en es es es es ca pt es es es es es es es es en es es es it es es es es es es es es es es ca pt es es es es es es es es en es es es it es es es es es en en gl en en en en en en en en en es es es es es es en en en en es pt en es es hu mg es en en en es en en en es id en en en en es en en en en es en en en en es es es en en es es pt de en es en en es it es es es es hu en en ru en es en es es en it it en
El reexamen de Shahzia Sikander del género de las pinturas en miniatura indo-persas y la recontextualización de las imágenes indias y paquistaníes continúa en Artpace. Para su residencia, presenta un nuevo trabajo en papel y el resultado de sus primeros experimentos con video digital.
En medio de la galería oscurecida hay dos paredes paralelas que forman un pasillo, cada una con una obra de arte resplandeciente. Uno es un nuevo dibujo de Sikander, una miniatura con figuración y abstracción. Bajo una precisa luz teatral, la ilustración brilla, resaltando su escala íntima y preciosa.
Enfrente hay una pequeña pantalla retroproyectada que muestra un montaje animado de reproducciones digitales del trabajo anterior del artista. Desvaneciéndose silenciosamente entre sí, las imágenes crean capas del vocabulario visual de Sikander. Las superficies decorativas se disuelven en estudios de figura de una bailarina; El papel transparente se transforma en dibujos detallados de detalles arquitectónicos.
El trabajo de Sikander ha explorado constantemente cómo el montaje y el collage pueden representar múltiples facetas de la identidad cultural. Ya sea yuxtaponiendo tradiciones hindúes y musulmanas o destacando las fortalezas físicas de las mujeres, la artista está muy interesada en cómo la imagen y el contenido fluyen entre sí. En su primera incursión con imágenes en movimiento, Sikander examina el medio en sí, explotando la naturaleza fluida del video para crear un espacio animado y no lineal. A pesar de su pequeña escala, este nuevo trabajo se relaciona específicamente con el trabajo anterior de instalación del tamaño de una habitación del artista, donde las pinturas murales están pintadas y los dibujos sobre tejidos revelan y ocultan imágenes y superficies.
La técnica precisa de Sikander y la atractiva iconografía se prestan a exámenes de poder y control. El artista mira las tensiones entre historia y modernidad, entre Oriente y Occidente. A través del trabajo de Sikander, el espectador mira hacia el futuro mientras revisa el pasado.
New York, New York, USA
Shahzia Sikander was born in Lahore, Pakistan in 1969. She received her B.F.A. from the National College of Arts, Lahore and an M.F.A. from the Rhode Island School of Design. After participating in the CORE Program of the Glassell School of Art at the Museum of Fine Arts in Houston, TX, her work was included in the 1997 Whitney Biennial. Solo exhibitions of her work have been held at Deitch Projects, New York, NY (1997), The Renaissance Society at the University of Chicago, IL (1998); The Kemper Museum of Contemporary Art, Kansas City, MO (1998); the Hirshhorn Museum and Sculpture Garden, Washington, DC (1999); Whitney Museum of American Art at Philip Morris, New York, NY (2000). Group exhibitions include Out of India: Contemporary Art of the South Asian Diaspora at the Queens Museum of Art, Flushing, NY; Pop Surrealism at the Aldrich Museum, Ridgefield, CT (1999); Negotiating Small Truths at the Blanton Museum of Art, University of Texas at Austin, TX (1999); and The American Century: Art & Culture 1900-2000 at the Whitney Museum of American Art, New York, NY (2000). In 1997 she was awarded a Louis Comfort Tiffany Award and is currently a finalist for the National Gallery of Canada’s Millenium Prize.
Shahzia Sikander reflects the complexities of cultural identity and gender in her work. Her drawings and site-specific installations experiment with the highly stylized and image-oriented genre of Indian and Persian miniature painting.
Born in 1952 in Naples, Texas, Californian Nancy Rubins received her MFA from the University of California, Davis. She has had numerous solo exhibitions, including shows at Paul Kasmin Gallery, The Museum of Modern Art, New York, and the Venice Biennale Aperto. Rubins’ work was included in the 1995 Whitney Biennial and the Museum of Contemporary Art, Los Angeles’ Helter Skelter exhibit in 1992. Rubins teaches at the University of California, Los Angeles’ Art Department. She has received grants from the Rockefeller Foundation, the Tiffany Foundation, and the National Endowment for the Arts.
Independent curator Annette DiMeo Carlozzi has built an expansive practice across the US as a curator of modern and contemporary art, focusing on ideas and experiences, artists and audiences. Raised in Boston and trained at the Walker Art Center, she has served in a variety of foundational roles: as the first curator at Laguna Gloria Art Museum (now The Contemporary Austin); executive director of the Aspen Art Museum and the Contemporary Arts Center, New Orleans; Visual Arts Producer for the 1996 Olympic Games in Atlanta; and in multiple positions—ranging from founding modern and contemporary curator to Deputy Director for Art and Programs to Curator at Large—at the Blanton Museum of Art, University of Texas at Austin. Committed to expanding the canon, she has created notable exhibitions (Luis Jiménez, Paul Chan, Michael Smith, Deborah Hay, Negotiating Small Truths, America/Americas, Desire), produced important commissions (Nancy Holt, Siah Armajani, Betye Saar, Vito Acconci, Byron Kim, Teresita Fernández), and acquired major works by a wide range of international artists. Carlozzi has had a long relationship with Artpace, having served as an early advisor, artist interviewer, and program panelist, member of the 1998 artist selection panel and 2001–03 Board of Visitors. In 2015 she curated Immersed from Linda Pace’s art collection, now called Ruby City.
From 2012 to 2015 he was Chief Curator at the Orange County Museum of Art in Newport Beach, California. In 2006, Dan Cameron founded the Biennial Prospect New Orleans, where he worked at until 2011. From 1995 to 2005 he was Senior Curator at the New Museum, New York, where he developed numerous group exhibitions, such as East Village USA and Living inside the Grid, and several individual shows dedicated to the artists Martin Wong, William Kentridge, Carolee Schneemann, Carroll Dunham, Doris Salcedo, José Antonio Hernández Diez, among others.
As independent curator he has organized many exhibitions that brought him international attention, such as El arte y su doble (Fundación Caixa, Madrid, 1987); El jardín salvaje (Fundación Caixa, Barcelona, 1991); Cocido y crudo (Museo Nacional Centro de Arte Reina Sofía, Madrid, 1995), among many others. In 2003, he was the Artistic Director of the 8th Istanbul Biennial, and in 2006, Co-curator of the 5th Taipei Biennial.
He has published hundreds of texts in books, catalogues and magazines, and has given numerous talks and conferences at museums and universities around the world, also carrying out an important teaching activity in New York.
Hans Ulrich-Obrist is the Co-Director of Exhibitions and Programs and Director of International Projects at the Serpentine Gallery in London, positions created for Ulrich-Obrist in April 2006. As a curator at the Musée d’Art Moderne de la Ville de Paris, France since 2000, among many other exhibitions he organized solo shows with Jonas Mekas (2003), Anri Sala (2004), and Cerith Wyn Evans (2006). Before this position Ulrich-Obrist was an independent curator for a decade, organizing the group show Take Me I’m Yours at the Serpentine (1995) and Retrace Your Steps: Remember at the John Soane Museum (1999), also in London, England. Ulrich-Obrist was a panelist in 1998 for the 1999-2000 year of artists, and was invited to be a speaker at the 2003 symposium, but was unable to come due to illness.
Photo by Dominik Gigler
El Paso, Texas / San Antonio, Texas, USA
Después de Carolee: tierna y feroz
Curador: Annette DiMeo Carlozzi
Y tu vecino (nuestro)
Fort Worth, Texas, USA
¡Ser el primero en saber!
Suscríbase al boletín de Artpace para recibir noticias, eventos y más en su bandeja de entrada.
Unete a nuestro equipo
445 N Main Ave, San Antonio, TX 78205
P: 210.212.4900 | F: 210.212.4990 |
Artpace cuenta con el generoso apoyo de: National Endowment for the Arts, Texas Commission on the Arts, Linda Pace Foundation, San Antonio Department of Arts & Culture, The Brown Foundation, Inc., The Andy Warhol Foundation for the Visual Arts, y más …
Copyright © 2021 Artpace | Política de privacidad | Transparencia
Copyright © 2021 Artpace
Artpace cuenta con el generoso apoyo de: National Endowment for the Arts, Texas Commission on the Arts, Linda Pace Foundation, San Antonio Department of Arts & Culture, The Brown Foundation, Inc., The Andy Warhol Foundation for the Visual Arts, y más …