7.08.2018

Press review about For Freedoms in Henrique Faria NY

* Press review

http://www.henriquefaria.com/content/uploads/news-press/pdf/for_freedoms_apl_press_release.pdf



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For Freedoms: A Benefit Exhibition in Support of Acción por la LibertadOpening Reception: Thursday June 21, 6-9 pm
Exhibition runs through August 17, 2018 Gallery Hours: Monday to Friday 11-6 pm
Henrique Faria Fine Art is honored to present For Freedoms, an exhibition to benefit Acción por la Libertad (Action for Freedom), an initiative that is committed to freedom and democracy in Venezuela. The foundation’s objective is to promote human rights and to document and report violations against fundamental rights: freedom of opinion and
expression, freedom of association and assembly and, more recently, freedom of movement. This organization was born after the persecution and arbitrary detentions of political dissidents and students imposed by the Venezuelan government upon its citizens since the protests that started in February 2014. The exhibition title, For Freedoms, not only acknowledges the ultimate goals of Acción por la Libertad, but also references the momentous State of the Union Address given by President Franklin Delano Roosevelt in January 1941 and the effects this speech has made on the cause for human rights and democracy worldwide, most recently in the 2016 founding of the Political Action Committee, For Freedoms, by artists and activists Hank Willis Thomas and Eric Gottesman to demonstrate the importance of art as an essential act of participation in civil society. The artists featured in this exhibition span several generations and represent multiple countries in Latin America and, and as such, their work reflects on the evolution of the social, political and economic events in the region over the last fifty years and the current state of affairs,
particularly in Venezuela.
As Roosevelt was reciting his 1941 State of the Union Address, Europe had entered into the second year of World War II, and while the U.S. would not formally enter the war for another eleven months, Roosevelt recognized the threats of tyranny and fascism to democracy and security. In this dark period, he envisioned a future secured through the worldwide establishment of four freedoms: freedom of speech and expression, freedom of worship, freedom from want and freedom from fear. He continued, “That is no vision of a distant millennium. It is a definite basis for a kind of world attainable in our own time and generation. That kind of world is the very antithesis of the so-called new order of
tyranny which the dictators seek to create with the crash of a bomb.”
From reading Roosevelt’s words, it is easy to draw comparisons between the state of the world in 1941 and today, and, in this case, between the autocratic conditions in Latin America in the 1970s and 80s and the desolate state of Venezuela today, which create a resonance among the works of art on display. Horacio Zabala’s Anteproyecto para la perforación de un muro de cemento (Draft for the Perforation of a Cement Wall, 1973) can be seen as a chilling foreshadowing of Daniel Ceballos and Diana López’s collaborative work Lubyanka, or Drawing with the Right Side of the Brain (2018), featuring portraits of fellow political prisoners of the Maduro regime that Ceballos created inside of El Helicoide in Caracas, a modernist landmark building that has been converted into a jail for political prisoners, where they were being held captive. Fernando “Coco” Bedoya’s Siluetas (Silhouettes, 1986), human outlines composed of letters of the alphabet, born out of Buenos Aires’ 1983 El Siluetazo protest denouncing the Argentine Military Junta’s tactics of repression and disappearing political dissidents by painting silhouettes of disappeared people throughout the Plaza de Mayo, provide another historical context for Juan José Olavarría’s series La Cola(The Line, 2018), drawings which portray the profiles and silhouettes of Venezuelan people who must endure waiting on hours-long lines to get access to basic necessities including food, medicine and legal documents. Carlos Zerpa’s photoperformance Ninguno de nosotros es mudo (None of Us Is Mute, 1977) and Armando Ruiz’s Nuestra música(Our Music, 2016) explore how repercussions of repression and censorship replace the voices of the people with a
harshly silent void. Other artists, such as Alessandro Balteo-Yazbeck in Merchandise Exhibition – First class – 1965(2015), Marcelo Brodsky in his series 1968, The Fire of Ideas (2015) and Luis Hernandez Mellizo in Luto cinético(Kinetic Mourning, 2001-2003), appropriate images and aesthetics from the 1950s and 60s, and through this direct comparison question how much has changed for the better since Modernist ideals were unleashed and disseminated
throughout the world.
For Freedoms maintains the continued and powerful role art has held in protest and civic engagement in modern times through its capacity to give body, language and a voice to topics that challenge the status quo and the reactionary and to put forward strategies for resistance and, ultimately, for communal healing. An important tactic has been the usurping of public space and the insertion of art in unlikely, but highly visible spaces, with historical instances being El Siluetazo and Juan Carlos Romero’s poster Violencia (Violence, 1971) being posted on walls throughout Buenos Aires, and more recent examples including Iván Candeo’s surreptitious panoramic filming of an
35 East 67th St. New York, NY 10065 | Tel 212 517 4609 | www.henriquefaria.com
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imposingly large government building in the Miraflores neighborhood in Caracas and Juan Carlos Rodríguez’s darkly humorous Paisaje didáctico (Didactic Landscape, 2008) in which an anonymous narrator explains the scenery in a Venezuelan landscape painting, replete with guerrilla fighters hiding in the vegetation. Another method has been to co-opt the language of oppressive institutions and turn it on its head, as seen in Leandro Katz’s First You Kill Our Leaders (1986), Valentina Alvarado’s Aí (4 Letras) (2018) and Diana López’s Silabarios invertidos (Inverted Syllabaries, 2017). Other artists have chosen to subvert popular/populist imagery, as in Jorge Caraballo’s graphic print S.O.S. (c. 1976); in Mariana Bunimov’s untitled depictions of the recent media coverage of the protests in Caracas (2016); Luis Molina-Pantin’s Best-Sellers –International– (2008), the internationally bestselling autobiographies and biographies of infamous dictators with their visages gracing the front covers, Esperanza Mayobre’s Monumento a la TV (y a Brancusi) [Monument to the TV (And to Brancusi), 2010], carved stone televisions that demonstrate the supreme power of the state controlled medium in Venezuela; and Alexander Apóstol’s El Helicoide Stills (2003/2018) that show a fountain slowly washing away an image of El Helicoide. In implementing these various techniques, these artists demonstrate the will to keep culture expanding and moving forward despite institutional efforts to maintain widespread conservatism and protect their own interests over those of the people. As Thomas and Gottesman affirm in the For Freedoms manifesto, “Participation is citizenship”, and by viewing these works, by thinking and talking about them, the spectator becomes necessarily active, contributing to
the circulation of new ideas beyond the immediate scope of the gallery and the art world.
When the words and actions of unjust political leaders have come to dominate every level of daily life and whose decisions, the disastrous ramifications of which, have international consequences, it can be easy to overlook the multitudes of people who are taking steps within their means to counter corruption and fear and to fight for their inalienable freedoms and rights as human beings. As Roosevelt reminded in the conclusion of his address, “Freedom means the supremacy of human rights everywhere. Our support goes to those who struggle to gain those
rights or keep them. Our strength is our unity of purpose.” All of the proceeds of this exhibition will directly support the
endeavors of Acción por la Libertad and their mission to restore peace and security in the lives of all Venezuelans.
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Participating Artists:
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Valentina Alvarado
Deborah Castillo
Luis Molina-Pantin
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Alexander Apóstol
Nayarí Castillo
Juan José Olavarría
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Alessandro Balteo-Yazbeck
Daniel Ceballos
Rayma
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Fernando “Coco” Bedoya
Sigfredo Chacón
Luis Roldán
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Ángela Bonadies
Guillermo Deisler
Juan Carlos Romero
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Hayfer Brea
Leandro Katz
Juan Carlos Rodríguez
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Marcelo Brodsky
Ara Koshiro
Armando Ruiz
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Violette Bule
Diana López
Horacio Zabala
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Mariana Bunimov
Juan Loyola
Carlos Zerpa
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Iván Candeo
Humberto Márquez
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Jorge Caraballo
Esperanza Mayobre
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Carlos Castillo
Luis Hernández Mellizo
For press inquiries please contact Eugenia Sucre, Director, at eugenia@henriquefaria.com
Drawings by Venezuelan Political
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Prisoners
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35 East 67th St. New York, NY 10065 | Tel 212 517 4609 | www.henriquefaria.com

6.13.2018

For freedoms

* Exposición colectiva

Opening June 21 6-9pm, exhibition until August 17, 2018
HENRIQUE FARIA FINE ART
35 East 67th St. NY USA


Lectura pública “Quiero un presidente…”

  • *Lectura pública

  • Inauguración jueves 14 junio, 2018, desde las 3pm.
  • Jueves 14 de Junio Plazoleta Espacio Odeón
  • Un proyecto de Espacio Odeón y editorial Salvaje 
  • Programa Alternativo















En 1992 la artista, feminista y activista queer estadounidense Zoe Leonard escribió un poema-manifiesto llamado “I want a president…” en el que presenta un retrato conmovedor del clima cultural y político de principios de la década de 1990 en la ciudad de Nueva York con palabras que aún resuenan. Lo escribió en 1992, el año en que la poeta Eileen Myles se postulaba como candidata a la presidencia junto a George H.W Bush, Bill Clinton y Ross Perot. La identidad de Myles contrastaba con sus ricos oponentes masculinos: una mujer gay proveniente de una comunidad directamente afectada por la pobreza y el SIDA.La revista para la cual el poema fue escrito inicialmente se disolvió antes de su publicación, pero el texto circuló de forma orgánica, ganando gran popularidad con el paso del tiempo. En 2006, por invitación de la revista feminista genderqueer LTTR, Leonard revivió el texto en forma de postal, y posteriormente el trabajo ha sido leído, traducido y reinventado por varios grupos en el contexto de numerosas elecciones políticas en Estados Unidos y el extranjero. 
A propósito de la temporada de elecciones presidenciales 2018, Espacio Odeón y editorial SALVAJE hemos invitado a diversos miembros de la comunidad artística y literaria colombiana a producir un texto basado en el de Leonard a partir de nuestro contexto actual, para repensar la figura de presidente y preguntarnos sobre lo que queremos en nuestros líderes, así como lo que podemos imaginar para el futuro de nuestra sociedad desde nuestras vivencias personales y nuestras políticas más íntimas. Los textos producidos serán leídos públicamente el día jueves 14 de junio en la plazoleta de Espacio Odeón por sus autores y otros colaboradores. Lo invitamos a acompañarnos en esta jornada de lectura con micrófono abierto.

5.16.2018

FAENZA Muestra de videoarte 2018

* Muestra de videoarte

Sábado 19 de mayo de 2018 10, 14 y 17:30hs
Teatro Bogotá Calle 22 5-62. Bogotá, Colombia.
Entrada libre


Catálogo de Nuevos Coleccionistas

* Publicación
El catálogo de Nuevos Coleccionistas, que se lanza con ocasión de ARTBO | Fin de Semana. Con esta selección, se busca generar un acercamiento de nuevos públicos al mercado e incentivar la compra de obras de arte.
La selección final se realizó entre piezas que las galerías que participan en ARTBO | Fin de Semana tienen en reserva o en exhibición, de artistas tanto emergentes como consolidados.
De cada obra a continuación usted encontrará, la ficha técnica (título, año de creación, técnica, y dimensiones), además de la información de contacto de la galería que representa al artista. No dude en contactarlos, le acompañarán en el proceso de compra.


4.05.2018

Press review of oos-online about The place between words

*press review

https://oost-online.nl/bradwolff-projects/




Bradwolff Projects

 
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De Colombiaanse kunstenaar Luis Hernandez Melizzo is voor het eerst in Europa wat heel bijzonder voor hem is. Voor zijn tentoonstelling bij Bradwolff reflecteert hij op de achtergronden en plaatsen waar de mensen in de Bijlmer en Amsterdam vandaan komen. Een topic dat hem erg interesseert en ook zijn het inhoudelijk thema is in zijn werk.


Luis Hernandez Melizzo

Van 8 april tot 6 mei 2018
Luis Hernández Mellizo [Bogotá, Colombia, 1978] is de nieuwe BijlmAIR kunstenaar van het residentieprogramma van CBK Zuidoost in samenwerking met Bradwolff Projects en het Stedelijk Museum. Kunstenaars in residentie mogen ‘Amsterdam Zuidoost’ integreren in hun kunstproject in een of andere vorm, en kunnen zo een relatie opbouwen met het gebied.
Mellizo heeft ervoor gekozen om te reflecteren op de achtergronden en plaatsen waar de mensen in de Bijlmer vandaan komen. Dit sluit goed aan bij zijn lopende project over culturele identiteiten en sociale discoursen in verschillende steden, gericht op het leggen van verbindingen tussen het werk van de kunstenaar en de arbeidersklasse.
De titel van de solotentoonstelling van de kunstenaar bij Bradwolff Projects, ‘The Place Between Words’, verwijst naar zijn verkenning van culturele identiteiten binnen de Bijlmer en zijn streven om iets te differentiëren dat eigenlijk niet geschreven, gesproken of vertaald kan worden. Mellizo’s project probeert een sociaal landschap te portretteren door zijn eigen ervaring van naast elkaar bestaan ​​in het midden van het multiculturele gebied, waar hij zich gevangen voelt tussen een toerist en een nieuwkomer.
Door een reeks vragen te stellen over plaatsen, talen en woorden, probeert Mellizo een gemeenschappelijke basis te vinden te midden van een diversiteit aan ervaringen, herinneringen en het naast elkaar leven binnen de Bijlmer. Met deze vragen moedigt hij mensen in de Bijlmer aan om na te denken over hun positie in de samenleving en hun eigen achtergrond. De kunstenaar onderzoekt deze verkenning van identiteiten verder in woordenboeken en atlassen door te zoeken naar woorden die zijn geschreven, of gemarkeerd of fysiek als materiaal verwijderd met als gevolg dat een ander soort taal wordt gecreëerd. Zijn nauwgezetheid bij het deconstrueren van deze ‘boeken’ benadrukt deze ‘plek’ die tussen de woorden ligt.
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Het werk van Mellizo is gebaseerd op ervaringen en inzichten uit verschillende culturen. Hij beschouwt, onderzoekt en verzamelt informatie, terwijl hij reflecteert over zijn eigen situatie als kunstenaar in de samenleving. Zijn projecten worden meestal gekenmerkt door het gebruik van eenvoudige materialen, zoals boeken, kranten, souvenirs en andere alledaagse voorwerpen, om de betekenissen rond culturen, samenlevingen, talen en kunst te verkennen. Voor deze specifieke tentoonstelling zoekt Mellizo naar betekenissen van de waarde van woorden, met behulp van boeken in relatie tot zijn eigen ervaring van het leven in Amsterdam en de diverse culturele identiteiten die hem omringen.

Bradwolff ProjectsOetewalerstraat 73

Bradwolff Projects is  een experimenteel platform voor hedendaagse kunst. Samen met kunstenaars en gastcuratoren en in nauwe samenwerking met kunstinstellingen en onderzoeksinstituten worden hedendaagse kunstprojecten ontwikkeld en uitgevoerd. De nadruk ligt op het bieden van verdieping door middel van een platform waarbij de uitwisseling van informatie, ruimte voor onderzoek en experiment centraal staan.


3.28.2018

The place between words

* Exposición individual / Solo show



Inauguración domingo 8 de abril 15 a 18hs. 
Oetewalerstraat 73. Amsterdam, Holanda.

En exposición hasta el 5 de mayo de 2018




Press review:

https://oost-online.nl/bradwolff-projects/

2.27.2018

CBK Zuidoost residency

*Artista en residencia

We are excited to announce that Luis Hernández Mellizo [Bogotá, Colombia, 1978] is the new artist in residence at BijlmAIR! Mellizo will live in the period March/ April 2018 in the residency at Broedplaats Heesterveld. 
BijlmAIR is an artist-in-residence of CBK Zuidoost in collaboration with Stedelijk and BRADWOLFF PROJECTS. Every year, each of these art institutions invites an international artist to live and work at the BijlmAIR studio in Amsterdam Zuidoost. 
This year, BRADWOLFF PROJECTS invited the Colombian artist Luis Hernández Mellizo. He works on his ongoing project about cultural identities of the artistic scenes in different cities and now puts his focus on issues of artistic and working-class identities in the Bijlmer. The outcome of his residency will be presented from 8 April until 6 May 2018 at Bradwolff Projects. 
Luis Hernández Mellizo studied Visual Arts at the National University of Colombia in Bogota and the National University of the Arts in Buenos Aires. His work has been exhibited internationally and he is represented by galería Nueveochenta Bogotá.

2.16.2018

Open Studio Madrid

*Taller abierto

Dirección: Príncipe de Vergara 9 Madrid, España. (o Jorge Juan 47 a la vuelta de la esquina)
Metros: Velázquez o Príncipe de Vergara. Autobús: 21, 29, 52, 53


Actividades:

Exponen Rosell Meseguer, Raúl Bravo y Luis Hernández Mellizo.

18 feb. Concerto #1 -Dos sesiones en directo: 12.30 & 17.30
Invitados: Marco Padiya (música) y Raúl Bravo (artista visual)
Una colaboración entre un músico y dos artistas, Marco Padiya. Raúl Bravo ha diseñado piezas comestibles a partir de estas ideas.

19 feb. Mesa redonda  Hora: 16:00

La mesa contará con la participación de los expositores y de otros artistas y profesionales del arte. Desarrollará ideas a partir del proceso creativo del libro de artista.

20 feb. Entrada libre