La memoria del agua TIERRA DAVID BARRO - PONCE+ROBLES
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fuego
pily estrada
la memoria del agua
AGUA
susanna v. temkin
susanna temkin
COMISARIa
genesis báez
raúl díaz reyes
frances gallardo
lina puerta
evelyn rydz
TIERRA
DAVID BARRO
aire
tiago de abreu pinto
50 AÑOS (30 MÁS 20)
50 AÑOS (30 MÁS 20)
la
memoria del
agua
COMISARIADA POR
S U S A N N A V. T E M K I N
08.05.21 | 15.07.21
GENESIS BAÉZ| RAÚL DÍAZ REYES | FRANCES GALLARDO |
LINA PUERTA |EVELYN RYDZ
Susanna TEMKIN
la memoria del agua
La memoria del agua es una exposición colectiva que presenta a cinco artistas cuyas prácticas exploran las huellas acuosas en la
historia, la imaginación y el mundo físico. La muestra toma su título de la teoría de 1988 del inmunólogo francés Jacques Benveniste
sobre la capacidad del agua para retener la «memoria» a nivel molecular. Aunque controvertida dentro de la comunidad científica, la
propuesta de Benveniste reavivó el interés en las posibilidades metafísicas del agua, particularmente en lo relacionado con la curación
y el recuerdo(1). Esta atención renovada refleja antiguas tradiciones y creencias transculturales sobre el agua y sus propiedades,
incluidos los orígenes de la memoria en la sociedad occidental en relación con el río mitológico Mnemosyne del inframundo griego
(2). En La memoria del agua, la segunda de las exposiciones de Galería Ponce + Robles dedicada a los cuatro elementos, los artistas
Genesis Báez, Raúl Díaz Reyes, Frances
The Memory of Water is a group exhibition featuring five artists whose practices explore aqueous imprints on history, the
Gallardo, Lina Puerta y Evelyn Rydz imagination, and the physical world. The show draws its title from French immunologist Jacques Benveniste’s 1988 theory on the
presentan obras que visibilizan las capacity of water to retain “memory” at the molecular level. Though controversial within the scientific community, Benveniste’s
proposal reignited interest in the metaphysical possibilities of water, particularly as related to healing and remembrance. Such
experiencias sensoriales y perceptivas renewed attention reflects long-standing traditions and cross-cultural beliefs about water and its properties, including the origins
del agua y de los fenómenos acuosos y of memory in Western society as linked to the mythological river Mnemosyne of the Greek underworld. In The Memory of
Water, the second of Galería Ponce+Robles exhibitions dedicated to the four elements, artists Genesis Báez, Raúl Díaz Reyes,
su impacto en las narrativas colectivas Frances Gallardo, Lina Puerta, and Evelyn Rydz present works that visibilize the sensorial and perceptual experiences of water
and watery phenomena, and their impact on collective and personal narratives. Echoing water’s shape-shifting ability to move
y personales. Haciendo eco de la between the forms of solid, liquid, and gas, their artwork evince a range of media including sculpture, textile, photography,
capacidad de cambio de forma del printmaking, and video.
agua para moverse entre las formas de Broadly interested in meteorological patterns, Frances Gallardo explores the nature of hurricanes, powerful systems of water and
sólido, líquido y gas, sus obras de arte wind with which she is intimately familiar, having been raised in Puerto Rico. In Carmela, Gallardo borrows from the convention of
naming tropical storms, a practice that first arose in the 1950s and is today supervised by the World Meteorological Organization
muestran una variedad de medios que (WMO). According to the WMO, this system was originally intended “to help in the quick identification of storms…because
names are presumed to be far easier to remember than numbers and technical terms.” In addition to serving as an aide-de-
incluyen escultura, textiles, fotografía, memoire, this practice additionally humanizes these potentially destructive, if natural, systems. Indeed, part of a larger body of
grabado y video. cut-paper collages named after the artist’s family and friends, Gallardo’s Carmella converts the swirling abstractions of satellite
imagery into an individual portrait.
Muy interesada en los patrones meteorológicos, Frances Gallardo explora la naturaleza de los huracanes, poderosos sistemas
de agua y viento con los que está íntimamente familiarizada al haberse criado en Puerto Rico. En Carmela, Gallardo toma prestada
la costumbre de nombrar tormentas tropicales, una práctica que surgió por primera vez en la década de 1950 y que hoy está
supervisada por la Organización Meteorológica Mundial (OMM). Según la OMM, este sistema se diseñó originalmente para «ayudar
en la identificación rápida de tormentas ... porque se presume que los nombres son mucho más fáciles de recordar que los números
y los términos técnicos» (3). Además de servir como ayuda para la memoria, esta práctica humaniza adicionalmente estos sistemas
potencialmente destructivos, aunque naturales. De hecho, formando parte de un cuerpo más grande de collages en papel recortado
que llevan el nombre de la familia y los amigos del artista, Carmella de Gallardo convierte las abstracciones arremolinadas de las
imágenes de satélite en retratos individuales.
De manera similar, Gallardo toma prestados conceptos de los mapas científicos en las dos obras en forma circular de su serie,
The Unnamed. Como lo sugieren sus títulos, estas piezas de base textil se apartan de obras como Carmella en el sentido de que
representan tormentas a las que nunca se les asignó un nombre formal, a pesar de alcanzar el estatus de huracán. Gallardo honra
estos eventos climáticos aparentemente olvidados al conmemorar sus «vidas» a través de líneas bordadas que trazan el camino de
los huracanes en una región geográfica determinada. Sus trayectorias están cosidas en algodón azul y seda reflectante, materiales
que hacen referencia al mar. En estas líneas que a veces se cruzan antes de desviarse en varias direcciones curvas, sus diseños
abstractos codifican un palimpsesto de archivo de historias de huracanes.
Mientras Gallardo explora los sistemas de
Gallardo similarly borrows from scientific mapping in the two tondo-shaped works from her series, The Unnamed. As
suggested by their titles, these textile-based pieces depart from works like Carmella in that they depict storms that were nominación, la instalación de Raúl Díaz Reyes,
never assigned a formal name, despite reaching hurricane status. Gallardo honors these seemingly forgotten weather Splash! ¡Splosh! ¡Ba-wooosh! considera
events by memorializing their “lives” through embroidered lines that chart the paths of hurricanes in a given geographical cómo el agua y la experiencia de lo líquido
region. Their trajectories are stitched into blue cotton and reflective silk, materials that reference the sea. These lines at
dan forma al lenguaje. El trabajo se centra en
times intersect before veering off into various curving directions, their abstract designs encoding an archival palimpsest of
hurricane histories. un vocabulario acuático identificado por el
artista en diálogo con el aclamado dibujante
While Gallardo explores systems of naming, Raúl Díaz Reyes’s installation Splash! Splosh! Ba-wooosh! considers how water Mogorrón, quien ha creado trabajos para los
and the experience of liquidity shapes language. The work centers on an aquatic vocabulary identified by the artist in dialogue cómics de Marvel y DC. Observando cómo
with the acclaimed draftsman Mogorrón, who has created work for Marvel and DC comics. Noting how the sensorial qualities
of water are seemingly embedded within the onomatopoeic sounds of such words as Bwas! GluGlu ! and those of the title,
las cualidades sensoriales del agua están
Díaz Reyes extends this into the visual through the development of graphic signs. Carved from wood, these playful inventions aparentemente incrustadas dentro de los
invoke both symbolic and pictorial depictions of drips, drops, splashes and other liqueous behaviors. In conflating sounds, sonidos onomatopéyicos de palabras como
sights, and other perceptual qualities, they draw on the reservoirs of memory to propose a synesthetic approach to the Bwas! GluGlu! aparte de los del título, Díaz
materiality of water.
Reyes se extiende a lo visual a través del
desarrollo de signos gráficos.
Tallados en madera, estos divertidos inventos invocan representaciones tanto simbólicas como pictóricas de goteos, gotas,
salpicaduras y otros comportamientos líquidos. Al combinar sonidos, imágenes y otras cualidades perceptivas, recurren a las
reservas de la memoria para proponer un enfoque sinestésico de la materialidad del agua.
Mientras que la instalación de Díaz Reyes invita a los espectadores a recordar sonidos imaginados, la escultura Island of Langerhans
de Lina Puerta, presentada en la entreplanta de la galería Ponce + Robles, emite un goteo pacífico. Siendo un ejemplo de la serie
Fountains de la artista, la pieza presenta agua corriente que se bombea a través de un entorno natural fantasioso y falso creado
a partir de materiales encontrados, plantas artificiales y porcelanas hechas a mano dentro de una maleta “vintage”. “Island of
Langerhans” deriva su título de un grupo de células dentro del páncreas que son responsables de la producción de insulina. De
manera reveladora, en su tratado sobre el agua, el filósofo Gaston Bachelard hace referencia a los elementos como «hormonas de
la imaginación», y cita al agua como la «realidad poética más completa». (4)
Estos procesos internos, así como
la concepción del cuerpo como un Whereas Díaz Reyes’ installation invites viewers to recall imagined sounds, a peaceful trickle is emitted by Lina Puerta’s Island
of Langerhans sculpture, presented on the landing of the Ponce+Robles gallery. An example from the artist’s Fountains series,
paisaje acuático, son compartidos the piece features running water that is pumped through a fanciful, faux natural environment created from found materials,
en la otra obra escultórica de Puerta artificial plants, and hand-made porcelains contained within a vintage suitcase. Island of Langerhans derives its title from a group
expuesta: Cliff. Las formas anatómicas of cells within the pancreas that are responsible for the production of insulin. Tellingly, in his treatise on water, philosopher Gaston
Bachelard references the elements as “hormones of the imagination,” citing water as the most “complete poetic reality.”
y botánicas híbridas de Island of
Langerhans y Cliff hacen referencia a la Such internal processes, as well as the conception of the body as an aquatic landscape, are carried forth into Puerta’s other
creencia de Puerta en la interconexión sculptural work on view, Cliff. The hybridized anatomic and botanical forms of Island of Langerhans and Cliff reference Puerta’s
belief in the interconnectedness of the body within nature, as well as the systems required to keep both functioning in balance.
del cuerpo con la naturaleza, así These principles guide much of her practice, including her more recent mixed media tapestries series which explore environmental
como en los sistemas necesarios para and agricultural cycles. Thus, with its shimmering blue surface, her Untitled (Turquoise), composed of an assemblage of fabrics,
mantener ambos funcionando en lace, velvet, sequins and butterfly wings, recalls the essential role of water in the life cycle, responsible for both sustaining life, as
well as its eventual rot and regeneration. Significantly, this balance between the creative and destructive properties of water are
equilibrio. Estos principios guían gran involved in the very making of this series, which requires a wet method that allows Puerta to shape and manipulate paper pulp
parte de su práctica, incluida su serie to build her textural surfaces. Like an archaeological site, the exposed layers uncover cross-sections of materials and processes
más reciente de tapices de técnica embedded within the work.
mixta que exploran los ciclos ambientales y agrícolas. Así, con su superficie azul reluciente, su Untitled (Turquoise), compuesto por
un conjunto de telas, encajes, terciopelo, lentejuelas y alas de mariposa, recuerda el papel esencial del agua en el ciclo de vida,
responsable tanto de sustentar la vida como de su eventual podredumbre y regeneración. Significativamente, este equilibrio entre
las propiedades creativas y destructivas del agua está involucrado en la elaboración misma de esta serie, que requiere un método
húmedo que le permita a Puerta dar forma y manipular la pulpa de papel para construir sus superficies con texturas. Como en una
excavación arqueológica, las capas expuestas descubren secciones transversales de materiales y procesos incrustados dentro del
trabajo.
La artista multidisciplinar, Evelyn Rydz, utiliza de manera similar el agua como parte de su práctica artística, recurriendo a los
ríos y océanos como fuente pictórica y material físico. Creada recientemente para The Memory of Water, su obra Open Oceans
Together/Apart a gran escala se compone de fotografías ensambladas para simular el flujo de agua a través del piso de la galería.
Recortada de diversas formas, cada fotografía refleja la superficie de cuerpos de agua de todo el continente americano, desde
ríos y afluentes en el área de Boston donde Rydz vive y trabaja, hasta el Mar Caribe, la región de donde proviene su familia.
Dichas fuentes no solo hacen referencia a la biografía personal del artista, sino que también hablan de historias más amplias
de inmigración, comercio e industria, así
como de las particularidades del clima.
Multidisciplinary artist Evelyn Rydz similarly uses water as part of her artistic practice, turning to rivers and oceans as both
pictorial source and physical material. Newly created for The Memory of Water, her large-scale Open Oceans Together/Apart En conjunto, estas imágenes forman
is composed of photographs pieced together to simulate the flow of water across the gallery floor. Cut into variously shaped un nuevo cuerpo de agua que habla de
forms, each photograph reflects the surface of bodies of water from across the Americas, ranging from rivers and tributaries in conexiones globales; sin embargo, como
the Boston area where Rydz lives and works, to the
to the coasts of Colombia and Cuba, the regions from which her family is from. Such sources not only reference the artist’s sugiere el título de la obra, cada uno
own personal biography, but also speak to larger histories of im/migration, trade, and industry, as well as the particularities of mantiene su naturaleza individual. Estas
climate. As a whole, these images form a new body of water that speaks to global connections; yet, as intimated by the work’s tensiones internas están ilustradas por las
title, each nevertheless maintains its individual nature. Such internal tensions are illustrated by the waves and currents that are
arranged so as to move in different directions from one another, endowing the piece with a sense of tense dynamism. olas y corrientes que se disponen de modo
que se mueven en diferentes direcciones
Similar effects are also evident within Rydz’s Aguas Dulces/Aguas Saladas, smaller scale collages hung on the wall. Like Open unas de otras, dotando a la pieza de una
Oceans, these works also combine various photographic images of marine surfaces as well as watercolor. This addition
references Rydz’s wider process of working between artistic mediums, in which she translates photographs into watercolors sensación de tenso dinamismo.
and painstakingly created drawings. In Aguas Dulces/Aguas Saladas, the two media are combined and layered to produce an
ombre effect. Rydz embellishes these surfaces through the addition of saltwater, which dissolves into organic and crystalline Efectos similares son también evidentes
patterns. As literal stains, they further allude to the histories – and traumas - embedded within water.
en la obra de Rydz Aguas Dulces / Aguas
Saladas, collages de menor tamaño colgados en la pared. Al igual que Open Oceans, estos trabajos también combinan varias
imágenes fotográficas de superficies marinas y acuarelas. Esta suma hace referencia al proceso más amplio del trabajo de Rydz
con diferentes medios artísticos, en el que traduce fotografías a acuarelas y dibujos minuciosamente creados. En Aguas Dulces /
Aguas Saladas, los dos medios se combinan y se superponen para producir un efecto sombrío. Rydz embellece estas superficies
mediante la adición de agua salada, que se disuelve en patrones orgánicos y cristalinos. Como manchas literales, aluden además
a las historias y traumas incrustados en el agua.
La fotógrafa Genesis Báez expresa un interés formal por el agua en sus formas mutables, capturando el elemento en algunos de sus
estados más efímeros, como la niebla, el aliento, las nubes y el rocío. Como artista de la diáspora que se mueve entre el noreste de
los Estados Unidos y Puerto Rico, es testigo de grandes oscilaciones en los cambios de temperatura y sus efectos sobre el agua, que
a veces refleja un sustituto metafórico de la propia fluidez del artista entre lugares y culturas. Éste es el caso de una imagen como
Condensation (San Juan Airport), en la que la luz del amanecer se refracta de un anillo de condensación formado en la ventana de
un aeropuerto, enfatizando los límites literales y fronterizos entre adentro y afuera, líquido y gas, noche y día, aquí y allá. Aunque las
fotografías de Báez aparentemente fijan momentos tan fugaces en la imagen , la artista sigue siendo consciente de la impermanencia
tanto del medio de la fotografía como
Photographer Genesis Báez expresses a formal interest in water in its mutable forms, capturing the element in some of its most
del agua misma. De hecho, éste es el ephemeral states, including as mist, breath, clouds, and dew.
tema de la obra Held Together, tomada As a diasporic artist who moves between the northeastern United States and Puerto Rico, she is a witness to vast swings in
temperature changes and its effects on water, which at times reflects a metaphoric surrogate for the artist’s own fluidity between
en un jardín en el Bronx, Nueva York, places and cultures. This is the case with an image like Condensation (San Juan Airport), in which the light of daybreak refracts off
en la que los efectos de la humedad a ring of condensation formed on an airport window, emphasizing the literal and liminal boundaries between inside and outside,
liquid and gas, night and day, here and there. Although Báez’s photographs seemingly fix such fleeting moments on film, the artist
hablan de los estragos del tiempo en remains aware of the impermanence of both the medium of photography as well as water itself. Indeed, this is the subject of the
fotografías y papeles cuidadosamente work, Held Together, taken in a botanica in the Bronx, New York, in which the effects of humidity speak to the ravages of time on
photographs and papers carefully taped and hung in a window.
pegados con cinta adhesiva y colgados
en una ventana. The concepts of memory, preservation, and nostalgia are further explored in Báez’s short video, Holding Water, which despite
its title, features no water at all. Instead, the work centers on two concrete shards from a building, painted in a cerulean tone.
Though not identified in the video, these architectural fragments are from Báez’s collection of “Water Objects,” consisting of
Los conceptos de memoria, pieces of glass, string, rocks, and other found odds and ends which she keeps in her studio. Passed between hands old and young
in the video, the fragments, like Proust’s madeleine, draw forth memories as they are touched and caressed. As voices recount
preservación y nostalgia se exploran personal stories, the blue shards seem to convert to water. As presented throughout the works in The Memory of Water, this
aún más en el cortometraje de Báez, transformational capacity reflects the power of water to retain histories, leave physical and emotional traces, heal traumas, and
resound in the minds, heart, and ears.
Holding Water el cual, a pesar de su
título, no muestra agua en absoluto. En cambio, el trabajo se centra en dos fragmentos de hormigón de un edificio, pintados en un
tono cerúleo. Aunque no se identifican en el video, estos fragmentos arquitectónicos son de la colección de «Objetos de agua» de
Báez, que consiste en piezas de vidrio, cuerdas, rocas y otros objetos encontrados que guarda en su estudio. Pasados en la película
entre las manos de viejos y jóvenes, los fragmentos, como la magdalena de Proust, traen recuerdos a medida que son tocados y
acariciados. A medida que las voces cuentan historias personales, los fragmentos azules parecen convertirse en agua. Tal y como
se presenta a lo largo de las obras de The memory of water, esta capacidad transformadora refleja el poder del agua para retener
historias, dejar huellas físicas y emocionales, curar traumas y resonar en la mente, el corazón y los oídos.
CITAS / QUOTES (1) Philip Ball. “The Memory of Water.” Nature. Octubre 8, 2004. https://www.nature.com/news/2004/041004/full/ news041004-19.html (acceso March 2021). (2) Almas seleccionadas bebieron de las aguas de Mnemosyne para preservar la memoria de la vida, de la que se deriva la palabra "mnemotécnica". Quizás las almas menos afortunadas bebieron del río Leteo, olvidando así su existencia moral. (3) “Tropical Cyclone Naming.” World Meteorological Organization. https://public.wmo.int/en/our-mandate/focus-areas/ natural-hazards-and-disaster-risk-reduction/tropical-cyclones/Naming (accessed March 2021). (4) Gaston Bachelard. Water and Dreams: An Essay on the Imagination of Matter. Trans. Edith R. Farrell (Dallas: Institute of Humanities and Culture, 1999), p. 15.
Genesis Báez es una artista que trabaja con fotografía y video.
Nacida en Massachusetts, Báez se crió en Nueva Inglaterra,
Estados Unidos y Puerto Rico. Tiene un máster en fotografía por la
Universidad de Yale, donde recibió el premio John Ferguson Weir
a la excelencia y el premio a la práctica crítica. Es alumna de la
Escuela de Pintura y Escultura de Skowhegan en 2019, y tiene un
BFA en Fotografía con honores de la Facultad de Arte y Diseño de
Massachusetts. Báez ha exhibido su trabajo a nivel internacional,
incluyendo Diagonal en Santurce, Puerto Rico, Yancey Richardson
en Nueva York, NY, CHART en Nueva York, NY. Actualmente enseña
fotografía y videoarte, y vive y trabaja en Brooklyn, NY.
Genesis Báez is an artist working with photography and
video. Born in Massachusetts, Báez was raised in both New
England, US, and Puerto Rico. She holds an MFA in Photography
from Yale University, where she was awarded the John Ferguson
Weir Award for excellence and the Critical Practice Award.
She is a 2019 alumni of the Skowhegan School of Painting and
Sculpture, and holds a BFA in Photography with honors from
Massachusetts College of Art and Design. Báez has exhibited her
work internationally, including Diagonal in Santurce, Puerto Rico,
Yancey Richardson in New York, NY, CHART in New York, NY. She
currently teaches photography and video art, and lives and works
genesis
in Brooklyn, NY.
báezCONDENSATION (SAN JUAN AIRPORT), 2019
IMPRESIÓN CON PIGMENTO PERDURABLE/
ARCHIVAL PIGMENT PRINT
76,2 x 95,2 cmHeld together, 2018
impresión con pigmento perdurable /
archival prgment print
70 x 46 cmHolding water, 2018
video digital monocanal con sonido/
single channel digital video with sound
medidas variables /variable measures
Para ver el vídeo online, haga click en el siguente enlace: https://drive.google.com/file/d/1mSvd5QJQhykKtrLocycXmcnjsvA2A2q_/viewLifiting water, 2017
impresión con pigmento perdurable/
archival pigment print
76 x 95 cm.Frances Gallardo obtuvo un master en arte de estudio por la
Universidad de Cornell y una licenciatura en dibujo y humanidades
por la Universidad de Puerto Rico.
Ha tenido la oportunidad de desarrollar nuevos trabajos a través
de numerosas residencias, entre ellas Latin American Roaming Art,
Caribbean Linked, The Center for Book Arts y La Práctica, Beta-
Local. El trabajo de Gallardo ha sido ampliamente exhibido en los
Estados Unidos e internacionalmente en lugares como el Museo
de Arte Latinoamericano (Los Ángeles), el Museo de Arte Pérez
(Miami), el Instituto de Cultura Puertorriqueña (San Juan) y el
Museo de Arte KUMU (Tallin).
Su obra está representada por Lucy García Arte Contemporáneo
(Santo Domingo).
Frances Gallardo earned an MFA in Studio Art from Cornell
University and a BFA in Drawing and Humanities from the
University of Puerto Rico.
She has had the opportunity to develop new work through
numerous residencies, including Latin American Roaming Art,
Caribbean Linked, The Center for Book Arts and La Práctica, Beta-
Local. Gallardo’s work has been widely exhibited throughout the
US and internationally in venues such as the Museum of Latin
American Art (Los Angeles), Perez Art Museum (Miami), Instituto
de Cultura Puertorriqueña (San Juan) and the KUMU Art Museum
frances
(Tallinn).
Her work is represented by Lucy García Arte Contemporáneo
(Santo Domingo).
gallardoCarmela, 2011
papel calado y collage/
openwork paper and collage
70 x 100 cmthe unnamed (san juan), 2012-2019
bordado en algodón sobre seda/
cotton embroidery on silk
76 cm diaThe Unnamed (Florida Panhandle, Houston), 2020
bordado en algodón sobre lino/
cotton embroidery on linen
76 cm diaLina Puerta nació en Nueva Jersey, se crió en Colombia y vive
y trabaja en la ciudad de Nueva York. Puerta tiene un máster en
Educación Artística de Queens College / CUNY y ha expuesto
internacionalmente. Actualmente es Artista en la Residencia KODA,
en Nueva York, y tiene próximas exposiciones individuales en 2021
en: el Museo de Arte y Narración de Cuentos de Sugarhill Children;
Hunter College East Harlem Gallery organizado con KODA en NYC y
en El Taller Puertoriqueño en Philadelphia. También ha sido honrada
con el premio Artista en residencia 2019/2020 en el Museo de Arte y
Narración de Cuentos Infantiles de Sugar Hill; Beca NYFA en Artesanía
/ Escultura 2017, Artista en residencia 2017 en el Centro Joan Mitchell
en Nueva Orleans, Residencia en el espacio de trabajo Dieu Donné
2016, Premio a la sustentabilidad Artprize-8.
Sus próximas exposiciones incluyen la Ford Foundation Gallery, El
Museo del Barrio, The 8th Floor, Smack Mellon, Wave Hill y Geary
en la ciudad de Nueva York; 21C Museum Hotels en Louisville, KY y
Bentonville, AR; y Pi Artworks en Londres. El trabajo de Puerta ha sido
publicado en Hyperallergic, The New York Times, The Brooklyn Rail y
Artnet News, entre otros.
Lina Puerta was born in New Jersey, raised in Colombia and lives
and works in New York City. Puerta holds an MSEd in Art Education
from Queens College/CUNY and has exhibited internationally. She is
currently an Artist-in-Residence at KODA, in NYC and has upcoming
2021 solo shows at: the Sugarhill Children’s Museum of Art and
Storytelling; Hunter College East Harlem Gallery organized with KODA
in NYC and at El Taller Puertoriqueño en Philadelphia. She also has
been honored with the 2019/2020 Artist-in-Residency at the Sugar
Hill Children’s Museum of Art and Storytelling; 2017 NYFA Fellowship
in Crafts/Sculpture, 2017 Artist-in-Residency at the Joan Mitchell
Center in New Orleans, the 2016 Dieu Donné Workspace Residency,
Artprize-8 Sustainability Award,
Exhibition venues include the Ford Foundation Gallery, El Museo del
lina
Barrio, The 8th Floor, Smack Mellon, Wave Hill, and Geary in New
York City; 21C Museum Hotels in Louisville, KY and Bentonville, AR;
and Pi Artworks in London. Puerta’s work has been written about in
Hyperallergic, The New York Times, The Brooklyn Rail, and Artnet
News among others.
puerta“cliff”, 2012
Espuma de poliuretano, porcelana, resina, hilo de algodón, tela, relleno de fibra, pintura acrílica, árbol modelo, adornos, abalorios, pedrería, cadena, lámina acrílica, follaje artificial y musgo y cera/
Polyurethane foam, porcelain, resin, cotton thread, fabric, fiberfill, acrylic paint, model tree, trims, beads, rhinestones, chain, acrylic sheet, artificial foliage and moss and wax
22 x 18 x 16,5 cmIsland of langerhans, 2011
Arcilla, esmalte, tela, pedrería, apliques, espuma de poliuretano, pegamento, modelar árboles, pintura, plantas artificiales y maletín vintage/
Clay, glaze, fabric, rhinestones, appliqué, polyurethane foam, glue, modeling trees, paint, artificial plants and vintage briefcase
28 x 34 x 28 cmuntitled (rug), 2016
Papel hecho a mano compuesto de algodón pigmentado, lino y pulpa de abacá; incrustado con piel sintética, cadenas, adornos, telas con lentejuelas y encajes/
Handmade paper composed of pigmented cotton, linen and abaca pulp; embedded with, fake fur, chains, trims, sequined fabrics and lace
9 paneles de 35,5 x 28 cm (dimensiones totales 120 x 91,5 cm)/ 9 panels of 35,5 x 28 cm (Overall dimensions 120 x 91,5 cm)
VIDEO SOBRE EL PROCESO DE FABRICACIÓN DE ESTA SERIE EN EL SIGUIENTE ENLACE: https://vimeo.com/236307999Evelyn Rydz, a lo largo de su carrera, recibió la Beca de la
Fundación Joan Mitchell, la Beca Brother Thomas, la Beca del
Consejo Cultural de Massachusetts, la Beca Itinerante SMFA, el
Fondo Charla del Foro de Arte Latino de EE. Fundación Cintas
Knight.
Su trabajo ha sido exhibido en Lowe Art Museum (Miami, FL),
Palacio de Justicia (Matanzas, Cuba), Palmer Art Museum (Penn
State University), Institute of Contemporary Art (Boston, MA),
Jordan Schnitzer Museum of Art ( Eugene, OR), El Parque Cultural
del Caribe, (Barranquilla, Colombia), USC Fisher Museum (Los
Ángeles, CA), Anchorage Museum (Anchorage, AK) entre otros.
Las colecciones públicas incluyen el Banco de la Reserva Federal,
la Fundación Barr, las Galerías de Arte de la Universidad de
Tufts, el Museo de Arte Fitchburg, el Museo DeCordova y Fidelity
Investments.
Rydz ha creado proyectos comunitarios para el I.C.A. Watershed,
la Galería Cooper de la Universidad de Harvard, la Universidad de
Massachusetts, el Centro de Artes Visuales LIST del MIT, la Galería
808 de la Universidad de Boston, Urbano Project, el Museo de
Bellas Artes de Boston y más.
Her work has been exhibited at the Lowe Art Museum (Miami,
FL), Palacio de Justicia (Matanzas, Cuba), Palmer Art Museum
(Penn State University), Institute of Contemporary Art (Boston,
MA), Jordan Schnitzer Museum of Art (Eugene, OR), El Parque
Cultural del Caribe, (Barranquilla, Colombia), USC Fisher Museum
(Los Angeles, CA), Anchorage Museum (Anchorage, AK) among
others. Public collections include the Federal Reserve Bank, Barr
Foundation, Tufts University Art Galleries, Fitchburg Art Museum,
DeCordova Museum, and Fidelity Investments.
evelyn
Rydz has created community projects for the I.C.A. Watershed,
Harvard University’s Cooper Gallery, University of Massachusetts,
LIST Visual Arts Center at MIT, Boston University’s 808 Gallery,
Urbano Project, the Museum of Fine Arts, Boston and more.
rydzOpen Oceans: Together/ Apart, 2021
impresión con pigmento perdurable /
Archival Pigment Prints
350 x 400 cm#1, 2021
Estampados pigmentados, acuarela y agua salada sobre papel/
Pigment Prints, Watercolor and Salt Water on Paper
35,5 x 40 ,5 cm#3, 2021
Estampados pigmentados, acuarela y agua salada sobre papel/
Pigment Prints, Watercolor and Salt Water on Paper
40 x 37,5 cm#4, 2021
Estampados pigmentados, acuarela y agua salada sobre papel/
Pigment Prints, Watercolor and Salt Water on Paper
106,5 x 91,5 cmRaúl Díaz Reyes ha expuesto y recibido importantes becas
internacionales en España, Alemania, Estados Unidos, Rusia y Brasil,
siendo en este país donde ha desarrollado su creación en los últimos
años. Actualmente le representan galerías en Madrid, São Paulo y
Moscú.
Las obras de Raúl Díaz Reyes rompen las fronteras disciplinarias
haciéndonos entrar en una contemporaneidad rotunda en la cual
los lenguajes se alejan de la convención y nos invitan a conformar
una mirada panorámica de los entornos. La unión que establece con
la arquitectura, así como la mezcla de materiales, nos habla de las
ciudades en relación con sus habitantes como sistemas dinámicos
en movimiento y alteración constante. De este modo no hay límites
dimensionales, no hay leyes técnicas: la fotografía se contempla como
escultura, la pintura se adentra en ella. Los frutos de interacción y
cambio cuestionan los modelos expositivos, alterando códigos y
dando lugar a nuevos paisajes de posibilidades múltiples.
Raúl Díaz Reyes has exhibited and received important
international scholarships in Spain, Germany, the United States,
Rusia and Brazil, being in this country where has developed its
creation in recent years. Currently, he is represented by galleries in
Madrid, São Paulo and Moscow.
Raúl Díaz Resyes’ work breaks the frontiers between disciplines,
taking us into a decisive contemporaneity, in which all languages
drift away from the standard and invite us to knock into shape a
panoramic look of our surroundings. The union that is established
with architecture, and the mash-up of materials, talks to us
about cities in relationship with their inhabitants as dynamic
systems in constant movement and alteration. This way, there
raúl
are no dimensional limits, no technical laws: the photograph is
contemplated as a sculpture, and the painting gets into it. The
results of this reflection on the city as a place for interaction and
change question exhibition models, alters codes, and generate new
landscapes with multiple possibilities.
díaz reyessplash!, splosh!, ba-wooohs!, 2021
MDF/
MDF
medidas variables / variable measuresGENESIS
GABRIELABÁEZ
ALBERGAIRA SELECTED cv information
(1965, VALE DE CAMBRA,
(1990, MASSACHUSETTS, USA)PORTUGAL)
Education Solo Exhibitions
2019 2018
MFA Photography, Yale University, New Haven, CT Reclamation/Reclamación, Brooklyn Public Library at Grand Army Plaza, Brooklyn, NY
Skowhegan School of Painting and Sculpture, Madison, ME
Selected Group Exhibitions
2012
BFA Photography, Departmental Honors, Massachusetts College of Art + Design, Boston, MA 2021
THE MEMORY OF WATER, CURATED BY SUSANNA V. TEMKIN, PONCE+ROBLES, MADRID
Group Show curated by Leslie Martinez, And Now, Dallas, TX
Awards & Artist Residencies Free as Air and Water, Mattatuck Museum, Waterbury, CT
2019 2020
John Ferguson Weir Award for Excellence, Yale School of Art, New Haven, CT Imperfect Clocks, CHART, New York, NY
Incertidumbre y subversión en lo cotidiano, Diagonal, Santurce, Puerto Rico
2018
Critical Practice Award & Research Fellowship, Yale School of Art, New Haven, CT 2019
Transcript, Yancey Richardson, New York, NY
2015 Yale MFA Photography Thesis Exhibition, Yale School of Art, New Haven, CT
Civil Society Institute Fellowship, Vermont Studio Center, Johnson, VT Living Arts New Genre Festival, Tulsa, OK
Residency: Vermont Studio Center, Johnson, VT
Latin American Fotografía 4, New York, NY/ Buenos Aires, Argentina 2018
Under a Dismal Boston Skyline, Stone Gallery at Boston University, Boston, MA
2014 Second Year MFA Photography Exhibition, Yale School of Art, New Haven, CT
St. Botolph Emerging Artist Award, Nominee, Boston, MA
2017
2012 Space: Placemaking in the 21st Century, New Bedford Museum of Art, New Bedford, MA
Departmental Honors in Photography, Massachusetts College of Art and Design, Boston, MA Stand Up, Gallery Kayafas, Boston, MA
2008 2016
Dr. Martin Luther King Junior Merit Scholarship for Minority Students, Attleboro, MA Flash Forward Film Festival, Boston, MA
Hello, World!, Art Space, New Haven, CTGABRIELA ALBERGAIRA SELECTED cv information
(1965, VALE DE CAMBRA, PORTUGAL)
2015 2015
All Visual Boston, Institute of Contemporary Art, Boston, MA Vermont Studio Center, Johnson, VT
Below the Sky, Above the Clouds, Piano Craft Gallery, Boston, MA
On Photography, Hynes Convention Center, Boston, MA 2014
Massachusetts College of Art and Design, Boston, MA
2014
Placed: Inside Out, Gallery Kayafas, Boston, MA
Selected Bibliography
2013
Young Boston Artists, Harbor Gallery, University of Massachusetts, Boston, MA 2020
Histories of Now, Grossman Gallery, Boston MA Contribution to The Backroom, Museo Tamayo, Mexico City, Mexico
Photographer of the week on Capricious
2012 Interview with Art of Choice Experience Movement and Sound in Genesis Báez’s Photographs
PRC Juried Student Exhibition, Photographic Resource Center, Boston, MA Der Greif online Guest Room, Curated by Oluremi Onabanjo
2019
Lectures + Artist Talks Musée Magazine: Genesis Baez
2020 2018
Pepperdine University, Malibu, CA Art in America- Exhibition review of Under a Dismal Boston Skyline/ Print + Online
California State University, Long Beach, CA Boston Art Review -Exhibition review of Under a Dismal Boston Skyline
Lesley University College of Art + Design, Boston, MA
The Humid, Athens, Georgia 2015
New York University, New York, NY Papersafe: Across, A Wild Sea, curated by Elle Perez/ Print
Parsons School of Design, New York, NY Interview with Fototazo, Medellín, Colombia/ Online
2019
International Center of Photography/ School, New York, NY
Wesleyan University, Wesleyan, CT
2018
University of Puerto Rico, Rio Piedras, Puerto Rico
Marble Hill Camera Club, New York, NY
Massachusetts College of Art and Design, Boston, MARAÚL DÍAZ REYES
GABRIELA ALBERGAIRA SELECTED cv information
(1965, VALE DESPAIN)
(1977, MADRID, CAMBRA, PORTUGAL)
SOLO EXHIBITIONS SELECT GROUP EXHIBITIONS
2019 2021
Jardins, Ponce + Robles, Madrid the memory of water (ponce+robles gallery) madrid
Raquel Arnaud Gallery, São Paulo
Osnova Gallery. Moscow 2020
PArC’20 online (Ponce+Robles Gallery) Madrid
2016 Arco’20. (Ponce+Robles Gallery) Madrid
I’M THE PROBLEM Atelier Fidalga, São Paulo
Patterns. Osnova Gallery. Moscow 2019
Pinta’ 19. (Ponce+Robles Gallery) Madrid
2014 PArC’19. (Ponce+Robles Gallery) Madrid
Renovations, Ponce+Robles Gallery, Madrid
2018
2012 Idea, materia, forma. Nuevo paradigma en la escultura actual, Red ITINER
Archimede’s Principle. (with Santiago Morilla. Curated by Edu Hurtado) (Curated by This is Jackalope) Travelling exhibition, Madrid
3+1 Contemporary Art. Lisbon ARCO, (Ponce+Robles Gallery) Madrid
2011 2017
Intimate Freaks.Emma Thomas Gallery. São Paulo UNTITLED Art Fair Miami Beach. (Ana Mas Projects)
Pixaçao São Paulo. Jose Robles Gallery. Madrid Contemplation Room & Library of Love (Project curated by Sandra Cinto)
CAC - Cincinnati Contemporary Arts Center, USA
2010 Tell Me Net. Osnova Gallery, Moscow
Vitamina R. La Gesta Imposible. La Noche en Blanco (Curated by David Armengol) Madrid The Matter of Color. (Curated by Franck Marlot) Raquel Arnaud Gallery, São Paulo
Art Lima (Ponce+Robles Gallery) Lima
2009 Kaptateka. Argunovskaya Library. Moscow
Un paseo entre el dibujo, la pintura y un más allá. (Curated by Virginia Torrente) Centro de Arte
Joven, Madrid 2016
VOLTA 12. Basel. (Ponce+Robles Gallery)
2008 ARCO’16 (Ponce+Robles Gallery) (Land Rover Gallery) Madrid
Always in love. Alfara Gallery, Oviedo / Brita Prinz Gallery, Madrid UNTITLED Art Fair Miami Beach. (Ana Mas Projects)
RAID_8. Raquel Arnaud Gallery. São Paulo. São Paulo
Tomar Posición. Ponce+Robles Gallery, Madrid
#ABSOLUTICON. Palacio de las Alhajas. MadridGABRIELA ALBERGAIRA SELECTED cv information
(1965, VALE DE CAMBRA, PORTUGAL)
AWARDS AND RESIDENCIES
2015
VOLTA 11. Basel. (Ponce+Robles Gallery) 2016
Vidas Cruzadas. Paula Alonso Gallery. Madrid Paulo Reis Residency. Atelier Fidalga, São Paulo
De la mano. CENTRO CENTRO. Madrid
2014
2014 Grant AECID. El Ranchito / MATADERO MADRID and PIVÔ
Si no todas las armas, los cañones. MATADERO MADRID, Madrid Aid to the Production Omnivoros Studio
Tangentes. IED, Madrid. (Curated by Cristina Anglada)
El Ranchito. PIVÔ, São Paulo 2013
VOLTA 10. Basel. (Ponce+Robles Gallery) Grant for the Promotion of the Spanish Contemporary Art, Ministry of Culture of Spain
ARCO ‘14. As Tables Are Shelves. Múltiplos Swing Space Residency. LMCC (Lower Manhattan Cultural Council) New York. USA
2013 2012
Open Studio. 110 Building Art Center. LMCC. New York Finalist. Swab Drawing Prize
High society Pelaires gallery. Palma de Mallorca. (Curated by Fernando Gómez de la Cuesta)
VOLTA 9. Basel (Pro Gallery) 2011
SP Arte. São Paulo International Art Fair. Brazil. (Emma Thomas Gallery) Grant for the Promotion of the Spanish Contemporary Art, Ministry of Culture of Spain
Une Vie Á La Gomme. +R Gallery. Barcelona FAAP Art Residency. São Paulo
Casa Arte Art Fair. (FranjaMelero). Madrid Circuitos 2011 (selected)
No hay Banda. Matadero Madrid
ARCO’13. (Paddle8). Madrid 2010
Blue 7 Phenomenon. Sant Andreu Contemporani Art. Barcelona Hangar Grant. Casa das Caldeiras, São Paulo
Biblioteca Intervenida. DAFO Space of Proyects and Contemporay Art. Lleida Grant for Contemporary Creation Matadero Madrid
Archimovile. Independent Curators International (ICI) New York Honourable mention Carmen Arozena. International Graphic Award
JUSTMAD MAM. Basel / Miami Fair. (Jose Robles Gallery)
2009
2012 International Creators Movility Grant. Matadero Madrid, Emma Thomas
Suporte/ Leilão de Parede. Pivô. Copan Building, São Paulo Gallery, São Paulo
100% Desván. Sant Andreu Contemporani Art. Barcelona
Let Stock About Art. Palacio El Imparcial. Madrid
Los Inmutables. DAFO Space of Proyects and Contemporay Art. Lleida
The 12th Gas Natural Fenosa Art International Exhibition. MACUF, La Coruña
Masquelibros- I Feria del libro de artista de Madrid. (José Robles Gallery)FRANCES
GABRIELAGALLARDO
ALBERGAIRA SELECTED cv information
(1965, VALE
(1984, san DE puerto
juan, CAMBRA, PORTUGAL)
rico)
education collections
2016 MTA Arts & Design, New York, NY, US
MFA ‘Studio Art,’ Cornell University, Ithaca, NY Federal Reserve Bank of New York, New York, US
The Center for Book Arts, New York, NY, US
2008 Purdue University, West Lafayette, IN, US
BA, ‘Fine Arts and Humanities,’ Universidad de Puerto Rico, San Juan, PR Museo de Arte de Puerto Rico, San Juan, PR
Colección Chocolate Cortés, San Juan, PR
Resident artist Colección Iris Marcano & José Hernández Castrodad, San Juan, PR
Private Collections: Puerto Rico, Dominican Republic, BVI, US
2018 Asiaciti Trust, Australia
Visiting Scholar, Flight and Space Exploration Archives, Purdue University, IN
2017 Cover artwork haymarket books contributions
Latin American Roaming Art, Panama City, PA
2019
2016 Aftershocks of Disaster: Puerto Rico Before and After the Storm, Haymarket Books
Caribbean Linked IV, Ateliers ‘89, Oranjestad, AW
2018
2014 The Puerto Rico Review: No. 2
Taller Vivo, Museo de Arte Contemporáneo, San Juan, PR
nominations
2012
The Center for Book Arts, New York, NY 2018
Cisneros Fontanals Foundation Emerging Artist Grant, Miami, FL
2011
La Práctica, Beta-Local, San Juan, PR 2017
Joan Mitchell Foundation Painters & Sculptors Grant, New York, NY
2016
Cisneros Fontanals Foundation Emerging Artist Grant, Miami, FL
2013
AICA- Puerto Rico Chapter: Best Curatorial Project, Elvis Fuentes, Meteoro, Frances Gallardo,GABRIELA ALBERGAIRA SELECTED cv information
(1965, VALE DE CAMBRA, PORTUGAL)
Commissions selected group exhibitions
2019 2021
Line to Line, ¬MTA Arts & Design “Percent for Art,” Mount Vernon, NY the memory of water, ponce+robles gallery, madrid, sp
[…]ENTREFORMAS, Museo de Arte de Puerto Rico, San Juan, PR (forthcoming)
2014 Novenario, Museo de Arte Contemporáneo, San Juan, PR (forthcoming)
Agave Azul, illustrations for poetry book, Folium Editores, San Juan, PR
2020
Individual & two person exhibitions Rising Water, FSU Museum of Fine Arts, Tallahassee, FL
Anarquía y dialéctica en el deseo: mujeres artistas de Puerto Rico, Museo de Arte
2021 Contemporáneo, San Juan, PR
Gallardo/Budoff: Growth, Breadth, and Terrain, two-person exhibition, Cornell Fine
Arts Museum, Rollins College, Orlando, FL (forthcoming) 2019
Whose Vestiges Subsist, Clemente Soto Vélez Cultural Center, New York, NY
2019 Puerto Rico plural, Museo de Arte de Puerto Rico, San Juan, PR
Terramóvil (Mobilearth), Tompkins County Public Library, Ithaca, NY Puerto Rico In/Ex, Glendale Community College, Glendale, CA
Return to Entry: Interpreting Purdue’s Space Exploration Archives, Robert L. Ringel
2016 Gallery, Purdue University, West Lafayette, IN
Landings (lift off), MFA Thesis, Olive Tjaden Gallery, Cornell University, Ithaca, NY Nada Tropical, Galería Miscelánea, El Raval, Barcelona
Satellite calling control, no answer, Beta-Local presents unidentified flying objects,
2014 one day pop-up exhibit for Mundos Alternos: Art and Science Fiction of the Americas, Queens
Meteorology, The Torpedo Factory, Alexandria, VA Museum, Queens, NY
2012 2018
Meteoro, Arsenal de la Marina Española, ICP, San Juan, PR Puerto Rico: Defying Darkness, 516 ARTS, Albuquerque, NM
PM, Embajada, San Juan, PR
2011 Correspondencia, El Lobi, San Juan, PR
Of Dreams and Hurricanes, two-person exhibition, Frances Gallardo &
María Berrio, Praxis Gallery, New York, NY 2017
Pacific Standard Time: LA/LA; Relational Undercurrents: Contemporary Art of
the Caribbean Archipelago, Museum of Latin American Art, Long Beach, CA
Traveling exhibition: Wallach Art Gallery; Delaware Art Museum; Portland
Museum of Art; Frost Art Museum
En 63M2, Lucy García Arte Contemporáneo, Santo Domingo, DRLINA PUERTAALBERGAIRA
GABRIELA SELECTED cv information
(1965, VALE DE CAMBRA,
(1969, englewood, PORTUGAL)
usa/raised in colombia)
EDUCATION SELECTED SOLO EXHIBITIONS
1995-1998 2021
Master of Science in Art Education, Queens College, NY Residency Exhibit, Sugarhill Children’s Museum of Art and Storytelling, NY, Forthcoming
Survey Exhibition, organized by Koda and the East Harlem Hunter College Gallery, Forthcoming
1988-1992 Solo Exhibition, El Taller Puertoriqueño, Philadelphia, PA, Forthcoming
Bachelor of Arts with Honors in Studio Art, Wells College, Aurora, NY
2018
SELECTED GRANTS, AWARDS & RESIDENCIES Tapestries, Smack Mellon, NY
2020 2017
KODA Lab Residency, Brooklyn, NY Within/Without, Geary Contemporary, NY
2019-20 2015
SugarHill Children’s Museum of Art and Storytelling Artist Residency, NY, NY Lina Puerta: Traces, Geary Contemporary, NY
2017
NYFA Fellowship in Crafts/ Sculpture, NY, NY SELECTED GROUP EXHIBITIONS
Joan Mitchell Artist Residency, New Orleans, LA
2021
2016 la memoria del agua, ponce+robles gallery, madrid
Artprize Eight’ Sustainability Award, Grand Rapids, MI Everyday Magic: Artistic/Gnostic Impulses curated by Jenny Mushkin Goldman and Rebecca
Dieu Donné Artist Residency, New York, NY Goyette, The National Arts Club, NY
The Future is Latinx, The Art Gallery at Eastern Connecticut State University, Willimantic, CT,
2015 Fall 2020; Schitkamp Art Gallery, Clark University, Worcester, MA March- May 2021 (Traveling
Joan Mitchell Foundation’s Painters and Sculptors Grant exhibition)
John Michael Kohler Arts/Industry Residency Program, Sheboygan, WI
2020
2014 A Kind of Compass, Transmitter, Brooklyn, NY
Materials For the Arts, Art Studio Residency, LIC, NY (Summer/Fall 2014) Present Bodies: Papermaking at Dieu Donné, BRIC, Brooklyn,
2013-14 2019
Smack Mellon Artist Studio Program and Fellowship, Brooklyn, NY Figuring the Floral, Glyndor Gallery at Wave Hill, Bronx
Radical Love curated by Jaishri Abichandani and Natasha Becker, Ford Foundation Gallery, NYGABRIELA ALBERGAIRA SELECTED cv information
(1965, VALE DE CAMBRA, PORTUGAL)
Buen Vivir/ Vivir Bien curated by Tatiane Schilaro Santa Rosa, Mexic-Arte Museum, Austin, TX SELECTED BIBLIOGRAPHY
Labor & Materials, 21C Museum Hotels, Louisville, KY, Mar., 2019- Mar. 2020; Bentonville, AR Jan.
–Nov. 2018 (Traveling exhibition). Hyperallergic, What Does Radical Love Look Like? By Seph Rodney, August 2, 2019- Review
Brooklyn Rail, Harlem Perspectives: Decolonizing the Gaze & Reconfiguring the Local by Nico
2018 Wheadon, May 1, 2018 -Review
Sedimentations: Assemblage as Social Repair, The 8th Floor Gallery at The Rubin Foundation, New Hyperallergic, Relics of a Future Environmental Collapse, by Benjamin Sutton, April 1st, 2015
York, NY. -Review.
Site & Survey: The Architecture of Landscape. Patrick VanCaekenbergh, Hildur Ásgeirsdóttir Hyperallergic, When Snakes Could Walk: Contemporary Artists Take On the Garden of Eden by
Jónsson, Lina Puerta, Richmond Center for Visual Arts at Western Michigan University, Allison Meier, July 7th, 2014 -Review
Kalamazoo, MI
American Histories, curated by Alexandra Schwartz. Pi Artworks, London, UK, Nov. 18 – Jan. 7,
2017
2014
Back to Eden: Contemporary Artists Wander the Garden, curated by Jennifer Scanlan, Museum of
Biblical Art, NY
2012
El Museo’s Bienal: The S-Files 2011, El Museo del Barrio, NY, NY – June 2011- Jan. 2012
2011
EAF10: 2010 Emerging Artist Fellowship Exhibition, Socrates Sculpture Park, NY Sept. 2010 –
March 2011EVELYN RYDZALBERGAIRA
GABRIELA SELECTED cv information
(1965, VALE DE
(1979, miami, usa)CAMBRA, PORTUGAL)
EDUCATION 2012
Traveling Fellowship Award, School of the Museum of Fine Arts
2005 Bruce Dayton Faculty Fellowship, MassArt Foundation, Inc
MFA, School of the Museum of Fine Arts at Tufts University To Extremes: Public Art in a Changing World, Massachusetts Institute of Technology, Finalist
2001 2010
BFA, Florida State University, Minor in Art History James and Audrey Foster Prize, Institute of Contemporary Art, Finalist
Artist Grant, Drawing, Massachusetts Cultural Council
SELECTED PUBLIC COLLECTIONS
2008
Federal Reserve Bank Institute of Contemporary Art’s James and Audrey Foster Prize, Nominee
Barr Foundation
Fitchburg Art Museum 2007
Fidelity Investments St. Botolph Foundation Grant, Nominee
Tufts University Viewing Program, The Drawing Center, New York
DeCordova Museum and Sculpture Park
Caturano & Company 2006
Florida State University The Artist Project, Visiting Artist, Community Arts Initiative, Boston Museum of Fine Arts
HONORS & AWARDS selected solo exhibitions
2020 2019
CHARLA Fund, U.S. Latinx Art Forum A La Mesa, MIT List Visual Arts Center, Cambridge, MA
2018 2018
Joan Mitchell Fellowship, Painters and Sculptors Grant Floating Artifacts, Tufts University, Science and Engineering Complex, Medford, MA
Cintas Knight Foundation, Visual Arts Finalist Unravel to Splice, Ellen Miller Gallery, Boston, MA
MassArt Foundation Inc, Faculty Fellowship
2014
2017 forever Yours, Museum of Fine Arts, Boston, MA
Brother Thomas Fellowship Award, The Boston Foundation
Artist’s Resource Trust Grant, Berkshire Taconic 2012
1000 Years, Ellen Miller Gallery, Boston, MAGABRIELA ALBERGAIRA SELECTED cv information
(1965, VALE DE CAMBRA, PORTUGAL)
2011 2013
Islands, Louis Vuitton, Copley Place, Boston, MA Still Life Lives, Fitchburg Art Museum, Fitchburg, MA
2008 2012
Interference, eo Art Lab, Chester, CT To Extremes: Public Art in a Changing World, Massachusetts Institute of Technology, Cambridge,
MA
SELECTED GROUP EXHIBITIONS 2011
Massachusetts Cultural Council Grant Recipients, Tufts University Art Gallery, Medford, MA
2021 Summer Show 11, Joshua Liner Gallery, New York, NY
the memory of water, ponce+robles gallery, madrid
2010
2020 Foster Prize Exhibition, Institute of Contemporary Art, Boston, MA
Awaken: Conjuring Our Tomorrow, Winfisky Gallery, Salem State University, Salem, MA The Pencil of Nature, Julie Saul Gallery, New York, NY
Local Ecologies, University of Massachusetts, Intercampus Exhibition, Boston, MA Gracias por Pensar en Mi, Parque Cultural del Caribe, Barranquilla, Colombia
On the Mark, Steven Zevitas Gallery, Boston, MA
2019
Ríos Intermitentes, 13th Havana Biennial, Palacio de Justicia, Matanzas, Cuba 2009
Aquí y Allá: juntos a la mesa, with Kannan Thiruvengadam, Eastie Farm, ICA Watershed, Boston, MA Drawing Itself, Brattleboro Museum of Art, Brattleboro, VT
2018 2008
Nine Moments for Now, Cooper Gallery, Hutchins Center, Harvard University, Cambridge, MA La Otra: Contemporary Art Fair, Bogotá, Colombia
Plastic Entanglements, Palmer Museum of Art, Penn State University, PA (Traveling Exhibition) Dynamics of Belonging, GASP Gallery, Brookline, MA
How Nature Instructs Us, Suffolk University Art Gallery, Boston, MA
2007
2017 Berliner Liste 07, Berlin, Germany
The Ocean After Nature, Independent Curators Int’l, SMFA & Tufts University, Medford, MA Drawing the Line, Mills Gallery, Boston Center for the Arts, Boston, MA
Thrive, Part of Now + There’s Year of the Woman, The Beehive, Boston, MA In an Instant, Rhys Gallery, Boston, MA
Petrified, Frame 301 Gallery, Montserrat College of Art, Beverly, MA
2016
Latinx@mericañaza, Samson Projects, Boston, MA 2006
DeCordova Annual, DeCordova Museum and Sculpture Park, Lincoln, MA
2015 Blue Print Voyage, Community Arts Initiative, Museum of Fine Arts, Boston, MA
GYRE, Anchorage Museum, AK & Fisher Museum of Art, L.A., CA (Smithsonian Traveling Exhibition)Catálogo de exposición del proyecto Ponce+Robles 50 años (30 más 20). LA MEMORIA DEL AGUA, comisariada
por SUSANNA V. TEMKIN . 04 de Febrero a 30 de Abril de 2021
Exhibition catalogue of the project Ponce+Robles 50 years (30 plus 20). THE MEMORY OF WATER, curated by
SUSANNA V. TEMKIN. 04 February to 30 April 2021
texto: SUSANNA V. TEMKIN
imágenes: JUAN BARAJA
edición editorial: ponce+robles
agradecimientos: SUSANNA V. TEMKIN, GENESIS BÁEZ, RAÚL DÍAZ REYES, FRANCES GALLARDO, LINA PUERTA, EVELYN
RYDZ, EDUARDO PRADO Y ÁLVARO TALAREWITZ
CON LA COLABORACIÓN Y APOYO DE:También puede leer
