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UNLV News Reviews Axis Mundo

 UNLV News Reviews Axis Mundo

Posted on March 7, 2019

D.K. Sole reviews Axis Mundo: Queer Networks in Chicano L.A., reflecting on the exhibition’s positive reception at the University of Nevada, Las Vegas Marjorie Barrick Museum:

“Quite possibly the best exhibit to arrive at the UNLV Barrick Museum ever,” said Patrick Naranjo, the resource coordinator from UNLV’s multicultural center, The Intersection. This is a big statement. What makes it the best? Naranjo highlighted the show’s willingness to present the artists as complex junctions of influence, not solely “queer” or “Chicano,” but both. In other words, the kind of complexity that the Intersection exists to acknowledge and uplift. Through Axis Mundo, we see how artists have used art to envisage a more complicated understanding of what a person — and the world around them — can be. The exhibition “allows queer and trans students of color to see themselves on the campus and in the world, creating possibilities for our students,” said Romeo Jackson, the Social Justice Center’s LGBTQ and gender program coordinator.

Read the entirety of the review here.

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Never Spoken Again: Rogue Stories of Science and Collections

Posted on March 13, 2019

Still taken from Laura Huertas Millán, Journey to land otherwise known. Film. © Le Fresnoy – Laura Huertas Millán.

e-flux announces Never Spoken Again: Rogue Stories of Science and Collections, a traveling exhibition curated by Colombian curator and ICI Curatorial Intensive alum David Ayala-Alfonso that reflects on the birth of modern collections, the art institutions that sustain them and their contingent origin stories. Read more here.

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Humboldt’s Parrot: David Ayala-Alfonso, Carlos Motta and Felipe Steinberg

 Humboldt’s Parrot: David Ayala-Alfonso, Carlos Motta and Felipe Steinberg

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Humboldt’s Parrot: David Ayala-Alfonso, Carlos Motta and Felipe Steinberg
Monday, March 18, 2019

401 Broadway Suite 1620
New York, NY 10013
FREE and open to the public

Using Humboldt’s parrot as an entry point Curator and ICI Curatorial Intensive Alumnus David Ayala-Alfonso will be joined by artists Carlos Motta and Felipe Steinberg to facilitate conversations with attendees thinking through the ways that science and collecting practices intersect with political ecologies, historical rewritings, critical museology, and fiction. These are four of the key threads that shape Ayala-Alfonso’s forthcoming ICI exhibition Never Spoken Again: Rogue Stories of Science and Collections.

This event is free and open to the public. To attend, please RSVP to rsvp@curatorsintl.org with DAVID in the subject line.

This event is accessible to people with mobility disabilities. Please contact ICI for additional accessibility needs.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with City Council, and the New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature.

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Interview with Merve Elveren, ICI’s 2018 Curatorial Vision Awardee

Merve Elveren

Posted on March 18, 2019

Interview with Merve Elveren, ICI’s 2018 Curatorial Vision Awardee
by Amanda Parmer,
ICI’s Director of Programs

Amanda: I’d love it if we could begin by talking about the relationship between solo and group exhibitions in your work at SALT these past seven years.

Merve: Each exhibition builds on positions and there is no pre-set common denominator; therefore, it is quite difficult to generalize the relationship between them. However, one clear distinction is that the group exhibitions that I’ve worked on over the past seven years mainly focused on archives –from periodicals to photographs, video clips to tv commercials– and recordings. While group and solo exhibitions have particular methodologies, they all have extensive research periods and are collaborative in nature.

Amanda: When you say that there is a consistent research methodology, could you explain what that looks like for you?

Merve: As the original material changes from artworks to archives, adaptability of proposals and strategies become all the more important, especially due to limitations determined by the ephemerality of certain archives or state restrictions. The research phase of each exhibition begins with a set of questions, rather than the expectation of a specific outcome, which in turn necessitates a holistic yet detail-oriented grasp of the nature of the material–the crux and relevance of the subject-matter that will eventually trigger the format. For instance, How did we get here, a project focused on temporary manifestations of collectivism in the 1980s post-coup d’état period, my colleague Erman Ata Uncu and I interviewed more than one hundred people (including academicians, journalists, activists, writers, architects, film directors, influential actors of the period) and went through their personal archives. The project was shaped around the interconnected stories and archives of second-wave feminists, anti-militarists, the green movement, LGBTQI activists, and human rights defenders; and re-introduced various alternative tactics to survive in oppressive environments. On the other hand, in the more recent project Continuity Error, the first comprehensive survey of Aydan Murtezaoğlu and Bülent Şangar, who were prominent figures in shaping the emerging contemporary art scene in 1990s’ Turkey, I worked closely with them for over two years, to discuss how changes in the political climate influenced their artistic practice. The curatorial choices concerning the exhibition were also an outcome of our long discussions. I can give you more examples but the research is really the key, the core ingredient, in these projects, and my motivation was not only to emphasize the importance of the work/or the recording in the past but also to address their relevance today.

Amanda: It would be helpful to know more about this key element. How do you determine how something is resonating with the contemporary moment in your work?

Merve: As I briefly mentioned above, at SALT, the research outcomes are not predetermined even in format. It can be an exhibition, a publication, a web-based platform or a public talk program, –sometimes, all or a few of the above. This provides certain flexibility to rethink and to reassess the relevance of the findings or developing lines of thought as a whole. The final content of the project is only locked down in the last three months as it cannot be detached from the local discussions. How the content resonates in the contemporary political context and how it responds to the moment remain the crucial concern throughout.

Amanda: Those last three months must be pretty tight!

Merve: Definitely. But it is also the most exciting part of it, as the conversations, collaborative processes, and the new findings finally converge.

Amanda: It’s interesting what you’re saying about how you locate these histories and then excite them again by juxtaposing different materials and having these conversations. Are there ways you can talk about locating physical material, artifacts and representations of these experiences that supplement the conversations and underpin or support the kind of exchanges you’re having that are maybe not part of the exchange itself?

Merve: This is the reason why I try to expand my initial research by consulting as many individuals as possible. The conversations, interviews, and sharing of references during the research period open up new perspectives and lead me to the personal archives, and each meeting somehow complements one another. The kind of research-heavy exhibitions I work on mainly entails the introduction of these at-risk/closed archives to the public, to preserve their memory, and to propose narratives alternative to the dominant state idiom. The exhibition itself, of course, does not hide that this act of sharing and contestation has very specific motivations, and there are certain critical moments/examples that I like to point out. However, this framework remains far from being overdetermining as the unfinished nature of the exhibition also accommodates new readings. The viewer or the user of the exhibition and the archive can introduce a new set of questions and continue working on these discussions.

Amanda: You’re talking very much about de-centering yourself and your authorial role within curating these projects. Could you talk a little bit about this and what you think is making this particular to the way that you handle these projects?

Merve: Shifting the authorship, working on the curatorial decisions with artists, educators, researchers, designers, and many others, initiated new research-based dialogues. The outcomes of the projects are primarily shaped by these relationships. Rather than focusing on a singular narrative, these projects created frictions, stimulated discussions, and more importantly responded to active debates of today.

Amanda: Your work seems to always attend to the local context that it’s presented in. I am wondering if that is something that you see shifting in the future. Could you talk a little bit about the importance of how you’re determining and understanding what your viewership is?

Merve: You are right until now I have strictly worked with the local context. But it’s not because I have the preconception that the local context is unique and fundamentally different from other places. In fact, I find it inspiring when I see, through the juxtaposition of the local with the non-local, that different actions and movements and initiatives form organic parallels in different parts of the world, that we are still somehow interconnected. I am also very excited to work in this direction, teasing out such correspondences. As for viewership, I don’t start the projects by defining the viewer. But it’s never the local audience on my mind when I am working towards a project.

Amanda: It’s interesting that you’re saying that you don’t think so much about the viewership, but that you put so much weight on trusting the viewership.

Merve: I’m not interested in attracting large numbers of visitors or appealing to a specific viewership, but I remain thoroughly interested and invested in what the audience, the user gets out of an exhibition and what can they do with it, how research can live outside of the exhibition space?


Posted on March 20, 2019

On Wednesday, March 13, members of ICI’s International Forum convened for a tour of the exhibition Comfortably Numb at ANOTHER SPACE led by the preeminent New York-based curator, collector and philanthropist, Estrellita Brodsky. ANOTHER SPACE is a program established by the Daniel and Estrellita B. Brodsky Family Foundation to broaden international awareness and appreciation of art from Latin America. 1___ Estrellita Brodsky on Jac Leirner’s work, Head, 2016

2___ Tour of Comfortably Numb

3___ ICI Trustee Barbara Toll and guest, Tony Bachara and guest

4___ Artist Raúl Martínez presents his work, Map #1, 2015

5___ Renaud Proch and Estrellita Brodsky, Sarina Tang, Dolly Greay, Sally Ross, and LaVon Kellner

6___ Carolyn Alexander and Alfredo Deza

7___ Tour of Comfortably Numb


Birds of Paradise by Cristina Molina

 Birds of Paradise by Cristina Molina

Posted on March 22, 2019

Image: Cristina Molina, Birds of Paradise, 2016. Archival pigment print. Courtesy of Lily P. Brooks Collection.

Birds of Paradise (2016), is the first installation of a new initiative that links together our international programs by inviting a curator to connect us with an artist in the cities where we hold our Curatorial Intensives. This spring we invited Katie Pfohl to put us in conversation with an artist and she selected Cristina Molina. Molina’s Birds of Paradise, which appears on the cover of this brochure, also hangs in our New York space through the summer. The work is resonant with the themes of accessibility and inclusivity; indigeneity as rootedness in place; the modern museum in the global era; and gender, race, and representation.

“As part of her recent series The Matriarchs, the New Orleans based artist Cristina Molina collaborated with all of the women in her family to create an evocative series of photographs that combine tropical flora and fauna with fragments of the female body. Set in the subtropics, works in this series such as Birds of Paradise emphasize and affirm the generative power of women’s voices within an increasingly fragile and threatened landscape. Referencing the Dutch vanitas tradition of the 16th and 17th centuries, The Matriarchs contemplates the relationship between landscape, lineage and loss, while at the same time looking to women as culture bearers who offer alternate ways of relating to our environment, and to each other. Spanning video, installation, performance, photography and textile design, Molina’s work often privileges female protagonists to explore themes related to culture, heritage and personal mythology, and how they can work in concert with the natural environment.”

Katie Pfohl, Curator of Modern and Contemporary Art, New Orleans Museum of Art, faculty in the 2019 Curatorial Intensive, New Orleans.

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Posted on March 25, 2019




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do it (in school)

 do it (in school)

Posted on March 27, 2019

Independent Curators International (ICI), in partnership with Studio in a School NYC, presents do it (in school), a new approach to art education based on the long-running exhibition curated by Hans Ulrich Obrist, do it.

A new version of Hans Ulrich Obrist’s exhibition do it, conceived as a curriculum for high-school students

Featuring instructions by: Etel Adnan, Uri Aran, Yto Barrada, Robert Barry, Jérôme Bel, Bernadette Corporation, Christian Boltanski, Louise Bourgeois, Jimmie Durham, Cao Fei, Claire Fontaine, William Forsythe, Simryn Gill, Dominque Gonzalez-Foerster, Joseph Grigley, Shilpa Gupta, Anna Halprin, NS Harsha, Madeline Hollander, Jonathan Horowitz, Pierre Huyghe, Joan Jonas, Allan Kaprow, Alison Knowles, Aaron Koblin, Koo Jeong-A, Bertrand Lavier, Lynn Hershman Leeson, Sol LeWitt, Lucy R. Lippard, David Lynch, Jonas Mekas, Annette Messager, Eileen Myles, Jean-Luc Nancy, Bruce Nauman, Ernesto Neto, Rivane Neuenschwander, Albert Oehlen, Precious Okoyomon, Yoko Ono, Füsun Onur, Clifford Owens, ThaoNguyen Phan, Cesare Pietroiusti, Adrian Piper, Raqs Media Collective, Lillian F. Schwartz, Hassan Sharif, Jim Shaw, Shimabuku, Rikrit Tiravanija, Carrie Mae Weems, Erwin Wurm, and more.

Exhibition on view:
Hunter East Harlem Gallery, 2180 3rd Avenue at 119th Street, NYC
April 12 to June 1, 2019

In 1993, Obrist together with artists Christian Boltanski and Bertrand Lavier, conceived do it, an exhibition based entirely on artists’ instructions, which could be followed to create temporary art works for the duration of a show. do it has challenged traditional exhibition formats, questioned authorship, and championed art’s ability to exist beyond a single gallery space. Since do it began, many new versions have appeared, including do it (museum) and do it (home) produced by ICI in 1997. Over 26 years, do it has grown from 12 to over 400 sets of artists’ instructions, and has been shown in more than 150 art centers in over 15 countries.

Building on this history, do it (in school) is the latest version of do it, a selection of instructions that form a study-based curriculum for high school students.

Curated by Obrist and produced by ICI in partnership with Studio in a School NYC, do it (in school) represents a new take on art education, focused on contemporary practice and geared towards critical thinking and creative experience through hands-on workshops. The curriculum is a solid base for learning about conceptual art and some of the most influential art practices of this century. Students learn about contemporary artists from around the world, generating artworks that respond to their personal experience as they interpret the work themselves.

Over the past six months Studio in a School NYC adopted do it (in school) in their ongoing curriculum with three New York City high schools: Art and Design High School, Manhattan; Fordham High School for the Arts, Bronx; and Frank Sinatra School of the Arts High School, Queens.

Capping this first implementation of do it (in school), an exhibition at Hunter East Harlem Gallery will present a selection of works realized by students as a result of the Studio in a School NYC programs, alongside documentation of the students’ process of interpretation of the artists’ written scores. This collaboration with Hunter College adds to do it (in school) a unique connection between high schools and a city university, as high-schoolers become active in the college art gallery program. The exhibition will open with a reception on Friday, April 12, 4–8pm, at Hunter East Harlem Gallery, 2180 3rd Avenue, and be on view through June 1, 2019.

do it (in school) is made possible with the generous collaboration of Uri Aran, and by ICI’s Board of Trustees, ICI’s Leadership Council and the Jeanne and Dennis Masel Foundation, and additional gifts to ICI’s Access Fund, as well as by the generous support of individuals and foundations that support Studio in a School NYC’s New York City Schools Program.

About the Curator:
Hans Ulrich Obrist (b. 1968, Zurich, Switzerland) is Artistic Director of the Serpentine Galleries in London, and Senior Artistic Advisor of The Shed in New York. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first show “World Soup” (The Kitchen Show) in 1991, he has curated more than 300 shows. Obrist’s recent publications include Mondialité, Somewhere Totally Else, Ways of Curating, The Age of Earthquakes with Douglas Coupland and Shumon Basar, and Lives of The Artists, Lives of The Architects.

About Studio in a School NYC:
Since 1977, Studio in a School NYC has nurtured the creativity and growth of over one million students through quality visual arts instruction taught by professional artists. Studio’s New York City Schools Program engages over 30,000 students in Pre-K through high school in all five boroughs each year, while the national Studio Institute focuses on research and dissemination of best practices in visual arts education as well as college and career readiness for teens and young adults.

About Hunter East Harlem Gallery
Hunter East Harlem Gallery is a multidisciplinary space for art exhibitions and socially minded projects. Located on the ground floor of Hunter College’s Silberman School of Social Work, the gallery presents exhibitions and public events that foster academic collaborations at Hunter College while addressing subjects relevant to the East Harlem community and greater New York City. The gallery seeks to initiate partnerships with publicly oriented organizations and focuses on showcasing artists who are engaging in social practice, public interventions, community projects, and alternative forms of public art. Since its inception in 2011, all exhibitions and programs at Hunter East Harlem Gallery are free and open to the public.

Press Contacts:

Bessie Zhu, Independent Curators International (ICI)

Jonas Stigh, Studio in a School NYC (Studio)

Arden Sherman, Hunter East Harlem Gallery (HEHG)

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Recipient of the 2019 CPPC Travel Award for Central American and the Caribbean

 Recipient of the 2019 CPPC Travel Award for Central American and the Caribbean

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The Colección Patricia Phelps de Cisneros (CPPC) and Independent Curators International (ICI) announce Pablo José Ramirez as the recipient of the 2019 CPPC Travel Award for Central America and the Caribbean.

Pablo José Ramirez (b.1982 Xela, Guatemala) has been selected as the sixth recipient of the CPPC Travel Award for Central America and the Caribbean. The award supports a contemporary art curator based anywhere in the world to travel to regions in Central America and the Caribbean to conduct research related to art and cultural activities, generating new collaborations with artists, curators, museums, and cultural centers within regional networks.

Starting this Spring, Pablo José Ramirez will travel to Saint Vincent and the Grenadines, Roatán Island in Honduras, Belize, and Livingston Island in Guatemala to learn about the history and culture of Garifuna. Ramirez’s investigative proposal exists in three parts: The construction of what is understood as ethnicity and race from the history of the Garifuna people and their visual and performative culture, the relationship between colonialism, creation and resilience, and the study of movement in which the nomadism between the Caribbean and Central America allowed certain encounters between Mesoamerican indigenous cultures and Hispanic mestizo cultures in the region.

Pablo José Ramirez’s proposal was selected between 76 applications from 32 different countries. The selection was made by a jury of professionals that includes: Mónica Espinel (Independent Curator and Writer, New York), Karen Grimson (Curatorial Assistant for the Department of Drawings and Prints at The Museum of Modern Art, New York), Julián Sánchez González (PhD student in Art History at Columbia University). In their selection, the jury considered the immediate and the long-term benefits and impact of each proposal for the places, institutions and artists visited, as well as projects that favor new understandings and readings of the artistic production of the region.

In selecting his research proposal the jury chair, Mónica Espinel stated: “Pablo José Ramirez presented a compelling proposal that seeks to reenact the voyages that led to the creation of mixed ancestry Garifuna enclaves in the Caribbean and Central America, including trips to St. Vincent and the Grenadines, Belize, Guatemala, and Honduras. We believe Ramirez’s desire to research the historical conditions and nomadism that led to the development of the Garifuna’s material culture and performance will bring much-needed attention to ethnic and racial considerations that resulted in the formation of present-day and traditional Garifuna culture.”

Pablo José Ramírez is a curator, art writer and cultural theorist. He holds an MA in Contemporary Art Theory from Goldsmiths, University of London. He has published extensively and has been member of different curatorial advisory boards and juries for institutions such as Gasworks, The Visible Award, MADC, TEOR/ética, Colección Patricia Phelps de Cisneros among others. Ramirez is the former Artistic Director at Ciudad de la Imaginación (Quezaltenango, Guatemala, 2010-2014). Following that, he has been working internationally as independent curator and researcher. Currently Ramirez is working on a project for Tate Modern related to sound and community, to be commissioned by Tate Exchange for 2019- 2020. In 2015 he co-curated with Cecilia Fajardo-Hill, Anabella Acevedo and Rosina Cazali the 19th Bienal de Arte Paiz (Guatemala City, Guatemala) and is the Co-founder and Artistic Director of the curatorial experimental journal Infrasonica, to be launched in 2019.

Jury Bios:

Mónica Espinel: (b. Bogota, Colombia) is an independent curator and writer based in New York. She is the editor of Carmen Herrera’s catalogue raisonné, in progress. Selected curatorial projects include Black Milk: Theories on Suicide, Marvelli (2004), Then & Now: Abstraction in Latin American Art, Deutsche Bank (2010), Memory Leaks, Creon (2010), Rituals of Chaos, Bronx Museum of the Arts (2012), The Skin I Live In, Curatorial Lab, SP-Arte (2013) and Hybrid Topographies – Encounters from Latin America, Deutsche Bank (2018). She holds a B.S. in Psychology from Florida International University, Miami and an M.A. in Art History from Hunter College, New York. She participated in seminars such as ICI’s Curating Context, Instituto Inhotim; 13th Istanbul Biennial, Mom Am I a Barbarian, Istanbul; and the Gwangju Biennale International Curator Course, Gwangju, Korea. Her writing has been featured in artist catalogues and ArtNexus, Arte al Dia, Flash Art and Artforum.com.

Karen Grimson is a Curatorial Assistant in the Department of Drawings and Prints at The Museum of Modern Art, where she works primarily on exhibitions and acquisition proposals of art from Latin America overseen by Inés Katzenstein. After completing her Art History degree at the University of Buenos Aires (UBA, Argentina), Karen joined MoMA’s Department of Drawings in 2011, and has since been involved in organizing the following exhibitions: Alina Szapocznikow: Sculpture Undone, 1955-1972; Mike Kelley; Joaquín Torres- García: The Arcadian Modern; and Tarsila do Amaral: Inventing Modern Art in Brazil. She currently manages the Latin American and Caribbean Fund, a committee devoted to supporting cross-departmental acquisitions of art from the region, and is working on the forthcoming exhibition Sur moderno: Journeys of Abstraction—The Patricia Phelps de Cisneros Gift.

Julián Sánchez González is a Ph.D. Student in Art History at Columbia University. He holds an M.A. in Art History from NYU’s Institute of Fine Arts, and a double B.A. in History and Political Science from the Universidad de los Andes in Bogotá. His broader academic interests investigate the relationship between self-taught and trained art in the development of Global Modernisms during the second half of the twentieth century as well as the Black Atlantic Diaspora. His current research project analyzes the influence of alternative spiritual practices in art production from 1970s Latin America and the Caribbean. Previously, Mr. Sánchez worked with the Museos de Arte y Numismática del Banco de la República in Bogotá and the Art Museum of the Americas – Organization of American States in Washington, D.C. His writing has been published by the Museum of Modern Art (MoMA), the Patricia Phelps de Cisneros Collection, Oxford Art Online, and the Universidad Jorge Tadeo Lozano in Bogotá. His work has been generously supported by the Fulbright Program, the Ministerio de Cultura de Colombia, and the Fundación COLFUTURO.

The Colección Patricia Phelps de Cisneros (CPPC) was founded in the 1970s by Patricia Phelps de Cisneros and Gustavo A. Cisneros and is one of the core cultural and educational initiatives of the Fundacíon Cisneros. Based in New York City and Caracas, the CPPC’s mission is to promote scholarship and enhance appreciation of the diversity, sophistication, and range of art from Latin America. The CPPC achieves these goals through the preservation, presentation, and study of the material culture of the Ibero-American world – ranging from the ethnographic to the contemporary. The CPPC’s activities include exhibitions, public programs, publications, grants for scholarly research and artistic production. The CPPC’s website (http://www.coleccioncisneros.org) offers a platform for debate concerning the contributions of Latin America to the world of art and culture.

La Colección Patricia Phelps de Cisneros (CPPC) y Independent Curators International (ICI) anuncian a Pablo José Ramírez como ganador de la Beca CPPC para viajes de investigación en Centroamérica y el Caribe.

Pablo José Ramírez (b.1982 Xela, Guatemala) ha sido seleccionado como el acreedor de la sexta Beca CPPC para viajes de investigación curatorial en Centroamérica y el Caribe. La beca apoya a un/a curador/a de arte contemporáneo residiendo en cualquier parte del mundo para viajar a regiones de Centroamérica y el Caribe y realizar investigaciones relacionadas con el arte y las actividades culturales, generando nuevas colaboraciones con artistas, curadores, museos y centros culturales dentro en la región.

A partir de esta primavera, Pablo José Ramírez viajará a San Vicente y las Granadinas, a la isla de Roatán en Honduras, a Belice y a la isla de Livingston en Guatemala para investigar sobre la historia y la cultura de Garifuna. La propuesta de investigación de Ramírez se divide en tres partes: la construcción de lo que se entiende como etnicidad y raza a partir de la historia del pueblo garífuna y su cultura visual y performativa, la relación entre colonialismo, creación y resiliencia, y el estudio del movimiento, en el que el nomadismo entre el Caribe y Centroamérica permitió el encuentro entre las culturas indígenas mesoamericanas y las culturas mestizas hispánicas en la región.

La propuesta de Pablo José Ramírez fue seleccionada entre 76 solicitudes de 32 países. La selección fue hecha por un jurado de profesionales que incluyó a Mónica Espinel (curadora independiente y escritora, Nueva York), Karen Grimson (Asistente curatorial del Departamento de Dibujos y Grabados del Museo de Arte Moderno de Nueva York) y Julián Sánchez González (Estudiante de doctorado en Historia del Arte en la Universidad de Columbia). En su selección, el jurado consideró los beneficios y el impacto inmediatos y a largo plazo que cada propuesta traería a los lugares, instituciones y artistas visitados, así como proyectos que favorezcan nuevos entendimientos y lecturas de la producción artística de la región.

Al seleccionar su propuesta de investigación, la presidenta del jurado, Mónica Espinel, declaró: “Pablo José Ramírez presentó una propuesta convincente que busca recrear los viajes que llevaron a la creación de enclaves garífuna de ascendencia mixta en el Caribe y América Central, incluidos los viajes a San Vicente y las Granadinas, Belice, Guatemala y Honduras. Creemos que el deseo de Ramírez de investigar las condiciones históricas y el nomadismo que condujeron al desarrollo de la cultura material y el desempeño de los garífunas llamará la atención a las consideraciones étnicas y raciales que dieron lugar a la formación de la cultura garífuna actual y tradicional”.

Pablo José Ramírez es curador, escritor de arte y teórico cultural. Tiene una maestría en Teoría del Arte Contemporáneo por Goldsmiths, University of London. Ha publicado numerosos artículos y ha sido miembro de diferentes consejos curatoriales y jurados de instituciones como Gasworks, The Visible Award, MADC, TEOR/ética, la Colección Patricia Phelps de Cisneros, entre otros. Ramírez es el exdirector artístico de Ciudad de la Imaginación (Quezaltenango, Guatemala, 2010-2014). En años recientes ha trabajado internacionalmente como curador e investigador independiente. Actualmente, Ramírez está trabajando en un proyecto para Tate Modern relacionado con el sonido y la comunidad, que será comisionado por Tate Exchange para realizarse en 2019-2020. En 2015 co-curó con Cecilia Fajardo-Hill, Anabella Acevedo y Rosina Cazali, en la 19 Bienal de Arte Paiz (Ciudad de Guatemala, Guatemala) y es cofundador y director artístico de la revista experimental curatorial Infrasonica, que se lanzará en 2019.

La Colección Patricia Phelps de Cisneros (CPPC) fue fundada en la década de 1970 por Patricia Phelps de Cisneros y Gustavo A. Cisneros y es una de las principales iniciativas culturales y educativas de la Fundación Cisneros. Su hija, Adriana Cisneros de Griffin, es la presidenta de la Fundación Cisneros, y Gabriel Pérez-Barreiro es el director y curador jefe de la CPPC. Con sede en Caracas y Nueva York, la misión de la CPPC es promover una mayor apreciación de la diversidad, sofisticación y variedad del arte de América Latina, así como el estudio del arte latinoamericano. La CPPC alcanza estos objetivos a través de la preservación, presentación y estudio de la cultura material de Iberoamérica, desde lo etnográfico hasta lo contemporáneo. Las actividades de la CPPC incluyen exposiciones, programas públicos, publicaciones, becas para la investigación académica y la producción artística. El sitio web de la colección (www.coleccioncisneros.org) fue creado para ofrecer una plataforma de debate sobre las contribuciones de América Latina al mundo del arte y la cultura.