Folding Suns or in debt to promises

Adler Guerrier, Untitled (…whispered intelligence lurking in the leaves; Painted Bunting), 2020-2024. Photo collage, 71 1/2 x 46 1/2 inches. Courtesy of the artist and Marisa Newman Projects.

Folding Suns connects artists from the Western New York Region with those from Puerto Rico and the American South; it poses sun and water as real and metaphorical binding agents across geography, time, and identity.

Curated by: Pablo Guardiola

Pablo Guardiola is a visual artist. His work points to different modes of narration and how these are perceived and understood. Recently he curated with Yina Jiménez Suriel, one month after being known in that island (ways of working in the Caribbean). He is co-director of Beta-Local, an arts non-profit dedicated to support and promote contemporary art practices and aesthetic thought in Puerto Rico.

Featured Artists:

Genesis Baez
Chango4
Claudia Caremi
Adler Guerrier
Gregory Halpern
Ahndraya Parlato
Silas Rubeck
Paul B. Thulin

The Buffalo Institute for Contemporary Art, August 02, 2024 – September 21, 2024.


AG2024AG2024AG2024_1089181aaa

The Guggenheim Bilbao was hardly the first iconic building, but it was the first to be credited with a measurable economic spin-off. And while that temporarily elevated the status of architects to near deities, it proved detrimental in the long run. After the Guggenheim, architecture was never quite the same. A single building had defied all expectation, only for expectations to defy all of architecture ever since. Economic success became the measure of architecture’s quality, to which architecture, in turn, had no choice but to apply itself. Architecture found itself in debt to promises it didn’t make and ultimately can’t fulfill. After Bilbao, ambitious museum projects could only fail. And they did.

architect, verb The New Language of Building, Reinier de Graaf

Leave a Reply

This site uses Akismet to reduce spam. Learn how your comment data is processed.