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Alejandro Alonso


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Alejandro Alonso


ALEJANDRO ALONSO (CUBA)

Still from El hijo del sueño | The son of the dream

Still from El hijo del sueño | The son of the dream

Alejandro Alonso.JPG

SON OF A DREAM

Synopsis of Work:
My uncle Julio Cesar left for the USA in the 1980 Mariel Exodus. Over the next 15 years he tried unsuccessfully to reunite with my family until he contracted HIV and disappeared without a trace. The letters and postcards that served as a bridge between them, are today the compass to find it.

Bio: 
Alejandro Alonso is a Cuban film director graduated from Documentary at EICTV in 2016. He received a scholarship to attend the second Human Rights Documentary Iberoamerican Workshop in Bolivia, 2013. In 2012 he created La Concretera-Laboratorio Audiovisual, a film project aimed at promoting the development of filmmaking in Pinar del Río. His photographs have participated in collective exhibitions in Havana, Miami and Chile. In 2014 he made his first personal exhibition at MAPRI. His films have screened in festivals in Cuba, Mexico, Argentina, Uruguay, United States, Indonesia, Holland, Italy, Spain, Georgia, Switzerland, Germany, Rumania and France. His documentary Crisálida received the Best Short Award at Oaxaca Film Festival and New York City Short Film Festival in 2013. The Farewell had its premiere at IDFA-Amsterdam won the Best Film award at the Aciertos category in FICUNAM-México, also the Full Frame President Award in USA, received a special mention at the 44 Sehsüchte in Germany and was the Best Documentary at Cine Pobre Film Festival in Cuba. Duel, most recently had its World Premiere at Cinéma du Réel in the Pompidou Center. His first feature film The Project, will be premiering at Visions de Réel-Nyon this year. He is the current coordinator for the MA Alternative Cinema program at EICTV in Cuba.

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Andres Felipe Uribe


Andres Felipe Uribe


ANDRES FELIPE URIBE (COLOMBIA)

Still from May Day Rolling Stone in LA

Still from May Day Rolling Stone in LA

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May Day Rolling Stone in LA

Synopsis of Work:
Performance during May Labour Day 2015 in Mariachi Plaza, East Side LA. The artist kicks a rock behind the parade of latino workers until he is intercepted by the police. The police reaction detonates the metaphorical meaning of this detourment.

Bio: 
Bogotá, 1982. Lives and works in Bogotá. Crossover videoartist and postwriter. B.A. in Fine Arts from UJTL. His work combines different means from drawing to audiovisual media, from writing to spoken word, or from action-based events to performance, using language as a raw material and as a semiotic system. His video practice comments hardly on the imaginary signification of power relations. Has been showing his work internationally since 2004.

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Arturo Duclos


Arturo Duclos


ARTURO DUCLOS (CHILE)

Still from Polvo de Estrellas (Star Dust)

Still from Polvo de Estrellas (Star Dust)

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Polvo de Estrellas (english: Star Dust)

Synopsis of Work:
Video edition of the ritualistic performance Polvo de estrellas, featured in april 1, 2017 at Metales Pesados Gallery, Santiago de Chile. On this video the artist get into a black stage with a human skull. On the back wall there are a slow projection of words related to many meanings of the word 'paradise' in different global cultures. Once finished the music opening, the artist stay seated in front the public and began to grind with blows on a mortar the human skull. The performance continues up to the artist gets to finish his work and blows the skull dust through the four cardinal points. Then the artist folds the carpet and leaves scene with all his material.

Bio: 
Born in Santiago de Chile 1959. Master in arts at Catholic University of Chile. Since mid eighties begin to show works in Chile and abroad. In 1992, won Guggenheim Foundation Fellowship, following in 1993, 1994, 2015 and 2017 The National Arts Funds Fellowship in Santiago, also have been appointed in 1996 for Arts & Comunications Sciences Prize, UNIACC University, Santiago and Latinamerican Art Prize Enersis, Santiago 2001.

He has been professor at University of Chile and Universidad del Desarrollo, Santiago and visiting professor and lecturer at Michigan University, Getty Foundation and Harvard University.

His work have been widely exhibited in many international art events as Biennale of Paris, 1982. Biennial of La Havanne, 1991 and 1997. Biennial of Sao Paulo 1998 and Biennial of Mercosur (Porto Alegre) 1996 and 1998. Since 1992 He have often shown solo-exhibitions in art galleries and museums of Essex, Southampton, Paris, Milan, Rome, New York, Miami, Houston, Bogotá, Caracas, Sao Paulo, Guayaquil, Lima, Buenos Aires and Santiago de Chile. Museum and international touring group exhibitions as well as: Ultrabaroque (many venues in the states), Cinco continentes y una ciudad (México City Museum), Anteamerica, (venues in latinamerica and the US), Watt (Rotterdam Witte de With).

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Bryan Rodriguez


Bryan Rodriguez


BRYAN RODRIGUEZ (PERU/USA)

Still from La Mar Brava

Still from La Mar Brava

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La Mar Brava

Synopsis of Work:
La Mar Brava, Super 8/Performance, 2011

"La Mar Brava," shot in Callao, Peru, is part of a larger body of work entitled "La Trilogía de La Mar Brava." For this project, I invite members of my immediate and extended family to participate in the development of "situations" stemming from actualities and fictional dilemmas reminiscent of what they/we find cinematic in novelas and Hollywood action movies; documenting our performances in a variety of mediums.

Callao is a port city which served as a trade and exchange quarter of enslaved African bodies during early european occupation. "La Mar Brava" is the name of the beach/portion of the ocean located near one of the most marginalized sectors in Callao; making the name "La Mar Brava" or "Rough Sea" resonate with its heavy influx of narcotics via its port, the community of consumers who live on the actual beach, and the strong, unwelcoming and cold/strong tides of the water.

In this first iteration, I direct a group of my young cousins to rest an older body on the shore, sacrificing a soul and flesh to the unpredictable and hungry nature of this ocean's dominance


Bio:
Born in Callao, Peru, Bryan Rodriguez Cambana is an interdisciplinary-artist and curator based in New York City. He is a BFA graduate from Tufts University and The School of the Museum of Fine Arts and co-founder of "Sweety’s," curatorial initiative catered to artists of color. Rodriguez has attended residencies such as SOMMA MEXICO, The Vermont Studio

Center and SübSamsøn at Samsøn Projects, among others, leading to his participation in exhibitions at Los Angeles Municipal Gallery, The Queens Museum and Cuchifritos Gallery and Project Space; where he was also a resident artist (with Sweety's). In addition, he is a contributor to the third volume of Emergency INDEX Publication and a resident artist and fellow at More Art in the Engaging Artist Fellowship program.

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Crack Rodriguez


Crack Rodriguez


CRACK RODRIGUEZ (EL SALVADOR)

La Trinidad

La Trinidad

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La Trinidad

Synopsis of Work:
Transport by boulevard Monseñor Romero: The Political Constitution of the Republic of El Salvador, The Peace Agreements of the Civil War of El Salvador and The Holy Bible with the pressure of water from the hose of a pipe.

The circumstance tries to manipulate the rigidity of three books that do not have a real fluidity of its content. Relating to the abundance and waste of vital resources such as water, makes a direct contrast between the structure of knowledge or wisdom with the problematic of vital liquid.


Bio:
N/A

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Jesus Benavente


Jesus Benavente


JESUS BENAVENTE (USA)

A Reminder About The Rules

A Reminder About The Rules

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A Reminder About The Rules

Synopsis of Work:
A selection of unspoken rules that latinx people follow. The video was created just after the election as a reminder of these rules.


Bio:
Jesus Benavente earned an MFA from the Mason Gross School of Art at Rutgers University and attended Skowhegan School of Painting and Sculpture. Recent exhibitions and performances include, LTD Los Angeles, Los Angeles,CA; Performa13, NY; Find & Form Space, Boston, MA; Chashama, NY; Shin Museum of Art, South Korea; Vox Populi, Philadelphia, PA; Kingston Sculpture Biennial, Kingston, NY; Socrates Sculpture Park, NY and Austin Museum of Art, TX, among others. Born in San Antonio, TX, Jesus Benavente lives and works in Long Island City, NY.

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Joiri Minaya


Joiri Minaya


JOIRI MINAYA (USA/Dominican Republic)

Still from Labadee

Still from Labadee

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Labadee

Synopsis of Work:
Labadee documents a trip on a boat docking in Labadee, Haiti. It quotes Christopher Columbus' navigation diary at the beginning of the video, followed by the artist's accounts and remarks in the form of subtitles. Labadee is one of the many privatized beach spaces in the Caribbean, this one can only be accessed on a Royal Caribbean cruise, the company that leased the beach until 2050. 

Bio:
Joiri Minaya (1990) is a Dominican-American multi-disciplinary artist whose work deals with identity, otherness, self-consciousness and displacement. Her work navigates binaries in search of in-betweenness, investigating the female body within constructions of identity, social space and hierarchies.

Born in New York, U.S, she grew up in the Dominican Republic. Minaya graduated from the Escuela Nacional de Artes Visuales in Santo Domingo in 2009, the Altos de Chavón School of Design in 2011 and Parsons the New School for Design in 2013. She has been a resident artist at Skowhegan School of Painting and Sculpture, Guttenberg Arts and Smack Mellon, and has participated in the Bronx Museum’s AIM Program and the NYFA Mentoring Program for Immigrant Artists.

Minaya has exhibited across the Dominican Republic, New York and New Jersey, and her work is in the collection of the Museo de Arte Moderno in Santo Domingo and the Centro León Jiménes in Santiago, Dominican Republic.

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Karlo Andrei


Karlo Andrei


KARLO ANDREI (Puerto Rico)

Still from Crossover

Still from Crossover

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Crossover

Synopsis of Work:
Video projection
3: 11 minutes

In the music industry, the term crossover refers to the act in which an artist decides to sing in another language other than their first one. It also refers to success abroad, usually in the English speaking market and particularly in the United States. Also, etymologically, the term can also refer to the burden that an imposed language can have on a country and its people, carrying a linguistic cross over one’s back as a symbol of social and cultural stigma. In Puerto Rico, this practice is quite common and results in a cultural assimilation that is politically driven. Using as reference the reality show American Idol, the video seeks to common people singing the USA national anthem amplify the sociocultural distance between Puerto Rico and the United States hinting, in turn, at the different generations who long for statehood and who do not even know the language of the country they want to assimilate into.

Bio:
He holds a Baccalaureate in Plastic Arts with concentration in Painting of the School of Plastic Arts and Design of Puerto Rico. Currently, he works as an artist and cultural manager. He is also cofounder of the contemporary art space in Santurce, Puerto Rico, called Km 0.2.

His proposal addresses directly to Puerto Rico’s subordinate position as an unincorporated territory of the United States, and aesthetically examines the implications of this association.

I employ a wide variety of media that refer to conceptual art and mass media while addressing issues of social, political, cultural and geographic boundaries. My practice relies on social and political cognitions gathered from personal investigations, which draw correlations between individual and national identities and make larger observations respective to a global community.

He has exhibited his work in Cuba, El Salvador, Guatemala, Panama, Costa Rica, Mexico, Peru, Chile, Argentina, Brazil, Colombia, Dominican Republic, Canada, Netherlands, Romania, Poland, Norway, Taiwan, China, among others.

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Marcela Moraga


Marcela Moraga


MARCELA MORAGA (Chile / Germany)

Still from Living and Recovering

Still from Living and Recovering

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Living and Recovering

Synopsis of Work:
La ciudad Gropius es un conjunto habitacional modernista diseñado en primera instancia por Walter Gropius. El plano urbano de la Gropius se estructura en base a las funciones “Habitar y Recrearse“. Altos edificios de cemento entre medio de amplias áreas verdes alojaron en los años 60 a familias de trabajadores que vivían en lúgubres y pequeños espacios de la bombardeada Berlín. Pero la ciudad en el parque, como lo definía Gropius, no logró sus objetivos de vida comunitaria. Una causa importante fue la altitud de los departamentos, la cual provocó la poca movilidad de sus habitantes a través de los jardines y espacios comunes. Hoy en día, a pesar de los diferentes proyectos y remodelaciones que se han realizado en la ciudad Gropius, permanece la pregunta por el uso y apropiación de éstos espacios. 
En “Habitar y recrearse” me desplazo a través de diferentes calles y parques de la ciudad Gropius usando una caparazón de Tortuga de papel mache en mi espalda. Relaciono la tortuga como una forma de vida animal que integra paisaje y vivienda en su cuerpo y con ello transporta su vida privada en el espacio público. Mi performance fue documentada en película Super 8 porque éste era un formato de película amateur que se usaba en los años cuando se mudaron las primeras familias a la ciudad Gropius.

Bio:
Marcela Moraga nace en San Fernando Chile, actualmente vive en Berlín.
Estudió artes visuales en Chile y en Alemania. Sus proyectos han sido presentados internacionalmente sobretodo en Latinoamérica y Europa. Moraga trabaja con acciones de arte, performance, video e instalación. Además ha desarrollado proyectos en cooperación con grupos de vecinos y colegios. En su práctica artística investiga la relación entre cultura y lo que entendemos por naturaleza. Áreas de esa investigación son el espacio público, la arquitectura, la problemática medioambiental y el extractivismo. Uno de sus últimos proyectos fue la organización y producción de un Museo Comunitario del Agua en el sur de Chile, en una zona afectada por el monocultivo forestal.

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Maria Marrone


Maria Marrone


MARIA MARRONE (USA / Venezuela)

Still from americana

Still from americana

Marrone_Portrait_preview.jpeg

americana

Synopsis of Work:
‘americana’ is an expository piece that explores the cognitive dissonance that comes with being a multicultural individual. The piece consists of a collection of personal footage recorded as it plays from a small television in a white room. The images play out like memories; a slideshow from within a psychological space.
The piece focuses on the colors of the Venezuelan flag which- while they have their own meaning within the context of Venezuelan history- in this case, they are used to illustrate the personal experience of the immigrant.
The story is told through the lens of the immigrant child and examines the pressures of fulfilling a romantic idea of the American Dream for the martyr parents that granted them a brighter future. It examines the idea of familial love and how that plays itself out when great distance is wedged between family members. It examines the elements of latinidad that are lost in the process of trying to integrate oneself within American culture.
The film closes with the sense of disembodiment and duality that comes from feeling a lack of complete identification with any one culture. Multiculturalism creates a loyalty to both the origin and the conditioning of the immigrant child. The film makes the claim that there is a potential for peace when one expands their view on the land they inhabit.

Bio:
I was born in Valencia, Venezuela. Shortly after the beginning of the Chavez regime, my parents and I relocated to Kissimmee, Florida- where I lived until moving to New York at 18. I just recently graduated from New York University where I studied filmmaking and art history and I currently reside and work in Brooklyn.

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Maricruz Alarcon


Maricruz Alarcon


MARICRUZ ALARCON (Chile)

Still from A geometry book hanging by clothespins, following Bolaño

Still from A geometry book hanging by clothespins, following Bolaño

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A Geometry Book Hanging By Clothespins, Following Bolaño

Synopsis of Work:
During a few weeks, I hung a second-hand geometry book in front of my window in Brooklyn, following the instructions of Marcel Duchamp's Unhappy Readymade that were written by Calvin Tompkins and quoted by Roberto Bolaño in a passage of 2666.

A geometry book hanging by clothespins, following Bolaño is part of a series of videos depicting passages of books that describe, tell, picture, represent, remember or imagine other books -- books that may or may not be real, sitting in shelves, traded on markets; being written, read, lost, being found, sold, given away or forgotten; burnt, buried, censored, destroyed, hidden, neglected; turned into movies or sculptures, hung by clothespins or thrown to rivers.

Bio:
Maricruz Alarcón (1983) lives and works in Santiago de Chile. Her practice combines interdisciplinary studio work with critical writing about filmmaking and visual culture. She holds a BA in Aesthetics and a BFA in Fine Arts from Universidad Católica de Chile, and an MFA from Parsons The New School for Design.

Her work has been shown at venues in Santiago, New York, Philadelphia, Los Angeles, Lima and Buenos Aires. She has been a participant at the Whitney Independent Study Program in New York; Capacete, in Rio de Janeiro; and Fondazione Antonio Ratti in Como. Her writing has been recently published at Cuadernos de Arte UC and Shifter Magazine. She is currently faculty at the Escuela de Cine y Audiovisual of the Instituto Arcos in Santiago.

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Nicolas Bermeo


Nicolas Bermeo


NICOLAS BERMEO (USA)

Still from Heat

Still from Heat

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Heat

Synopsis of Work:
As Eleanor lays in her hospital bed, she tries to recount a love story she has never told.

Bio:
Nicolas Bermeo is an artist currently living in Los Angeles, California.
He is the founder of both Like • Magazine and Like • Movie Night and has shown at 315 Gallery, The Echo Park Film Center, The Squeaky Wheel, The Queer Arts Festival and The Hyde Park Art Center.

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Ondine Viñao


Ondine Viñao


ONDINE VIÑAO (USA)

Still from Dreamtime

Still from Dreamtime

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Dreamtime

Synopsis of Work:
Ondine Viñao’s video work merges traditional film captures alongside “other-wordly” elements. These projects, usually involving female subjects, express moments experienced in solitude- instances of exclusion from feelings of belonging or intimacy- where the body is often implied, but not directly manifested. Traveling to unfamiliar environments where the artist is a stranger to her surroundings, Viñao also looks to capture these “instances of exlusion” through color and landscape. 
Dreamtime (2017) was shot in the summer of 2016 in a small town outside of Louisville, Kentucky.  Through the juxtaposition of footage and sounds, the work aims to bring the viewer into contact with that which is both anxious and yet, paradoxically, peaceful in our contemporary experience. Stemming from Viñao’s concerns over the seemingly minuscule steps being taken to address the effects of climate change, the artist offers a window into the “American standard of comfortable living” with an implied critique of her own contribution to the problem. By relocating from her home in New York City to a part of the country that is both visually and socially different from what the artist is accustomed to, Viñao was granted a new lens with which to observe the correlation between American tradition and global warming. Dreamtime turns the viewer into a silent watcher; excluded from the situation, a ghost, peering into a world that one is both a part of and a stranger to.

Bio:
Ondine Viñao (b. 1994, New York City) is a multi-disciplinary artist with a focus on camera-based work. She received her BFA with a concentration in video art from NYU Steinhardt in 2016, graduating with the Artistic Practice Award. She has exhibited in the US and abroad, including at the inaugural show of ClearView.ltd in London, Labs New Artists exhibition at Red Hook Labs (Brooklyn, NY), and a two-artist show at The Goss-Michael Foundation (Dallas, TX.) She recently published her first photo book with Ginny Projects. Forthcoming projects include a residency at Chandelier Creative’s Mermaid Ranch in East Hampton and a group show with Ginny Projects in London.

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Renata Padovan


Renata Padovan


RENATA PADOVAN (Brazil)

Still from So Shall It Be

Still from So Shall It Be

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So Shall It Be

Synopsis of Work:
There is a feeble line between freedom and control. The video shows images of a polar bear swimming back and forth within the boundaries of a small pool at the Central Park Zoo in New York city. As if compelled by obsessive-compulsive disorder, the restrained animal keeps up with a rhythm that seems to go on forever, back and forth, anguished by his containment. The red hue of the image transforms the water, which opens up under the pressure of the massive body, creating patterns that become abstract drawings reminiscent of spilt blood. Fragments of text appear on screen; disconnected words that make little sense on their own, allowing the viewer to create his own script. The sound track gives a tense mood to the piece.

Bio:
Renata Padovan is a Brazilian artist living and working in São Paulo. Graduated with a BA degree in Social Communications from FAAP São Paulo, later followed by an MA Fine Art from Chelsea College of Art and Design in London, 2001. She has participated in several AIR programmes: 2016 Seoul Art Space Geumcheon, South Korea; 2014 GCC, South Korea; 2013 JKSD, Slovenia; 2012 Arctic Circle, Norway; THAV, Taiwan; 2009 NES, Iceland; 2008 Over the Fence, International winter workshop, Finse, Norway; 2004 Nagasawa art park, Japan; 2001 Braziers International Artists Workshop, UK; 1999 The Banff Centre for the arts, Canada. Her work has been exhibited in galleries, institutions and museums in Brazil and abroad. Among recent solo shows (2017) A parte que te cabe, Casa Nova Arte e Cultura; (2014) Um dia depois do outro, Caixa Cultural Brasilia; (2013) Xingu - Kapelica Galerija, Ljubljana; (2011) Vão (Gap) Baró Galeria, São Paulo. Among recent group exhibitions: (2017) Topografias Intermitentes, Hilo Galeria, Buenos Aires and Casa Nova Arte, São Paulo (2016) Embedded South(s), Ho Chi Minh City; (2015) Renata Padovan in conversation with Gian Spina, Casa Nova Arte, São Paulo; Marker, Dubai, Arab Emirates; (2014) Transborda – Mostra internacional de cinema experimental e vídeo arte, Alcobaça, Portugal; La Bienal del fin del Mundo, Mar del Plata, Argentina (2013) Projections Program, La Otra Bienal, Bogotá; Here we are and from here we go, Arróniz Arte Contemporáneo, Ciudad de Mexico; Refractive Distances – Everything Familiar Becomes Poetic, Centre for Curatorial Studies, University of Essex.

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Rocio Olivares


Rocio Olivares


ROCIO OLIVARES (USA / Chile)

Still from Viva Coco!

Still from Viva Coco!

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Viva Coco!

Synopsis of Work:
This video was made with footage taken from the Chanel’s fashion show that happened in La Habana, Cuba on 2016.

Making this video was a personal effort of appropriating this fantasy manufactured by Chanel, which was built over cultural and historical appropriation by “narrating”, through the pieces shown at the fashion show, Cuba’s recent history. Working with Chanel’s footage was an intent of subverting power dynamics and gaining agency over the circulation of this spectacle that, for me, crystallizes many aspects of the complicated relationship of the US with the Americas. Turning the footage backward then, responses to a longing to symbolically revert this history of US control and intervention in the Americas, a still ongoing interference that might be what finally defines the Americas in all its diversity, as a region.  

I think my video addresses the concept of displacement in two different ways. On one hand, there is the temporary effect of displacement that the fashion show in itself proposes, from the appropriation of a public venue that is temporarily transformed into a private space, to the displacement of Cuba's culture and history. On the other hand, I consider strategies of displacement the operations I used of in this piece. The juxtaposition of different scripts, the edition and reversal of the footage, among other operations, seek to shake the stability of the original video, re contextualizing the event while utilizing the footage as a parasite, capitalizing the captivating visuality produced by Chanel.


Bio:
Rocío Olivares Iriarte is a multidisciplinary artist born in Santiago de Chile in 1990 who received her BFA from Universidad Católica de Chile and her MFA at Columbia University. Rocío has centered her attention in asymmetrical distribution power and information in the context of world globalization and centralization of resources and power. Her work has been shown at venues such as Sean Kelly Gallery (NY, USA); The Jewish Museum (NY, USA ); Museo de Artes Visuales (Santiago, Chile); Galería Bicentenario, Estación Mapocho (Santiago, Chile); Museo de Arte Contemporáneo, Quinta Normal (Santiago, Chile), among others.

Rocío is the recipient of the Fulbright Scholarship (2015) and Becas Chile Scholarship (2016). She currently lives and works in the Bronx, NY.