Monthly April 2020 #163
Public Art in Smart City Special Feature

Public Art Magazine is a leading magazine of Korean contemporary art that covers various art and cultural contents, set up in October 2006.

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Ministry of Culture, Sports and Tourism 2009 Excellent Magazine Award
2010, 2012, 2014, 2015 Excellent Content Magazine Award
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2019 Enlightenment
  grimanesa amoros interview at creative pois-on podcast  
Creative Pois-On is a New York City-based storytelling platform with the mission to make the powers of creativity and imagination accessible to all of us.
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MAGICAL ISA
Single Channel Video
Original Score: Dr. Adonis Gonzalez
Full Length: 5 min 13 sec
Year: 2015
Country of Production: Cuba
  In resonance with the Biennial of Lyon, imagespassages organizes the exhibition landscape in Annecy. Imagespassages has gathered works that relate to a visual and poetic visual creation.
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EL ARTE DE LA LUZ

grimanesa amoros lecture at Centro cultural la cupola

The Centro Cultural La Cúpula is a center of multidisciplinary art with a vocation of international exchanges, located in the historical center of the city of Merida, Yucatan, in Mexico.
Escuela Superior de Artes de Yucatán has the social responsibility of designing cultural extension programs aimed at the artistic and public community.
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grimanesa amoros Liberatum interview
As part of Liberatum’s Women in Creativity Series, here is an interview with New York based Peruvian light artist Grimanesa Amoros.
Liberatum is an international organization at the intersection of culture, entertainment, media, technology and innovation.
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Art Frenzy Takes Over Havana as Biennial Kicks Off
By Reuters
April 14, 2019

HAVANA — Cones of white paper sprout from the seasalt-eroded pillars of one colonial building along Havana’s seafront, elaborately painted curtains cascade from another while out front children play with an installation of multicolored hoses.

Havana’s 13th Biennial kicked off this weekend with works by more than 300 contemporary artists from 52 countries taking over the city’s museums, galleries and open-air spaces, and many more collateral exhibits.

“They turned my home into an artwork,” said Silvia Perez, smiling at the paper sprouting from the colonnade of her home, a piece by Cuban artist Elio Jesús Fonseca. “The artist said it meant peace.”

The transformation of the Malecon seafront boulevard into an open-air, interactive gallery, has become one of the most popular venues of Cuba’s most important arts event.

Along the sidewalk this year are smooth boulders encased in volcanic slabs by Mexican artist Jose Davila, while a swirling light installation by Peruvian artist Grimanesa Amoros protudes from a building.

Cuba’s Communist government, which has heavily promoted the arts since the country’s 1959 leftist revolution, created the Havana Biennial in 1984 to promote artists from the developing world, especially Cuban ones.

This year, 80 Cubans will exhibit their work, including a performance on Monday by Manuel Mendive, considered the Caribbean island’s top living artist.

Still, it also includes a large contingent of European and U.S. artists including Cuban-Americans like Enrique Martínez Celaya and Emilio Perez.

Biennial Director Jorge Alfonso said it had been a challenge to stage the biennial given Cuba’s difficult economic situation – authorities postponed it half a year – but that it had succeeded underscored the importance Cuba placed on culture.

“Not even in the most difficult moments have we ever given up on staging one of these kind of events,” he told Reuters.

“The slogan of this year’s edition, ‘the construction of the possible’, is related to our ideal that a better world is possible.”

Some artists who are critical of the government however have subverted that slogan.

In one piece on the Malecon called “Potemkin Village”, Cuban-born artist Juan Andres Milanes Benito who lives in Norway has propped what appears to be the perfect facade of a building on another that is falling into disrepair.

“It fits a lot with the Cuban government these days and how the system is working – there is a lot of facade,” he said. “Inside it is not so perfect.”

Originally he had wanted to replicate the facade of a renovated government building but authorities would not allow him, he said.

Some Cuban artists feel the Havana Biennial itself is a facade papering over simmering tensions between them and authorities.

Artist Luis Manuel Otero Alcantara, who led a campaign against a controversial new decree on the cultural sector last year, was arrested last Friday after staging a small yet politically charged performance in his neighborhood.

His whereabouts remain unknown, his friends say. Asked by Reuters about the arrest in a news conference, the head of Cuba’s National Council of Visual Arts, Norma Rodriguez, said “as far as I know he is an activist not an artist”.

Cuba considers dissidents to be mercenaries in the pay of the United States trying to subvert the government.

The Havana Biennial runs until May 12.

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Arches of Harlem SIMUL: A Signature Piece for the Viaduct’s 125th Street Arch
  “SIMUL, a signature art installation to be beneath under the Riverside Drive Viaduct at 125th Street, will play as a double metaphor. It’s connecting Harlem to the wider New York, as well as bringing local residents together under the bridge. SIMUL intertwines with the bridge, and at the center is the meeting point of the tubing system, which can be called the nucleus of the piece. The center could be described as an intermingling of tubes, which is meant to represent how, although the people are all different, the city is one interconnected community. Everyone who lives in the city, even short-time visitors, is a New Yorker. The New York City grid is structured and organized with each neighborhood having its own charm and identity. The segments are all connected to create the city we know and love. This piece was inspired by that interconnectivity. The piece will be titled ‘SIMUL’, which is Latin for togetherness. I aim to create a sense of togetherness in the wider NYC area, while simultaneously bringing together the locals in the neighborhood.”
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As a Peruvian-American light artist, Grimanesa Amorós finds her inspiration in the synthesis of two different cultures. She never gets isolated from the history of her home country and continues to make use of this heritage when creating her artworks. Backed by the Peruvian legacy, Grimanesa’s style of conveying emotions and researching locations makes her installations world-famous. Prospect Park in Brooklyn, Paolo Soleri Bridge in Arizona, CAFA museum in China, Times Square, multiple places in Hong Kong, Madrid and Tel Aviv are only a few of the many locations which feature fascinating light installations of Grimanesa Amorós. You can find her works in almost all parts of the world, including Latin America and Asia. In 2016, Ludwig Museum presented a traveling exhibition and monograph of the artist’s work. Grimanesa often gets invited to talk about critical theory, social history, and other cultural aspects at numerous universities and institutions, such as Rhode Island School of Design (RISD), Parsons, Tongji University, Rutgers University, and American University of Dubai. In 2014, she was one of the speakers at TEDGlobal where she dwelled on landscapes and the latest technology in art. Throughout the Grimanesa’s artistic career, her artworks have been discussed by Forbes Magazine, Huffington Post, Wall Street Journal, and New York Times. She has also been featured in several publications such as Surface Magazine, Harper’s Bazaar, and New York Magazine. For more information, please visit the webpage: Read More
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