimes taken as a harmless joke, and other times as a pornographic fetish.

The digital artist Teo Freytes, who runs msa-x.org, a site that documents exhibitions, uses the iPhone as a tool in a group of works titled Hot Morcilla. A veteran of the San Juan art scene, Freytes has produced two traditionally painted watercolors after a digital study drawing he made on his iPhone. The subject is blood sausage on a hot dog bun, a hilarious hybrid that serves as a metaphor for the cultural mix between the nations of U.S. and Puerto Rico. The painted text that adorns the larger painting ("Morcilladog") is made of letters that look like skinny parasite worms. The Puerto Rican meat product coexists nicely with the North American bollo blanco, probably because food in Puerto Rican culture is part of a social ritual. To escape and to forget we indulge in food.

Carlos Fajardo’s La Muñeca is a spray-painted caricature of a wide-eyed, smiling redhead, who looks out at the viewer and signals with her right hand. "I propose a national day for dolls," reads a blocky text in the background, a collage of magazine and newspaper clippings, all within a tacky decorative frame. The work seems to be a portrait of the television character La Comay, for which a man dresses in a life-sized puppet costume to relate local social and political gossip every weekday evening. La Comay is so popular that many of our corrupted senators, who travel like statesmen to Miss Universe beauty pageants, would rather make an appearance on this gossip show than answer more straightforward questions from the press. Fajardo’s Muñeca is a sharp social critique of the power of gossip.

If gossip wins ratings, then Strange Connections by Teresa López is a kind of subdued gossip for intellectuals. The publisher of the magazine Orificio, which features projects by artists, López has designed a series of posters that look like that old children’s matching game, with a list of names on one side and a column of pictures on the other, to be linked with a drawn line. Richard Nixon, El Ché and Rasputin, for instance, all correlate to a banana. Guevara? Banana? Phonetically, it could all make sense. Strange Connections is more about absurd visual poetry than anything else.

The young artist Norma Vilá, who is generally known for her installation works, here contributes a small color photo that bounces nicely off of the rest of the show. Taken by chance, the image shows one man and three women, all morbidly obese and all wearing blue outfits, standing in a parking lot. One of the women holds a bat and wears a custom-made T shirt that reads (in Spanish), "I’m as loose as a shoelace," a phrase loaded with sexual connotations that derive from Reggaeton music. In this picture, reality meets head on with folklore and fantasy. The question is: are we part of this collective, or are we apart from it?

The absurdity of it all is channeled with theraputic justice in FR, a great sculpture by duo W&N. The severed head of a mannequin, wearing a black wig and with long colorful cotton strings attached to the neck like blood and veins, lies on broken marble tiles on the floor. The face shows multiple cuts and a swollen eye, made delicately with paint and graphite. As if these cosmetics weren’t freaky enough, the artists have given the mannequin the look of a local former art dealer known for his obsessive lying.

In the work, the broken marble is a symbol of decadent aristocracy and wealth, expressed in the phrase "you come from la Loza," which is similar to being born with a silver spoon in your mouth. The dealer has become subject matter for several artists lately, but W&N treat the subject as a prop to describe decadence and injustice in the island as well as a marker of a vigilante counterculture engaged in collective vengeance via esthetics.

In the end, the head of FR not only represents individual tragic failure, it also stands for the scandalous state of the Museum of Contemporary Art of Puerto Rico, which has been paralyzed by a year-long controversy that has included a funding crisis, threats to close, demands for the resignation of the museum board and, last but not least, the appointment of a new director. The organization currently stands at the crossroads -- either it will close or transform itself into the progressive institution it has never been.

FR is a breakthrough piece in contemporary Puerto Rican art because it memorializes, without fear, the collapse of a golden era into ethical and fiscal corruption. And at the same time it signals a new beginning full of hope with new ideas and attitudes.

The show ends on a happier note with a video collaboration by the late Art Kendallman, aka KMAN, and Museo el Barrio curator Elvis Fuentes. Though KMAN is with us no more, the performances and sculptural works by this artist and habitual blogger survive through the very blogs he nurtured and loved.

A vid of "Absurdo" can be found on msa-x.org here.

PEDRO VÉLEZ had a great five years vacationing in Puerto Rico. He has now relocated to Chicago, where he is hard at work on The Comercial Years: The Lazy Days of Art, a memoir of his time on the island.

• El absurdo que nos une por Tatiana Pérez Rivera en El Nuevo Día (PDF) >>
• ABSURDO en La 15 en el Box Score >>
• Colectivo de artistas boricuas "Absurdo" destaca rarezas del ELA (Primera Hora)por Iñaki Estivaliz >>
• Documentación en REPUESTO >>

FAS 08 - feria de arte sonoro

2008-07-12T08:58:00.000-07:00

From August 15 till 17, 2008 we invite you to celebrate with us the first Sound Art Fair at "La Respuesta", 1600 Ave. Fernández Juncos (corner Calle Del Parque), Santurce, San Juan, Puerto Rico.

Selected sound artists - contemporary artists who use sound as a principal media - will exhibit and sell their work. We expect works from artists such as Raphael Montañez Ortiz, Papo Colo, Adál Maldonado, Charles Juhász-Alvarado, Teo Freytes, Carola Cintrón Moscoso, Rafael A. Vargas Bernard, co-organizer and artist Omar Obdulio Peña Forty, W&N, Luis Rafael Berríos Negrón, Jacob Morales, Rebecca Adorno, ...

In addition, the event will feature educative and interactive elements such as a panel on Saturday and a guided tour on Sunday.

On Friday and Saturday evening there will be concert-like live performances by Matotumba, Arnaldo Lozada, Raven Strain/Matt Billings, co-organizer and artist Jorge Castro, Robin Alicea, Claudio Chea, AHD (Ariel Hernández Domenech), Francisco J. Torres, Araceli Pino,...

Opening reception:
Friday, August 15, 2008, 6 pm
(schedule, program and list of participating artists are subject to change)

http://repuestoweb.org/fas.htm l
http://www.el-status.com/fas/

Why the Fuck not PPodcast

2008-05-29T18:49:00.001-07:00

Episode 2 starts with a little unmentioned snippet of a song by Elio & Le Storie Tese awesomely performed by Antonella Ruggiero, to steadily continue with an interview with Manu Théron, lead singer of Lo Còr de La Plana, Chin na na poun and Gacha Empega. Although this episode of Why the Fuck not PPodcast was officialy invited to PUBLICA 2 in Puerto Rico, scared of the thought that the Bad at Sports staff is listening to it, this episode doesn't say a word about contemporary art. In fact, it barely treats contemporary music at all. Be brave, download it here.

Names dropped:
Antonella Ruggiero, Chin na na poun, Daniel Malvergne, Edmond Hosdikian, Elio e Le Storie Tese, Gacha Empega, James W Morris, Jonathan Richman, Lo Còr de la Plana, Manu Théron, Nani Álvarez(W&N), Patrick Vaillant, Publica 2, Puerto Rico, Richard Baquié, Webster Hall.

Web dropped: www.antonellaruggiero.com, www.badatsports.com, www.elioelestorietese.it, www.en.wikipedia.org/wiki/Jonathan_Richman, www.jwm-art.net, www.myspace.com/chinanapoun, www.myspace.com/locordelaplana, www.repuesto.wetpaint.com/.

Milwaukee International Art Fair

2008-05-08T05:10:00.000-07:00

http://milwaukeeinternational.tk/
Island's Artists Invade Milwaukee International Art Fair

REPUESTO and a group of puertorrican artists have been invited, by the curator of the prestigious center of contemporary art INOVA from the University of Winsconsin, Nicholas Frank, to take part during the 16th and 17th of May 2008 at Milwaukee International Art Fair. REPUESTO, a publication and archive of art events images on line, designed by duo W&N, together with the artists Gamaliel Rodríguez, Pedro Vélez, Abdiel Segarra, Jacob Marchosky and Kristine Serviá will be present with pieces of installation, drawing, painting, collage and sound objects. The Milwaukee Internacional fair is recognized in the international scene by its slightly conventional model since the fair is celebrated in a brewery.

REPUESTO’s intervention adds to some renown galleries that will participate on the art fair like Gavin Brown's Enterprises, Daniel Reich, Leo Koenig, Western Exhibitions, and Willy Wonka from Oslo among others.

Circa Labs

2008-04-21T04:41:00.001-07:00

ART TRACKING
Remedios Culturales: Fármacos para una escena cultural en crisis.
curated by Abdiel Segarra

Rotund World
http://rworld.thenextfewhours.com/

Angora

2008-04-21T04:28:00.000-07:00

http://boxscoreendivselpuebloylacultura.blogspot.com/2008/04/angora-2-vs-1.html

Cataño DC

2008-04-21T04:07:00.000-07:00

CATAÑO D.C. (Distrito Cultural)
El domingo 13 de abril de 2008, paralelo a Circa International Art Fair se celebrará el evento Cataño D.C. (Distrito Cultural). El mismo desea desarrollar en el casco urbano del municipio un proyecto cultural que sirva para unificar la comunidad y promover el intercambio de la historia del pueblo y sus costumbres. Cataño D.C. consta de diez y ocho (18) intervenciones artísticas a través de las facilidades del frente marítimo del municipio y las lanchas que transitan entre Cataño y Viejo San Juan. Jesús “Bubu” Negrón, Chemi Rosado-Seijo, Quintín Rivera-Toro y Jacob C. Morales-Marchosky son algunos de los artistas suscritos. Además, el público disfrutará de una propuesta musical experimental desde las 6pm hasta las 9pm en el Frente Marítimo de Cataño. Los proyectos musicales seleccionados cuentan con una estética influenciada por las vivencias citadinas. El propósito de la actividad es crear conciencia sobre el espacio y la necesidad de un arte especifico para su entorno. Este proyecto espera activar un área que aunque es rica en historia se encuentra rezagada del fenómeno de los programas de agenda cultural. El equipo de producción desea comenzar mediante esta acción un efecto de impacto que abra al pueblo de Cataño a mayores consideraciones como escenario para eventos o realizaciones de corte cultural. Cataño D.C., es un proyecto de Manuel de Lemos, arquitecto y urbanista y Conboca, Inc., una corporación sin fines de lucro que por dos años se ha ocupado por fomentar a través de proyectos de exhibición y publicaciones, el pensamiento crítico y la actividad cultural comprometida. Para más información pueden comunicarse con: Abdiel Segarra-Ríos, artista y curador del evento, t. (787) 633-9422 / e. abdiel.segarra@gmail.com.

EVENT HORIZON

2008-03-19T06:21:00.000-07:00

http://www.event---horizon.com/happenings.html

http://www.event---horizon.com/community.html

http://www.event---horizon.com/broadsides.html
Connect-the-Dots (Dead Pigeon)

Traditional education, implied largely to the operating or instrumental conditioning theory, distinguishes an instruction that bears in mind a stimuli that tries to receive specific response from the subjects, in this case, from the children.

Through experimental exercises, for example the connection of dots to create an image, a specific reference is given in order to have reinforced consequences; it is important to be kept in the line. This vague activity has as a main but hidden goal, for every child to develop no creativity and individuality wile teaching them to follow instructions.

Usually, when children are given an activity like this with a specific icon, for example a flower, next time they are asked to draw one, it is highly possible for them to draw a similar flower.

EVENT HORIZON: PUBLIC ART PROJECT

Featuring Printed Broadsides, Ephemera & Performative Happenings

“Event Horizon” is a public art project that seeks to create a site for inquiry into the nature of current events and history through the use of print media, performance, and individual interpretation. Artists within “Event Horizon” interpret and re-present topics, headlines, graphics, and text found in widely circulated newspapers, broadsides, and fliers to produce creative, critical, and poetic interplays in the form of printed posters and broadsides. The reader’s ability to translate and creatively respond to “popular” issues will underscore a story or subject’s meaning, thereby exposing “the style” of interpretation as a determinant element of how events or topics are individually understood and communicated to a larger public. Traditionally hung in public places to announce news and events to the public, broadsides locate information within a locality of interest, while creating a visual tableau, indexing issues within a splayed format. Physically unbound, the broadside references the loose sheets of a newspaper, with large type and simple script, easily read by the passerby, to be papered and hung on poles, store windows, buildings, and folding displays. Using print media as a means to create a backdrop for the projection of ideas and opinions, “Event Horizon” re-contextualizes current events within a staged setting of signage and performative happenings. By situating themselves within a public place, calling and handing out their print media, participating artists will be inadvertently quoting other historical and contemporary performance traditions, including: town-crier, soap-boxer, street performer, mystic, publicist, recruiter and activist. The public is invited to engage notions of the “newsworthy” through absurdist, practical, educational, comic, mundane, and dramatic presentations of topical material.

PARTICIPATING ARTISTS:
Erika Adams (Boston, MA), Razan Alazzouni (Boston, MA), Chad Arnholt (Boston, MA), Elaine Bay (Boston, MA), Janine Biunno (Boston, MA), Rob Erickson (Brooklyn, NY), Noah Fischer (Brooklyn, NY), Melinda Go (Boston, MA), Rebecca Bird Grigsby (Boston, MA), Harvey Loves Harvey (Boston, MA, Brooklyn, NY), Lisa Hecht (Milwaukee, WI), Alysia Kaplan (Chicago, IL), Louise Krampien (Boston, MA), Jessica Marx (Boston, MA), Stefano Pasquini (Bologna, Italy), Rhonda Ratray (Boston, MA), Vinicius Sanchez (Boston, MA), Jennifer Schmidt (Brooklyn, NY), Jessica Scott-Dutcher (Boston, MA), Victoria Shen (Boston, MA), Kirk Snow (Boston, MA), Marcelino Stuhmer (Milwaukee, WI), Pedro Velez (Puerto Rico) with Gamaliel Rodríguez-Ayala (Oslo, Norway), Gabe Ventura (Boston, MA), Stefanie Vermillion (Boston, MA), W&N (Puerto Rico), Marine Wallon (Paris, France), Terrance Wong (Boston, MA), Tina Ye (Boston, MA), Jennifer Yorke (Chicago, IL).

LOCATION & DATES:
Saturday, April 12th & Wednesday, April 16th, 2008
Davis & Union Squares, Somerville, Massachusetts
10am-1pm : Davis Square, Gathering Area { Times on both days }
3pm-6pm : Union Square, Gathering Area { Times on both days }

"Event Horizon" printed ephemera will also be on display within the Project Space Gallery at the School of the Museum of Fine Arts, Boston. Located at: 230 The Fenway, Boston MA 02115. Exhibition Dates: April 11 - April 21, 2008

For more information, please visit: http://www.event---horizon.com ______________________________________________________________

This project is supported in part by the School of the Museum of Fine Arts, Boston, the Institute for Art & Civic Engagement at Tufts University/School of the Museum of Fine Arts, Boston, and the Somerville Arts Council.

10 años de TROPIEZO

2008-02-28T19:32:00.000-08:00

y ARTE basado en las
canciones de TROPIEZO
http://repuesto.wetpaint.com/page/10+a%C3%B1os+de+TROPIEZO
http://www.myspace.com/tropiezo

PPODCAST (why the fuck not)

2008-01-10T08:03:00.000-08:00

Episode 0 is here. Freely inspired by Bad at Sports and Peter Nelson, Why the Fuck not PPodcast is just another podcast about contemporary art and awful experimental music, but smaller. It only lasts 30 minutes or less. Be brave, download it here.
Names dropped:
Aaron Wendel, Bad at Sports, Beavis and Butthead, Bubble Organ, Flan, Giorgio Sadotti, Lily Allen, Martin Creed, Marzipan Marzipan, Natural Reader, New Zealand, Paula Knight, Peter Nelson, Ramones, Robert Storr, Rockaway Beach, Speculation, Tracey Emin, Venice Biennale, W&N.
Web dropped:
www.archive.org/details/FlanSquamata, www.artspace.org.nz, www.geocities.com/w_n_pr, www.lilyallenmusic.com, www.myspace.com/artreview, www.myspace.com/paulajknight, www.naturalreaders.com, www.oddmusic.com, www.peternelson.org, www.radioqualia.va.com.au, www.sopa.dk/marzipanmarzipan

Episode 1 has arrived at last, just in time for thanksthef#@kgiving. Still inspired by Bad at Sports and Peter Nelson, Why the Fuck not PPodcast is just another podcast about contemporary art and awful experimental music, but smaller. It only lasts 30 minutes or less. In this issue the Italian way of Life, the Occitanista way of singing of Lo Còr de La Plana and much more!
Be brave, download it here.
Names dropped:
Allan Kaprow, Dead Pony, FGA, Friedrich Nietzsche, George Martin, Linz, Lo Còr De La Plana, Mafia, Maurizio Cattelan, MCA Chicago, Miami, Photo Miami, Pedro Velez, PS1, Ray Cathode, Salvador Dalì, Sex Pistols, Thurston Revival, Venice Biennale, Yorgedee.
Web dropped:
www.artfairsinc.com/photomiami/2007, www.badatsports.com, www.holycow.de, www.labiennale.org, www.linzmuzik.com, www.mcachicago.org, www.myspace.com/locordelaplana, www.thefga.blogspot.com, www.thurstonrevival.com.

http://www.stefanopasquini.net/

photo Miami 07

2007-12-18T06:17:00.000-08:00

Art Tracking & Galería Candela
http://arttracking.blogspot.com/
http://www.artfairsinc.com/photomiami/2007/

video
http://msa-x.org/vid-blog/photo-miami-07.mov

BLOG

2007-11-28T08:29:00.000-08:00

2007
BLOG curated by REPUESTO, Galería Candela.
Old San Juan PR

http://repuesto.wetpaint.com/page/Blog+en+Candela
http://repuesto.wetpaint.com/page/Sobre+Candela+y+Blog

Publica

2007-11-28T08:22:00.000-08:00

2007
PUBLICA organized and curated by Kristine Serviá,
=Desto, San Juan PR
http://repuesto.wetpaint.com/page/PUBLICA?t=anon
http://repuesto.wetpaint.com/page/Rotund+World+-+PUBLiCA

The Dams2

2007-11-28T08:12:00.000-08:00

2007
The Dams2 curated by Pedro Vélez, Universidad
del Sagrado Corazon (Sala De Las Artes, Pepin
Mendez Gallery and diverse areas around the campus).
http://repuesto.wetpaint.com/page/Dams2
http://repuesto.wetpaint.com/page/Rotund+World+-+The+Dams+2

El Vocero
http://www.vocero.com/noticias.asp?n=89089&s=rEscenario

La Mobil

2007-11-28T08:05:00.000-08:00

2007
La Mobil(Floating Devices)- organized
by Katalina Itarulde, Condado PR
"Lapiz"
tubo sanitario y enamel 10'x4"

THE DAMS

2007-11-28T08:00:00.000-08:00

2006
FGA(*since 1997)
THE DAMS
THE DAMS Young Art from Puerto Rico curated by Pedro Velez for the
FGA at photo MIAMI The International
Contemporary Fair of Photo-Based Art,Video,and New Media.
December 6-10,2006
http://www.geocities.com/w_n_pr/photomiami.html
www.myspace.com/thefga
thefga.blogspot.com

"Methods For The Obedience"

Hecatombe

2007-11-28T07:56:00.000-08:00

2006
organized by Quintín Rivera Toro, Area, Caguas PR
http://www.geocities.com/w_n_pr/hecatombe.html

Affordable Art

2007-11-28T07:52:00.000-08:00

2006
Affordable Art, curated by Gamaliel Rodríguez,
La Casa del Arte, PR

El Vocero
http://www.vocero.com/noticias.asp?s=rEscenario&n=74041

"Affordable Art"

http://www.geocities.com/w_n_pr/affordable.html

CIRCA'06

2007-11-28T07:40:00.000-08:00

2006
CIRCA'06
Puerto Rico Convention Center,
San Juan PR
"Juegos"

http://www.geocities.com/w_n_pr/circa.html

Juego

2007-11-28T07:30:00.000-08:00

2006
"Juego"
EL POLVERIO
El Polvorín, Luis Muñoz Rivera Park, San Juan PR

Rotund World News
http://rworld.thenextfewhours.com/6th_Edition/Page7.html

http://www.geocities.com/elpolverio/
http://www.geocities.com/elpolverio/wn.html

Go to Puerto Rico USA

2007-11-28T07:23:00.000-08:00

2006
"Go to Puerto Rico USA"
secretly distributed postcards in
souvenirs shops, Old San Juan, PR

www.myspace.com/gotopuertoricousa
http://www.myspace.com/gotopuertoricousa

Sort to PR

2007-11-28T07:16:00.000-08:00

2005
"Sort to PR"
Intervention with cardboard boxes
in Fortaleza Street Old San Juan, Puerto Rico

W&N

Walter S. Fernández

Don’t Fuck with Post Painterly Abstraction: Review for Rafael J. Miranda and Walter Fernández’s Caribbean Russian Neoconstructivism (o Neo-constructiv

"NEOCONSTRUCTIVISMO CARIBEÑO"

ART WORK: A National Conversation About Art, Labor, and Economics

http://millergallery.cfa.cmu.edu/exhibitions/artwork/

Mirada al "neoconstructivismo caribeño"

Mirada al "neoconstructivismo caribeño"

Oficio y exploración en ArtLab 753

Oficio y exploración en ArtLab 753

Desidia

Del Otro Lado De Las Siglas

sábado 20 de diciembre de 2008

Presentación de Art/Work @ la huelga

THE NEWSPAPER

Encounter with Art Blogs

Museo de Arte de Ponce

Artist Run Chicago at the Hyde Park Art Center

the FGA (aka Fucking Good Art)

Shril at Hyde Park Art Center, Chicago

FGA's The Program : 2001-2009 a video show about judgement where the viewer controls the clicker

2007 •EXERCISE 1: Evident & Invisible Interactions. Cuated by Kristine Serviá.

2007 •Rotten Poster Show, Inova (Institute of Visual Arts, Milawaukee) by Nicholas Frank.

2007 •COMA 13: Heatwave! in colaboration with EC Brown, Chicago, Illinois.

Hot Mix

MP3 Mix Index

Alexander Stewart

Anthony Elms

Bert Stabler

Brian Taylor

Bruce Neal

Carl Warnick

Catie Olson

Chris Uphues

EC Brown

Erik Wenzel

Flan -

Frank Pollard

Jacob Christopher

Katyana(Oddio Overplay)

Keith Teleki(Zoltan)

Rob Ray/Crunktronik

"Historia Gráfica de la ineptitud isleña"

Todo por él

SAN JUAN NOISE FEST IV

¿Absurdo?

FAS 08 - feria de arte sonoro

Why the Fuck not PPodcast

Milwaukee International Art Fair

Circa Labs

Angora

Cataño DC

EVENT HORIZON

EVENT HORIZON: PUBLIC ART PROJECT

Featuring Printed Broadsides, Ephemera & Performative Happenings

10 años de TROPIEZO

PPODCAST (why the fuck not)

photo Miami 07

BLOG

Publica

The Dams2

La Mobil

THE DAMS

Hecatombe

Affordable Art

CIRCA'06

Juego

Go to Puerto Rico USA

Sort to PR

Katyana
(Oddio Overplay)

Keith Teleki
(Zoltan)

Rob Ray/
Crunktronik