“such silence
still divine presence
echoes immortal migrants
[…]
a cardinal framed in the glass
red light
calling away despair
eternal promise
everything changes and ends”
8., bell hooks
Author: dig
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A still divine presence … calling away despair
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AG2021_2060860ab or stepped into the consequence
“each morning you said yes, then stepped into the consequence.”
“The clarity of a physical emotional response.”
-(KA) -
A landscape longed for: The garden as disturbance
We are thrilled to announce our forthcoming exhibition “A landscape longed for: The garden as disturbance” curated by Laura Novoa and Adler Guerrier. The exhibition, which opens to the public on Friday, March 1 at 5pm, features work by 15 artists, each of whom explores the motif of the garden in its relation to the cultivation and expression of beauty and knowledge.
Each of the participating artists, including Laura Castro, Carolina Casusol, Sandi Haber Fifield, David Hartt, Jim Hodges, Mark Fleuridor, Candice Lin, Cathy Lu, Lee Mary Manning, Ana Mendieta, Reginald O’Neal, Ebony Patterson, Ema Ri, Onajide Shabaka and Kandis Williams, consider the intricacies of the garden as a metaphor for the larger world, using it as a framework to consider cultural, social, political, geographical, and historical issues.
“A landscape longed for: The garden as disturbance” builds on the exhibit’s first iteration, showcased at Locust Projects in Miami in 2021. There, works were displayed with dialogues addressing notions of fragility, remembrance, ornamentation, beauty, and affective traces in the landscape. At CEAM, the show’s themes extend to ecological interdependence, homage, reverence, refuge, renewal, and time emphatically spent on the creation and nourishment of our inner lives.
Laura Novoa is a curator and arts administrator based in Miami, FL, where she works as Assistant Director of Programs and Community Engagement at the Bakehouse Art Complex. She has curated exhibitions for the Miami Design District, Locust Projects, Oolite Arts, and YoungArts, among others. Adler Guerrier is an artist based in Miami who has presented his works in exhibitions at the Samuel P. Harn Museum of Art, Orlando Museum of Art, Pérez Art Museum Miami, NSU Art Museum Fort Lauderdale, and CEAM.
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AG2024_1088819a or too dumbfounded to move
“perhaps the muse was always a critic, always a builder of stacks of things “interesting to look at”
“always a mind in relation to another.”
“Inside every critic is a coach or, to use Isabelle Graw’s image, “a sort of amplifier.””
“deferential, wry, combative. Humorous. Detached. At sea.”Art’s stupidity, Mayer suggests, is the reason for its persistence in her memory: it is too dumbfounded to move.
But what first punched art in the face? Probably life. Or, as Mayer says, “fucked up time.””
“They are, at their best, avenues of grace within fucked-up time, languages of perpetual inquiry and curiosity, poses of submission and dominance and everything in between, a practice of turn-taking in a world that runs on theft and greed.”
Anahid Nersessian. Originally published in Mousse 86. -
AG2024_1088892a or Again, as always, when the shadows fall
Again, as always, when the shadows fall,
[…]
I leave the present
And seek the dim past where
I dream a … far-off dream,
And think old thoughts and live old scenes anew,
Till suddenly I reach the heart of
[…]
Memory thwarting Time and Space and Death!
after/for/with (J R Fauset, Douce Souvenance)
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CLM 74th Juried Exhibition
Polo Ramirez (foreground), Sarah Ferrer, and Zanze Fowler (back pedestal). 
Kathleen Hudspeth, Nick Levy, Pamela Mansera, Lorelei Serafim ( From top left then clockwise) 
Yuki Yamamoto, Jennifer Villarreal, Polo Ramirez. Ceramic League of Miami 74th Juried Exhibition
Museum of Contemporary Art of the Americas.
Kelly and Kyle Phelps, Jurors.
February 9 – 15, 2024 -
language + the material referred to
The belief at the core of Lawrence Weiner’s work is that art is a material reality between human beings and objects and between sets of objects in relation to human beings. Weiner considers language to be a sculptural material and believes that a construction in language can function as sculpture as adequately as a fabricated object.
PR, Lisson Gallery, 2005
The protagonist of the exhibition is the series Radical Writings (from the early 1980s to the 1990s) with which Irma Blank makes her sign even more abstract with respect to the previous cycles, clarifying its relationship with time. The long writing-like signs of color (first rose-violet, then blue), applied with a brush on canvas, are linear and uniform. She literally paints “in one breath,” with absolute concentration, without hesitation. Writing is breathing, painting is breathing, working is living. Every trace matches the length of one breath, from left to right, start to finish, emptiness to fullness. A sign in total tension. At the start of the sign the color is more emphatic, fading as the sign gradually extends, generating a shadow zone at the center of the painting that reminds us of the space of a book. Here writing and painting blend in the continuity of a sign-time.
p420.it
“the sign may have other functions in addition to the communicative function” Mukarovsky
“to live out a politics of disorientation might be to sustain wonder …” Sarah Ahmed
via Craig Dworkin, Radium of the Word