Untitled Art Podcast Untitled Art Podcast

A lively panel discussion highlighting exhibiting artists at Untitled Art, Miami Beach 2022. Hosted and moderated by Omar López Chahoud, Artistic Director and Curator of Untitled Art, in conversation with Piluca Baquero representing The Estate of Val del Omar (Special Project presented by Max Estrella), and participating artist Margarita Cabrera (presented by Jane Lombard Gallery).

About Piluca Baquero

Piluca Baquero started producing films at 19. Her first feature film, Ojala Val del Omar, was presented at the Venice Film festival. Since then, she has produced more than twenty fiction films and documentaries, such as Lena by Gonzalo de Tapia, Lo que sé de Lola by Javier Rebollo or El coche de pedales, by Ramón Barea. In 2017 she made her directional debut with animation short film El silencio roto, which premiered in SEMINCI. From 1997, Piluca manages and directs Archivo Val del Omar, an archive of José Val del Omar’s work with the purpose of its promotion, conservation and recovery, hand by hand with Gonzalo Sáenz de Buruaga, president of the institution. Val del Omar’s work is kept in the Museo Nacional e Arte Reina Sofía, where it is permanently shown to the public.

About Margarita Cabrera

Margarita Cabrera received an MFA from Hunter College in New York, NY. Cabrera is an assistant professor at the Arizona State University Herberger Institute for Design and the Arts. Some of her most recent exhibitions include a solo show entitled Margarita Cabrera: What Art Can Do” at the Art League Houston, Houston, TX. Cabrera’s work was featured in the exhibit State of Mind: Art and American Democracy at the Moody Center, Rice University. Along with 80 artists in protest of Immigrant Incarceration in Nationwide skywriting campaign Cabrera participated in: In Plain Sight. At the Wellin Art Museum, Hamilton College, Clinton, NY Cabrera presented Margarita Cabrera: Space in Between; and PERILOUS BODIES, Ford Foundation Gallery, New York, NY. In New Orleans Margarita Cabrera presented by the Center of Southern Craft and Design at the Ogden Art Museum, as well as “The Lotus in Spite of the Swamp” at the New Orleans “Prospect 4”. Cabrera also was featured in “The U.S.-Mexico Border: Place, Imagination, and Possibility” at the Craft & Folk Art Museum and SITE LINES: much wider than a line in Santa Fe, NM.

About Omar López Chahoud

Omar López-Chahoud has been the Artistic Director and Curator of Untitled Art since its founding in 2012. As an independent curator, López-Chahoud has curated and co-curated numerous exhibitions in the United States and internationally. Most recently, he curated the Nicaraguan Biennial in March 2014. López-Chahoud has participated in curatorial panel discussions at Artists' Space, Art in General, MoMA PS1, and the Whitney Museum of American Art in New York City. López-Chahoud earned MFAs from Yale University School of Art, and the Royal Academy of Art in London.

A conversation with R.I.C.O.R.O.B.O, presented by Terremoto.

How is Latinamerican history and identity archived, stored and enunciated? Terremoto engages in conversation with R.I.C.O. R.O.B.O. (The Research Institute On Cannibal Opportunism & Repository Of Obsessive Bobo-lutionary Obsolescence) to explore notions of decommodification of Latinamerican identity, the dissemination of transgressive knowledge exchange and cross-border research. This podcast is presented by Terremoto, and moderated by Terremoto’s Executive Director and curator Helena Lugo.

ABOUT R.I.C.O. R.O.B.O. (RESEARCH INSTITUTE ON CANNIBAL OPPORTUNISM REPOSITORY OF OBSESSIVE BOBO-LUTIONARY OBSOLESCENCE)

R.I.C.O. R.O.B.O. is a cultural production bureau¹ specialized in scratching, remixing and hacking the corporate and institutional consumption of Latin(x)(o)(a)(a)(+)² narratives in the Americas³. Roleplaying with commercial and academic business models, R.I.C.O. R.O.B.O harvest a counter-manipulation agenda through transgressive knowledge exchange⁴, site-specific interventions and cross-border research.

A commercial agency that serves as an intermediary especially for exchanging information or coordinating activities.

Latin(x)(o)(a)(a)(+): an expansive neologism to acknowledge the fragmented and diverse historical frameworks of individuals that identify within the ethnic construct of latinidad.

The countries of North and South America, considered together.

Transgressive teaching by Bell Hooks

R.I.C.O. R.O.B.O is conformed by Adrian Edgard Rivera, Daniel Arturo Almeida, Itzel Basualdo, Rodrigo Carazas Portal and Olenka Macassi.


ABOUT TERREMOTO

Based in Mexico City since 2013, Terremoto is the leading bilingual independent media for contemporary arts in the Americas. With an extensive network of collaborators and a critical focus on decolonial, queer and antipatriarchal practices, Terremoto will pause its print magazine and refocus its gaze on digital content and an upcoming program of curatorial and artistic residencies connecting the Americas.

Angela Fraleigh and Maritza Lacayo will discuss reproductive Justice, art history and witchcraft in the context of Fraleigh's monumental painting installation The Raving Ones, on view as a special project at the Untitled Art Fair. Fraleigh’s lush and layered paintings harness the magic of making the invisible, visible. Illuminating erased or forgotten female figures, her paintings unsettle familiar narratives to help shift perspectives and upend contemporary power dynamics. Traversing topics from the medieval witch-hunts and the rise of capitalism to Reagan era politics and the devastating overturning of Roe V. Wade, Lacayo and Fraleigh will locate some of the historical cultural markers that have led to the subjugation of women and the current political attack on bodily autonomy while offering practical political action and a little practical magic to boot.

Angela Fraleigh earned her MFA from Yale University School of Art and her BFA from Boston University. Selected solo exhibitions include Hirschl and Adler Modern and PPOW Gallery in New York, Inman Gallery in Houston, TX and Peters Projects in Santa Fe, NM. Her work can be found in museum collections such as the Museum of Fine Arts Houston, the Kemper Museum of Contemporary Art and she has been the recipient of several awards and residencies including the Yale University Alice Kimball English grant, The Sharpe-Walentas Studio Program Brooklyn, NY, The CORE program in Houston, TX and the Bemis Center for Contemporary Arts in Omaha, NE among others. Fraleigh has created site-specific solo projects for the Edward Hopper House Museum, the Vanderbilt Mansion Museum, the Everson Museum of Art, the Delaware Art Museum and the Weatherspoon Art Museum. Her work is included in “Gilded: Contemporary Artists Explore Value & Worth” at the Weatherspoon Art museum; traveling to The Hood Art Museum and Hunter Art Museum. She currently lives and works in Allentown, PA, where she is Full Professor at Moravian University.

Maritza Lacayo is Assistant Curator at Pérez Art Museum Miami (PAMM). At PAMM she has curated numerous exhibition projects, including: The Artist as Poet: Selections from PAMM’s Collection, Marco Brambilla: Heaven’s Gate, George Segal: Abraham’s Farewell to Ishmael, Polyphonic: Celebrating PAMM’s Fund for African American Art, Jedd Novatt: Monotypes and More, among others. Lacayo has various exhibition projects forthcoming, including Jason Seife: Coming to Fruition, and monographic exhibitions featuring Calida Garcia Rawles and José Parlá. Lacayo has organized traveling exhibitions on behalf of PAMM, including Marisol and Warhol Take New York, Leandro Erlich: Liminal, and Joan Didion: What She Means (forthcoming)—all co-organized with PAMM’s Director, Franklin Sirmans. Lacayo regularly works with the YoungArts Foundation as a Master Teacher, also curating both the Regional and National exhibitions in 2019 and 2020, respectively. Lacayo frequently contributes writing to arts platforms and exhibition catalogues including monographs for artists Tomokazu Matsuyama, Richard Dupont, Carlos Estévez, and Vaughn Spann. She has managed the production of several publications and exhibition catalogues for PAMM including Dara Friedman: Perfect Stranger, On the Horizon: Contemporary Cuban Art from the Jorge M. Pérez Collection, Ebony G. Patterson…while the dew is still on the roses…, The Other Side of Now: Foresight in Contemporary Caribbean Art, and Beatriz González: A Retrospective (Named one of The New York Times’s Best Art Books of 2019). She holds a Bachelor of Arts in Art History from the American University of Paris and a Master of Letters in Modern and Contemporary Art and Art World Practice from the University of Glasgow, Scotland.

With speakers Benton C Bainbridge, Co-Founder of Lonely ROCKS, Linda Loh, curator of Lonely ROCKS' presentation at Untitled Art, Miami Beach 2022, and curator Ana María Caballero. Moderated by Fanny Lakoubay.

Lonely ROCKS decentralizes the process of curating fine art, reconsidering the self-portrait via emergent Web3 systems. How do digital artists portray themselves in the context of selfie and PFP culture? Do contemporary media artists echo early video artists, who often used themselves as readymade subject matter in the studio? What are the new forms of storytelling emerging from Web3 native communities? Do Web3 poets and writers represent an evolution of, or a break from their traditions? What is the tension between creating art to permanently inscribe on the blockchain and the promotion of such artworks via the social media-dependent Web3 communities? Can crypto art exist independently of Web2?

About Benton C Bainbridge:

An ethereal figure in decentralized art since 2014, Bainbridge co-founded MovingPictures.Gallery. In 2015, he worked with ConsenSys to develop on-chain provenance. Best known for two world tours as VJ with Beastie Boys.

About Linda Loh:

Linda Loh is an Australian visual artist working between New York City and Melbourne, Australia. Her multimedia works navigate the elusive form and materiality of digital space with transformed sources of light. In 2012 she received a Bachelor of Fine Art (Expanded Studio Practice) from the RMIT University, Australia. She has had solo and group exhibitions around Australia and in the USA, with works curated into projection festivals, public LED billboard projects, online events, screenings, art galleries and more. She has undertaken several artist residencies around the world, including Arteles in Finland and NARS in New York City, both in 2018. In 2021 she completed a Master of Fine Art in Computer Arts, at the School of Visual Arts in New York City. Since then she has participated in many exhibition projects, in both physical space and online, in Australia, the USA, Switzerland and the UK. She is active in the Blockchain space and is currently a curator for this innovative Lonely Rocks project, here at Untitled 2022.

About Fanny Lakoubay:

"I am a French-born, New York-based digital art advisor and curator with 14 years of experience in art, technology and finance. With my team at LAL ART Advisory, I support institutional, corporate, and private clients, who want to enter or better navigate the NFT space. I am also involved in many NFT community projects, such as The Blockchain Art Directory (BAD 2.0), We Are Museums, GreenNFT and more. Prior to this, I took part in some of the pioneering NFT projects (MoCDA, New Art Academy, CADAF, Editional App, Snark.art) and worked with larger organizations (RadicalxChange Foundation, Christie’s Auction House, Artnet, Societe Generale Bank)."

About Ana María Caballero:

Ana Maria Caballero is a first-generation Colombian-American poet and artist. Her work explores how biology delimits societal and cultural rites, ripping the veil off romanticized motherhood and questioning notions that package women’s sacrifice as a virtue. She is the recipient of the Beverly International Prize, Colombia’s José Manuel Arango National Poetry Prize, and a Sevens Foundation Grant. Her work has been widely published and exhibited internationally, most recently at Gazelli Art House in London and at L’Avant Gallerie in Paris. She has two books forthcoming in 2023, both written in the hours before the world wakes up. Much of what she writes in the dark can be read at anamariacaballero.com. Believing that poems are works of art, she co-founded digital poetry gallery theVERSEverse.com.

Presented by Library Street Collective.

Alongside Jason REVOK’s current exhibition at MOCAD (Museum of Contemporary Art Detroit) (November 5, 2022 - March 25, 2023), this Untitled Art podcast features a conversation between the artist and independent curator Pedro Alonzo, who is currently the Adjunct Curator at Dallas Contemporary. The conversation addresses the notion of automation in industry and how factory-based or hard labor is experienced across the United States, suggesting that mechanization informs artistic practice. Considering the relationship between humans and technology, REVOK has created a unique series of instruments that act as an extension of his body, utilizing these apparatuses and complex tools in concert with his hands to conceive his distinctive compositions. REVOK and Alonzo call the contemporary value system of traditional paintings into question as REVOK creates a new frontier on how an artist might practice in the age of machines.

Jason REVOK: b. 1977, Riverside, CA, lives and works in Detroit, MI.

Entirely self-taught, Jason REVOK is known for pushing creative boundaries that began in the street. Although his story begins with graffiti, the artist has spent the last decade focusing on his studio practice and the evolution of process and concept. Refusing to be limited by his early recognition, REVOK allows only certain elements from graffiti culture to transition to his contemporary work — modest materials and industrial tools, ingenuity, his name — but his proclivity towards minimalism and post-painterly abstraction has become the driving force behind his practice. Examining the question of authorship from start to finish, REVOK has developed systematic yet imperfect tools to carry out his vision and has created a number of unmistakable bodies of work. His bold, balanced geometry is heightened by the personal and imperfect slight of the human hand. REVOK has a solo exhibition currently on view at the Museum of Contemporary Art Detroit. His works have been exhibited at the Museum of Contemporary Art Los Angeles as well as the Pasadena Museum of Contemporary Art; in galleries and special projects in New York, Los Angeles, Detroit, and Dubai; and is in important private collections worldwide.

Pedro Alonzo

Pedro is an independent curator and art advisor who specializes in producing exhibitions that transcend the boundaries of museum walls. He has worked extensively with a variety of organizations to develop complex public art projects and helped build several notable collections of contemporary art. Pedro is currently an adjunct curator at Dallas Contemporary, and was formerly an adjunct curator at the ICA, Boston.

Presented by Laney Contemporary.

Join us for a conversation with Atlanta-based sculptor Curtis Patterson (b., Shreveport, LA, 1944) and Aaron Levi Garvey, the inaugural Janet L. Nolan Director of Curatorial Affairs at the Jule Collins Smith Museum of Fine Arts at Auburn University. The talk will touch on Patterson's legendary impact as a professor—including on painters Radcliffe Bailey, Fahamu Pecou, and illustrator Thomas Blackshear—and the development of his artistic philosophies and influences since the mid-1970s. The discussion will also highlight Patterson's numerous public sculptures, including those in Atlanta, Dallas, Columbus, Shreveport, and St. Paul, and invite his thoughts on historic and contemporary monuments. Finally, as an important platform of visibility, this program will position Patterson in the pantheon of black sculptors including Richard Hunt, Melvin Edwards, and Martin Puryear, and serve as an introduction to his prolific studio practice highlighting recent sculptural series which have captured the attention of museums, collectors, and a new generation of artists for whom he is a formidable example of professional tenacity and boundless creativity.

Curtis Patterson: Born in Shreveport, LA, Curtis Patterson’s upbringing fostered a deep affinity for working with his hands and instilled a strong sense of discipline, balance, and spirituality. Patterson earned his BA in Art Education from Grambling State University, an HBCU listed on the African American Heritage Trail, and his MFA from Georgia State University and was the first African American to receive an MFA in Sculpture from GSU in 1976. His practice has moved from painting, wood, and ceramics to cast iron and large-scale, bronze and fabricated corten steel sculpture. Patterson was a faculty member at The Atlanta College of Art from 1976 to 2007. His work entered the realm of large-scale, public sculpture with Cometh the Sun commissioned by the City of Atlanta’s Bureau of Cultural Affairs in 1977. Since, Patterson has been commissioned for permanent public installations in prominent cities throughout the United States. His recent solo exhibition, A Notable Journey, at Laney Contemporary, Savannah, GA, was pivotal to bringing Patterson's sculpture to a broader audience. His work is currently the subject of a solo exhibition at the Visual Arts Center of Richmond, VA, on view through January 8, 2023.

Aaron Levi Garvey is a Jewish-American curator working in contemporary arts and culture and is the inaugural Janet L. Nolan Director of Curatorial Affairs at the Jule Collins Smith Museum of Fine Arts at Auburn University. Recent exhibitions and projects include: The Hudson Eye a 10-day and 27-venue arts and humanities focused program in Hudson, New York, which has featured the work and performances of notable artists such as David Hammons, Allora and Calzadilla, Terence Koh, Marina Abramović, Shikeith, Rachel Libeskind, Jeffrey Gibson, Jonah Bokaer and Emily Ritz; the co-founding and directing of Long Road Projects Foundation an organization which focuses on supporting artists with residency, edition publishing and exhibition opportunities; Flashing the Leather at Alabama Contemporary in Mobile, Alabama; Ephemera Obscura at the Contemporary Art Center of New Orleans and Manon Bellet's MEMO and Shikeith’s notes towards becoming a spill, both at Atlanta Contemporary, and Invisible Thread at The Baker Museum – Artist Naples.