A FEW IN MANY PLACES
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A Few In Many Places, Protocinema Graphic design by RAR Editions, Yogyakarta, 2021
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Desplácese hacia abajo para español
한국어를 위해 아래로 스크롤
คลิกที่นี่เพื่อดูข่าวประชาสัมพันธ์ภาษาไทย
May 8- August 8, 2021
Seoul, Bangkok, Istanbul, New York, Santurce, Guatemala City
Co-curated by Mari Spirito and Abhijan Toto, A Few In Many Places includes collaborators:
Gahee Park, Gim Ikhyun, Miji Lee, Welcome to Ogasawara (Hyun Woomin, Min Guhong Manufacturing, Park Daham, Yuri An, Yun Choi), Komtouch Dew Napattaloong, Thanart Rasanon, Alper Turan, Zeynep Kayan, Kathryn Hamilton, Deniz Tortum, Lila Nazemian, Vartan Avakian, Kristine Khouri, Yasmine Eid-Sabbagh, Embajada, Taller Comunidad La Goyco, Jorge González Santos, Esvin Alarcón Lam, Antonio Pichillá, Camilla Juárez.
PROTOZINE: A Few in Many Places 2021
View online & download PDF
Protocinema presents A Few In Many Places, a multi-city group exhibition which addresses on-going collapses and cycles of violence, through various forms of collectivity. Taking place in Seoul, Bangkok, Istanbul, New York, Santurce, and Guatemala City, all of these interventions use sustainable exhibition-making models of reducing exploitation (of natural resources, labor and knowledge) and consumption (no shipping or flying). This year, collaborators present works on continuing inequalities happening in both physical and digital realms. Developed by Protocinema in 2020, A Few In Many Places maintains a foot in physical real-life, small and safe get-togethers in each community while utilizing far-reaching digital support structures, to be both hyper-local and globally interconnected. Each chapter is site-responsive while speaking across the regions and produced in a format that allows for forms of engagement under various conditions of lockdowns or other contingent situations.
In Santurce, Seoul, and Guatemala City, the artists will engage with the different communities and silenced histories through manifold ways. In Santurce, Escuela de Oficios, the collective platform of Jorge González’s practice, will present a series of interventions and in-person programs in collaboration with Organización del Pueblo Indígena Can-jíbaro de Borikén (CAN). Their project, Bateyes del Chibal, focuses on engaging with communal belonging within the context of ceremonial plazas, in Borikén (Puerto Rico), ancestrally called bateys by indigenous and Afro-descendent people in the Caribbean. In Seoul, Welcome to Ogasawara navigates trans-boundary waters of both the literal sea and the “sea” of current internet conditions which are now even more fragmented by boundaries of nationality, ethnicity, or citizenship. The collective will present a multi-platform online-and-offline project in the Champs-Elysee Shopping Plaza in the Euljiro district. In Guatemala City, the project will take place in Pagoda Imaginaria, developed by artist and organizer Esvin Alarcon Lam, who has invited artists Antonio Pichillá and Camilla Juárez to develop a collective exhibition: Pichillá presents an installation following his tradition as a spiritual healer from the Mayan culture. Juárez’s installation, video, and photographs document the performance titled Light Caravan, performed on 5 March 2021, as an act of women lighting other women on the streets of Guatemala City; and Lam, who reflects on the global botanical histories and how they are interlaced with the colonial expeditions financed by the Agricultural Department of the USA, presents a sound installation accompanied by raw bamboo grafted with natural flowers.
A Few In Many Places in Bangkok, Istanbul, and New York will focus on the image in its myriad forms as a site of collective investigation and re-learning as well as a tool to unhinge the cycles of violence. In Bangkok, Komtouch Dew Napattaloong works with broken cameras for photographs and video-audio installation along with sound work by Thanart Rasanon. The project continues the artist’s long-term investigation into the politics of movement and belonging, through an engagement with urban refugees and asylum-seekers, who in Thailand have no specific domestic legal framework for protection. In Istanbul, the exhibition takes vision, body, and movement as subject-matters, and as sensory metaphors of cycles, re-cycles, and breaks those cycles. Zeynep Kayan, with her video works using her body, replays endless repetitions of small physical movements, recalling somatic knowledge, which our bodies carry and transmit for generations. ARK, an on-going collaborative work by Kathryn Hamilton and Deniz Tortum explores the ways that contemporary technologies have provided the framework for understanding the relationship between the body and the world. For the New York chapter of the exhibition, Lila Nazemian in collaboration with Vartan Avakian, Yasmine Eid-Sabbagh, and Kristine Khouri members of the Arab Image Foundation (AIF) will explore histories of (forced) migration, memory and material culture through their intervention situated in a house on Colonels Row, Governors Island. Through photography, research texts, and film, artists as well as participants from the Hagop Kevorkian Center for Near Eastern Studies’ (NYU) Practitioner-in-Residence workshop (entitled: Unravelling Collections and Practices: Rights Materialities and Photographic Agency), will share ideas of and proposals to consider repatriation, rightful ownership, custodianship and control over culture and data.
A Few In Many Places is accompanied by a new edition of ProtoZine including the texts by the curatorial group Collective Rewilding (Sara Garzón, Ameli Klein, and Sabina Oroshi), philosopher Erik Bordeleau and a collaborative essay connecting two city interventions (Santurce and Istanbul) and five collaborators Kathryn Hamilton / Deniz Tortum, Zeynep Kayan, Jorge González, Mari Spirito.
Press Inquiries: Alper Turan, alper@protocinema.org, +49 17670518587, +90 5068706808
Protocinema is a cross-cultural, mission-driven art organization, commissioning and presenting site-aware art in Istanbul, New York, and elsewhere. We produce context-specific projects of the highest artistic quality that are accessible to everyone. Protocinema evokes empathy towards an understanding of difference, across regions through exhibitions, educational public programming, and mentorship. Protocinema maintains long-term relationships with artists nurturing sustained growth. Founded by Mari Spirito in 2011, Protocinema is a registered 501(c)3, free of 'brick and mortar', sites vary to respond both to global concerns and changing conditions on the ground. protocinema.org
Supporters
Protocinema is supported by FfAI - The Foundation for Arts Initiatives; The Cowles Charitable Trust, New Jersey; 601 Artspace, New York; American Chai Trust, New York; Hagop Kevorkian Center, NYU, New York, Goethe Institut, Bangkok; Art Council Korea; Gallery VER, Bangkok; Estrellita Brodsky
Sua-ty (Canción de Sol) is made possible by Para La Naturaleza, La Reserva Guatoc, Estrellita B. Brodsky, Yola Colon, Michy Marxuach, Ernesto Pujol, Ismael Colón, Enrique Bayoán Ríos Escribano, and friends of the artist and Embajada.
Partners
Unas Cuantas En Various Lugares
A Few In Many Places
08 de mayo - 08 de agosto de 2021
Seoul, Bangkok, Istanbul, New York, Santurce, Guatemala City
Co-curated by Mari Spirito and Abhijan Toto, A Few In Many Places includes collaborators:
Unas Cuantas en Varios Lugares, curada de forma conjunta por Mari Spirito y Abhijan Toto, incluye colaboradores:Gahee Park, Gim Ikhyun, Miji Lee, Welcome to Ogasawara (Hyun Woomin, Min Guhong Manufacturing, Park Daham, Yuri An, Yun Choi), Komtouch Dew Napattaloong, Thanart Rasanon, Alper Turan, Zeynep Kayan, Kathryn Hamilton, Deniz Tortum, Lila Nazemian, Vartan Avakian, Kristine Khouri, Yasmine Eid-Sabbagh, Embajada, Jorge González Santos, Esvin Alarcón Lam, Antonio Pichillá, Camilla Juárez.
Protocinema presenta Unas Cuantas en Varios Lugares, una exposición grupal a presentarse en múltiples ciudades que aborda colapsos en proceso y ciclos de violencia a través de varias formas de colectividad. En todas las intervenciones, las cuales se darán en Seúl, Bangkok, Estambul, Nueva York, varios sitios de Puerto Rico y Ciudad de Guatemala, se emplean modelos sustentables para la celebración de exposiciones, con los cuales se busca reducir la explotación (de recursos naturales, labor y conocimiento) y el consumo (no se recurre a transporte marítimo o aéreo). Este año, los colaboradores presentan obras que tratan sobre inequidades que continúan existiendo tanto en ambientes físicos como digitales. Unas Cuantas en Varios Lugares, un trabajo desarrollado por Protocinema en el 2020, recurre a reuniones pequeñas y seguras dadas en ambientes físicos de cada comunidad, pero a la vez utiliza estructuras digitales de soporte de amplio alcance. El resultado es un evento que por un lado es híper local, pero al mismo tiempo genera conexiones a nivel global.
En Santurce, Seúl y Ciudad de Guatemala, los artistas desarrollarán diversas interacciones con las diferentes comunidades y narrativas históricas que han sido silenciadas. En Santurce, Escuela de Oficios, la plataforma colectiva de la práctica de Jorge González, presentará una serie de intervenciones y programas presenciales en colaboración con la Organización del Pueblo Indígena Can-jíbaro de Borikén (CAN). Su proyecto conjunto, Bateyes del Chibal, se enfoca en abordar el sentido de pertenencia comunal dentro del contexto de las plazas ceremoniales en Borikén (Puerto Rico), antiguamente llamadas bateyes por los pueblos indígenas y afrodescendientes del Caribe. En Seúl, Welcome to Ogasawara navega entre las aguas del mar concreto, en su sentido literal, y el “mar” creado por las condiciones actuales del internet, que hoy en día están aún más fragmentadas por fronteras marcadas por la nacionalidad, la etnicidad y la ciudadanía. El colectivo presentará un proyecto en múltiples plataformas, el cual combinará elementos análogos con elementos en línea, en el centro comercial Champs-Elysee Shopping Plaza, localizado en el distrito Euljiro. En Ciudad de Guatemala, el proyecto se dará en Pagoda Imaginaria. Este será desarrollado por el artista y organizador Esvin Alarcón Lam, quien ha invitado a los artistas Antonio Pichillá y Camilla Juárez para crear una exhibición colectiva. Pichillá presenta una instalación siguiendo su tradición como curandero espiritual de la cultura maya. La instalación, vídeo y fotografías de Juárez documentan el performance titulado Light Caravan, llevado a cabo el cinco de marzo de 2021 como un acto en el cual mujeres iluminaban a otras mujeres en las calles de Ciudad de Guatemala. Lam, quien reflexiona sobre las historias globales relacionadas a la botánica y cómo estas se entrelazan con las expediciones coloniales financiadas por el Departamento de Agricultura de los EE. UU., presenta una instalación sonora acompañada de bambú crudo injertado con flores naturales.
Algunes en Muchos Lugares, a presentarse en Bangkok, Estambul, y Nueva York, se enfocará en la imágen en sus múltiples formas como lugar de investigación colectiva y reaprendizaje, además de como herramienta para desarticular ciclos de violencia. En Bangkok, Komtouch Dew Napattaloong trabaja con cámaras rotas para producir fotografías, y crea además instalaciones de audio y vídeo, acompañadas de audio producido por Thanart Rasanon. Este proyecto es una continuación de la investigación a largo plazo del artista sobre las políticas de movimiento y la pertenencia a través de interacciones con refugiados urbanos y personas que solicitan asilo, quienes en Tailandia no cuentan con un marco legal doméstico que les brinde protección. En Estambul, la exhibición adopta como materia temática la visión, el cuerpo y el movimiento, usándolos como metáforas sensoriales de ciclos, repeticiones de estos ciclos, y quebrantamientos de los mismos. Zeynep Kayan, mediante trabajos de vídeo en los cuales usa su cuerpo, presenta repeticiones infinitas de pequeños movimientos físicos, lo cual evoca el conocimiento somático que nuestros cuerpos cargan y transmiten a través de las generaciones. ARK, un trabajo colaborativo en curso de Kathryn Hamilton y Deniz Tortum, explora cómo las tecnologías contemporáneas han establecido los parámetros para entender la relación entre el cuerpo y el mundo. En la sesión que tendrá lugar en Nueva York, Lila Nazemian, en colaboración con Vartan Avakian, Yasmine Eid-Sabbagh y Kristine Khouri, miembros de la Fundación Árabe para la Imagen (AIF por sus siglas en inglés), explorarán narrativas históricas de migraciones (forzosas), memoria y cultura material por medio de su intervención situada en una casa en Colonels Row, Governors Island. Usando fotografía, textos investigativos y película, artistas y participantes del taller de practicantes en residencia titulado Unravelling Collections and Practices: Rights Materialities and Photographic Agency, del Centro Hagop Kevorkian Para los Estudios del Oriente Próximo (NYU), compartirán ideas sobre la repatriación, la propiedad legítima, la protección de recursos y el control sobre la cultura y los datos. Presentarán además propuestas sobre cómo estos temas deben atenderse. Algunes en Muchos Lugares estará acompañado por una nueva edición de ProtoZine, la cual incluye textos creados por comisión que presentan una variedad de perspectivas diferentes. Estos fueron escritos por: Laura Raicovich, curadora y autora; Erik Bordeleau, filósofo; Collective Rewilding, así como textos desarrollados por parejas de curadores: Mari Spirito y Jorge Gonzales Santos; Gim Ikhyun & Miji Lee, y Esvin Alarcón Lam; Lila Nazemian y Abhijan Toto. Los textos de ProtoZine y los programas públicos en curso se presentarán a lo largo de la exhibición.
Click here for Collaborators' Biographies
Prensa: Alper Turan, alper@protocinema.org, +49 17670518587, +90 5068706808
Sobre Protocinema
Protocinema es una organización de arte transcultural orientada por una misión definida. Esta entidad comisiona y presenta proyectos artísticos creados con conciencia sobre el lugar particular en que se dan. Exhibe trabajos en Estambul, Nueva York y otros lugares. Produce proyectos de contexto específico de la más alta calidad artística que son accesibles a todo el mundo. Protocinema evoca un sentido de empatía dirigido a la comprensión de las diferencias entre una región y otra por medio de exhibiciones, programas públicos educativos y mentoría. Protocinema mantiene relaciones a largo plazo con artistas, buscando fomentar el crecimiento continuo. Fundada por Mari Spirito en el 2011, Protocinema es una organización 501(c)3 registrada, sin las limitaciones impuestas por una ubicación física. Sus lugares de presentación varían en respuesta a preocupaciones globales y condiciones cambiantes en los distintos ambientes. protocinema.org
Auspiciadores Protocinema recibe apoyo de FfAI - The Foundation for Arts Initiatives; The Cowles Charitable Trust, New Jersey; 601 Artspace, New York; American Chai Trust, New York; Hagop Kevorkian Center, NYU, New York, Goethe Institut, Bangkok; Art Council Korea; Gallery VER, Bangkok; Estrellita Brodsky
Sua-ty (Canción de Sol) is made possible by Para La Naturaleza, La Reserva Guatoc, Estrellita B. Brodsky, Yola Colon, Michy Marxuach, Ernesto Pujol, Ismael Colón, Enrique Bayoán Ríos Escribano, and friends of the artist and Embajada.
Partners
지도 위 수많은 축
A Few In Many Places
2021년 5월 8일 - 8월 8일
Seoul, Bangkok, Istanbul, New York, Santurce, Guatemala City
«지도 위 수많은 축»은 큐레이터 마리 스피리토와 아비잔 토토가 공동 기획하였으며 이외 여러 협업자들과 함께 합니다.
우리는 바다에서 왔다(김익현 & 현우민, 민구홍 매뉴팩처링, 박가희, 박다함, 안유리, 이미지, 최윤), 콤투크 디우 나팟타룽, 따낫 라싸농, 아르퍼 투란, 제이넵 카얀, 캐서린 해밀턴, 데니즈 토텀, 라일라 나제미안, 발탄 아바키안, 크리스틴 코쿠리, 야스민 아이드사비, 엠바야다, 공동체 CAN, 조지 곤잘레스 산토스, 에스빈 알라콘 람, 안토니오 피칠라, 카멜리아 후아레즈
프로토시네마는 다양한 공동체적 형식을 통해 현재 우리가 경험하는 붕괴, 연속되는 폭력에 주목하는 멀티 도시 단체전 «지도 위 수많은 축»을 소개합니다. 전시는 서울, 방콕, 이스탄불, 뉴욕, 산투스, 과테말라시티에서 이루어지는 모든 협업에 천연 자원, 노동, 지식의 착취와 선박 및 항공 운송 등의 소비를 지양하는 지속가능한 전시 만들기의 모델을 적용합니다. 올해의 협업자들은 물리적인 환경과 디지털 환경을 막론하고 연쇄적으로 발생하는 불균형에 관한 작업을 전개합니다. 2020년부터 프로토시네마에 의해 발전되어온 전시 «지도 위 수많은 축»은 초지역적이며 동시에 세계적인 연결을 위해 광범위한 디지털 연결망을 보조적으로 사용하는 한편, 물리적인 현실에 발을 디디고 각 지역에서 소규모의 안전한 만남을 지속합니다. 각 도시의 챕터는 특정 장소에 반응하면서도 전반적인 지역에 대해 이야기하며 봉쇄 및 기타 비상 상황 등 여러 조건 속에서도 참여적인 방식을 만들어냅니다.
산투스, 서울, 과테말라시티의 작가들은 확장된 방식으로 각기 다른 공동체와 침묵당한 역사에 대해 다룹니다. 산투스에서 조지 곤잘레스의 공동체 플랫폼인 Escuela de Oficios는 공동체 CAN(Organización del Pueblo Indígena Can-jíbaro de Borikén)과 함께 일련의 협업과 대면 프로그램들을 소개할 예정입니다. 그들의 프로젝트 ‹Bateyes del Chibal›는 보리켄(푸에르토 리코의 옛 이름)에 위치한 의식의 광장(ceremonial plaza)이 지닌 역사적 맥락에서 카브리해 원주민이자 아프리카계 후손인 그들의 선조들에 의해 ‘Bateyes’라고 불리던 공동의 소속감에 주목한다. 서울의 ⭊우리는 바다에서 왔다⥵는 국적, 인종, 시민권 등에 의해 그 어느때보다 더 분절된 지도 위 공해(公海)와 인터넷 환경을 은유하는 공해를 항해합니다. 이 항해를 위해 구성된 일시적 공동체는 을지로에 위치한 샹제리제 지하상가를 중심으로 온라인과 오프라인을 오가는 멀티플랫폼 프로젝트를 선보입니다. 과테말라시티의 프로젝트는 파고다 이메지나리아에서 펼쳐질 예정이며 이곳을 설립한 작가이자 운영자 에스빈 알라콘 람이 공동의 전시에 함께할 작가 안토니오 피칠라와 카멜리아 후아레즈를 초청하여 시작됩니다. 피칠라는 마야 문명의 정신적 치료사로서의 전통을 따르는 설치 작업을 선보입니다. 후아레즈의 설치, 영상, 사진 작업은 지난 2021년 3월 5일, 길거리에서 한 여성이 다른 여성에게 빛을 비추는 행위로 이루어졌던 ‹Light Caravan›이라는 퍼포먼스에 대한 기록을 담고 있습니다. 세계 식물의 역사와 이것이 미국 농업부가 자금을 지원하는 ‘식민지 탐험’과 어떻게 얽혀 있는지 되짚어 보는 작업을 하는 람은 자연의 꽃이 접목된 생 대나무가 어우러진 사운드 설치를 선보입니다.
방콕, 이스탄불, 뉴욕의 «지도 위 수많은 축»은 공동의 연구와 다시-배움(re-learning)을 위한 장소일 뿐만 아니라 폭력의 순환을 흩트리는 도구로서 무수한 형태의 이미지에 주목하고자 한다. 방콕에서 콤투크 디우 나팟타룽은 따낫 라싸농의 사운드 작업과 함께 사진, 영상, 오디오 설치를 위해 고장난 카메라로 작업합니다. 이 프로젝트는 태국에서 특정한 법의 보호를 받지 못하는 도시 난민 및 망명 신청자들과의 관계맺음을 통해 이동 및 소속의 정치에 대해 연구하는 작가의 장기적인 실천의 일환으로 지속됩니다. 이스탄불에서 이루어지는 전시는 시각, 신체, 움직임을 주제이자 순환, 재순환, 그리고 순환을 다시 깨뜨리기 위한 감각적 은유로 이용합니다. 제이넵 카얀은 작가의 신체를 이용한 영상 작업을 통해 작은 몸짓을 끝없이 반복하며 우리 몸이 수 세대에 걸쳐 전달하고 운송하는 신체적 지식을 회상합니다. 캐서린 해밀턴과 데니즈 토텀이 함께하는 콜렉티브 ARK는 우리 몸과 세계 사이의 관계를 이해하기 위한 틀로서 현대 기술이 제공한 여러 방식들에 대해 탐구합니다. 전시를 구성하는 또 다른 챕터인 뉴욕에서는 라일라 나제미안과 아랍이미지재단(AIF)의 구성원 발탄 아바키안, 야스민 아이드사비, 크리스틴 코쿠리와 협업하여 거버너스 섬에 위치한 콜로넬스 하우스에서 (강제)이주, 기억, 물질 문화의 역사에 대해 이야기 할 예정입니다. 이들은 또 사진, 연구 대상인 텍스트, 영상 뿐만 아니라 뉴욕대학교 내에 위치한 중동 연구센터(Hagop Kevorkian Center for Near Eastern Studies, NYU)의 관내 연구자 워크숍 ‹소장품과 실천 풀어보기: 권리의 중대성과 사진 대행사› 참여자들과 함께 송환, 정당한 소유권, 관리인의 임무, 문화 및 데이터의 통제 등에 대한 생각과 제안을 공유하는 시간을 가질 예정입니다. «지도 위 수많은 축»은 큐레이터이자 작가인 로라 라이코비치, 철학자 에릭 보르디라우, 콜렉티브 리와일딩의 다채로운 관점이 담긴 커미션 텍스트와 여섯 도시에서 짝을 이룬 큐레이터들, 마리 스피리토와 조지 곤잘레스 산토스, 김익현 & 이미지와 에스빈 알라콘 람, 라일라 나제미안과 아비잔 토토가 생산한 텍스트가 담긴 프로토 진(ProtoZine)의 새로운 에디션을 함께 선보입니다. 프로토 진의 텍스트와 연계 프로그램은 전시기간 동안 차례대로 공개됩니다.
Click here for Collaborators' Biographies
홍보 문의: 아르퍼 투란, alper@protocinema.org, +49 17670518587, +90 5068706808
프로토시네마는 교차 문화적인 미션 중심의 미술 기관으로 이스탄불과 뉴욕 및 기타 지역에서 그 현장을 인식하는 예술을 소개하고 지원합니다. 우리는 모두에게 가닿을 수 있으면서도 예술적 가치가 높은 맥락-특정적인 프로젝트를 기획합니다. 프로토시네마는 전시, 교육적인 공공 프로그램, 멘토십 등을 운영하며 서로 다른 지역을 넘어 다름에 대한 이해와 공감을 불러 일으킵니다. 프로토시네마는 지속적인 성장을 위해 작가들과 장기적인 관계를 유지하고자 노력합니다. 2011년 마리 스피리토에 의해 설립된 프로토시네마는 501(c)3 기관으로 등록되어 물질적인 신체로부터 자유로운 비영리 조직이며 우리의 현장은 국제적 우려와 지상의 변화하는 조건에 따라 유동적으로 움직입니다. protocinema.org
후원
프로토시네마는 예술 이니셔티브 재단 FfAI - The Foundation for Arts Initiatives), 뉴저지 콜스 자선 신탁, 뉴욕 601 아트스페이스, 뉴욕 아메리칸 차이 신탁의 후원으로 운영됩니다.
Partners
มีบ้างในหลายแห่ง
A Few In Many Places
7 พฤษภาคม – 31 กรกฎาคม 2564
Seoul, Bangkok, Istanbul, New York, Santurce, Guatemala City
Co-curated by Mari Spirito and Abhijan Toto, A Few In Many Places includes collaborators:
คิวเรทร่วม โดย มาริ สปิริโต และ อภิจัน โตโต, A Few in Many Places ร่วมงานกับ:
กาฮี ปาร์ค, กิม อิคฮยอน, มิจิ ลี, เวลคัมทูโอกาซาวาระ (ฮยุน วูมิน, มิน กูฮง แมนูเฟคเจอริง, ปาร์ค ดาฮัม, ยูริ อัน, ยุน ฉ่อย), คมน์ธัช ณ พัทลุง, ธนาธย์ รสานนท์, อัลเพอร์ ทูรัน, เซเนป คายัน, แคธริน ฮามิลตัน, เดนิซ ทอร์ทัม, ไลลา นาเซเมียน, วาร์ทาน อวาเกียน, คริสทีน เคารี, ยาสมีน อีด-ซับบักฮ์, เอ็มบาฆาดา, พลูมา บาร์บารา โมเรโน, ฆอร์เฆ่ กอนซาเลซ ซานโตส, เอสวิน อลาร์กอน แลม, อันโตนิโอ พิชชิญา, คามิลญ่า ฆัวอาเรซ
สถานที่จัดแสดงหลายแห่ง: ฌองเซลีเซ ช้อปปิ้ง พลาซ่า, โซล; มอนิเตอร์ ลิซาร์ด เฮาส์, กรุงเทพมหานคร; คิราธาเน ลิทเทรอร์เจอร์ เฮาส์, อิสตันบูล; โคโลเนลส์ เฮาส์, เกาะกอฟเวิร์นเนอส์, นิวยอร์ค; ฆอร์เฆ่ กอนซาเลซ สตูดิโอ, ซานตูร์เซ; พาโกดา อิมาจินาเรีย, กัวเตมาลาซิติ้
Protocinema นำเสนอ A Few In Many Places นิทรรศการกลุ่มในหลากหลายเมืองที่ระบุถึงการล่มสลายที่ยังดำเนินอยู่และวัฏจักรของความรุนแรงผ่านรูปแบบการร่วมกลุ่มที่หลายหลาก นิทรรศการจัดขึ้นในโซล กรุงเทพมหานคร อิสตันบูล นิวยอร์ค และกัวเตมาลาซิตี้ โดยเป็นการแทรกแซงที่ใช้แม่แบบการสรรค์สร้างนิทรรศการอย่างยั่งยืนด้วยการลดการเอาเปรียบ (ทางทรัพยากรธรรมชาติ แรงงาน และความรู้) และลดการบริโภค (ไม่มีการขนส่งทางเรือและทางอากาศ) ในปีนี้ ผู้ร่วมโครงการเสนองานในประเด็นความเหลื่อมล้ำที่ยังดำเนินอยู่ทั้งในที่ทางกายภาพและดิจิตอล พัฒนาโดย Protocinema ในปี 2563 A Few In Many Places ยังคงการหยัดยืนในโลกกายภาพชีวิตจริงและการร่วมกลุ่มพบปะขนาดเล็กและปลอดภัยในแต่ละชุมชนไปพร้อมๆ กับการใช้งานโครงสร้างสนับสนุนแบบดิจิตอล และนำไปภาวะที่ทั้งเป็นท้องถิ่นอย่างสุดระดับและเชื่อมต่อกับโลกทั้งใบในเวลาเดียวกัน ในขณะที่นิทรรศการในแต่ละส่วนสาขาตอบสนองกับพื้นที่ของตัวเอง ส่วนต่างๆ ก็พูดข้ามอาณาเขตและถูกผลิตขึ้นในรูปแบบที่เปิดให้เกิดปฏิสัมพันธ์ภายใต้เงื่อนไขการล็อคดาวน์และสถานการณ์ต่างๆ ด้วย
ในเมืองซานตูร์เซ โซล และกัวเตมาลาซิติ้ ศิลปินจะมีปฏิสัมพันธ์กับชุมชนและประวัติศาสตร์ต่างๆ ที่ถูกริบรอนเสียงไปผ่านแนวทางนานัปการ ที่ซานตูร์เซ เอสกูเอลา เด โอฟิซิโอส แพลตฟอร์มร่วมที่เป็นปฏิบัติการของฆอร์เฆ่ กอนซาเลซ จะนำเสนอซีรี่ส์ของการแทรกแซงและ การพบกันในโลกจริงร่วมกับ ออกานิซาซิออน เดล พูเอโบล อินดิเกนา กาน-ฆิบาโร เด โบริเกน (CAN) โดยโปรเจคของพวกเขา บาเตเยส เดล ฌิบาล มุ่งมีปฏิสัมพันธ์กับการเป็นส่วนหนึ่งของชุมชนในบริบทของลานพิธีในเมืองโบริเกน (เปอร์โตริโก) ซึ่งเรียกกันในสมัยบรรพบุรุษว่าบาเตส์ (bateys) โดยคนดั้งเดิมและคนที่สืบเชื้อสายแอฟริกันในคาริบเบียน ที่โซล กลุ่มเวลคัมทูโอกาซาวาระ ล่องไปในน่านน้ำข้ามพรมแดน ทั้งที่เป็นน่านน้ำทะเลจริง และ “ทะเล” ของเงื่อนไขของอินเตอร์เน็ตในปัจจุบันที่ขณะนี้กระจัดกระจายไปยิ่งกว่าเดิมด้วยพรมแดนของสัญชาติ เชื้อชาติ หรือความเป็นพลเมือง ทั้งนี้ กลุ่มจะนำเสนอโปรเจ็คในแพลตฟอร์มที่หลากหลาย ทั้งออนไลน์และออฟไลน์ ที่ฌองเซลีเซ ช้อปปิ้ง พลาซ่า ในย่านอึลจีโร ที่กัวเตมาลาซิติ้ โปรเจคจะจัดแสดงที่พาโกดา อิมาจินาเรีย โดยโปรเจคนี้พัฒนาโดยศิลปินและผู้จัดงาน เอสวิน อลาร์กอน แลม ซึ่งได้เชิญชวนศิลปิน อันโตนิโอ พิชชิญา และ คามิลญ่า ฆัวอาเรซ มาพัฒนานิทรรศการร่วมกัน พิชชิญานำเสนองานจัดวางตามขนบที่เขาเป็นผู้เยียวยาด้านจิตวิญญาณจากวัฒนธรรมมายัน งานจัดวาง วีดีทัศน์ และรูปถ่ายของฆัวอาเรซ บันทึกการแสดงที่มีชื่อว่า ไลท์ คาราวาน เมื่อวันที่ 5 มีนาคม 2564 ในฐานะที่เป็นการที่ผู้หญิงจุดไฟให้กันและกันบนท้องถนนของกัวเตมาลาซิติ้ และท้ายที่สุด แลมสะท้อนคิดถึงประวัติศาสตร์ต่างๆ ของพฤกษศาสตร์โลกและการที่ประวัติศาสตร์นี้ทับซ้อนไปกับการล่าอาณานิคมที่มีกระทรวงการเกษตรของสหรัฐอเมริกาให้เงินสนับสนุน และนำเสนอการจัดวางทางเสียงควบคู่ไปกับไม้ไผ่ที่ถูกทาบกิ่งด้วยดอกไม้ธรรมชาติ
A Few In Many Places ในกรุงเทพมหานคร อิสตันบูล และนิวยอร์ค จะมุ่งสนใจภาพในรูปแบบที่หลากหลาย ในฐานะที่เป็นพื้นที่การสำรวจร่วมและการเรียนรู้ใหม่ และเป็นเครื่องมือเพื่อขัดขวางวัฏจักรของความรุนแรง ที่กรุงเทพมหานคร คมน์ธัช ณ พัทลุง ทำงานกล้องที่เสียแล้วเพื่อจัดแสดงรูปถ่ายและจัดวางวีดีทัศน์-โสตทัศน์ พร้อมกับงานเสียงโดยธนาธย์ รสานนท์ โปรเจคนี้เป็นการสานต่อการสำรวจระยะยาวของศิลปินในประเด็นการเมืองของการเคลื่อนไหวและสำนึกของการเป็นส่วนหนึ่งผ่านปฏิสัมพันธ์ที่มีกับผู้ลี้ภัยและผู้อพยพในเมือง ซึ่งขาดกรอบกฎหมายท้องถิ่นเฉพาะที่ให้การคุ้มครองในประเทศไทย ที่อิสตันบูล นิทรรศการยกเรื่องการมองเห็น ร่างกาย และการเคลื่อนไหวเป็นทั้งประเด็นที่พูดถึงและเป็นอุปมัยทางประสาทสัมผัสของวงจร การซ้ำวงจร และการตัดวงจร งานวีดีโอที่ใช้เรื่องร่างตัวเองของ เซเนป คายัน เล่นภาพการซ้ำไปซ้ำมาของการเคลื่อนไหวทางกายภาพขนาดเล็ก ซึ่งทำให้นึกถึงความรู้แห่งเรือนร่างที่ร่างกายของเราบรรจุไว้และส่งต่อจากรุ่นสู่รุ่น ARK งานร่วมกันที่ยังดำเนินอยู่ระหว่าง แคธริน ฮามิลตัน และ เดนิซ ทอร์ทัม สำรวจวิธีที่เทคโนโลยีร่วมสมัยได้ให้กรอบคิดในการทำความเข้าใจความสัมพันธ์ระหว่างร่างกายและโลก ในส่วนของนิทรรศการที่นิวยอร์ค ไลลา นาเซเมียน ร่วมกับ วาร์ทาน อวาเกียน ยาสมีน อีด-ซับบักฮ์ และ คริสทีน เคารี สมาชิกสมาคมภาพแห่งอาหรับ (AIF) ในการสำรวจประวัติศาสตร์ของการ(บังคับ)ย้ายถิ่น ความทรงจำ และวัฒนธรรมทางวัตถุผ่านปฏิบัติการแทรกแซงในบ้านที่โคโลเนลส์ โรว์ เกาะกอฟเวิร์นเนอส์ จากการใช้ภาพถ่าย ข้อความวิจัย และภาพยนตร์ ศิลปินและผู้เข้าร่วมจากเวิร์คช็อปผู้ปฏิบัติการ-ใน-พำนัก (ชื่อเวิร์คช็อป: Unravelling Collections and Practices: Right Materialities and Photographic Agency) ของศูนย์ฮากอป เควอร์เกียนเพื่อตะวันออกใกล้ศึกษา (NYU) จะร่วมแลกเปลี่ยนความเห็นและข้อเสนอในการพิจารณาประเด็นการส่งตัวคนกลับถิ่นเดิม กรรมสิทธิ์อันชอบธรรม สิทธิในการอารักขา และการอำนาจควบคุมเหนือวัฒนธรรมและข้อมูล
A Few In Many Places จะมี ProtoZine ฉบับใหม่ควบคู่ไปด้วย โดยรวบรวมข้อเขียนเฉพาะกิจจากมุมมองที่แตกต่างกัน โดย ลอว์ร่า ไรโควิช, ภัณฑารักษ์และนักเขียน; เอริค บอร์เดอเลอ, นักปรัชญา; คอลเลคทีฟ รีไวล์ดิง รวมไปถึงข้อเขียนที่ผลิตโดยคู่ภัณฑารักษ์ มาริ สปิริโต และ ฆอร์เฆ่ กอนซาเลซ ซานโตส; กิม อิคฮยอน มิจิ ลี และ เอสวิน อลาร์กอน แลม; ไลลา นาเซเมียน และ อภิจัน โตโต ข้อเขียนของ Protozine และโครงการสาธารณะต่อเนื่องเผยปรากฏตลอดระยะของนิทรรศการ
Click here for Collaborators' Biographies
ข้อมูลเพิ่มเติม: อัลเพอร์ ทูรัน, alper@protocinema.org, +49 17670518587, +90 5068706808
Protocinema เป็นองค์กรศิลปะข้ามวัฒนธรรมที่ขับเคลื่อนตามพันธกิจ ด้วยการออกทุนการผลิตและนำเสนอศิลปะที่คำนึงถึงที่ทางในอิสตันบูล นิวยอร์ค และที่อื่นๆ เราผลิตโปรเจ็คที่มีบริบทเฉพาะเจาะจงและคุณภาพทางศิลปะที่สูงที่สุดที่ทุกคนเข้าถึงได้ Protocinema ขับเคลื่อนความรู้สึกร่วมสู่การทำความเข้าใจความแตกต่างข้ามภูมิภาค ผ่านนิทรรศการ โครงการการเรียนรู้สาธารณะ และการให้คำปรึกษา Protocinema รักษาความสัมพันธ์ระยะยาวกับศิลปินเพื่อฟูมฟักการเติบโตที่ยั่งยืน Protocinema ก่อตั้งโดย มาริ สปิริโต เมื่อปี 2554 และจดทะเบียนเป็นองค์กรไม่แสวงหาผลกำไร 501(c)3 โดยไม่มีสถานที่ตั้งทางกายภาพ โดยมีที่ตั้งที่ตอบสนองต่อประเด็นของโลกและเงื่อนไขที่แปรเปลี่ยนในหน้างานprotocinema.org
ผู้สนับสนุน
Protocinema ได้รับการสนับสนุนจาก FfAI - The Foundation for Arts Initiatives; The Cowles Charitable Trust, New Jersey; 601 Artspace, New York; American Chai Trust, New York; Hagop Kevorkian Center, NYU, New York, Goethe Institut, Bangkok; Art Council Korea; Gallery VER, Bangkok; Estrellita Brodsky
Partners
Collaborators
Gahee Park is a curator based in Seoul and currently working at Seoul Museum of Art as a Curator. Regarding the exhibition as a medium, her interest lies in the performative aspect of curating in which the event of knowledge can occur. Recently, she has founded a web-based study platform Study for Exhibition Histories to test the possibilities for the coexistence of multiple art histories by researching and re-contextualising past exhibitions. Previously, she worked in Arko Art Center and the Busan Biennale 2018 Divided We Stand as Guest Curator. She also translated Self-organised – Open Editions: London, 2013 – into Korean together with her colleagues Hyo JEON and Eunbi JO.
GIM Ikhyun delves deep into the parallax between what exists and being visible, and past and present, and further speculate it through the practice of photography and writing. He recalls, imagines and scrutinizes the connection and the rupture that have been made by a world drawn with Mercator’s projection, undersea fiber-optic cables, a world of nanometers and the Global Value Chain. GIM has participated in SeMA Biennale: Mediacity Seoul 2016, (Seoul Museum of Art, Seoul, 2016), PUSH, PULL, DRAG (Platform-L, Seoul, 2016), A SNOWFLAKE, (Kukje Gallery, Seoul, 2017) among other group exhibitions.
Miji Lee is a researcher and a visual thinker based in Seoul. With her curatorial curiosity, she observes the relationship between intervened contexts and translated languages of art and design. Being involved in a few collaborative projects, her current interest lies in generating new conversations related to the issues of trans/cross such as mobility and boundaries. She worked at SeMA as a curatorial assistant in 2019 and 2020.
Hyun Woomin was born in Tokyo. He makes films about migration, and the lives and memories of displacement of those who have left their homeland. His major works include NO PLACE LIKE HOMELAND (2011), OHAMANA (2015), Unfinished Voyage (2017),Totoki (2020). He graduated from the Department of Aesthetics at the University of Tokyo, then obtained his masters in Film and New Media Studies at Tokyo University of the Arts, where he also completed his doctoral program.
Min Guhong Manufacturing is a one-man parasitic company based in Seoul, South Korea. (It currently feeds on Workroom, a graphic design studio and a publisher also based in Seoul.) The company manufactures various types of products such as writings, games, websites, and so on. In describing the company, graphic design duo Sulki and Min said, “(…) Its founder, Min Guhong, is a writer, editor, translator, designer, and a software developer, but probably not in that order. The corporation produces practical and speculative ‘products,’ from video games and computer software to short novels and music playlists.
Yuri An has been living a moving life in the past years. She became interested in disappeared words and stories those lived there before even though the place still existed. Instead of immobilizing a material property by doing reproduction of an object, she prefers watching it by recalling to the here and now. Therefore, she expresses her work through mediums that are easy to mobile such as text, video and sound. Since 2016, she has been focusing on Korean Diaspora project. She graduated from Gerrit Rieveld Academie in Amsterdam, the Netherlands and came back to Korea in 2014. https://yurian.kr
Yun CHOI lives and works in Seoul. From public places and popular media, CHOI captures, compiles scenes that create a social climate, and repurposes them for her videos combined with mixed media installations, and performances. Interested in pedestrian and conventional images, words, behaviors of contemporary Korean society, she focuses on the collective belief and fantasy that they imply. CHOI had solo exhibitions at DOOSAN Gallery Seoul and New York(2020), Art Sonje Center project space(2017), and participated in group exhibitions held at Asia Culture Center(2020), Platform-L Contemporary Art Center(2019), Art Sonje Center(2019), Arko Art Museum(2019), Busan Biennale(2018), the Gwangju Biennale’s satellite exhibition(2018).
DJ yesyes (AKA Park Daham) Born in Incheon, Korea in 1986. CEO of Indie label Helicopter Records, Noise Musician, and a Performance Producer. I check if I get c urious.
Abhijan Toto is an independent curator and writer, based in Bangkok, Thailand, and co-founder (with Pujita Guha) of the Forest Curriculum . He has previously worked at the Dhaka Art Summit and the Samdani Art Foundation, Bangladesh; Bellas Artes Projects, Manila and Bataan, the Philippines; and with Council, Paris; and Asia Art Archive. He has been awarded the 2019 Lorenzo Bonaldi Curatorial Prize at the GAMeC Museum, Bergamo, Italy. Selected recent exhibitions include Interregnum - Adrian Paci, VER Project Space, Bangkok (2019) Realigning the Asian Art Biennale, part of Southern Constellations, Museum of Modern Art, Ljubljana (2019); The Exhaustion Project: There Is Still Work To Be Done, Haus der Kulturen der Welt, Berlin (2018).
Komtouch Dew Napattaloong is a Bangkok based artist, filmmaker and producer. Napattaloong draws upon his experience migrating back and forth between the United States and his homeland of Thailand. As a person belonging and not belonging, he is interested in inhabiting a state of “in between'' which leads to an attraction to experimentation and the pushing of the boundaries of cinema and contemporary images in relation to reality and fiction. Napattaloong is also the Lab Manager for Southeast Asia Fiction Film Lab (SEAFIC) and the film programmer for the SAC Anthropology Center in Bangkok. His recent solo and group exhibitions include ‘Do You See The Sky Falling?’, 2018, and ‘454/278-81’, part of the Bangkok Biennial.
Thanart Rasanon aka Pete TR is an organizer, researcher, music producer, musician & DJ. Currently, run "blozxom", cutting edge's cultural research & development project. He exchanges and introduces friends from different towns in the world who create fascinating, charming or innovative things in culture. He is an alumnus of Goethe Talents 2020 program.
Mari Spirito is Executive Director and Curator of Protocinema, a cross-cultural, site-aware art organization commissioning and presenting exhibitions and public programs in Istanbul and New York, since 2011. From 2013 - 2018 Spirito programed Conversations for both Art Basel and Art Basel Miami Beach; served as International Advisory Committee Member for the Inaugural High Line Plinth Commissions, New York, 2017; was Curator and Director of Alt Art Space, Bomonti, Istanbul from 2015 to 2017; Advisor to the 2nd Mardin Biennial, Turkey, 2012; and Director of 303 Gallery New York, 2000 - 2012. She is on the Board of Participant, Inc, New York, and holds a BFA from Massachusetts College of Art, Boston.
Alper Turan is a curator and researcher based in Istanbul and Berlin. Her current research and curatorial practice focus on queer strategies and methodologies. Between 2016-2018, he was the co-founder of a curatorial collective Das Art Project. Recent exhibitions include A Finger for an Eye, as a part of Protocinema Emerging Curators Series, Istanbul (2021), HIVStories: Living Politics (co-curated with EUROPACH) , Schwules Museum, Berlin, Biennale Warszawa,Warsaw, Dramaqueer, Istanbul (2019-2020); Queer Appropriation, Cite des Arts, Paris (2020), Positive Space, Operation Room, Istanbul (2018-19). Turan is a PhD student in theory and history of arts at the College of Fine Arts in Hamburg (HFBK), works as curator for Slavs and Tatars Studio, and Cultural Manager, Curator for Protocinema.
Zeynep Kayan’s artistic practice focuses on exploring the repetitive structural setup of the variations she creates by using photography, video and sound pieces that are mostly in relation to portraiture and performance. Zeynep Kayan graduated from the Communication and Design Department of Bilkent University and got her MA degree in Fine Arts Department of MaHKU in Utrecht, Netherlands. Her shows include Temporary Sameness (Zilberman Gallery, Istanbul, 2019), Working on it (Helsinki Contemporary Art Gallery, Helsinki, 2020); Concealed (Kasa Gallery, Istanbul, 2018); Until Finding the Source of the Water (performance with Özgür Atlagan, RijksOpen, 2019 & Salt Galata, 2018).
Kathryn Hamilton aka Sister Sylvester, is an artist and self-taught microbiologist. She is a current resident at ONX studio, a new media workspace created by the Onassis foundation and The New Museum in NYC; a 2019 Macdowell Fellow; an alumnus of the Public Theater Devised Theater Working Group, and Public Theater New Works program. Recent performances include The Eagle and The Tortoise, National Sawdust, NYC; The Fall, Yale University, and Under The Radar, NYC; Three Rooms, Shubbak Festival/Arcola, London; Bozar, Brussels; Frascati, Amsterdam; Recent video work has shown at MoCA Toronto, 601Artspace NYC, MUTEK festival and Humboldt University, Berlin. She spent the years 2011-13 in disguise as a French diplomat in New York
Deniz Tortum (1989) works in film and new media. His work has screened internationally, including at the Venice Film Festival, IFFR, SxSW, Sheffield, True/False and Dokufest. He has worked as a research assistant at the MIT Open Documentary Lab, where his research focused on virtual reality. In 2017-2018, he was a fellow at Harvard Film Study Center, working on Phases of Matter, which premiered at International Film Festival Rotterdam in 2020 and received the Best Documentary awards at Istanbul and Antalya Film Festivals. His film "If Only There Were Peace" (co-dir Carmine Grimaldi) received the best short documentary award at Dokufest and his latest VR film Floodplain premiered in Venice Film Festival. He was recently featured in Filmmaker Magazine’s 25 New Faces of Independent Film.
Lila Nazemian is an independent curator whose recent curatorial projects include “Now That We Have Established a Common Ground” (forthcoming 2021) at Assembly Room, New York; "I open my eyes and see myself under a tree laden with fruit that I cannot name" organized at New York's Center for Book Arts in January 2020; and the “On Echoes of Invisible Hearts” series, featuring contemporary artists from Yemen (2018-2019.) She is a QAYYEM 2019 Curatorial Fellow, was among the inaugural participants of the 2018-2019 Interdisciplinary Art and Theory Program in New York, and participated in ICI (Independent Curators International) 2018 Curatorial Intensive in Bangkok.
Vartan Avakian is an artist working with video, photography and sculpture. Avakian’s work has been shown at Marfa Projects, Beirut; MuCEM, Marseille; Sursock Museum, Beirut; and Apexart, New York. Avakian is a recipient of the Abraaj Group Art Prize and is represented by Kalfayan Galleries, Athens-Thessaloniki, and Marfa Projects, Beirut.
Yasmine Eid-Sabbagh uses her background in photography to combine research, conversation, image, and meta-archival practices to reflect on notions of collectivity and power. One of her long-term projects explores the impossibilities of representation through a potential digital archive assembled in collaboration with inhabitants of Burj al-Shamali, a Palestinian refugee camp near Tyr, Lebanon. She was a 2018/2019 fellow at BAK, Utrecht, and is together with Rozenn Quéré the recipient of the 8th Vevey International Photography Award (2011), and the Arles Discovery Award (2013).
Kristine Khouri is a researcher and writer whose interests focus on the history of arts circulation and infrastructure in the Middle East and North Africa as well as archival practice and knowledge dissemination. Together with Rasha Salti, she has led the Past Disquiet research project, and co-curated the project’s archival and documentary exhibitions from 2015-2018 and with Salti co-edited Past Disquiet: Artists, International Solidarity and Museums in Exile published by the Museum of Modern Art, Warsaw, 2018She has advised on archival projects and digitization strategy for organizations in the Arab world. Her most recent texts were contributions to Labour of Love (Palestinian Museum, 2018), Hamed Abdalla, Arabécédaire (Zamân Boks, 2018), Seta Manoukian (Saradar Collection/Kaph Books, 2019).
Santurce, Borikén (Puerto Rico) Jorge Gonzales Santos (b. 1981, Borikén) maintains a practice that serves as a platform for the recuperation of Boricua (Puerto Rican) material culture in an attempt to produce new narratives between the indigenous and the modern. González received his BFA from Escuela de Artes Plásticas y Diseño, San Juan, Puerto Rico, in 2006. González was included in the formative Latinx group exhibition, Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art, at The Whitney Museum of American Art (2018), the Chicago Architecture Biennial in Chicago, IL (2019), and most recently the Toronto Biennial (2021). Currently, González is a Jane Lombard Fellow, 2020-2022, at the The Vera List Center for Arts and Politics. González lives and works in San Juan. González is founder of Escuela de Oficios, a collective work platform on the creation of mutual learning spaces as critical articulations in awareness of land.
Antonio Pichillá (1982) is a Maya-Tz’utijil artist with a research based practice of Mayan textiles, in the intersection of art, spirituality and situated cultural practices. He is based in San Pedro La Laguna, Lake Atitlán, Sololá, Guatemala. He graduated from the National School of Art “Rafael Rodríguez Padilla'' in Guatemala City (1999–2003). He is a member of the TEI-CA group, dedicated to research the intersection of arts and sciences, applying interdisciplinary methods for the study of Contemporary Art, directed by Roberto Cabrera (2001-2014). Some exhibitions include: “TO WEAVE BLUE”, The Martha and Robert Fogelman Galleries of Contemporary Art, Memphis, EE.UU; “Garden of Six Seasons”, PARASITE, Hong Kong; “Epilogue”, 11th Berlín Biennale for Contemporary Art, Germany; “EN REGISTRO'' El Lobby, Puerto Rico, 2020.
Camila Juárez (1997), is an artist based in Mixco, Guatemala. Her artistic practice is focused in the intersection of feminisms, art, anthropology and social change. She graduated from the National School of Art “Rafael Rodríguez Padilla” and in 2017 she graduated from Photography and Artistic Projects Management, Fototeca School of Photography, Guatemala City. She also studied Contemporary Art at Creatorio Artístico Pedagógico (CAP), Guatemala City and she is currently coursing Anthropology and Sociology Bachelor at Del Valle University, Guatemala City. Camile is part of the CAMPO photo-books program, where she is currently working on her first book of photography (Mexico-Argentina). She was nominated to the National Photography Price of the International Guatephoto Festival in 2019.
Esvin Alarcón Lam (1988) is an artist based in Guatemala City. He is interested in globalized materiality, the politics of movement, and the relations in Chinese diasporic history from a personal and situated perspective. He is also organizer at the independent art residency @PagodaImaginaria. Some exhibitions include: In 2021, “Queer Documentation in an Image Culture”, Leslie-Lohman Museum of Art, New York; “MESOTRÓPICOS”, Contemporary Art Museum, Panamá City. In 2020, “Flags Series”, The Americas Society, New York City; “This Might be a Place for Hummingbirds'' Galerie im Körnerpark, Berlin, Germany; “Questions & Appearances'', Kadist (online); “XXI Bienal Internacional de Arte”, Bolivia. In 2019, “MariCaribe'', Casa de las Américas, Gibara, Cuba; “Bienal en Resistencia'', Guatemala; ”The Sun Teaches Us That History Is Not Everything", Osage Foundation, Hong Kong.
Art Curators Grid presents TPPS — Curators Conversation: Speaking Of A Few In Many Places
ALT(ERING) + SHIFT(ING) + COMM(UNING): PROTOCINEMA
Birçok Yerde Birkaç Kişi Kimlerdir?
Independent Curators INTLPRO: New Models and Future Forms
Curators Conversation: Speaking of A Few In Many Places, Part II
PRESS
by Kate Sutton
by Sebastián Meltz-Collazo
by Shraddha Nair
