Miguel Rivera, Mexican artist and director of the Printmaking Department of Printmaking at the Kansas City Art Institute (USA), is making a three-week residency at ´ace developing his project Citie´s dialogues and paranoia.
In my work, images are manipulated, layered, and placed in combination with rendered drawings and prints in an environment that conveys a sacred space. The materials that are used serve as metaphors for the passage of time, memory and the human condition. The layering of the surface functions as a contemporary chaotic interpretation. Placing images in this manner helps to reconstruct, examine, and reinvent memories of my infant experience. At the same time, layering of these personal icons creates a double edge or ambiguity of related themes, ie., the beauty of pathos in suffering. This ambiguity relates to the experience of traveling, living in several environments, displacement while collecting a visual memory along this path.
My core referential images have evolved into a series of abstractions from ephemeral experiences witnessing the pathos in Mexican culture.
These works provide a platform for several inner experiences. Although these images are visually flat, they seek to engage the viewer in an installation setting by invading one´s space. Iconographic images of lethal viruses have become a base for some of my abstractions for the past two years; I have used the simple form of series and repetition of these viruses to represent their multiplicity and prevalent presence. The danger that viruses, such as Evian flu, H1N1, Bubonic Plague and Malaria represent, are in contrast with their microscopic yet fetishistic appearance.
The integration of a viral pattern became the main driver after witnessing the massive death of birds in Arkansas this past year 2010. A fading image of a Peruvian pigeon was a metaphor for our collective damage to the environment. At the same time, a burned drawing using a laser on paper made a symbolic and significant statement of this act.
1967 | Guanajuato, México.
Lives in Kansas City, USA.
1995 | BFA, Southern Oregon University, EE.UU.
1992 | MFA. Printmaking, University of Guanajuato. Mexico.
Professor and Dean of the Engraving Department, Kansas City Art Institute. Kansas, USA.
Counselor of the Kansas City Arts Coalition. Kansas, USA.
Master of Engraving and Alternative Processes, University of West Virginia. Morgantown West, Virginia, USA.
1998 | Director of the School of Visual Arts of the University of Guanajuato. Associate Professor in Engraving and Experimental Digital Art.
Member Artist, Inkling Graphics Workshop in Portland. Oregon, USA.
Drawing Instructor at the University of West Virginia at Morgantown West. Virginia, USA.
Committee Member of KC Artist Inc. Kansas City. USA.
Board Member, Kansas City Artists Foundation. USA.
Mexico, United States. Festival of Contemporary Art Days, Guanajuato; Southern Graphics Council; Alternative Engraving Workshop, Second National Meeting of Art Students in Querétaro, Mexico.
Paranoia and Dialogue Between Cities
Miguel Rivera, Mexican artist and director of the Engraving Department at the Kansas City Institute of Art (USA), did a three-week residency in ´ace where he carried out his project Dialogues of cities and paranoia. This exhibition was created specifically for the Políglota room in ´ace and Buenos Aires. It seeks to involve the viewer with the dangers of existence by being exposed to epidemics.
STATEMENT OF THE ARTIST
The Paranoia and Dialogue Between Cities exhibition is derived from preconceived ideas about Mexican Catholic spirituality and ignorance about biological organisms in our Latino culture. It also presents an opportunity to self-examine dialogues and facts about values as they are interpreted in different cultures. These values, more than utilitarian, are ethical. I use the metaphor of how common viruses in Latin America are used as a means of transmitting a disproportionate fear of the unknown by industrialized countries and the ignorance of many of its inhabitants. Viruses are imperceptible to the human eye, yet we still depend on devices that help us illustrate our fears. Some lethal viruses like H1N1 (born in Mexico) and AIDS (born in Africa) are ambiguous in nature as they are fascinating in their minimal cell structures.
I use repetitive elements and schemas to reinforce the constant viral presence among us and in the way they reproduce exponentially. I emphasize and alter their original forms in order to create an effect parallel to that of their mutation when they adhere to the human originating from animals. The integration of viral elements have become paramount images after seeing the massive death of birds in the state of Arkansas in 2010. The ephemeral image of an Inca pigeon became the metaphor for our collective damage to the environment. The drawing burned on a plate using laser beams have made this a symbolic and significant act of this same act.
A story that prevails in my work in a very subjective way, is the idea of using parallels in the form of molds. These molds appear and disappear in our collective memory and are transformed with new knowledge into layers or strata. At the same time, I follow the models that Christian missionaries followed to colonize cultures outside Europe. The drawings of these routes are sometimes similar to the routes as viruses have spread. These drawings are immersed and sometimes covered by images of birds and the viruses that have destroyed them. The memory fades and is retained as Polaroid photos in hopes of avoiding the fear of losing that particular memory. The ritual act of creating images becomes an important element during the second layer of these works. The act of drawing with toner powder on prints has been a paradox between the reaction to the scourging of Catholics, as an introspective and skeptical act and the dynamic energy of hand drawing resulting from an existentialist and philosophical concern.
CROSSOVER [ KC-Bs As]
Artists in dialogue
CROSSOVER [KC – Bs As] is the 4th edition of an in-progress international collaborative printmaking project between artists questioning the established norms of the original production and authorship of artistic works. In this project one’s work, property and egos became irrelevant, as artists have to trust each other allowing themselves and their counterparts to place their hand-marks, images and matrices on one’s previous works.
Adriana Moracci, ´ace‘s Master Printer, inspired by a set of woodcuts matrixes that artist Miguel Rivera left behind during his residency with us in 2011, launched the ideas that initiated this CROSSOVER session. The international project was completed at Proyecto ’ace/Artist-in-Residence International Program in Buenos Aires Argentina, and directed by Alicia Candiani, from February to June 2013.
Crossover has been designed as a collaborative project between artists questioning the established norms of the original production and authorship of artistic work ,leading to the collaborative work between artists from around the world.One’s work, property and egos became irrelevant, as artists have to trust each other allowing themselves and their counterparts to place their hand-marks, images and matrices on one’s previous works. Each piece made in this series is unique, these works are not editions, as individual pieces are worked on and circulated among its participants. All artists aimed to evolve in their own practice by finding common points of view and theoretical discourse. CROSSOVER [KC – Bs As] re-semantized 15 woodcut plates carved with digital techniques by artist Miguel Rivera at KCAI workshops in the USA. During three different sessions, participants joined to create new works based in Rivera’s matrixes.
Last but not least, Rivera himself participated in the different sessions in Buenos Aires given talks and delivering critiques via video-conference. Later on, he travelled for the opening of the exhibition at Sala Políglota in ‘ace on May 15th, 2013. The exhibition travelled to the USA and was exhibited at Maller Gallery, Kansas City Artist Coalition, Kansas City and Western Gallery, Western Washington University in Bellingham.
Click HERE to see pictures of the three sessions @ ´ace
Crossover is an ongoing art project started by artists Cara Jaye and Miguel Rivera. It began as goal oriented project in 2006 in the US and in Mexico, with Cara Jaye working in Bellingham, Washington and Miguel Angel Rivera in the historic city of Guanajuato, Mexico. Both artists traveled between their home countries to create these layered works on paper, which use various printmaking and photography techniques, Vandyke brown print, digital imagery, collage, fur, drawing and painting.
After having two successful shows in Guanajuato and Seattle, a continuation of that initial project became necessary after Rivera moved to Kansas City. This new body of work included a broader range of artistic practices using the immediate dialogue among artists.The project continued in Buenos Aires, Argentina in 2011, during the residency that Miguel Rivera did in Proyecto´ace where he started some pieces in collaboration with artist and ´ace director Alicia Candiani. The pieces was overtaken later while Alicia was in the Kansas City Art Institute as a visiting artist, where it was finished and exhibited as part of the Candiani solo show in Maller Gallery in the Kansas City Art Coalition in October 2011.
In 2012 a new group included its two initial artists in addition to Patricia Villalobos Echeverria, a Nicaraguan-American artist working in Kalamazoo, Missouri; Melanie Yazzie, a Navajo artist working in Boulder, Colorado, and Michael Schonhoff, artist and curator from Kansas City, Missouri in the USA. Crossover at the Kansas City Artists Coalition residency required artists to trade “half finished” works at the beginning of the residency and allowing their counterparts to intervene their pieces and finishing them. One’s work, property and egos became irrelevant, as they had to trust each other allowing ourselves and our counterparts to place their hand-marks, images and matrices on one’s previous works. Each piece made in this series is unique, these works are not editions, as individual pieces are worked on and circulated among its participants. All artists aimed to evolve in their own practice by finding common points of view and theoretical discourse. Jaye addressed issues of migration and adaptation to harsh environments while Yazzie used a trickster approach to bring attention to Native American political unsolved issues. Villalobos, Schonhoff and Rivera shared similar opinions about place, borders, language, conflict and fear towards unknown entities such as violence, viral threats and identity.
A Miguel Rivera’s and Cara Jaye’s original project
CROSSOVER [KC-Bs As]
Co-direction and Bs As project concept
Coordinación y asistencia
Daniela Ruiz Moreno
Voluntarios en taller
Germán Sandoval Silva
Alejandro Thornton (Buenos Aires, Argentina)| Sara-Aimee Verity (Cape Town, South Africa)
Gabriela Alcoba (Jujuy, Argentina)| Carla Beretta (Rosario, Argentina)| Felipe García (Colombia/Argentina)| Simon Hall (UK)|Paz Jovtis (Buenos Aires, Argentina)| Yoon Kim (South Korea/Argentina) | Magui Moavro (Buenos Aires, Argentina)| Paula Nahmod (Buenos Aires, Argentina)| Carla Perri (La Plata, Argentina)| Jennifer Pickering (Canada)| Maren Preston (USA)| Carolina Rogé (Córdoba, Argentina) | Sonia Sánchez Avelar (México/Argentina)| María José Sánchez Chiappe (Buenos Aires, Argentina)| Alejandro Scasso (Germany/Argentina)| Viviana Sierra (Buenos Aires, Argentina)| Cristina Solía (Morón, Argentina) | Gabriela Zelentcher (Buenos Aires, Argentina)
Sol Massera (La Plata, Argentina)| Natalio Altube (Pergamino, Argentina)
International Projects, Exhibitions
CROSSOVER @ Bs. As.
The work produced during Crossover [KC-Bs As] was exhibited in Fundación ‘ace during three months. 26 artists from different countries participated of this project which took place in ‘ace during the beginning of 2013.
On the exhibition’s opening, May 15th, Buenos Aires public enjoyed and shared an ‘aceNITE not only with many of the Crossover artists, but also with Miguel Rivera (initiator of the project) who came all the way from Kansas City in the USA to join us.
Essay on Crossover (by Daniela Ruiz Moreno)
To work in collaboration means to unite, merge, and contrast diverse ways of seeing and thinking. It implies openness to receive others expressive languages, allowing it to penetrate and challenge our own language.
In Theory of Modern Art, Paul Klee, reflects upon human’s creative strength and states “it is necessary to reveal this strength, its functions, in the same way it reveals in ourselves, this strength together with the matter, should embody, become shape, reality”. Is because of this that I believe that working in collaboration means to reveal and to force the emergence of the creative strength inside the others work. This is only achieved by activating one’s own strength.
Following this it is interesting to note the variety of “crossings” and overlaps, the different levels of permeability explored and revealed by each artist. In some cases each ones images suffered mutations, established dialogs in which each issuer maintains some distance, they relate but avoid infection (Viviana Sierra). Images crush or become flatten with the presence of the other, but at the same time a level of merging is achieved (Natalio Altube, Sol Massera, Paula Nahmod). In other case, both languages relate organically (Alejandro Scasso).
Artists appropriate the original for their own work (Alejandro Thornton), or use it as an impulse or stimulation to explore questionings already present in their search (Cristina Solía). Even chance was present in a piece in which a strong syncretism between Judaism, Muslim and Catholicism was achieved (Gabriela Zelentcher). In other works, the link between the two expressions was documented in a video. This resource allowed registering the randomness and importance of the entailment as one expression was not perceptible without the other (María José Sánchez Chiappe).
The virus, fundamental concept in the previous editions of CROSSOVER was interpreted in multiple ways in this session. In one case, the work focused in rats, essential actors and victims of the experiments to resist and battle viruses (Sonia Sánchez Avelar). In other, the artist was interested in the reproductive capacity of the virus, finding in its embryonic state, formal similarities with other beings (Bárbara Vincenti). The duality life/death that the virus holds was explored (Maren Preston), also the social danger and horror that epidemics produce. Infection, destructive in the case of viruses was founded in other human expressions such as laughter, in this case as something positive and empowering. Infection could be related also with colonial processes, where not only physical destruction is implied but also cultural, social and religious (Jennifer Pickering).
Crossover [KC-Bs.As.] is a project in which each artist had the opportunity to explore in a creative environment. Individual expressions became challenged, stimulated and embraced. Each artist, free to invade and to be infected by others creations, achieved in this way new languages.
A Miguel Rivera and Cara Jaye’s original project
CROSSOVER [KC-Bs As]
Argentina | Canada | Colombia |Korea |Germany | South Africa | UK
Gabriela Alcoba | Natalio Altube | Carla Beretta | Alicia Candiani |Felipe García | Simon Hall |Paz Jovtis | Yoon Kim | Sol Massera | Magui Moavro | Paula Nahmod | Carla Perri | Jennifer Pickering | Maren Preston | Carolina Rogé | Sonia Sánchez Avelar | María José Sánchez Chiappe | Alejandro Scasso | Viviana Sierra (Buenos Aires, Argentina)| Cristina Solía | Alejandro Thornton | Sara-Aimee Verity | Valeria Zamparolo | Gabriela Zelentcher
This workshop transgrafía exploration aims to modify the initial process of developing ideas in the graph. This process takes lithography fundamentals such as drawing, resistance between water and oil, gouache and paper substrate. It also adapts indirect production methods such as digital design and fotografía.Todos these modalities own creative process combined with the use of laser printing and photocopying liquid toner, leading to immediate issues results and low cost.
Transgrafia-or laser-transfer prints is characterized hues achieved by crosslinking of the particles of plasticized photocopier toner powder. The use of this technique has been focused by transgrafía mainly Rivera monotype and method of image transfer plates of metal, plastic and wood. Its cost is relatively low and toxicity is zero, which makes it a viable expression method and assimilated by most artists interested in reliable results.
International Projects, Exhibitions
CROSSOVER @ KCAC, USA
The international project CROSSOVER [KC-Bs As] was exhibited from October 17th until November 14th, 2014 at the Mallin Gallery, Kansas City Artists Coalition, Kansas City, USA. Organized
ALEJANDRO THORNTON I WRITE / I DRAW
PLACE AND MEMORY – Kansas City Art Institute students participated in the Foreign Travel Led Program to Buenos Aires. Upon their return they created a series of works made in response to their experiences in Argentina and Uruguay. These visual sources, or tokens are being adapted and processed around notions of the found print and memory recollection.
CROSSOVER [KC-Bs As] is an in-progress international collaborative printmaking project between artists questioning the established norms of the original production and authorship of artistic works. In this project one’s work, property and egos became irrelevant, as artists have to trust each other allowing themselves and their counterparts to place their hand-marks, images and matrixes on one’s previous works. In April 2015 the project will be received by the Western Gallery at Western Washington University in Washington States, United States, completing a successful project carried out as an initiative of ‘ace in 2013.
Check pictures of the exhibition here
Check catalogue on line at issuu
Argentina | Alemania | Colombia | Corea | Inglaterra | México | Sudáfrica | USA
Natalio Altube | Gabriela Alcoba | Carla Beretta
Alicia Candiani | Felipe García | Simon Hall
Paz Jovtis | Yoon Kim| Sol Massera
Magui Moavro | Adriana Moracci | Paula Nahmod
Carla Perri | Jennifer Pickering | Maren Preston
Carolina Rogé | Sonia Sánchez Avelar | María José Sánchez Chiappe
Alejandro Scasso | Viviana Sierra | Cristina Solía
Alejandro Thornton | Sara-Aimee Verity | Gabriela Zelentcher
International Projects, Exhibitions
CROSSOVER-Cruce de Vías
From April 06 to May 16, 2015 the works produced in the International Project CROSSOVER [KC – BsAs] were exhibited in the Western Gallery, Western Washington University, Washington State, USA.
Organized by Cara Jaye, one of the creators of the project, CROSSOVER [KC-Bs As] was in this oportunity part of a larger exhibition and event. It included the pieces of all the Crossovers sessions as well as artists Miguel Rivera, Alicia Candiani, Melanie Yazzie and Patricia Villalobos Echeverria’s residencies, lectures scheduled for April 7, 8, 9, 21 and May 5 and 7, in addition to gallery talks with the artists explaining the project.
Created by Cara Jaye (Washington, USA) and Miguel Rivera (Guanajuato, Mexico) in 2004 as a spontaneous collaboration that has now expanded to include the taking and trading of artworks by more than 30 artists from over ten countries, Crossover/Cruce de Vías addresses issues of exchange, borders, authorship, travel and the interplay within collaboration. The diverse body of more than 150 works incorporate drawing, collage, photography, painting and printmaking techniques as artists use layers and multiple viewpoints to form an active and ongoing dialogue on crossing borders and nationalities, bridging differences and expressing commonalities while sending work across actual borders.
International Crossover exhibitions
2015 | Crossover / Crossroads, Western Gallery, Western Washington University. Bellingham, Washington, USA.
2013 | Crossover [KC-BsAs], Proyecto´ace. Buenos Aires, Argentina
2012 | Crossover KC, Kansas City Artists Coalition. Kansas City, Missouri, USA
2006 | Crossover / Cruce de Vias, Shift Gallery. Seattle, Washington, USA and Jesús Garcia Gallery, Guanajuato, Mexico
Organizer Cara Jaye
Curator Amy Chalouptka
Lectures Alicia Candiani | April 7th, Miguel Rivera | April 9th
Amy Chalouptka, Alicia Candiani, Cara Jaye and Miguel Rivera | April 10th
Artists in Crossover [KC-BsAs]
Natalio Altube | Gabriela Alcoba | Carla Beretta | Alicia Candiani | Felipe García | Simon Hall | Paz Jovtis | Yoon Kim| Sol Massera | Magui Moavro | Adriana Moracci | Paula Nahmod | Carla Perri | Jennifer Pickering | Maren Preston | Carolina Rogé | Sonia Sánchez Avelar | María José Sánchez Chiappe| Alejandro Scasso | Viviana Sierra | Cristina Solía | Alejandro Thornton | Sara-Aimee Verity | Gabriela Zelentcher
Miguel Rivera (Mexico / USA) is an artist and professor at the Kansas City Art Institute in the United States who carried out the Crossover Project with ´ace in 2013. Miguel was back in Buenos Aires and given the success of his clinics of work through videoconference last year, we invited him to perform them live on Wednesday, January 15 from 4:00 p.m. to 6:00 p.m.
Invited artists shared the aims of their work through very concise presentations, promoting an informal meeting among creative and dynamic people who gather to discuss their work,ideas and challenges. At the end, each artist received feedback from Miguel Rivera , plus all the participants made contributions to the construction of a critical view.
Thank you Miguel for your wonderful contribution to ´ace Portfolio reviews Program!
Encounters, Open Studio
KCAI Open Studio
Kansas City Art Institute
From January 17 to 19 Miguel Rivera -mexican artist and professor of printmaking- was back in ‘ace with a group of students from the Kansas City Art Institute. Reed Anderson, Art History professor, also traveled to Buenos Aires.
The stay of the group at ‘ace was one of the last activities of the students. They traveled to Buenos Aires to develop the Argentina: the other immigration project. Accompanied by their teachers, students toured the city and relieved visual material for their projects which were finally carved and printed in two studio days in our workshops.
Alison Bray | Rebecca Clews | Katie Earl | Christina Larkins | Quinn Mahler | Daiana Oneto | Ryan Simpson
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We open the doors for the first ´aceNITE of the year, in Crossroads artists and very diverse works will meet on this special night. On Wednesday May 15 from 7:00 p.m. the opening of the exhibitions of two artists in residence took place, the first exhibition of the international project Crossover [KS-Bs.As] and an open studio.
In the Sala Políglota we will present 123 | 234 | 345 works that the Greek artist Erini Boutasi made during her residency in May. Her works establish a game between the gestural, the free and the determined.
In the Central Hall we will exhibit the works of the more than 20 international artists who participated in Crossover [KS-Bs.As]. This project explored the possibilities of collaborative work, the artists worked from matrices left by Miguel Rivera (Mexico), the artist who started the project.
Into Gondwana is the project of the South African artist in residence Frederick Clarke, you will be able to know his works that explore the unity, human and geographical, between the African and Latin American continent. In addition, you will be able to interact and learn about the work in progress of Felipe García (Colombia), an artist who is carrying out an intervention residency within which she will paint a mural on the terrace of ´ace as part of her project The Joy of Rebelion.
CROSSOVER [KC-Bs As]
Co-direction and session concept at Buenos Aires
Coordination and asistance
Daniela Ruiz Moreno
Volunteers at Workshop
Germán Sandoval Silva
Open Calls TRANS_GRÁFICA
Registrations are open to participate in TRANS_GRÁFICA, a Course-Workshop and alternative method of graphic production based on toner dictated by Miguel Rivera as part of the activities organized for the closing of the International CROSSOVER Project in the month of May. A scholarship will be given to an Argentine artist under 30 years of age.
Aimed to: cartoonists, painters, engravers, graphic designers and artists in general.
Objective: to implement direct drawing, photographic and computer resources as well as reversible designs on durable paper surfaces that can be applied to other production techniques.
ABOUT THE INSTRUCTOR
MIGUEL RIVERA is currently the Director of the Engraving Department at the Kansas City Art Institute in the United States. Previously, he was director of the School of Visual Arts at the University of Guanajuato as well as an associate professor in engraving and experimental digital art. He graduated from West Virginia University in Morgantown, West Virginia where he completed his Master’s in Engraving and Alternative Processing. He earned his Bachelor of Visual Arts from the University of Southern Oregon in 1995 and a Bachelor of Arts from the University of Guanajuato in 1992. He is a committee member of KC Artist Inc. and a board member of the Kansas City Artists Foundation.
International Projects, Exhibitions
The World IN a Handkerchief
The World IS a Handkerchief : El mundo es un pañuelo
A Wandering Genealogy curated by Claudia DeMonte & Cecilia Mandrile
The World IN a Handkerchief : El mundo en un pañuelo
Guest Curator, genealogy Proyecto’ace: Alicia Candiani
Exhibition of pieces
selected from the Fundación´ace´s collection and Alicia Candiani’s personal collection of the participating artists in “The world IN a handkerchief”
For a month and a half, the Políglota Room is hosting three exhibitions on a rotating basis. From March 23 to April 1, “The world IS a handkerchief” and “The world IN a handkerchief: the genealogy of ´ace” were exhibited simultaneously, paying special tribute to the Argentine artist Graciela Sacco. While the original series returned to New York from where it will soon travel to England, the ‘ace genealogy collection was joined by a new exhibition of large format pieces of the participating artists, some belonging to the Fundación’ace collection and others to the private collection of Alicia Candiani.
The World IS a Handkerchief is a travelling exhibition rooted in the Spanish saying ‘el mundo es un pañuelo,’ which translates into English as ‘this is such a small world’. The project traces serendipitous encounters, moments of discovering personal connections in distant places or unexpected contexts. The project began with the meeting of Claudia DeMonte and Cecilia Mandrile as a mentor and student respectively at the University of Maryland, United States in 1995 and has expanded through an international collaborative network between mentors, students and
The World IN a Handkerchief is a new chapter of the project, a graphic, soft and traveling portfolio curated by guests artists from the core genealogy. Artist and curator Alicia Candiani, essential mentor of this genealogy, Founder and Director of Proyecto´ace, has been invited to curate this new collection that reflects her close creative family.
ABOUT THE WORLD IN A HANDKERCHIEF by Cecilia Mandrile
Handkerchiefs have accompanied people in celebrations and farewells in many cultures for centuries, offered bodily protection and coverage, and sustained expressions of political tenets and spiritual beliefs. In this project, handkerchiefs become vessels of memories and itinerant narratives; containers of emotions; translators of wounds, signals of ideological resistance. Each piece epitomizes a soft space that holds disappearing recollections of homeland as well as reflections on displacement and identity that can be carried as a tangible memento. In times when touch appears as a dangerous sense, every single printed handkerchief means a meaningful testament of the continuous nurturing mentorship among artists and educators, reminding us that the soft touch remains both an intimate and universal need of communication.
To celebrate this constant and sustained creative dialogue, in 2019 the curators developed a portable exhibition of 50 handkerchiefs that explored the meaning of belonging and interconnectedness that this Spanish saying so tangibly evokes. In the reconstruction of this alternative family made up of artists and collectives from different latitudes and generations during the last two decades, both printed an edition of 25 handkerchiefs, and sent a printed handkerchief along with a blank handkerchief to 50 invited artists to intervene with their own reflections
on home, identity and belonging. From this exchange a “wandering genealogy” was born, a tribute to the strong threads that have woven this shared territory as itinerant artists and educators.
A limited edition catalogue including the work of 50 invited artists was published by Impact Press, Bristol, UK and includes an essay by Gill Saunders, Senior Curator of Prints, Victoria & Albert Museum, London. Currently, the catalogs of workshops and portfolios remain as digital publications, thus allowing to document the constant growth of this genealogy. Chris Knollmeyer, a sound artist in residence at ´ace at the same time, composed for this exhibition a special piece: “Sound of the Handkerchiefs”. The piece is a piano study made up of 25 melodies. Just as the handkerchiefs are tied to each artist’s history and sense of home, Chris feels a connection to the piano.
March 23, 7PM. Sala Políglota
April 27th, 1PM
The World is a Handkerchief |El mundo es un pañuelo
2019 | London Print Studio Gallery, London, UK
2020 | Galería Blackburn 20|20, Elizabeth Foundation for the Arts,New York, USA
2021 | IMPACT11, Hong Kong, China
Catalogues | Instagram |Vimeo
´ace in one word
It means that the best of two worlds are present at ´ace. The logistics of a professional print shop are everyday business with a special aesthetic sensitivity towards the artist’s ideas.
My experience was always positive. I came everyday with ideas in mind of what I wanted to accomplish that day and I was able to do that. The Director and staff were always friendly, positive and ready to solve any possible set back. They helped me understanding the city, the transit system, traditions, culture, food and activities around the city.
The residency gave me an opportunity to produce work in a relaxed yet professional environment. The Printshop was always clean, orderly and its staff was very knowledgeable about the processes they provided. They were also open to work conceptually with me to understand my specific project. ´ace also helped me to reinforce my concepts about creativity in economically and politically challenged countries like Argentina and my native Mexico.
What ´ace does and provides is remarkable given the challenges artists have to face in Latin America. I have to add that, staffing and conducting everyday business for the projects and artists has been inspiring to me. It makes me appreciate even more the merits ´ace has achieved through out the years. I want to keep coming to work here!
Tips for next residents
_ Look around you with new eyes. Porteños (Buenos Aires capital residents) are very busy people with long commuting to do. They may appear tired or grumpy but they are genuine good people when you get to know them.
_Visit as many places as you can and pace them.
_Learn to hang out with the locals and go to theater shows whenever possible.