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En enero del 2020, semanas antes de que la pandemia de COVID-19 dominara al mundo entero, presenté mi primera iteración de Mystic Toolkit. Esta exposición fue informada por el renacimiento espiritual de fines de la década del 2010, con la meta de iluminar el potencial que alberga lo místico para influenciar la práctica de los artistas.
Dos años después, en un contexto global radicalmente alterado que ha causado conmoción y ha puesto a todos a prueba, Mystic Toolkit retoma la conversación. En este nuevo contexto, es quizá poco sorprendente el hecho de que las prácticas espirituales alternativas han ido acumulando relevancia. Juntando las obras de siete artistas que utilizan medios varios, incluyendo la escultura, fotografía, pintura y performance, Mystic Toolkit extiende una discreta invitación a celebrar los rituales diarios de adaptación, sanación y luto que se han vuelto indispensables en estos tiempos. Aunque cada artista posee su propia práctica y vocabulario visual idiosincrático, todos los incluidos en esta exposición comparten un respeto a las fuerzas místicas que afectan nuestras vidas diarias y rinden homenaje a los rituales diarios y gestos repetidos que nos mantienen sanos.
La exposición conceptualiza el hogar como un santuario, un sitio de remembranza y refugio. Nuestro hogar es un albergue de comodidad y autocuidado, pero durante el confinamiento también nos ha mantenido en cautiverio. Con nuestras vidas cada vez más dispersas en espacios tanto físicos como virtuales, algunos de los artistas en esta exposición han buscado un espacio espiritual en el internet. Los medios sociales nos han permitido “estar juntos” en cierto modo, a pesar de las órdenes de distanciamiento social. Algunos artistas recurren a los juegos de tarot como un medio para comprender nuestro mundo, mientras que otros buscan señales de esperanza en amuletos y cachivaches. Algunos han añadido una práctica puntual y regular a su trabajo como manera de crear orden en tiempos de caos. A pesar de la variedad de los métodos, todos los artistas que participan en Mystic Toolkit intentan navegar esta crisis, que sin duda es una de las más disruptivas en la historia moderna, a través de un reconocimiento genuino de las fuerzas misteriosas que dirigen al mundo.
Alicia Adamerovich is a Brooklyn-based artist interested in the psychological effects that built or imagined environments have on the human psyche. She draws from visions, memory, and dreams to compose surrealist scenes that act as vehicles for desire, fantasy, anxiety, or fears.
Vanessa Brown is a Canadian artist living and working in Berlin (Germany). Working across a variety of materials, from steel to glass or even textile, her multidimensional sculptural works seem suspended between consciousness and a chimera. Resolutely feminine, her work further recontextualized the domestic space as an empowering refuge and a fertile space for creativity and inspiration.
San Antonio, Texas, USA
Jennifer Ling Datchuk is a ceramic sculptor and artist born in Warren, Ohio and raised in Brooklyn, New York. Her mother came to this country in the early 1970s from China; her father born and raised in Ohio to Russian and Irish immigrant parents. Beyond initial appearances, the layers of her parents’ past and present histories are extremely overwhelming and complicated – a history of conflict she has inherited and a perpetual source for her work. She captures this conflict by exploring the emotive power of domestic objects and rituals that fix, organize, soothe and beautify our lives. Trained in ceramics, the artist works with porcelain and other materials often associated with traditional women’s work, such as textiles and hair, to discuss fragility, beauty, femininity, intersectionality, identity and personal history.
She holds an MFA in Artisanry from the University of Massachusetts Dartmouth and a BFA in Crafts from Kent State University. She has received grants from the Artist Foundation of San Antonio, travel grant from Artpace, and the Linda Lighton International Artist Exchange Program to research porcelain clay as a conceptual material. She was awarded a residency through the Blue Star Contemporary Art Museum to conduct her studio practice at the Künstlerhaus Bethanien in Berlin, Germany and has participated in residencies at the Pottery Workshop in Jingdezhen, China, Vermont Studio Center, and the European Ceramic Work Center in the Netherlands. In 2017, she received the Emerging Voices award from the American Craft Council. Currently residing in San Antonio, Texas, where she is a Professor of Art at the Southwest School of Art. On Inauguration Day 2017, she opened the Porcelain Power Factory, a 4-year body of work that reclaims the past lives of objects to raise the social awareness of causes that we need to fight for.
Photo credit: Mark Menjivar
Erika DeFeitas is a Toronto-based artist working across different mediums, from photography to performance, video, and sculpture. Arising from a deeply personal perspective, the artist is interested in researching questions pertaining to identity, generational grief, memory, and communal experiences of healing.
Her work has been exhibited nationally and internationally including: Kitchener-Waterloo Art Gallery; Platform Centre for Photographic and Digital Arts, Winnipeg; Gallery TPW, Toronto; Project Row Houses and the Museum of African American Culture, Houston; Fort Worth Contemporary Arts; and Ulrich Museum of Art, Wichita. She is a recipient of the 2016 Toronto Friends of the Visual Arts Finalist Artist Prize, the 2016 John Hartman Award, and was longlisted for the 2017 Sobey Art Award. DeFreitas holds a Master of Visual Studies from the University of Toronto.
Julian Yi-Zhong Hou is a multidisciplinary Canadian artist. His work centers around contemporary mystical subjects, consciousness, and experimental pagan and divination ritual, practice, and research. His work has been the focus of solo and group exhibitions at Zalucky Contemporary, Toronto; Soon.tw, Montreal; 8-eleven,Toronto; Artspeak, Vancouver; and the Vancouver Art Gallery. His most recent work, Grass Drama, has been shown in parts at Malaspina Printmakers Society, Vancouver (2021), Contemporary Art Gallery, Vancouver (2020), Cassandra Cassandra, Toronto (2019); Unit 17, Vancouver (2018); and in Charcuterie 4 (2018). He recently completed Crossroads (2021), a large-scale stained glass public artwork in Burnaby, B.C.. Hou holds a Bachelor of Arts in Art and Culture Studies from Simon Fraser University and a Masters in Architecture from the University of British Columbia. He has participated in residencies at Triangle, Marseilles; Western Front and 221A Vancouver. He is one of the founding members of the art record label and project Second Spring.
Rachael Starbuck is an artist, educator and organizer who lives and works in Austin, TX. In her practice Starbuck navigates how a body moves through space, is defined or indistinct, present or absent, solid or yielding. Her work negotiates, touch, desire, intimacy and communication across distance. Working between sculpture and video she makes fluid feeling objects that are sensitive to their environment.
Starbuck is a co-founder of the nomadic curatorial project Partial Shade and a founding member of MATERIAL GIRLS, a non-local artist collective of female-identifying sculptors and digital artists. She received her MFA in Studio Art from the University of Texas at Austin in 2017 and her BFA in Sculpture + Extended Media from Virginia Commonwealth University in 2011. Starbuck has been a resident at ACRE Projects, The Contemporary Artists Center at Woodside, The Wassaic Project and The Vermont Studio Center and has shown work in Richmond, VA; Providence, RI; Chicago, IL; Austin, TX; Houston, TX; New York, NY; Los Angeles, CA; and London, UK.
Shanie Tomassini’s work explores the cyclical and renewable potential of objects, sites and ideas. Evoking sustainability, craftsmanship and ecofeminism, her work hints at the sacred emerging from the mundane. Through a series of transformations and alterations, she examines the nature of a material, reflecting on its evolutions across space and time. Shanie Tomassini’s work explores the potent aftermaths of an existential crisis and her ideas often crystallize around a shape that becomes a motif for poetic emancipation.
Shanie Tomassini is a Montréal-based visual artist. In 2019, she received an MFA in Sculpture at the University of Texas in Austin, where she received a number of awards including the UMLAUF Prize and the Cofa summer fellowship. She has presented her work in several solo exhibitions, namely at Clark Center (Montreal), at the UMLAUF Museum (Austin), at CIRCA Art Actuel (Montréal), and at the Courtyard Gallery (Austin). She has also shown her work at Sweet Pass Sculpture Park (Dallas), at Sporobole (Sherbrooke), at the Visual Art Centre (Austin), and at TAP Art Space (Toronto). In 2022 she will be a resident at the Rad’Art artist residency in San-Romano, Italy and at the Est-Nord-Est artist center in Quebec. She is currently a recipient of grants from the Canada Council for the Arts and the Quebec Council for Arts and Letters.
Anaïs Castro es una escritora y comisaria de exposiciones que vive en Montreal y Berlín. Cuenta con una licenciatura en Historia del Arte obtenida de Concordia University y una maestría en Arte Contemporáneo: Historia, Comisariado y Crítica de la University of Edinburgh.
A lo largo de los últimos años, ha comisariado una gran cantidad de exposiciones en Canadá, el Reino Unido, Alemania y China, incluyendo Moving Still | Still Moving en Art Mûr Montréal (2015), #self para Art Souterrain (Montreal, 2016), Self-Abstractions en Canada House (Londres, 2017) Over My Black Body en La Galerie de l’UQAM (Montreal, 2019), y en Spike Art Quarterly (Berlín, 2018). Es una de los miembros fundadores del colectivo de comisariado The Department of Love, que presentó su primer proyecto en Shanghai en diciembre del 2018 y encargó cuatro performances por Debora Délmar, Jade Montserrat, Alvin Tran, y Steven Warwick como parte del Programa Abierto de Art Night London 2019.
Ha participado en el Shanghai Curators Lab inaugural (2018), fue Comisaria-en-Residencia en Art in General (Brooklyn, 2019), Titanik (Turku, Finlandia, 2017), y Crítica Invitada en BCA (Burlington, 2016). Es miembro editorial del Daily Lazy y publica con regularidad en esse art + opinions, Espace, y this is tomorrow.
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
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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 …