AMP_San Juan


Punto de Partida
01.06.17 – 30.06.17


+ PROJECTS
Punto de Partida <br> 01.06.17 – 30.06.17 | anamasprojects.com

Punto de Partida © John Betancourt

Punto de Partida <br> 01.06.17 – 30.06.17 | anamasprojects.com

Punto de Partida © Johnny Betancourt

Punto de Partida <br> 01.06.17 – 30.06.17 | anamasprojects.com

Punto de Partida © Johnny Betancourt

Punto de Partida <br> 01.06.17 – 30.06.17 | anamasprojects.com

Punto de Partida © Johnny Betancourt

Punto de Partida <br> 01.06.17 – 30.06.17 | anamasprojects.com

Punto de Partida © Johnny Betancourt

Punto de Partida <br> 01.06.17 – 30.06.17 | anamasprojects.com

Punto de Partida © Johnny Betancourt

Punto de Partida <br> 01.06.17 – 30.06.17 | anamasprojects.com

Punto de Partida © Johnny Betancourt

Punto de Partida <br> 01.06.17 – 30.06.17 | anamasprojects.com

Punto de Partida © Johnny Betancourt

Punto de Partida <br> 01.06.17 – 30.06.17 | anamasprojects.com

Punto de Partida © Johnny Betancourt

Punto de Partida <br> 01.06.17 – 30.06.17 | anamasprojects.com

Punto de Partida © Johnny Betancourt

Punto de Partida <br> 01.06.17 – 30.06.17 | anamasprojects.com

Punto de Partida © Johnny Betancourt

Punto de Partida © Johnny Betancourt


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Curated by Direlia Lazo

01.06.17 – 30.06.17

Point of departure originated from a series of meetings, Skype calls and ultimately a visit to San Juan in February of 2016. At that moment, the idea was to develop an exhibition that would link the Barcelona-based gallery, Ana Mas Projects, with the feeling of the local Puerto Rican artistic production. During the first three-day visit, I conducted multiple studio visits at a marathoner’s pace. This included dozens of artist studios, independent production spaces, galleries, and La Perla, all with the extraordinary company of artist Chemi Rosado Seijo. My visit even coincided with the last weekend of the 2016 San Juan Poly/Graphic Triennial. The exhibition that I imagined at that moment, which stemmed from a very particular visit to the studio shared by Chemi, Jorge Gonzalez and Ricardo Morales, was to intervene their Santurce-based studio by relocating and inserting a selection of artists represented by Ana Mas Projects. The goal was to build a pathway through the studio that would simulate spatial accidents or generate parallel narratives. Unfortunately, we were unable to pin down this project, so we went back out the hunt in San Juan to look for venues.

 

Ultimately, Open Space, in the Paseo Caribe, turned out to be the space that housed the exhibition, which ended up being limited to a selection of nine artists and a constellation of introspective works and intimate gestures that become decipherable in their visual relation. I would say that this is exhibition is a testing ground that derives from various interests condensed in forms, schemes, and dramas that re-value the artistic language as a refuge where not everything has to be explained because it is enough to feel it.

 

One of the works that was always considered for the exhibition was Àngels Ribé’s Norte, Sur, Este, Oeste (1973), which was presented for the first time at N.A.M.E. gallery in Chicago. The installation was inspired by the perfect order of urbanism of the city in relation to the four cardinal points. Àngels marked on a map the location of the gallery and from that point traced each cardinal point, confirming the coincidence between reality and representation. I was interested in including this work from the beginning because of its reference to location and territory limitations, which in turn contributed to re-signifying the exhibition as a place.

 

Occupying a space is a way of activating and understanding it from another configuration. It is a way of belonging, inserting, identifying one’s self. Visually, the exhibition derived from a visual trope, where every artwork leads to the next, establishing relationships of affinity and confrontation.

 

The beginning of Point of Departure, refers not only to the covert aleatory histories that gave origin to many of the works, but also to how a visual narrative is constructed in the space, which goes from work to work, abstracting what are obvious figurations, transforming them into lines, planes, colors, and gestures.

 

In the case of the works by Yaima Carrazana, from her series Cartas de declaración (2016), the artist is inspired by the design of mail that she receives from the Dutch Ministry of Justice and the Tax Department. In the Netherlands, these documents are received in an envelope of a very peculiar color, perfectly recognizable, the “blauwe envelop” (blue envelope) contains legal papers and tax returns, the letters are carefully design.

 

The attempt to understand these documents has led the artist to reflect on the complexity of her own process of integration into Dutch society. The artist creates a series of abstract paintings in which she takes the freedom to transform the official designs of the Dutch Ministry of Justice from a very personal point of view.

 

A site-specific performance led by Jorge Gonzalez will create a dialogue with the social and geographic context of the exhibition. Paseo Caribe, where the space of Open Studio is located, is a neighborhood that has been involved in a community dispute throughout the process of its construction, due to the intention of using public spaces for private means. On Friday, June 2nd Gonzalez will activate a point of sale of rugs, where the price of these rugs will be assigned in relation to the cost of the square footage of a property on Paseo Caribe. The speculation and discussion about the cost of the rug reassigns value to the artisanal work and provides a different perspective to the exchange of value.

 

*The performance by Jorge Gonzalez will take place on Friday, June 2nd from 3pm – 7pm at the end of the Ashford Avenue bridge which leads to Paseo Caribe.

 

The exhibition features Yaima Carranza Yaima Carrazana (Cuba, 1981); Humberto Díaz (Cuba, 1976); Regina Giménez (España, 1966); Jorge Gonzalez (Puerto Rico, 1981); Alana Iturralde (USA, 1988); Alberto Peral (España, 1966); Àngels Ribé (España, 1943); Soledad Sevilla (España, 1944) e Ignacio Uriarte (Alemania, 1972)