I’m a multidisciplinary artist originally from Chile. I work mainly with sound, video and installations.
I see my practice as an attempt to get a peripheral look at the past through displaced narrations. I work with the remnants of events that are impossible to represent; fragments and residues of information.
I’m intrigued by what is left outside of recorded History, and by the deficiency of thinking our experiences as data or archives.
I’m interested in fiction as a tool that merges with my biography. The limits of my own experiences become blurred as personal, collective and fake memories collapse together.
I believe in re elaborating some stories and aspects of the pasts through my practice, perhaps not to build a place for them in History, but to assume their existence in our present.
I’m a multidisciplinary artist originally from Chile. I work mainly with sound, video and installations.
Selva Aparicio is an interdisciplinary artist from Barcelona, Spain. She received her BFA from the School of the Art Institute of Chicago and is currently an MFA candidate at the Yale School of Art, in the Sculpture department. She worked as a stone carver at Gaudi's Sagrada Familia and Stone Studio in Vancouver, Canada. Her work has been shown internationally in solo and group exhibitions and was recently awarded the recipient of the JUNCTURE Fellowship in Art and International Human Rights.
Gaby Collins-Fernandez is an artist living and working in New York City. She holds degrees from Dartmouth College (B.A.) and the Yale School of Art (M.F.A., Painting/Printmaking). Her work has been shown in the US and internationally, most recently at Nathalie Karg Gallery, Danese Corey, and will be included in a survey of contemporary art at the Birmingham Museum of Art, Alabama. Her work has been discussed in publications such as The Brooklyn Rail and artcritical. She is a recipient of a Fellowship at Yaddo, Saratoga Springs, NY, and a 2013 Rema Hort Mann Foundation Emerging Art Award. Collins-Fernandez is also a writer whose texts have appeared in publications such as the popular Painting on Paintings blog, The Miami Rail, and The Brooklyn Rail. Her translations of a group of Sor Juana Ines de la Cruz's sonnets with Kimberly Kruge was published in 2015 in Riot of Perfume. Collins-Fernandez is also an editor and founder of Precog Magazine.
Claudia Cortínez's work comes out of a fascination of how we collect and translate histories and the infinite lives that objects have before and after they reach our hands. Her recent work includes large scale photograms where the resulting image is as much a register of her body and location as it is of the objects being depicted. Cortínez was born in the U.S. to Argentine and Chilean parents and currently lives and works in Buenos Aires, Argentina. She studied painting and photography at RISD and at Kyoto Seika University in Kyoto, Japan. She received her M.F.A. from Yale University in painting/printmaking in 2013. At Yale, Cortínez was granted an Alice Kimball Travel Grant (2012) to photograph specific locations in Argentina and Chile described in her father's writing. She was awarded the Blair Dickinson Memorial Prize and the Blair Dickinson scholarship from Yale (2013), and the Rema Hort Mann Foundation Emerging Artist Grant in New York City (2013). She has participated in residencies in Buenos Aires, Argentina (La Ira de Dios), New York City (Lower Manhattan Cultural Council LMCC Swing Space), Japan (Kyoto Seika University Artist Residency), and Rosario, Argentina (El Levante).
Anna Costa e Silva (1988, Rio de Janeiro) é artista. Mestre em Artes Visuais pela School of Visual Arts, NY, e graduada em Cinema pela UGF-RJ, seu trabalho acontece nas interseções entre artes visuais e cênicas, cinema e práticas relacionais. Recebeu os prêmios FOCO Bradesco ArtRio (2014), Bolsa Funarte de Estímulo à Produção em Artes Visuais (2015) e American Austrian Award for Fine Arts (2012). Realizou as exposições individuais "Assíntotas" na Caixa Cultural e no Espaço EMCB, RJ, "Éter", no Phosphorus, SP "Autorretrato" na Muv Gallery, RJ e expôs em diversas coletivas, entre elas “O que vem com a aurora” na Casa Triângulo, 2016, “A Coisa Pública” no Largo das Artes, 2016, “I Mostra de Imagens em Movimento do Parque Lage” na Casa França Brasil, 2016, “Xanadona” na A Gentil Carioca, 2016, “Encruzilhada” no Parque Lage, 2015, e “Group Velocity” na Interstate Projects, NY, 2014. Seu curta metragem “Vozes” (2009) foi exibido em mais de 30 festivais pelo mundo, em países como França, Portugal, Estados Unidos e Austrália, e ganhou prêmios como Melhor Filme Experimental – FestCine Amazônia e Accolade Award of Excellence – LA.
My work has lived mostly in the organization of performative spaces. In recent works I have been caught in between the desire to do one-on-one performances in neatly arranged spaces/installations and my newly found obsession for creating music in my own unconventional way. However performing or the performative act or gestures has always been a space where my antenna's would be pointing towards the right elements. After graduating at the Gerrit Rietveld Academy at the department of audio visuals in 2016 I decided to return to Aruba, the tiny gem in the caribbean I call home. I was longing to nurture and work alongside the small crew of emerging and young artists on the island doing groundbreaking work. I use the medium of video primarily to communicate the narratives that I create. My work is surrounding experience and being and I am in search for the aesthetics that comes with the child like curiosity that lives thru my practice.
Aurora De Armendi is an interdisciplinary artist. She works primarily in printmaking, video and artist books. Through research and experimentation, her projects explore how we inhabit or imagine both identity and place in our constant redefinition of home. Histories of the periphery are documented using photography, presented as physical ink printed on paper via photogravure. The torn edges and color-saturated pages in her books invite viewers to engage with the haptic qualities they signify, as materials conflate with metaphor. Her use of printmaking as a process derivative practice, offers entry to what is seen and what is yet to manifest.
Aurora De Armendi studied at The Cooper Union School of Art (BFA) and The University of Iowa (MFA). She has exhibited her work nationally and internationally at JCAL (Queens), MDCC Museum at the Freedom Tower (Miami), the International Print Center (New York) and in venues abroad. In 2016, she completed artist residencies at Anderson Ranch Arts Center (Colorado) and Jamaica Flux (Queens), and was a finalist for the Cintas Foundation Fellowship. Aurora teaches at Parsons The New School for Design and at The Cooper Union Outreach Program.
María explores in her work the will of assuming herself as an active observer of the world by her own exercises of discarding and selecting objects as well as in her deep interest in the stars as scientific and philosophical thought. She is interested in the idea of the grid, as the vast weft of spatially interconnected points, as in a constellation. Her journeys, blackboards, notebooks and mobile constructions represent a mental and physical map of experiences. From 2009 to 2012 she lived in New York expanding her knowledge of printmaking and artist’s books at The School of Visual Arts and The Lower East Side Printshop. Her work has been exhibited in Chile and abroad as well as in art fairs such as Pinta Art Fair – New York, ArteBA – Buenos Aires, Art Lima-Peru and ChaCo – Chile. The National Commission recently awarded her honor prize Art for Science, granted for Scientific and Technological Research (CONICYT) in Santiago, Chile.
A couple of years ago I began to set up fictional events by documenting sculptures that combined inflatable dolls and photo-transfers of life size drawings. Through this process, I became aware of a world of replicas of female bodies and body parts circulated via the web. All of these objects when melted would reveal themselves to be plastic but when shaped into female forms they contain physical manifestations of qualities men desire.
These non-human copies can only exist in designated spaces in which the laws that govern our day to day our suspended, which has taken me to chat rooms and motels. As an artist and a woman, I create fantasies to begin to think through these issues. I see myself tied up in the middle of issues I am ambivalent of as both a producer and a consumer of these specific images and products.
In the vibrant, large-scale canvases of Brazilian artist Flórido, intimate, curvilinear forms echoing female bodies result in ethereal—and tacitly political—works. “I am not necessarily after a female aesthetic but developing a vocabulary that feels closer to my own intimacy and body—which happens to be a female one,” explains the Brooklyn-based artist. In June, Flόrido returned to Rio de Janeiro, her home city, after eight years spent abroad—in London, New Haven (where she graduated from Yale’s MFA program), and now New York—to show new paintings at a solo exhibition at the Galeria de Arte IBEU. Most recently her work has been exhibited at ArtRio and Frieze London. In 2017 Flórido will spend two months as a resident at MassMoCA.
Frances Gallardo (San Juan, 1984) is a visual artist who lives between New York and San Juan. She earned an MFA in Studio Art from Cornell University and a BFA in Drawing and Humanities from the University of Puerto Rico. Gallardo has completed numerous residencies including Caribbean Linked IV (Aruba), The Center for Book Arts (New York), Taller Vivo, Museo de Arte Contemporáneo (San Juan) and La Práctica, Beta-Local (San Juan). Her exhibitions include the Getty Institute’s Pacific Standard Time: LA/LA (forthcoming, Museum of Latin American Art, Los Angeles), Caribbean: Crossroads of the World (Perez Art Museum, Miami), Displaced Images/Images in Space: IV Poly/Graphic San Juan Triennial: Latin America and the Caribbean (Instituto de Cultura Puertorriqueña, San Juan) and the XV Tallinn Print Triennial (KUMU Art Museum, Estonia). Solo exhibitions include Meteoro (Instituto de Cultura Puertorriqueña, San Juan), Meteorology (Torpedo Factory, Alexandria) as well as Landings (lift off) and Conduit, both at Cornell University, where she was recipient of the Charles Baskerville Award for graduate studies in fine art. Gallardo has also received the Lexus Emerging Artist Grant (San Juan) and has been nominated for the Cisneros Fontanals Art Foundation Emerging Artist Grant Program (Miami). Her work has been featured in Small Axe, Art Nexus and Frescos: Puerto Rican Artists Under 35.
Her work is driven by an interest in the potential for transformation contained in matter. This interest is informed by the processes and cultural systems that shape substances into things with specific meanings, uses and values. She makes objects that explore formal and physical concerns of painting and sculpture through a range of methods and techniques referent to their history. She transforms pigments, concrete, cloth, paper with the aid of flexible molds, invented tools and blind operations. Arranged together in supporting structures that recall walls and pedestals, the resulting objects present different stages of making that reveal systems of correspondence aimed at questioning ideas of origin and context.
Mariana Garibay Raeke lives and works in Brooklyn, NY. She received a BFA (Painting/Visual Studies) from California College of the Arts and an MFA from Yale University (Painting/Printmaking). Recent projects include Every Number is One, a solo show at Transmitter, Brooklyn, NY. She will be an Artist-in-Residence at Anderson Ranch this spring.
Katia Maciel é artista, poeta e professora da Universidade Federal do Rio de Janeiro.
A obra da artista investiga o imaginário próprio das imagens em suas relações com a paisagem, os objetos, a palavra e os clichés amorosos. Em seus videos e instalações a influência do cinema é flagrante na escala, na poética do movimento, na desnarrativa, em sua expansão para além da tela como modo de incluir o espectador. Uma certa desrealização do mundo surge em colares que ocultam um rosto, mares que escalam o horizonte, árvores que se movimentam em paisagens fixas, bem como, na distorção entre os objetos e suas funções, e no reviramento na interação do que se vê com o que é visto, na presença de uma imagem que insiste em ser imagem de si mesma.
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The weight of my work lies in the seeking and collecting of materials, which becomes a way of intervening in the environments I find myself in. Traces and imprints of specific sites and architectural spaces direct the shapes and colors that appear. Displaced forms that converse with one another in diverse contexts—the walls, windows, and fences that demarcate the public from the private, this side or that of national boundaries—become ephemeral instances to be washed away on the sensory register. When working with the collected materials, I often return to my understanding of printmaking—the translation of information from one surface to another, the transformations that occur through repetition, and the experience of lifting the paper to see what has been impressed upon it through inverted forms.
Alva Mooses received a BFA from The Cooper Union and a MFA from Yale University. She has exhibited her work at JCAL, the Logan Center for the Arts and the 10th Havana Biennial, among others. She has completed residencies at The University of Chicago, Columbia College, Grafisk Verksted in Stavanger, Norway and the Davidoff Art Initiative in the Dominican Republic. From 2004–09, Alva cofounded community art initiatives and organized collaborations in Latin America. She has taught courses at Cornell University AAP and currently teaches at The Cooper Union School of Art.
I am a Colombian artist and writer who works in video, text, sound, and installation. My work seeks to reconstruct and recuperate a series of collective historical narratives that have been lost. In my rigorous research practice, I utilize poetics and abstraction to approach complex and often violent political situations in Latin America. My work examines the way in which mourning, loss, and trauma are reformulated through different political processes to either hide or overexpose predetermined historical narrations. Through the analysis and re-articulation of architectural sites, landscapes, testimonies, accounts, and literary fictions I wish to question the forms of representation that perpetuate predetermined historical narratives that erase particular accounts and silence those who want to articulate them.