Exhibition
The Inclusive Way Museum has been dedicated to promoting inclusivity since 2002. Its collection showcases a wide range of projects, manuscripts, and publications that emphasize a strong commitment to equity and fostering understanding.
Album de bodas
Transito
Metaphors of the Emergency or The Small Raft
Curators: Gerardo Zavarce, Lorena González , Alberto Asprino
(…) The small raft, whose detailed plan was created by the survivor Alexandre Corréard, is what we have taken as a graphic testimony for the present selection of works. This drawing represents a museographic identity that provides a mapping of precariousness, a visual map of ties bound in that fragility which intends to guide the 18th edition of this salon for young creators. In this way, we haven’t resorted to thematic cores or specific categories. It is precisely the dramatic variability of the fragment and drift that serves as the guiding thread. For this reason, each of the exhibition spaces has been articulated through geographical coordinates, in an attempt to establish a mark of time, degrees, wind, and uncertain edges present in that vertiginous shipwreck which is our contemporaneity. It’s a personal cartography that will find its definitive meaning in the active and personal gaze of each viewer.
The forces allowing flotation act upon The Raft of the Medusa. They emerge to prevent immersion. But they leave no space for transcendence. The rafts are stages for a drama. We don’t sail on the promised waters of well-being; on the contrary, we dwell in the scarcity of provisions: we are shipwrecked with very little. We’ve witnessed recent episodes of cannibalism, consuming each other under the call of “Every man for himself!” However, creation is equally the place for the emergence of a language capable of cultivating hope. And The Raft of the Medusa represents diverse spaces for creation. It’s what we turn to in order not to sink into the cultivation of human miseries. Alexandre Corréard, a survivor, proposed creating a detailed plan of the Medusa to recount what happened and lead us again to the exercise of justice over inequity and impunity. Embracing the tragedy is a way of nurturing hope.
The young creators present in this edition survive within the raft. Hope and despair reside in them. They know they must build the future because they nestle in a present governed by disillusionment. Epic feats are no longer possible; the glorious past can only replay in reality as comedy, as a scenographic resource. So, in this salon, we attempt to gather the fragments of that creation which, as in Géricault’s painting, are laden with diverse perspectives on the horizon, a line of calm and escape that still remains – trembling and uncertain – before the ineffable reality that awaits.
Participants:
Carlos Salazar Lermont, Jose Perozo, Marcos Temoche, Eric Acham, Maria Virginia Pineda, Conrad Pittari, Hase, Muu Blanco, Alvaro Paz, Erika Ordosgoitti, Miguel Braceli, Valentina Alvarado, Ana Navas, Marianna Rivas Maal, Gala Garrido, Florence Alvarado, Max Provenzano, Sofia Color, Paul Parrella, Lucia Pizzani, Violette Bule, Jotashock, Irene Perez, Lorraine Orlando, Rebecca Perez, Yolanda Duarte, Eduardo Vargas Rico, Beto Gutierrez, Kelly Martinez, Ana Alenso, Faride Mereb, Ana Cristina Vargas.
Guest artists:
Francisco Bugallo, Michael VonDangel, Nelson Garrido, John bull, Moo White, Teresa Mulet, Lucia Pizzani, Nayari Castillo, Pietro Daprano.
SOFIA: The Legacy Exhibition
From December 6th to 9th 2018, in Pinta Art Fair, one of the most important art fairs in Miami, a special exhibition was shown to honor the legacy of an outstanding Venezuelan: Sofía Imber.
Curated by Maria Luz Cardenas, Sofía Imber: The legacy, is a tribute focused on the essential contributions of this great Venezuelan woman to the arrival of modernity in her country, to her contributions in journalism and the institutional development of culture in Latin America. The ideals and values that inspired her work as well, also a tribute to her strength in the struggle for freedom and democracy, all of which make her an exceptional Venezuelan and Latin-American personality.
The exhibition itinerary indicates, first of all, the quality of the works of her Collection linked to the production of artists of fundamental importance in 20th century art; secondly, her contributions to television and editorial journalism and, thirdly, the creation and growth of the Sofía Imber Contemporary Art Museum. The exhibit also includes the launch of www.MACSI.org a special project of Arts Connection Foundation to preserve Sofia Imber legacy.
The work of Sofía Imber is remarkable in the promotion of modern art in Venezuela, especially because of the contact between artists in the formation of her own collection and projection of artists such as Jesus Soto, Auguste Herbin, Vasarely, Fernand Léger and Alejandro Otero among many other.
Jovenes con FIA
If our tragedy as a collective body has consisted in not having a tragedy. So, it is imperative to choose to recognize the need to learn to look at ourselves without complexes in the context of our contingent visuality. After all, it is about problematizing some areas of the society that houses us.
Of course, other alternatives of a different sign and equally valid in the political and symbolic economy of the arts can be assumed. But it is worth warning, we can go blind if we get used to seeing in the dark. Mute if we get used to talking in silence. Deaf if we get used to hearing a single voice, which permanently hits our ears, without saying anything to us.
On the road, the asphalt burns, and the faces are erased. There are convergence is sealed: we are partners, ribs, carnal, family, and friends; even without knowing it, even without wanting it; sometimes the relationship is forced, tense, difficult, and agonizing. We walk through streets kidnapped by the chance of historical currents. So, a young art room for what? Good question, perhaps to discover that the imagination and its intersubjective potential, articulated by the creative possibilities of language, becomes the key to revealing that realities can be different and can always be altered. They are never articulated in the singular, they are never inscribed in the boring and monochrome versions of existence. Thus, the political possibilities of visual action cannot do without its poetics. At the same time, the poetic possibilities of visual action cannot do without its politics. Deep down, being an artist, creating is inhabiting an oasis in the epicenter of the weather that accompanies the emergence of our young participatory and leading democracy. Questions remain, and answers are missing. We see ourselves on the road or in the mirror, it doesn’t matter, as we see we go and the one who looks finds, sometimes.
Museo Natural Bello
The Museo Natural Bello, located in the heart of Barrio Los Cocuyos, is a singular manifestation of the creativity and artistic reinvention of Mayra (Cayita) Bello. Cayita, a resident of the neighborhood, became a collector and creator after the events of the Caracazo in 1989. For more than three decades, she undertook the daily task of collecting discarded objects from Caracas urbanizations, transforming them with her unique perspective. What she started as a way of subsistence became an artistic expression and a unique collection. The Museo Natural Bello, housed in the patio of her house, stands as an unconventional museum that houses her personal heritage made up of these rescued and transformed objects. Through her particular focus on beauty and meaning, Cayita transcends the conventions of collecting and artistic creation, bringing to life a one-of-a-kind display and appreciation space for her.
This space is more than just a museum, it is a “museotopia” in the neighborhood, in which Cayita redefines the traditional notions of museum and art. The Beautiful Natural Museum not only houses transformed objects, but also evolves over time and becomes a “Living Museum”. Cayita’s house and her museum become one, and she lives surrounded by the creations and objects that she has rescued and transformed. Through her focus on the beauty and poetics of objects, Ella Cayita challenges traditional norms of art and the museum, creating a space where the arbitrariness of meaning comes to life. Her work has found recognition even in conventional contemporary art exhibition spaces, demonstrating the transcendence of her vision and the way in which she has influenced the artistic field. In short, the Museo Natural Bello is not only a collection of transformed objects, but a living testimony of creativity and the ability to redefine art and culture in unusual contexts.
Dona Delincuente 13 historias
David palacios
SENSITIVE CONTENT
Foundation for The Totality
pinta miami
In May of 1967, in East Village of New York City, Rolando Peña (Venezuela, 1942) founded and directed Foundation for the Totality along with Juan Downey (Chile, 1940), Manuel Vicente Peña (Colombia, 1949), alias Manuel V, Waldo Balart (Cuba, 1931), and Jaime Barrios (Chile, 1945). They compiled their points of actions in a manifesto published in the underground newspaper East Village Other (EVO) on August 1, 1967:
(…) is working in all media “to invade with LOVE and LIBERTY, the puritanical fields
of the world (Mid-West, cruel steppes of Siberia, the White House …of the Wallaces,
the stereotypes of Madison Avenue, all military dictatorships, the dynamite belicose expansion, the hate between Arabs and Jews, the pious Moral Rearmament, the latrines of West Point, the commercial ambitions of the Vatican; to make the CIA and all the spies of the world take off their masks) and to make Mao copulate with the Statue of Liberty so they may engender a hippie son.” (…)
Foundation for the Totality brought together a group of Latin American artists to embrace the totality. The vitality of the context of the sixties, allowed them to develop a path of creative experimentation as well as particular aesthetics and sensibilities; in which everyone contributed to the dynamic whole from its sensitive traditions, knowledge, and experiences.
The American artist Andy Warhol, who named Rolando Peña The Black Prince, collaborated with Foundation for the Totality. Peña performed with Warhol in several happenings and actions for the films Four Stars (1967), The Loves of Ondine (1968) and The Nude Restaurant (1968).
With Rolando Peña as a catalyst, Foundation for the Totality and its members raised arguments and actions against the Vietnam War. They mixed Buddhism with mixed media, McLuhanism with religion, the hippie movement with the Beat. In any circumstances, they protested against established powers. They cultivated an irreverent sensibility which not only proposed to renew the forms of expression through experimentation, but it represented a singular and heterodox network of networks, dialogues, and testimonies that served as
a contribution to the study and historiography of the cultural scene of New York and the presence and participation of Latin American artists.
