Situada dentro de un centro comercial, Sala de Arte Mall Plaza Vespucio del Museo Nacional de Bellas Artes, la exhibición Aromérica Parfumeur, que tendrá lugar el 13 de agosto al 18 de septiembre, es una instalación de arte de la artista Beatrice Glow que toma la forma de una perfumería, mientras conecta el imaginario histórico del “descubrimiento” y la formación de las Américas tras la búsqueda de las especias de Asia. Los conquistadores no sólo estaban detrás de El Dorado y la Fuente de la Juventud Eterna, sino también del Picante y el País de la Canela. La historia social de las plantas lleva una relación íntima con la globalización: la circunnavegación del mundo liderado por Hernando De Magallanes fue financiado por un puñado de clavos de olor y Colón llegó a las Américas en la búsqueda de Asia y sus especias. Luego, fue Américo Vespucio quien subscribiría la idea “radical” de la existencia de un “Mundo Nuevo.” La Globalización se formalizó cuando Asia, las Américas y Europa se conectaron por la primera vez en el año 1565 por el Galeón de Manila, mejor conocido como el “Nao de la China” o “Nao de Acapulco”. Ésta era una ruta comercial que recorría la ruta entre Manila, Acapulco y Sevilla, exportando bienes de lujo como porcelana, seda y especias, influyendo en la cultura visual de las Américas.
ASIAN/PACIFIC/AMERICAN INSTITUTE ANNOUNCES BEATRICE GLOW AS 2016-17 ARTIST-IN-RESIDENCE
July 15, 2016
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Interdisciplinary artist Beatrice Glow will be the Artist-in-Residence at NYU’s Asian/Pacific/American Institute for the 2016-2017 academic year—an appointment that includes public events on Sept. 27 and Dec. 8.
Glow’s work uncovers invisible, suppressed stories that lie in the geopolitical shadows of colonialism and migration. Her practice includes sculptural installations, trilingual publishing, participatory performances and lectures, and experiential technologies.
During her residency, Glow will research the social history of plants via spice routes and botanical expeditions focusing on the historical and contemporary relationship between the islands of Rhun (in pres¬ent-day Indonesia) and Manaháhtaan (Manhattan) to create Rhunhattan, a multiplatform project which will include psychogeographic and immersive tech experiences.
Glow, an NYU alumna, was the recipient of the 2015 Van Lier Visual Art Fellowship at Wave Hill and was named a 2015 Joan Mitchell Foundation Emerging Artist Finalist. In 2014, she was awarded a Franklin Furnace Fund grant to create the Floating Library—a pop-up, mobile device-free public space aboard the historic Lilac Museum Steamship on the Hudson River. Glow is a Hemispheric Institute of Performance and Politics’ Council Member and previously was Artist-in-Residence at the LES Studio Program at Artists Alliance Inc. Her most recent activities include Aromérica Parfumeur, a solo exhibition at the Museo Nacional de Bellas Artes de Chile (2016); The Wayfinding Project at the A/P/A Institute at NYU (2016); Rhunhattan at Wave Hill (2015); and a lecture performance as part of Asia Contemporary Art Week’s Field Meeting Take 2 at the Venice Biennale (2015). She holds a BFA in Studio Art from NYU’s Steinhardt School of Culture, Education, and Human Development.
Artist-in-Residence events
Both events are free and open to the public. To RSVP, please call 212.992.9653 or visitwww.apa.nyu.edu/events. Subways: N, R (8th St.), A, C, E, B, D, F, M (W. 4th St.)
Tues., Sept. 27, 6-9 p.m.
A Tale of Two Islands: Welcome event for Beatrice Glow (lecture-performance and reception)
Location: NYU Steinhardt Pless Hall Lounge (first floor), 82 Washington Square East
Glow begins her residency by presenting a new lecture-performance. Leeza Ahmady (Asia Contemporary Art Week), Thomas Looser (NYU Department of East Asian Studies), Jennifer McGregor (Wave Hill), Jack Tchen (A/P/A Institute), and Associate Dean Lindsay Wright (NYU Steinhardt) will offer comments.
Thurs., Dec. 8, 6:30-8:30 p.m.
The Wayfinding Project: Closing Showcase (presentation and reception)
Location: 8 Washington Mews (below 8th Street, between University Place and Fifth Avenue)
Seeking to displace the myth of “the purchase of Manhattan,” The Wayfinding Project, part installation, part experiment in virtual and augmented reality, and part collabora¬tive research project, closes with a showcase of its findings. Featuring Beatrice Glow and students from Jack Tchen’s Fall course, “Indigenous Futures | Decolonizing NYC.”
EDITOR’S NOTE
Artists-in-Residence are invited to bring their notoriety, artistic work, and history of involvement with the Asian/Pacific American community to NYU. The Artist-in-Residence uses his/her time at A/P/A to create important new work, artistic retrospectives, forums, or conferences. Scholars, fellow artists, and community members familiar or new to the artist’s work, gain a unique opportunity to engage with the Artist-in-Residence within a university setting.
https://www.nyu.edu/about/news-publications/news/2016/07/15/nyus-asianpacificamerican-institute-announces-beatrice-glow-as-2016-17-artist-in-residence.html
ARTISHOCK
Magical (un)Real: Entranced Land in Artishock
Magical (un)Real: Entranced Land, en Momenta Art, Brooklyn, presenta una selección de artistas que viven y trabajan en la ciudad de Nueva York, y cuya temática para esta exposición se centra en América Latina.
Tomando prestado el título de la película Terra em Transe, obra esencial de Glauber Rocha estrenada en 1967, la exposición presenta un corte transversal de artistas que reactivan sus conexiones con el continente latinoamericano a través de la mirada de un viajero, del investigador o del expatriado. Al igual que la película de Rocha, sobre un hombre atrapado entre las facciones políticas en el hipotético país de El Dorado, las obras incluidas en la muestra realzan las dialécticas de una región lastrada, desde hace tres décadas, por ideologías neoliberales y populistas.
Curada por Esperanza Mayobre y Daniel Greenfield-Campoverde, Magical (un)Real: Entranced Land se propone desmitificar la noción de un continente unificado, que encapsula la diversidad de narrativas que dan forma a la América Latina contemporánea. Estas propuestas artísticas centran sus reflexiones sobre las desigualdades entre razas/clases y política/violencia estructural que siguen prevaleciendo a lo largo de los cambios ideológicos ocurridos en las últimas décadas. Mediante una sensibilidad profundamente arraigada en la poética política, algunos de los artistas incluidos en la muestra examinan el panorama político latinoamericano desde el prisma de la alteridad. Lee mas aqui
Spanish Lesson on How to Speak Chino, Momenta Art, Brooklyn | Sunday June 12, 4PM
In conjunction with the exhibition, Magical (un)Real: Entranced Land
Please join us for Spanish Lesson on How to Speak Chino, a lecture performance conducted by artist Beatrice Glow. There is a plethora of ways to use the word “chino” (Chinese) in colloquial Latin American Spanish. While "chino,-a" often refers to a person with indigenous and or Asian physical characteristics, depending on context it can also reference orange juice, cannabis, curly blondes, children, a gaucho’s wife, fifty cents and even public figures. The lecture delves into the historical realities of Asian migration to Latin America, coolie geography and folk etymology.
Friday June 10 at Cuchifritos Gallery + Project Space 5-8 PM
Glow’s installation at Cuchifritos consists of a new body of work that tells the social history of spices as a bloody continuum of exploitation, extraction, and land dispossession. She created a series of digital prints on silk drawing upon historical depictions of the spice trade combined with her own drawings that are inspired by botanical research to illuminate the transhistoric weight of spices, silks and colors that have propelled forward countless caravans and ships in the birthing of globalization. The artist considers these silk prints as objects that sit between the resemblance of Mantones de Manila and oriental rugs, objects that embody a long history of trade, cultural circulations and mystique. The transparent and weightless quality of silk evokes the ghosts of history that invisibly shape our present while starkly contrasting historical gravity.
Thursday May 26 @ Ora Gallery | A Conversation on how Cultural Practice Interfaces with Critical Issues →
Cultural practice—art, writing, film, design—is a potent way to share knowledge and ideas. It is never more powerful than when it illuminates the critical issues that we are faced with and forges a pathway of curiosity and understanding. As we recognize the urgent need for meeting the challenges of climate change and pollution, cultural expression is a ground for global visibility, an essential platform and a strong voice that transcends borders and languages.
THROWBACK THURSDAY: Se Busca Colaborador, 2008
Throwback Thursday: I will be returning to Santiago de Chile 8 years after I first performed this piece "Se Busca Colaborador" during DEFORMES 2008, here I am saying hi to the Cordilleras!
At each opening, I ceremoniously read the following letter to the audience:
[English]
Santiago de Chile, November 2008
Dear Potential Collaborator,
After eight months of trying to coordinate a collaboration between New York and Buenos Aires, I found myself with a stumped project entirely unfit for showing due to an artistic partnership thwarted by poor transcontinental communication. Healing from the loss of a partner, I have reshaped my project for the situation at hand, and have now come to DEFORMES 2008 specifically in search of one or more new collaborators. This quest will be the basis for an artwork, “Se Busca Colaborador,” that satirizes my predicament by looking for collaborators during the biennial itself.
Collaborations are like relationships. They fail. Sometimes. Therefore, I arrive solo to DEFORMES 2008 ready to be reborn and find new collaborators. We are going to laugh at failure. With open faith, I invite you to come on a blind date. We are going to play. You and Me. Alone. No spectators. Spontaneous projects. Promiscuous collaborations. One-day-stand performances. In the heat of the moment interactions. There is no script. Tell me what you desire today and we will seize it. Sparks will fly. Maybe we can interview each other. Make a video. Design dishes for each other. Maybe tourism? Bring an aspiration.
Let´s focus on the creative process instead of final production. There is so much room for failure, but even more room for success this time around with a generous dose of flexibility within this anti-project, anti-purpose, and anti-production proposal.
Beatrice Glow
P.S. To coordinate our meeting, I will be in the Biblioteca de Santiago everyday from 10 AM-12PM, unless there is a biennial event at these hours, then I’ll see you there. Come say hi and let´s make a play date. Then I will go to Valdivia on the 16th and wait for you in Museo de Arte Contemporáneo.
[Spanish]
Santiago de Chile, Noviembre 2008
Mi Querido Colaborador Potencial,
Después de ocho meses de intentar coordinar una colaboración entre Nueva York y Buenos Aires, me encontré en medio de un proyecto estancado, completamente inadecuado para mostrar, al ser frustrado por las dificultades de la comunicación transcontinental. Curándome por la pérdida de un colaborador, he reformado mi proyecto según la situación, y vengo a Chile para DEFORMES 2008 especificamente en la búsqueda de uno o más colaboradores nuevos. Sorpresivamente, esta búsqueda es la base para una obra, “Se Busca Colaborador,” que satiriza mi aprieto. Esta vez buscaré a colaboradores durante la bienal actual.
Las colaboraciones son como las relaciones. Fracasan. A veces. Por eso, vengo sola a DEFORMES 2008 lista para renacer y buscar a colaboradores nuevos. Burlémonos del fracaso. Con mucha fe, te invito a una cita a ciegas. Vamos a jugar. Tú y Yo. Solos. Sin espectadores. Proyectos espontáneos. Colaboraciones promiscuas. Ligue-performance de un día. Interacciones del momento. No hay un guión. Cuéntame que quieres ahora y lo intentamos. Saltarán chispas. Tal vez nos entrevistemos mutuamente. Hagamos un video. Diseñemos platos de comida para el otro. ¿Turismo quizás? Trae un deseo.
Enfoquémonos en el proceso creativo en vez del producto final. Hay muchas posibilidades de fracasar, pero más posibilidades de tener éxito esta vez con una generosa dosis de flexibilidad al proponer un anti-proyecto con anti-finalidad, y anti-producción.
Beatrice Glow
P.D. En el 5 de noviembre, a las 4PM nos saludamos en la Biblioteca de Santiago, y coordinamos las posibilidades de juntarnos mientras esté en Santiago. Estaré en la Biblioteca cada día entre 10AM y 12 PM, salvo los dias cuando haya eventos a estas horas. Luego voy a Valdivia el 16 de Noviembre y te espero en el Museo de Arte Contemporáneo.
I need a clone! Momenta Gallery + Ora Gallery + Artists Alliance Open Studios
I had an amazing time being anExpert at Creative Tech Week holding conversations with archaeologists, architects, botanists, artists, app developers, filmmakers and augmented reality developers about next steps of The Wayfinding Lab (the ongoing activities of my installation The Wayfinding Project). We now have the full video documentation of the Inaugural Ceremony held on March 24 and if you have a Google Cardboard you can experience this immersive 360-degree video of the Lenape Calibration Workshop that took place in Washington Square Park on 4/30...I really love how Angelo Baca took us underground to see what lies beneath the concrete jungle!
Now here are invites to more upcoming events:
Friday & Saturday May 20-21 - Sharing work in progress and adventures along the Spice Route with Artists Alliance Inc.'s Open Studios at The Clemente, Manhattan
Friday May 20 Opening an exciting group show Magical (un)Real: Entranced Land at Momenta Art, Brooklyn
Thursday May 26, 5-9 pm In conversation with Christiana Peppard, George Nuku and at Ora Gallery, Manhattan
Sunday June 12, 4PM Performance-lecture on "How to Speak Chino" at Momenta Art, Brooklyn
Read below for more details!
Warmth,
Beatrice
ARTISTS ALLIANCE OPEN STUDIOS
Friday, May 20 from 6-8p + Saturday, May 21 from 2-6p
The Clemente: 107 Suffolk Street, 4th Floor, NYC
LES Studio Program's artists-in-residence as well as our PS160 commission artist will open their studios for an intimate glimpse into their creative processes.
Resident Artists:
Arianna Carossa, Ingrid Eggen, Ivan Gaete, Joshua Johnson, Beatrice Glow (program alumni)
PS160 Commission Artist: Gabrielle Mertz
Part ofClemente Soto Vélez Cultural & Educational Center Open Studios. See 50+ studios.
"Diccionario Chino," Beatrice Glow, 2010
Magical (un)Real: Entranced Land
May 20 - June 30, 2016
Co-curated by Esperanza Mayobre and Daniel Greenfield-Campoverde
Momenta Art | 56 Bogart St, Brooklyn
Facebook event page
Exhibiting artists:
Patricia Dominguez, Beatrice Glow,Terence Gower, Daniel Greenfield-Campoverde Myeongsoo Kim, Esperanza Mayobre + Angela Bonadies, Rachelle Mozman, Claudia Peña Salinas
Public Event Participants:
Silvia Benedetti, Lisa Blackmore/Visual Culture Section, Latin American Studies Association, Moira Fradinger, Luis Ospina
Magical (un)Real: Entranced Land presents a survey of artists living and working in New York City whose subject matter presented in the exhibition is focused on Latin America.
Borrowing its title from Glauber Rocha’s seminal 1967 film Terra em Transe (Transl. Entranced Land), the exhibition presents a cross section of artists rekindling their connections with the Latin American continent through the lens of a traveler, a researcher, or an expatriate. Like Rocha’s film, about a man trapped between political factions in the hypothetical country of El Dorado, the works in this exhibition emphasize the dialectics of a region mired in neoliberal and populist ideologies in the last three decades.
Magical (un)Real: Entranced Land aims to demystify the notion of a unified continent, encapsulating the diversity of narratives that shape contemporary Latin America. These contemporary reflections center on inequalities between races/classes and structural/political violence that continue to prevail throughout the ideological shifts in the recent decades. Through a sensibility strictly rooted in the politically poetic, some of the artists featured in the exhibition examine the Latin American political landscape through the lens of the ‘other’.
Long fascinated with the histories of Modernism, Terence Gower (Canada/US) presents Art in Latin American Architecture, a series of photographs-cum-paintings documenting public artworks done for modernist university campuses in Mexico City, Caracas and Brasilia. Through his photographic and sculptural installation, Myeongsoo Kim (Korea) reconstructs the lost histories of Chacaltaya, Bolivia: the world’s highest altitude ski resort, which has been long abandoned due to the effects of global warming.Esperanza Mayobre (Venezuela), in collaboration with Angela Bonadies (Venezuela), presents Postcards from Venezuela, a suite of eight photographs that document the violent uprisings in her native country wrought upon the Chavista-Madurista regime. Daniel Greenfield-Campoverde (Venezuela/USA) addresses US interventionist histories and informal economies in contemporary Venezuela through his sculptural works. Rachelle Mozman (Panama) presents her video Loneliness Lonely, a fragmentary fictional narrative of Latin Americans, elaborating upon a sense of alienation and undefined trauma.Patricia Dominguez (Chile) examines the historical roles of horses in Honda, Colombia, and conflates colonial histories and the contemporary reality of narco trade in a looped video titled Eres Un Princeso.Beatrice Glow (USA) presents her ethnographical research concerning long-buried histories of the Chinese labor diaspora in Peru, and Claudia Peña-Salinas (Mexico) presents a series of exquisite monoprints documenting found anthropomorphic figures from Pre-Hispanic Mexico.
In addition, the exhibition will be accompanied by a series of film screenings, discussions and public events led by artists and leading Latin American Scholars.
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<Public Event Schedule>
Friday, May 27, 7PM: Presentation of recent publications on Latin American visual culture by Lisa Blackmore/Visual Culture Section, Latin American Studies Association
1. Kevin Coleman. A Camera in the Garden of Eden: The Self-Forging of a Banana Republic (University of Texas Press, 2016)
2. Sam Steinberg. Photopoetics at Tlatelolco. Afterimages of Mexico, 1968 (University of Texas Press, 2016)
3. Phill Penix-Tadsen, Cultural Code: Video Games and Latin America (MIT Press, 2016)
4. Scott Weintraub & Luis Correa-Díaz (editors). Ya salió “Poesía y poéticas digitales, electrónicas, tecnos, new-media en America Latina (Universidad Central, 2016)
Tuesday, May 31, 7PM: Latin American Cinema with Moira Fradinger
Sunday, June 12, 4PM: How To Speak Chino: Performative lecture by Beatrice Glow
Sunday, June 19, 4PM: Is Domino a Social Practice? organized by Esperanza Mayobre + Screening of Agarrando Pueblo by Luis Ospina
Sunday, June 28, 4PM: The artist as geographer: Claudio Perna: Mapping and Identity, presented by Silvia Benedetti
Lenape Calibration Workshop #Manahahtaan
The Wayfinding Project, an evolving exhibit and lab, opened on March 23 with a big turnout and will be on view until December 21! I will be in the gallery May 2-6 from 2-5PM as part of Creative Tech Week if you want to visit with me and experience the augmented and virtual reality creations as part of the lab'sIndigenous Vision Training Program! Check out this 360-degree photo documentation of the exhibition.
Missed the Inaugural Ceremony? Click here for a 360-degree video documentation of the Inaugural Ceremony for The Wayfinding Project. The choreography of the night began with Chief Reggie Herb Dancer Ceaser of the Matinecock Nation generously blessing each attendee at the threshold of the gallery. I then read a quote from navigator Nainoa Thompson's "On Wayfinding," Kaina Quenga then descended the stairs while playing the nose flute, Polynesian chanters from the Hālāwai Committee (Kauila Keallikanakaole, Kris Kato, Keoni Di Franco, Kapena Alapai, Amy Hundley and Dara Faust) presented an 'oli to ask for permission to land in Lenapehoking and were welcomed by Donna Couteau of Leaf Arrow Theatre in Algonquian language. All of this was a pre-ceremony in anticipation of the arrival of Hōkūleʻa and the subsequent indigenous cultural revitalization to follow in NYC. Learn more by watching this 10 min interview where I got together with Co-Founder and Executive Director of the Lenape Center, Joe Baker, and did a 360-degree interview with him about upcoming collaborations between the Lenape Center and The Wayfinding Lab!
*Use your cursor to drag the video in 360-degree rotation.
The Wayfinding Lab has many activities planned for the next few months...right around the corner is the opening event for the Free University's Liberation Lab. The Wayfinding Lab of Asian/Pacific/American Institute at NYU is working with the Lenape Center and American Indian Community House and Native American and Indigenous Students' Group at NYU - NAISG to present 30 min of LENAPE CALIBRATION.
LENAPE CALIBRATION WORKSHOP
11:30 AM-12:00PM
Meet at the circle close to Washington Square West where there is a yellow sassafras leaf pinned on the map below
Precolonial Manahahtaan was connected to the rest of the Northeast region through the Lenape Trail that we now call Broadway. Starting in Battery Park and running through Inwood, this indigenous highway stretched far beyond the region that is also known as Lenapehoking, meaning the traditional homeland of the Lenape people. In this workshop, we will decolonize NYC history by chalking both the historic and future trails that runs through Washington Square Park and learn about the ways in which Indigenous cultures continue to serve as cultural and ecological stewards of Mother Earth.
Workshop leaders:
Angelo Baca, Co-President, Native American and Indigenous Student Group at NYU
Rick Chavolla, American Indian Community House
Beatrice Glow, Visiting Scholar, Asian/Pacific/American Institute
This workshop was developed in conversation with the Lenape Center
#Manahahtaan
INAUGURAL CEREMONY FOR THE WAYFINDING PROJECT
“The Wayfinding Project,” an evolving installation that questions the representation of indigenous cultures in New York City’s pre-colonial history and its future, will be showcased at NYU’s Asian/Pacific/American Institute from March 25 through December 21, 2016.
THE WAYFINDING PROJECT turns New York Back to its Pre-Colonial History - Asian/Pacific/American Institute Installation →
“The Wayfinding Project,” an evolving installation that questions the representation of indigenous cultures in New York City’s pre-colonial history and its future, will be showcased at NYU’s Asian/Pacific/American Institute from March 25 through December 21, 2016.
Lettuce, Artichokes, Red Beets, Mangoes, Broccoli, Honey and Nutmeg: The Essex Street Market as Collaborator
Image: Time Capsule for Essex Street Market, Beatrice Glow, 2016
If you haven't gone grocery shopping recently at the Essex Street Market, please drop by soon! As the historic landmark is facing relocation due to rapacious gentrification, curator and artist Nicolás Dumit Estévez Raful gathered Laia Solé, Antonia Pérez, Ricardo Miranda Zúñiga, Mary Ting, Harley Spiller, and myself, to create the group show at Cuchifritos Gallery + Project Space. Here is a nice review in NY Mag's Bedford + Bowery Blog and also on Artnet.
"The piece contributed by Beatrice Glow is perhaps the most whimsical attempt to capture the market in its current form. She specially concocted scents based on the smells of the market’s history, such as mangos, tobacco and bacon. Like a small ritualistic ceremony, visitors can sniff the scent on display within a small glass sphere. Later, she pours each scent into an “Essex Street Market Time Capsule,” creating an olfactory portrait of the market’s place in time." - NY Mag's Bedford+Bowery Blog
Scholar Slam Dec. 10th 6PM-8PM at NYU →
A/P/A Institute at NYU Scholar Slam
Rhunhattan: An Interview with Beatrice Glow
During the Spice Wars in the 17th century, nutmeg was worth its weight in gold, and its trees grew only on the Moluccas Islands of Indonesia. One of the smallest of these islands, Rhun, was considered the first English overseas colony, and its people and resources were quickly war-torn by competing Western powers. Rhunhattan, Beatrice Glow’s installation in Wave Hill’s Sunroom Project Space, not only ruminates on a particular colonial history, but also brings into question the many trajectories which continue to develop out of complex networks of globalization. The aestheticizing of violence, colonialism and environmental exploitation only continue to morph and expand. Today, Manhattan is an economic capital of the world, while Rhun has disappeared from Western memory. Despite Dutch attempts, in 1665, to destroy Rhun’s remaining natural resources, nutmeg trees continue to grow on the island today.[1] Glow’s work is an effort to uncover these forgotten histories, as well as enduring legacies. In advance of the Artist’s TalkSaturday afternoon, October 24, in Glyndor Gallery, Danni Shen, Curatorial Fellow in Visual Arts, discussed Rhunhattan, cross-cultural narratives, art-making with spices, and more with Glow.
What Is Chino? Memories and Imaginaries of Asian Latin America →
Eight years ago I was told the story of two Chinese coolies who had escaped to the Peruvian Amazon, founded a village called El Chino, which means “The Chinese,” and begun a small tapioca business before vanishing mysteriously. I grew curious about what the Chinese were doing in South America, let alone, the rain forest. Two years later I moved from New York to Lima, Peru, to retrace the geography of nineteenth-century Chinese coolie labor as well as the imaginary of Asia in the Americas, given that Peru has the highest ratio of Asian Latin Americans. When I asked limeños for travel advice on the Amazon, several well-intentioned folks warned me of river pirates, reptilian predators, terrorist activity, drug trafficking, and other perils. Undeterred, I began mapping the escape route of the rumored coolies, who had fled harsh labor conditions in search of a road home to China. I then followed the various Chinese migration waves toward the Andes and the Amazon River Basin, weaving together migratory landmarks while documenting oral histories from elders. En route I resurrected...
FIELD MEETING Take 2: An Afterthought
FIELD MEETING Take 2: An Afterthought
At Arsennale Navy Officer's Club
May 8, 2015
During the Venice Biennale, My Art Guides Venice Meeting Point
Lecture performance on Color, Light and the Romantic Gaze.
Asian Contemporary Art Week 2014
Spanish Lesson on How to Speak Chino
I delve into the historical realities of Asian migration to Peru by dissecting the folk etymology of “chino.” There is a plethora of ways to use the word “chino” (Chinese) in colloquial Spanish that range from orange juice, marijuana, curly blondes, children, a gaucho’s wife, a person with indigenous physical characteristics, fifty cents to several Peruvian ex-presidents.