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ARQUETOPIASUMMER 2019 Triple International Summer Academic Residency Program June/July 2019
Type: Residencies, Workshops, Exchanges [View all]
Posted by: Arquetopia Foundation & International Artist Residency – Puebla, Mexico
Deadline: Sun, November 25th, 2018
ARQUETOPIASUMMER 2019 Triple International Summer Academic Residency Program June/July 2019
Includes Printmaking Technique Instruction, Site-Specific Intervention, and Self-Directed Art Production
Program Session Dates: 6 weeks, June 3 to July 15, 2019
Apply Now through Sunday, November 25, 2018.
Fee waiver options. Spaces are limited. All residency applications are evaluated for selection when they are received vs. after the deadline has passed.
ART & ACTIVISM: Arquetopia’s flagship residency program, ARQUETOPIASUMMER 2019 will focus on the relationship between art practices, activism, and the visual history of Mexico.
The rise of authoritarian nationalism in the 21st century, through the 2016 elections in the United States and the Brexit in Europe, has affected not only global politics but local realities in every corner of the world. Artists, more than ever, are turning to activism as a response to the complex realities they face. As a result, social issues have taken center stage in visual discourses, and many artists have moved social concerns into galleries and museum settings; however, this does not translate into social change. Knowing the problematic relationship between art and power, how can we take into action without implicating expropriated labor, extinction, and genocide?
The ARQUETOPIASUMMER 2019 Triple International Summer Academic Residency Program is a prestigious 6-week critical program that offers competitive professional opportunities for local and international emerging and mid-career artists, curators, art educators, art historians, and students age 20 and over.
ART & ACTIVISM
In his essay, “Empty the Museum, Decolonize the Curriculum, Open Theory,” Nicholas Mirzoeff questions the right to appear, and states that “only those qualified can ever enter the space of representation.” How can representation trivialize our intention through visual expression? And how is activism in relation to art able to provide a space for social change? Is it possible to create a space in which those who are present can claim the “right to appear” and the “right to look”?
CRITICAL METHODOLOGIES
This unique program will offer critical methodologies for diverse art practices while exploring the problematics and implications when art and activism intersect. Participants will conceptualize their art by engaging their practice in critical discussions and exploring the possibilities and limitations of intention in the process of articulating artistic agency. One of the central goals is to understand how violence is constructed through the language of aesthetics, hierarchies, and categories. The program will also put into context the role of cultural institutions, such as museums and galleries, in the production of meaning through objects, social relations, and art consumption.
MEXICAN PRINTMAKING TRADITION
The Mexican printmaking tradition has a complicated relation with the development of modern and contemporary art in Mexico, by rendering contentious realities mixed with current events, and political messages. This strong political legacy has not only influenced other forms of art but also set the tone to the tense and contradictory relationship between art and social activism in Mexico; nevertheless, the accessibility and collaborative nature of this art practice allows a dynamic grass-root space where the discussion of social issues is very relevant.
SEMINARS, TOURS & SITE-SPECIFIC INTERVENTIONS
The seminars and tours included in the program will explore the problematics of visual cultural and the possibility of resistance through artistic agency. Through hands-on workshops in collaboration with the Erasto Cortés Printmaking Museum, and the ARPA BUAP School of Fine Arts and Digital Arts, participants will have the opportunity to expand their art practice by exploring printmaking techniques and diverse site-specific interventions.
ARQUETOPIASUMMER 2019 PROGRAM INCLUSIONS
This program includes 27 seminar hours; 9 hours of individual and collective critiques; guided tours and visits to prominent museums in Puebla, independent galleries, and relevant sites. The program also includes a 27-hour hands-on art workshop instructed by a professional master printer, exploring the artistic dimensions of printmaking techniques and site-specific interventions. Activities are designed to promote intense creative work and artistic dialogue; therefore, artists allocate self-directed studio hours as part of their weekly schedule.
Renowned international art historians, artists, and master restorers facilitate the dialogues, individual and collective critiques, seminars, and workshops. Seminars are conducted in English. Workshop instruction is in Spanish or English.
ARQUETOPIASUMMER 2019 FIVE SPECIAL GUEST SCHOLARS AND INSTRUCTORS
DR. KIRSTEN BUICK
Kirsten Pai Puick, Ph.D., specializes in American art, focusing her research on African-American art, the impact of race and gender on the history of art, representations of the American landscape, and the history of women as patrons and collectors of the arts. She has advanced scholarship of the work of numerous African-American artists through publications including the first book-length examination of the life and career of 19th-century sculptor Mary Edmonia Lewis. Buick is a tenured, full professor at the University of New Mexico, where she has taught for more than 15 years. She earned her bachelor degree in art history and Italian literature in 1985 from the University of Chicago. She earned her master and doctorate degrees in art history from the University of Michigan. Buick has published extensively on African-American art. Her book Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject was published by Duke University Press, and her second book, In Authenticity: ‘Kara Walker’ and the Eidetics of Racism, is currently in progress. Her published articles include studies on the work of artists including Daniel Coburn, Patrick Nagatani, Joseph Delaney, Aaron Douglas, Horace Pippin, and Kehinde Wiley. Buick has earned numerous academic, professional, and scholarly awards and grants including the Driskell Prize, Smithsonian American Art Museum’s Predoctoral Fellowship, the Charles Gaius Bolin Fellowship at Williams College, CAA Professional Development Fellowship in Art History, Rhoades Foundation Visiting Lectureship, and the UNM University Libraries Faculty Acknowledgement Award.
FRANCISCO GUEVARA
Francisco Guevara is a visual artist and curator specializing in creating projects using contemporary art to promote Development by designing alternative models of social entrepreneurship for human development. He graduated with the degree of University Expert in Management and Planning of Development Cooperation Projects in the Fields of Education, Science and Culture from the Universidad Nacional de Estudios a Distancia (UNED) in Madrid, Spain, in coordination with the Organization of Latin American States for Education, Science and Culture (OEI). He also received his postgraduate degree in Cultural Management and Communication from the Latin American Faculty of Social Sciences (FLACSO) in Buenos Aires, Argentina. He joined the Race, Gender and the Historiographies of Art Seminar at the University of New Mexico in 2009 to incorporate into his curatorial projects a broader understanding of identity in the local and international context. His work and projects emphasize the role of contemporary art practices as a tool for social change. His experience covers international projects including: intangible heritage, public art, exhibits and visual arts education. As an artist he has researched, studied and worked exploring the connection between food, rituals of eating and collective identity. He is Co-Founder and Co-Executive Director of Arquetopia Foundation.
DR. NICHOLAS MIRZOEFF
Nicholas Mirzoeff, Ph.D., is a visual activist, working at the intersection of politics, race and global/visual culture. Among his many publications, The Right to Look: A Counterhistory of Visuality (2011) won the Anne Friedberg Award for Innovative Scholarship from the Society of Cinema and Media Studies in 2013. How To See The World was published by Pelican in the UK (2015) and by Basic Books in the US (2016). It has been translated into ten languages and was a New Scientist Top Ten Book of the Year for 2015. His new project, The Appearance of Black Lives Matter was published in 2017 as a free e-book, and in 2018 as a limited edition print book with the art project “The Bad Air Smelled Of Roses” by Carl Pope and a poem by Karen Pope, both by NAME Publications, Miami. Since Charlottesville, he has been active in the movement to take down statues commemorating settler colonialism and/or white supremacy and convened the collaborative syllabus All The Monuments Must Fall. A frequent blogger and writer, his work has appeared in the New York Times, the Guardian, Time and The New Republic.
DR. EMMANUEL ORTEGA
Emmanuel Ortega, Ph.D., is a curator specializing in in Ibero-American colonial art. He is professor of Latin American Colonial Art at the University of Illinois at Chicago and was previously an adjunct instructor in the Department of Art and Art History at the University of Nevada Las Vegas. Since 2007, he has investigated images of violence in the Novohispanic context. For his master thesis, Ortega investigated images involving public performances organized by the Novohispanic Inquisition. For his Ph.D. dissertation at the University of New Mexico, Ortega researched visual representations of the New Mexico Pueblo peoples in Novohispanic Franciscan martyr paintings. He has contributed several entries for the Khan Academy website and the Arizona Center for Medieval and Renaissance Studies online bulletin. He has presented his work in the XXXVI Annual Colloquium of Art History organized by the Universidad Autónoma de Mexico, 2012, the College Art Association and American Studies Association in 2015. Also, in 2015, Ortega partnered with the Museo de Arte Religioso Ex-Convento de Santa Mónica in Puebla, Mexico to curate two art exhibitions based on recently restored paintings from the museum’s permanent collection.
(FIFTH SPECIAL GUEST SCHOLAR TBA SOON)
RESIDENCY PROGRAM DURATION / TIME PERIOD
Session of 6 weeks, Monday, June 3 to Monday, July 15, 2019.
WHAT THIS COMPREHENSIVE RESIDENCY PROGRAM INCLUDES
Technique Instruction:
Staff Support:
9 hours of individual and collective critiques Each resident meets weekly with our directorial and curatorial staff for individualized research assistance/resources, project guidance, and critiques Our residencies are process-based; residents are not expected to give talks, exhibitions, or workshopsAccommodation and Meals:
Furnished, private bedroom Meals and 24-hour access to kitchen stocked with local and organic food, and large dining room Wireless Internet Use of Arquetopia’s residency spaces including 4th-floor lounge and outdoor terraces Shared bathrooms with modern fixtures and showers HousekeepingStudio Workspace:
24-hour access to large and bright, shared art studio with generous natural light Personal workspace with large table and wall space Some tools provided On-site darkroom provided for photographers On-site print/graphics studio provided for printmakers Materials and supplies for the instructional course provided Materials and supplies for additional project production not included but available for purchase locally
RESIDENCY FEE, DATES, AND TERMS
Session Dates: 6 weeks, June 3 to July 15, 2019.
Program Fee: USD $749 per week (USD $4494 for the 6 weeks). Fee waiver options; e-mail us. Deposit of 25% of Residency Fee due within 1 week of selection notification. Balance due by March 5, 2019.
HOW TO APPLY
E-mail us at info@arquetopia.org
Visit the Arquetopia website at www.arquetopia.org
Complete and submit the Arquetopia Artist-in-Residence Online Application Form, following the instructions on the web page.
Following selection, applicants are notified immediately via e-mail.
Arquetopia is committed to providing an inclusive and welcoming environment for all members of our diverse local and international community. Arquetopia’s resident artist and staff backgrounds vary in all aspects. As part of Arquetopia’s mission is to promote diversity, Arquetopia actively fights discrimination by offering access to its programs and activities without regard to race, color, gender or gender expression, national origin, age, religion, creed, or sexual orientation.
Arquetopia on the Web: www.arquetopia.org
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Arquetopia on Facebook: www.facebook.com/arquetopia
Posted on Fri, November 9th, 2018
Expires on Sun, November 25th, 2018
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