Jaylen Pigford, “El Negrito” (2022), acrylic on canvas, 20 x 30 inches

Artists and artwork scenes within the American Southwest share widespread floor, with dialectics of tradition rising on the intersection of demographics, experiences, supplies, and iconography. Three modern artists who determine with Mexican, Chicanx, and Latinx origins, and who hail from and foster connections all through the Southwest — Ricardo Islas of San Diego, Rigoberto Luna of San Antonio, and Vicente Telles of Albuquerque — pooled their regional artwork data and monetary sources to curate the multi-city, multi-venue exhibition Son de Allá y Son de Acá / They are from there, and they’re from right here.

In an interview with Hyperallergic, the curators talked in regards to the impetus for and targets of those reveals. In addition to enhancing visibility for the area’s creators of shade, Islas, Luna, and Telles additionally mentioned the significance of making pathways and fellowship for Mexican-American, Chicanx, and Latinx artists all through the Southwest. 

Alejandro Macias, “Out of Sight (Conceal)” (2022), oil, acrylic, and located wooden on panel, 30 x 30 inches

Luna explains that combating isolation amongst Southwestern artists additionally served as inspiration for the exhibition. “Artists can see other artists working similarly all over the region and the Southwest in the same lexicon,” he mentioned. “It additionally conjures up the subsequent era, who begin seeing names that seem like our names. These artists seem like us and perceive what we’re making, and that’s a giant a part of why we’re doing this. I don’t assume everybody has seen what modern Latinx artwork seems to be like in Texas, in Albuquerque, in San Diego — so we introduced all of it to at least one place and hope to take it to different locations.”

The Son de Allá y Son de Acá iteration in Albuquerque — itself the second part of the interstate inventive trade — brings collectively work by 60 rising and established artists of shade dwelling and dealing within the Southwest. The exhibition discovered a house in Burque at 4 galleries embedded inside and aware of their communities: Tortuga Gallery within the Barelas neighborhood, El Chante: Casa de Cultura in downtown, and Exhibit/208 and the South Broadway Cultural Center, each within the South Broadway neighborhood. 

Beyond neighborhood engagement, Telles notes that South Broadway Cultural Center and El Chante had been additionally chosen as a result of they’re areas guided by individuals of shade. Burqueño Telles mentioned, “​They are majority either brown-curated spaces or brown-led spaces,” highlighting Augustine Romero of South Broadway Cultural Center, an exhibition artist and the town’s solely male curator of shade, and praising El Chante founder Bianca Encinias’s organizational and outreach work. 

Adrian Delgado, “Cherries” (2021), oil on canvas

While Luna has curated San Antonio’s Presa House Gallery for over a decade and in addition labored on the Texas Biennale’s newest multi-site iteration, two-thirds of Son de Allá y Son de Acá’s curatorial triad — Islas and Telles — are newer to curating massive exhibitions. The fruits of that freshness of imaginative and prescient with a stable experiential and procedural grounding is highlighted within the present’s compositional width and breadth. 

Whatever fashionable state these artists now name dwelling, similarities of expertise abound. As Luna says, “We’re all from different states but we have so much in common. There’s so many parallels between our upbringings and the status of our communities. Here in the region next to the border, we’re from everywhere. I’m Mexican American and we have a complicated relationship with the border — there was no border. Now we do have physical borders to bring these artists across to see the similarities — not only in the theme but also in medium.”

The works in Son de Allá y Son de Acá boast a multiplicity of supplies. From the ethereal or avant-garde — Paseño artist José Villalobos’ authentic on-site efficiency El agua que nos carga — to the standard — colcha, tin work, and Telles’ pure santero pigments — to the modern, the included artwork evidences passionate exploration of and experimentation inside mediums. 

José Villalobos, “La Necesidad y Su Peligro” (2022), {photograph} on glass

Islas mentioned, “It’s not just a painting show — there’s carving, there’s sculpture, there’s everything. Seeing artists work in all sorts of media also inspires other artists, opening up their ideas of what art can be. Maybe they saw themselves as a painter and now they’ll consider expanding what they do to sculpture or working with textiles.” 

At South Broadway Cultural Center, the Son de Allá y Son de Acá exhibition runs by means of September 29, and showcases discourse between expressive painterly work together with Adrian Delgado’s “Cherries” (2021), Guadalupe Hernandez’s “Mercado San Juan” (2021), Jaylen Pigford’s “El Negrito” (2022), and Telles’s personal “Ahí Viene Vicente” (2022). Jenelle Esparza’s “Landscape Tapestries” (2022), beautiful textile artwork composed of rosaries, metallic fencing, and cotton and acrylic yarn, is on view, and objects referencing José Villalobos’s “El Agua Que Nos Carga” efficiency plus an accompanying {photograph} on glass, “La Necesidad y Su Peligro.”

At publication time, three exhibition websites — El Chante, Exhibit/208, and Tortuga — have run their course. Above and astride the mantel at El Chante, modern artwork engaged in dialogue on the gallery’s colourful partitions. Created from pine, cottonwood root, gesso, and pure pigments, and sealed with trementina varnish, Frank Zamora’s “El Quinto Sol” (2020) conjures Jesus’s thorn-crowned visage flocked by devils in rooster or cobra disguise. Straddling “El Quinto Sol” had been Albert Alvarez’s “The Expulsion” (2022) and “The Condemnation of Pig Man” (2020–21), acrylic-painted panels that depict apocalyptic scenes repping neighborhood and justice — each divine and man-made. 

Daisy Quezada Ureña, “Untitled” (2020), unfired clay, metal, cloth, and concrete, 52 x 15 x 16 inches (all photos courtesy Presa House Galley)
Left to proper: Jenelle Esparza, “Landscape Tapestry 1” (2022), cotton and acrylic yarn, wooden, 52 x 15 x 16 inches; “Landscape Tapestry 2” (2022), cotton and acrylic yarn, wooden, 52 x 15 x 16 inches; “Landscape Tapestry 3” (2022), metallic fence, rosaries, cotton yarn, 24 x 15 inches

Highlights of the Tortuga exhibition included works that showcase artistic development, from Elena Baca’s works in cyanotype, cochineal, and mica, “Germination” (2022) and “Golden Hour” (2022) to Jerry Montoya’s conventional tin repujado (metallic embossing) with oxidized patinas, “San Juan Diego” (2022) and “La Dolorosa” (2022). At Exhibit/208, an untitled work from 2020 in unfired clay, metal, cloth, and concrete by Daisy Quezada Ureña shared area with Jocelyn Salaz’s stylized nostalgic oil portraits, “Mi Madre” (2011) and “Mi Padre” (2011), in addition to Alejandro Macias’s vibrant mixed-media works “Out of Sight (Conceal)” (2022) and “El Guerito” (2022).

Thanks to its curators’ forward-thinking imaginative and prescient, the closing of three exhibition websites practically overlapped with satellite tv for pc present Son de Aqui, Son de Aca’s opening in Santa Fe. Some artwork on show at Hecho Gallery by means of October 2 was additionally proven at El Chante, like Eric J. Garcia’s prickly pear ink work of alternate conquistador and pure histories — “Alien Species (the one with the cow)” (2022) and Alien Invasion (the robotic)” (2022) — and Audrey Montoya’s watercolor-and-acrylic grotesquerie platter “Cough Cough” (2022). Pieces circulating from Tortuga to Hecho embody “La Baile de Las Flores” (2022), a piece in colcha wool and wooden by Yvonne Vanessa Zamora Vazquez in addition to Rachel Tapia’s heat, spectral oil portray “At San Felipe de Neri” (2022).

Guadalupe Hernandez, “Mercado San Juan” (2021), oil on canvas, 42 x 32 inches

At Hecho Gallery, Son de Aqui, Son de Aca facilities a cross-section of stellar work by creators of shade — together with its curators, artists talked about beforehand, and 2Hermano, Gabriela Campos, Alexandria Canchola, Laurie Garcia Jones, Desireé Beltrán González, Sal Gonzalez, Ernie Lucero, Brandon Maldonado, Jazmine Puentes, Sonia Romero, and Sabrina Zarco — in Santa Fe, a global arts vacation spot whereby artwork works, conventional and modern alike, are largely framed as a consumable. 

As this report was being compiled, video of tarp-shielded employees dismantling Gilberto Guzman’s circa-1980 Santa Fe mural Multicultural — clearing the best way for Vladem Contemporary, a brand new department of the New Mexico Museum of Art — circulated on social media. Telles explains, “Why not put this badass show on in the heart of a city that’s trying to whitewash the walls of us? We go in there and showcase the capabilities and the talent that this fantasy land is erasing.”



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