Another Fumble at the Whitney: no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria

Opinion
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Installation view. Photo courtesy of the writer.

The exhibition no existe un mundo poshuracán: Puerto Rican Art in the Wake of Hurricane Maria, though it includes 50 works by 20 artists, seems overwhelmed given it has been installed in an enormous space. With the exception of two lounge-like areas in which billboard-sized video projections are installed, most of the works, modest in scale, seem to be scattered through the space, or enigmatically clustered together. Ironically, where the Wake of Maria is sparsely installed and attended, the Edward Hopper NY exhibition, given its scale and popularity, would definitely benefit from more space than the half floor it has been jammed into. Another oddity is the disparity in the number and scale of works each artist is represented by. I can only suspect the budget of this show was insufficient to achieve its stated ambition of “presenting artworks made over the last five years by an inter-generational group of artists from Puerto Rico and its diaspora.”

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Małgorzata Mirga-Tas Re-enchanting the World – the Polish Pavilion at the 59th Venice Biennale

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Małgorzata Mirga-Tas, Re-enchanting the World, Polish Pavillion, 59th Venice Art Biennale

As you enter the Polish Pavillion at the Venice Biennale 2022 you are surrounded by Małgorzata Mirga-Tas’ stunning floor-to-ceiling hand-stitched tapestry panels, richly depicting mostly female protagonists in everyday life. If you had a lucky chance to visit the Renaissance Palazzo Schifanoia in Ferrara, Italy, you would most likely soon discover in Mirga-Tas’ images myriad allusions to the Palazzo’s splendid ‘Hall of the Months’ cycle of frescoes portraying Olympian gods, astrological figures, and scenes from court life in Ferrara. The name of the Ferara palazzo derives from the phrase ‘schivar la noia’, meaning ‘escape from boredom’, which accurately defines the purpose of this splendid architectural gem—built for the leisure of the powerful Este family over 500 years ago.

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Zinaida: Ukrainian Artist With Important Works in Venice and New York

Zinaida. Courtesy of the artist.

Zinaida is one of the most important Ukrainian artists working today. Her practice revolves around the study of mythologies, national symbols, archaic imagery, and the role of women as carriers of sacred knowledge, stemming from the Kyiv-based artist’s extensive ethnographic research and close collaboration with indigenous communities in remote areas of her country. Marina Abromović has described Zinaida’s practice as subtly balancing her work “at the juncture of historical symbolism and modernity. She uses traditional imagery, rituals and crafts to convey meanings that are relevant to a vibrant and fluid culture. Zinaida is a rebel. She was in many dangerous zones (on Maidan during the Revolution of Dignity, Chornobyl, in the war zone in the Eastern Ukraine). To me she is like a Ukrainian “Guerilla Girl.” Zinaida’s work is currently on view in Venice and New York.

Zinaida’s solo pavilion Without Women is an official Ukrainian Collateral Event at the Venice Biennale. The exhibition’s curator, Dallas Contemporary Executive Director Peter Doroshenko, introduced Zinaida as “a national cultural figure for Ukraine.” He says that over the last fifteen years, she has “summarized, documented and interpreted contemporary Ukrainian society through her work. Zinaida’s works have become an important and seminal influence for all the contemporary Ukrainian artists.”

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Yikui Gu and Eustace Mamba at Commonweal

Featured Project: with gallerist Alex Conner

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Image from the opening of the exhibition at the gallery

For its final exhibition of the gallery year, Commonweal in Philadelphia is featuring mixed media works by Yikui (Coy) Gu & Eustace Mamba, whose imagery and use of material create layers of multi faceted cultural cues, prompting a nuanced glimpse at the complexity of American identity. The exhibition runs through July 30th, 2022.

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To Have and to Hold at the Clemente

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To Have and To Hold exhibition with works by from left to right: Jean Carla Rodea; Maria De Los Angeles; Micaela Martello; Julia Justo, Maria De Los Angeles; and Jeff Kasper

Featured Project: with curators Anna Shukeylo and Yasmeen Abdallah

The group show To Have and to Hold at the Abrazo Interno Gallery at the Clemente brings together work by Maria de Los Angeles, Julia Justo, Jeff Kasper, Michela Martello, Patricia Miranda and Jean Carla Rodea, who explore in their work notions of beauty and soulful trajectories through the potency of heirloom-like objects. Co-curators Yasmeen Abdallah and Anna Shukeylo share their thoughts on their collaborative curatorial experience.

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Wei Jia: The Remembrance of Ink

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Wei Jia, No. 19238, 2021. Gouache, Ink and Xuan Paper Collage on Paper, 31 ½ x 44 ¼ inches. ©Wei Jia, courtesy of Fou Gallery and Chambers Fine Art

At a certain point in one’s life, they stop making new marks or registering new memories. All that remains is a fluid, ever-changing assemblage of the fragments from the past. I would call it no stagnation: it is rather a moderate manner of growing at a different pace.

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Chalet Comellas-Baker: Interrogating the Performance of Identity

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Secrets between (Wo)Men & Nature, single channel video, 2021

Chalet Comellas-Baker uses video, sound, installation, and print to interrogate memory, environment, and place. The Nashville-based artist is inspired by her Spanish, Cuban and American roots and often references Latin American diasporic histories through her personal lens of assimilation. As the co-owner of Unrequited Leisure, she brings a new dynamic of screen-based artwork with critical and topical investigations into Nashville’s growing art scene.

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Scherezade Garcia: Navigating Histories


Las Meninas and War, from the series Tales of Freedom,1997,Acrylic, charcoal, and ink on camouflage fabric, 58 x 39 inches.

For New York based artist Scherezade Garcia drawing gives rise to visual codes, which lead her to spontaneous compositions and meanings at the same time. Scherezade Garcia loves stories. The books she grew up with still provoke her imagination, words inspire a continuous production of images – “from The Arabian Nights to Greek Mythology, to Hans Christian Andersen to Crusade tragedies, to El Cid, Don Quijote, Dostoyevsky, Tolstoy, Balzac, to Alejo Carpentier, Allan Poe, Garcia Marquez to so many others, I cannot imagine life without it,” she says. Through a variety of media, Scherezade Garcia evokes in her artworks the physicality of art making while alluding to layered narratives of history.

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Tomo Mori: Fibrous Points of Origin


Filling the gap, 2020. 24″x30″. Acrylic, painted canvas fabric on masonite board.

Tomo Mori is a Japanese-born and New York City-based fiber artist who has been focusing on two main bodies of work: wall based collage series and sculptural
installations . In both she is working with used materials like old clothes and linens, fabrics she keeps reusing and transforming into new forms. During this 2021 Asian American and Pacific Islander Heritage Month, Tomo Mori shares what brought her to art making, what role her cultural background plays in her work, and what are some of her recurrent themes and processes.

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Michael Sakamoto – Resolving the Unresolvable

In Dialogue with Michael Sakamoto

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Michael Sakamoto’s Performance Blind Spot, Chamber Dance, photographer: Martin Cohen

Michael Sakamoto is an interdisciplinary artist and scholar active in dance, theatre, performance, photography, and media. His solo, ensemble, and visual works have been presented in 15 countries throughout Asia, Europe and North America. Art Spiel had a conversation with him on the alienation of the body; the gender roles and queerness in Butoh, as well the deterritorialization and exotification of non-Western art.

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