Socrates Sculpture Park
Chronos Cosmos: Deep Time, Open Space
32-01 Vernon Boulevard
Long Island City, NY 11106
May 5, 2019 – September 3, 2019
Tzolk’in was originally created as a site-specific sculpture for the Bowtie Project, a post-industrial site with multiple histories along the Los Angeles River. It is symbolically connected with a second sculpture, also titled Tzolk’in that was originally made for the Made in LA 2018 exhibition. Together they speak about the speculative ways in which beings connect through a distance, and about the different experiences that come with inhabiting different spaces.
Inspired by the ancient Maya 260-day agricultural calendar, Tzolk’in generates a hypocycloid motion to mark time through movement that is both linear and cyclical. This process opens up opportunities for speculative imaginary futures and simultaneous experiences through time and space.
The markings and patina on the sculpture express the organic nature of steel and they function as a living archive of its time at the Bowtie by the Los Angeles river, Occidental College in Los Angeles, and now facing the East river and the Manhattan skyline.
Tzolk’in was originally commissioned by Clockshop for the Bowtie Project by the Los Angeles River and by the Hammer Museum in Los Angeles for the Made in LA 2018.
Mundos Alternos: Art and Science Fiction in the Americas
Flushing Meadows Corona Park
Queens, NY 11368
April 7, 2019 – August 18, 2019
The Cosmos is an interactive group of works including The Untimely Conversation Box and The Cosmos (Spaceship). It is an installation informed by the past, by colonial, scientific, popular, and personal memories. However, it is also about the future, about the idea that we are in constant motion, in a process of becoming part of the cosmos. Inside the spaceship you hear the voice of a Yahi man that anthropologists called Ishi. It was recorded in front of a phonograph a couple weeks after he came down Mount Lassen over a century ago. The Untimely Conversation Box breaks with time and space in order to allow us to engage in conversation with people who are not in the same place or time as us. It includes quotes by philosophers, writers, and thinkers coming to us from other space/time.
Mundos Alternos: Art and Science Fiction in the Americas was curated by Robb Hernandez, Tyler Stallings, and Joanna Szupinska-Myers at UCR ARTS in Riverside . The New York City iteration was organized by Hitomi Iwasaki and Joanna Szupinska-Myers.
The Lakota Porch: A Time Traveler
John Michael Kohler Arts Center
608 New York Avenue
Sheboygan, WI 53081
March 24, 2019 – September 15, 2019
The Lakota Porch: A Time Traveler evokes a Craftsman Vernacular porch built by an Apache Mescalero master stone builder by the name of Dan Montelongo about a 100 years ago. He build many houses in San Fernando, Sylmar, Sunland–his work is preserved in the Stonehurst historic district in Los Angeles. As part of the Los Angeles Craftsman Vernacular movement, the porch exists both inside and outside modernity. It is linked to the back-to-the-land philosophy that encouraged the construction of buildings with local materials, and also, exhibits an ancient indigenous way of construction with rocks that evokes the foundations of the Templo Mayor built by the Aztecs, the Mayan pyramids, the Inca Temples, and also the Inca aqueduct spirals built in Nazca, among many others.
The Lakota Porch: A Time Traveler is made with stones from another place or time. These stones are made with sheet metal produced for industrial purposes brought back to the earth and to exist as stones. These are rocks from elsewhere, rocks that could very well be remnants of industrialization, rocks from the future. The Lakota Porch: A Time Traveler brings together ideas about time travel, cultural diversity and coexistence, labor, the transformative life of a city, and the power of imagining another possible future. It is a porch has come full circle and has crossed lines defined by class, by race, by colonial policies, by histories of gentrification, marginalization, exclusion. As a result, this house is now located in a working class neighborhood somewhere in Los Angeles, and is inhabited in contemporary times by a Lakota woman.
The Autotopographers was curated by Karen Patterson.
Candelilla, Coatlicue, and the Breathing Machine
108 East San Antonio Street
Marfa, TX 79843
April 5 – September, 2019
Candelilla, Coatlicue, and the Breathing Machine features newly commissioned and existing works by artists Beatriz Cortez, Candice Lin, and Fernando Palma Rodríguez. The title refers to a facet of each artist’s contribution to the show, which range from wax pours to robotic storytellers to provisional shelters and beyond. The varied installations and objects from these three artists weave together a conversation about the animate qualities of land; human and non-human migrations & cross-pollinations; and the simultaneous existence of past, present, and future. Each artist spent time in Marfa and around the Big Bend, and these particular experiences and responses are reflected in the commissioned pieces. Altogether the exhibition puts these three important artists and their distinct bodies of work in conversation with and about lands, plants, and histories particular to U.S./Mexico border in West Texas. It facilitates the production of a slate of new objects and installations via Ballroom’s commissions, supporting new art, ideas and relationships. Candelilla, Coatlicue, and the Breathing Machine is organized by Ballroom’s Director & Curator Laura Copelin.
Donde hubo fuego: Arte contemporáneo de El Salvador
Museo de Arte de El Salvador, MARTE
San Salvador, El Salvador
Dates: January 19, 2018 – January 18, 2023
Armor for Rufina Amaya was made to honor Rufina Amaya, survivor of the Massacre of El Mozote in December 1981 in Morazán, El Salvador. This massacre, perpetrated by the US funded and trained elite Atlacatl Battalion of the Salvadoran Army, is known as the worst massacre in the Americas. The majority of the dead were children under the age of 12. The armor seeks to cross through time and space to offer solace to Rufina Amaya’s body and to the memory of horror that she shared with the world for the 25 years that she survived after the massacre.
This exhibition was curated by Simón Vega and Rafael Alas Vazquez. Photograph: Walterio Iraheta.