Thursday, April 2, 2015 7:30pm Prefix ICA 401 Richmond Street West, Suite 124 $12 Admission | $6 LACAP Members
REGINA SILVEIRA was born in Porto Alegre, Brazil and is currently based in São Paulo. Renowned for her explorations of space through geometric constructs, Silveira's work is celebrated for both its conceptual and formal impact. For more than three decades Silveira has investigated meaning of visual imagery through methods of perspectival projection, including skiagraphia (the study of shadows). Her practice, informed by printing techniques, also includes video, sculpture, and spatial interventions of architectural proportions. Silveira has participated in several international biennials such as: the Bienal Internacional de São Paulo (1983,1998), the Bienal do Mercosul (2001, 2011), the 6th Taipei Biennial (2006) “ Mediations Biennale”, Poznan (2012) and the XX Bienal Internacional de Curitiba, 2013, among others. Most recent group exhibitions include: Brazil: Body and Soul at the Guggenheim Museum, New York (2001), Máquinas de Mirar at the Centro Andaluz de Arte Contemporáneo, Seville (2009), Philagrafika 2010 in Philadelphia, The Enclosed Openness: Box and Book in Brazilian Art at the Pinacoteca do Estado de São Paulo (2012), America Latina Photographs: 1960-2013 at Fondation Cartier, Paris (2014) and Museo Amparo, Puebla, Mexico (2014). Recent solo exhibitions include: Lumen, 2005 at Palácio de Cristal, Museo Reina Sofia, Madrid (2005); Sombra Luminosa at the Museo de Arte Banco de la República, Bogotá (2007); Shadow Line (2009) at Centro Cultural Banco do Brasil, Rio de Janeiro; Abyssal, at Atlas Sztuki (2010) in Lodz, Poland; 1001 Days and Other Enigmas at Fundação Iberê Camargo, Porto Alegre, Brasil (2011); Limits, at the Rubin Center for the Visual Arts, UT El Paso, USA (2011); In Absentia (Collection) at The Aldrich Contemporary Art Museum, Ridgefield, Co., USA (2012); Offscale, Luciana Brito Gallery, São Paulo (2013); El sueño de Mirra y otras constelaciones at Museo Amparo, in Puebla, México (2014); and Crash at the Museu Oscar Niemeyer -MON, in Curitiba, Brazil (2015).
Regina Silveira has received grants from the John Simon Guggenheim Foundation (1990), the Pollock-Krasner Foundation (1993) and Fulbright Foundation (1994). Recent awards include: Prêmio Sérgio Motta for Art and Technology (2000); Prêmio APCA (São Paulo Art Critics Association); Prêmio Bravo Prime in Arts; the Fundação Bunge Award in Arts, for Life and Work (2009); the Great Art Critics Award by APCA, São Paulo Art Critics Association (2011); Award for Life and Work by ABCA, Brazilian Art Critics Association (2012); Prêmio Governador do Estado de São Paulo (2013); and MASP Award for career (2013). Regina Silveira is represented in public collections at: The Museum of Modern Art (New York), Miami Art Museum, San Diego Museum of Contemporary Art, The Jack S. Blanton Museum of Art of the University of Texas, Taipei Fine Arts Museum (Taiwan), Museo de Arte Moderno de Buenos Aires, Museu de Arte Contemporânea da Universidade de São Paulo, Museu de Arte Moderna de São Paulo, Pinacoteca do Estado de São Paulo, Museu de Arte de São Paulo Assis Chateaubriand and Instituto Itaú Cultural.
Moderated by Carmen Victor
CARMEN VICTOR is currently affiliated with the York/Ryerson Joint Graduate Program in Communication and Culture where she is pursuing a doctorate degree. Her research is concerned with contemporary representations of landscape as a site for the integration of aesthetic, cultural and political considerations. Between 1999 and 2012 she held curatorial positions at several institutional and non-institutional galleries and museums and contributed to major institutionally located exhibitions such as PUBLIC: Collective Identity/Occupied Spaces (Matthew Brower, David Liss and Bonnie Rubenstein), Angela Grauerholz: The Inexhaustible Image Epuiser (Martha Hanna) and General Idea Editions: 1967-1995 (Barbara Fischer).
Co-presented by LACAP and Prefix
ALEJANDRO CARTAGENA: Learning from Latin America (Sub)Urbanism
Friday May 8, 2015 6pm OCAD University, Room 230 100 McCaul Street Free Admission
For the past decade Alejandro Cartagena has been investigating the relationship between Mexico’s urban centres and the suburbs built around them, examining the ways in which explosive growth has altered the landscape and affected the lives of residents through photography. His approach is not overtly polemical; rather, he seeks to tell, from multiple points of view, the complex story of growth and development in Latin America in the context of an increasing globalization and the ongoing influence of its northern neighbour(s) and 'North American dreams'.
ALEJANDRO CARTAGENA lives and works in Monterrey, Mexico. His photographic projects employ landscape and portraiture as a means to examine social, urban and environmental issues. His work has been exhibited internationally and is in the collections of several museums including: the SFMOMA, the Museum of Contemporary Photography in Chicago; the Museum of Fine Arts Houston; the Portland Museum of Art; the Museo de Arte Moderno in Rio, Brazil; the Fototeca de Nuevo Leon, Mexico; and the Fototeca Nacional in Pachuca, Mexico. He has received the Photolucida Critical Mass book award, the Lente Latino award in Chile, the Premio Salon de la Fotografia from the Fototeca de Nuevo Leon, the Premio IILA-Fotografia 2012 award in Rome and a POYi reportage award of excellence among other awards. He has been named a FOAM magazine talent and one of PDN´s magazine 30 emerging photographers. He has also been a finalist for the Aperture Portfolio award and has been nominated for several important prizes such as the Santa Fe photography prize, the Prix Pictet prize, the PHOTOEspaña Descubrimientos award and the FOAM Paul Huff award. Cartagena’s work has been published internationally in magazines such as Newsweek, the New York Times Lens blog, Nowness, Domus, Domus Mexico, the Financial Times, View, the Guardian, le Monde, Stern, PDN, the New Yorker, the Independent, Monocle and Wallpaper among others.
Moderated by Shawn Micallef
SHAWN MICALLEF is an urban columnist at Canada's largest newspaper, The Toronto Star, and an editor and co-owner of Spacing—the independent, national, Jane Jacobs Prize-winning magazine dedicated to looking at what makes Canadian cities work. While a resident at the Canadian Film Centre's Media Lab, he co-founded [murmur], a location-based mobile phone documentary project that has been established in over 20 cities globally, often working with marginalized groups to help get their stories and voices into public life. Micallef teaches civic citizenship and design courses at the University of Toronto and OCAD University, and was a distinguished 2011-2012 Canadian Journalism Fellow at Massey College.
Co-presented by LACAP, CONTACT, the Faculty of Art through the Photography Department at OCAD University, and Circuit Gallery in conjunction with Contacting Toronto: Expanding Cities, a CONTACT Public Installation co-produced by PATTISON Onestop and Art for Commuters.
GERARDO MOSQUERA: "Worlding" Art: the Havana Biennial
Tuesday, June 23 7pm AGO Jackman Hall 317 Dundas St. W LACAP & AGO Members $10 | Public $12 | Students $8
Gerardo Mosquera will base his lecture on his own experiences as a co-founder of the Havana Biennial and a participant in the curatorial team of the three first editions: 1984, 1986 and 1989. The Havana Biennial organized the first global exhibition of contemporary art, changing the practice of biennial-making and of the circulation of art. It created a new, truly international “other” space for art which included different contemporary practices that were quite segregated at the time. It undertook a critique of modernity, a reflection on the new transnational and diasporic identities, and a breaking away from the Venice and São Paulo paradigms. The Havana Biennial triggered the proliferation of “a new breed of biennials” around the world expanding the biennial practice to the whole world while confronting mainstream canons and hierarchies. Mosquera’s lecture will briefly examine the Havana Biennial’s collective creation of a new internationalism in art in the framework of Cold War’s Cuba and its Third World politics.
GERARDO MOSQUERA is a freelance curator, art historian and critic based in Havana, Cuba. He was one of the organizers of the first Havana Biennial in 1984 and remained central to the curatorial team until he resigned in 1989. Since then, his activity turned to be mainly international: he has been traveling, lecturing and curating exhibitions in more than 70 countries. Mosquera was curator at the New Museum of Contemporary Art, New York, from 1995 to 2009. Also since 1995 he is advisor in the Rijksakademie van Beeldende Kusten in Amsterdam. His publications include several books on art and art theory, and more than 500 articles, reviews and essays have appeared in such magazines as Aperture, Art & Text, Art Criticism, Art Journal, Art Nexus, Atlantica, Cahiers, Casa de las Americas, ArtForum, Kunstforum, La Jornada Semanal, Lapiz, Neue Bildende Kunst, Oxford Art Journal, Parkett, Plural, Poliester, Third Text, etc. Mosquera has edited Beyond the Fantastic: Contemporary Art Criticism from Latin America and co-edited Over Here: International Perspectives on Art and Culture. A collection of his essays on art, internationalization and cultures was published recently in Madrid. Mosquera was the Artistic Director of PHOTOEspaña, Madrid (2011–2013), and is currently Chief Curator of the San Juan Poly/Graphic Triennial, which will open on 2015.
Co-presented by LACAP and Art Gallery of Ontario
JOTA CASTRO & MINERVA CUEVAS: Art as Activism/Activism as Art
Tuesday, June 30, 2015 6pm OCAD University’s Auditorium, Room 190 100 McCaul Street Free Admission
JOTA CASTRO was born in Yurimaguas, Peru and currently lives in Brussels, Belgium. Jota Castro is a contemporary artist who explores themes of social and political conflict through the mediums of photography, sculpture, video and installation. He curated and participated in the event collateral to the 55th Biennale of Venice 2013 Emergency Pavilion: Rebuilding Utopia, took part in the collateral event to the 54th Biennale of Venice I Miss My Enemies, curated by Oxana Maleeva, and the 53rd Biennale of Venice 2009, The Fear Society, Pabellón de la Urgencia. He also participated in the Biennale of Tirana, Prague and Kwangju, Korea winning the award at the latter in 2004. Castro’s most recent exhibitions include: Gemutlichkeit, at Galleria Umberto di Marino (2013); Trame curated by Massimo Minini, Stefano Raimondi, Mauro Zanchi, in the Basilica di Santa Maria Maggiore, Bergamo; Tell me whom you haunt: Marcel Duchamp and the contemporary readymade curated by Mario Codognato, Blain Southern, London; solo exhibition Austerity Über Alles at Galerie Barbara Thumm, Berlin; Una Storia Contemporanea, Galleria Massimo Minini, Brescia; I West End? Museum on the Seam, Jerusalem; among many others. In 2011, he curated Dublin Contemporary Terrible Beauty: Art, Crisis, Change & The Office of Non-Compliance, along with Christian Viveros-Fauné. Jota Castro is a political science graduate, former student of the College of Europe in Bruges who worked for the UN and the EU. He has devoted himself completely to contemporary art for the past 17 years.
MINERVA CUEVAS & JOTA CASTRO
Tuesday, June 30 2015 6pm OCAD University’s Auditorium, Room 190 100 McCaul Street Free Admission
MINERVA CUEVAS graduated with a BFA from the Escuela Nacional de Artes Plásticas at the Universidad Nacional Autónoma, Mexico City in 1997. Her socially engaged practice encompasses a range of strategies and media including film, installation, performance, and site-specific public intervention. One of Cuevas’s best-known works is the long-term project Better Life Corporation (Mejor Vida Corp., 1998– ), which evolved from her public interventions in Mexico City. Part pseudo-corporation, part non-profit organization, the project revolves around a website that offers a range of public services including the provision of special bar codes to reduce the cost of food items at supermarkets, personalized fake student ID cards, and free phone calls. Cuevas has had major solo exhibitions at the Vienna Secession (2002); DAAD Galerie, Berlin (2004); Casa del Lago, Mexico City (2006); Kunsthalle Basel (2007); Le Grand Café – Centre d’art Contemporain, Saint-Nazarie, France (2007); Van Abbemuseum, Eindhoven, The Netherlands (2008); Whitechapel Gallery, London (2009); Museo Rufino Tamayo, Mexico City (2010); Cornerhouse, Manchester (2011); and Museo de la Ciudad de México (2012). Her work has also been included in group exhibitions at Museo de Arte Carrillo Gil, Mexico City (1998); Hayward Gallery, London (2000); Stedelijk Museum voor Actuele Kunst, Ghent (2001); MoMA PS1, New York (2002); Palais de Tokyo, Paris (2003); San Francisco Museum of Modern Art (2008); Centre Georges Pompidou, Paris (2010); and the Modern Art Museum of Forth Worth (2013). Cuevas’s work was also included in the Istanbul Biennial (2003); São Paulo Biennial (2006); and Mercosul Biennial, Porto Alegre, Brazil (2007). She received grants from the Deutscher Akademischer Austausch Dienst (DAAD) in 2003 and the Fondo Nacional para cultura y las Artes in 1999. Her work is held in the collection of the Tate, UNAM, Mexico City and Van Abbé Museum, Eindhoven.
Moderated by Gerardo Mosquera
Co-presented by LACAP and OCAD University