ArquetopiaSUMMER 2017

SPECIAL 3-IN-1 INTERNATIONAL SUMMER ACADEMIC PROGRAM
INCLUDES NOVOHISPANIC GRAPHIC ARTS TECHNIQUE INSTRUCTION AND
SELF-DIRECTED ART PRODUCTION
 

 
Program Session Dates: 6 Weeks, June 5 to July 17, 2017
E-mail Chris at This email address is being protected from spambots. You need JavaScript enabled to view it.
Spaces are limited. Our selection committee evaluates all
applications when they are received vs. after the deadline.
USD -$350 Fee Reduction Available. E-mail for details.

Full Program Itinerary and
Schedule of Events Below
 
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Arquetopias flagship residency program: ArquetopiaSUMMER 2017 will focus on the relationship between individual art practices and the visual history of violence. How is the discourse of violence institutionalized? How is violence affecting art production systems and influencing art markets? How has violence become an important part of the visual history of Mexico? How is the normalization of violence through aesthetic principles critical to understand intention and representation?
 
ArquetopiaSUMMER 2017 Special International Summer Academic Program (with Novohispanic Graphic Arts and Mural Art technique instruction, and self-directed Art Production) is a prestigious 6-week critical program that offers competitive professional opportunities for local and international emerging and mid-career artists, curators, art historians, and students age 23 and over.
 
This unique program offers critical methodologies to diverse art practices, exploring how violence is constructed through the language of aesthetics. The goal is to provide tools to understand visualities and gestures in art, while identifying institutional trivialization of intention, and representation in visual expression. Through the program, participants will conceptualize their art by engaging their practice in critical discussions. One of the central goals is to contextualize historical and contemporary articulations regarding the language of visual violence. The seminars and tours included in the program will explore the role of aesthetics in the construction of Mexicos visual history and its categorization in the context of global visual culture. The program will also put into context the role of cultural institutions, such as museums and galleries, in the production of meaning through objects, social relations, and art consumption. Through hands-on workshops in collaboration with the Museum of Art of the Former Convent of Santa Monica, participants will have the opportunity to expand their art practice by exploring the artistic connections between the baroque graphic arts and the Novohispanic mural painting tradition.
  Special Guest Scholars, Artists-in-Residence, and Arquetopia Staff
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ArquetopiaSUMMER 2017 PROGRAM INCLUSIONS
This program includes 27 seminar hours; 9 hours of individual and collective critiques; guided tours and visits to prominent museums in Puebla, independent galleries, and relevant sites. The program also includes a 27-hour hands-on art workshop instructed by a master conservator, exploring the artistic dimensions of the baroque printmaking tradition and Novohispanic mural art techniques. Activities are designed to promote intense creative work and artistic dialogue; therefore, artists are expected to allocate self-directed studio hours working in their own chosen medium as part of their weekly schedule.
 
Renowned international art historians, artists, and master restorers facilitate the dialogues, individual and collective critiques, seminars, and workshops. Seminars are conducted in English. Workshop instruction is in Spanish or English. Participants produce work in our partnered studio at one of Mexicos most important art museums, in Pueblas majestic central historic district.
 
ArquetopiaSUMMER 2017 FIVE SPECIAL GUEST SCHOLARS AND INSTRUCTORS
KPBKIRSTEN BUICK
 
 
 
 
 
Kirsten Pai Buick, Ph.D. specializes in American art, focusing her research on African-American art, the impact of race and gender on the history of art, representations of the American landscape, and the history of women as patrons and collectors of the arts. She has advanced scholarship of the work of numerous African-American artists through publications including the first book-length examination of the life and career of 19th-century sculptor Mary Edmonia Lewis. Buick is a tenured, full professor at the University of New Mexico, where she has taught for more than 15 years. She earned her bachelor's degree in art history and Italian literature in 1985 from the University of Chicago. She earned her master's and doctorate degrees in art history from the University of Michigan. Buick has published extensively on African-American art. Her book Child of the Fire: Mary Edmonia Lewis and the Problem of Art History's Black and Indian Subject was published by Duke University Press, and her second book, In Authenticity: 'Kara Walker' and the Eidetics of Racism, is currently in progress. Her published articles include studies on the work of artists including Daniel Coburn, Patrick Nagatani, Joseph Delaney, Aaron Douglas, Horace Pippin, and Kehinde Wiley. Buick has earned numerous academic, professional, and scholarly awards and grants including the Driskell Prize, Smithsonian American Art Museum's Predoctoral Fellowship, the Charles Gaius Bolin Fellowship at Williams College, CAA Professional Development Fellowship in Art History, Rhoades Foundation Visiting Lectureship, and the UNM University Libraries Faculty Acknowledgement Award.

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SIAMAK DELZENDEH
 
Siamak Delzendeh was born and raised in Tehran. He initiated his artistic career by experimenting with writing and publishing short stories. Later, he moved to Montreal and studied Photography and Art History at Concordia University. He participated in some group and solo exhibitions in Montreal, Toronto and Tehran. After returning home in 2009, Delzendeh published several articles and critiques on visual arts in Tehran. He also exhibited photo installations and other works at Siin, Y(Igreg) and Golestan art galleries. From 2012 to 2014, he was involved in making a documentary series on visual arts. He participated in several research programs in Iran and composed visual art entries for the Subcontinent Encyclopedia and also the Encyclopedia Islamica. In 2015, Delzendeh participated in a critical writers' exchange residency program between the Irish Museum of Modern Art in Dublin and the Kooshk Residency in Tehran. He also participated as a panelist in the Eleventh International Conference of Iranian Studies in Vienna in 2016. His most recent book, Pictorial Shifts of the Iranian Visual Art, a Critical Survey (from the Qajar period to the end of Pahlavi era), was published in September 2016 by the Nazar Art Publication in Tehran.
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ANNETTE RODRIGUEZ
 
Annette Rodríguez, Ph.D. received her doctorate in American Studies at Brown University in 2016. In 2015, Rodríguez was presented the 18th annual Catherine Prelinger Award by the Coordinating Council for Women in History for her scholarly and professional contributions to women in history, and for educating young women to pursue careers in the historical profession. In July of 2016, Rodríguez was selected as a winner of the Dixon First Amendment Award for her efforts on behalf of students, faculty and staff in New Mexico higher education. She has previously been selected as a National Graduate Fellow by the Law and Society Association, a Latino Museum Studies Program Fellow at the Smithsonian Institute, the George I. Sanchez Fellow at the Center for Southwest Research, and a Graduate Fellow at the Office of the New Mexico State Historian. Rodríguez has acted as an instructor at Brown University, the University of New Mexico, Northern New Mexico College, and the Institute of American Indian Arts. She concentrates her work on perennial racist violences in the United States as communicating events that construct and reinforce ideologies and hierarchies of race, gender, citizenship, and national belonging.
EmmanuelJPGEMMANUEL ORTEGA
Emmanuel Ortega is a curator and a doctoral candidate in Ibero-American colonial art history at the University of New Mexico. He is an adjunct instructor in the Department of Art and Art History at the University of Nevada Las Vegas. Since 2007, he has investigated images of violence in the Novohispanic context. For his master thesis, Ortega investigated images involving public performances organized by the Novohispanic Inquisition. For his Ph.D. dissertation, Ortega researches visual representations of the New Mexico Pueblo peoples in Novohispanic Franciscan martyr paintings. He has contributed several entries for the Khan Academy website and the Arizona Center for Medieval and Renaissance Studies online bulletin. He has presented his work in the XXXVI Annual Colloquium of Art History organized by the Universidad Autonoma de Mexico, 2012, the College of Art Association and American Studies Association in 2015. Also, in 2015, Ortega partnered with the Museo de Arte Religioso Ex-Convento de Santa Mónica in Puebla, México to curate two art exhibitions based on recently restored paintings from the museum's permanent collection.
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FRANCISCO GUEVARA
  
 
Francisco Guevara is a visual artist and curator specializing in creating projects using contemporary art to promote Development by designing alternative models of social entrepreneurship for human development. He graduated with the degree of University Expert in Management and Planning of Development Cooperation Projects in the Fields of Education, Science and Culture from the Universidad Nacional de Estudios a Distancia (UNED) in Madrid, Spain, in coordination with the Organization of Latin American States for Education, Science and Culture (OEI). He also received his postgraduate degree in Cultural Management and Communication from the Latin American Faculty of Social Sciences (FLACSO) in Buenos Aires, Argentina. He joined the Race, Gender and the Historiographies of Art Seminar at the University of New Mexico in 2009 to incorporate into his curatorial projects a broader understanding of identity in the local and international context. His work and projects emphasize the role of contemporary art practices as a tool for social change. His experience covers international projects including: intangible heritage, public art, exhibits and visual arts education. As an artist he has researched, studied and worked exploring the connection between food, rituals of eating and collective identity. He is Co-Founder and Co-Executive Director of Arquetopia Foundation for Development.
Master Conservator Barbara Lara in Novohispanic Sculpture session with Artists-in-Residence Tiana Mincey (USA) and Zhu Xiaoqing (China)
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ArquetopiaSUMMER 2017 PROGRAM ITINERARY AND SCHEDULE OF EVENTS
(Plus More Programming TBA)
Week 1
The first week of the program will serve as an introduction to Arquetopia’s methodologies. We will welcome Sofia Carrillo, curator of Mexico Citys Ex Teresa Arte Actual Museum for a portfolio review of all participants. This first week will include self-directed art production hours and an introduction to historical and artistic connections between Novohispanic graphic arts and mural painting traditions. In addition, individual art critique sessions will help participants establish overall goals. The first tour of Mapping the City will focus on ritualized violence.
  • Portfolio review with curator Sofia Carrillo
  • Self-directed art production time (12 hours, approx.)
  • Introduction to Novohispanic Graphic Arts and mural painting traditions (9 hours)
  • Individual art critique
  • Mapping the City: Ritualized Violence
Week 2
The second week will focus on the diversity of art practices, collective critique, and in the assessment of conceptual needs for each individual project. We will welcome Iranian curator and scholar Siamak Delzendeh, who will teach the first seminar exploring the relationship between violence, Modernism, and the construction of national identities to contextualize contemporary art practices. Furthermore, we will be sourcing out materials for production. For this reason, the time allocated for self-directed art production will be increased during this week, allowing participants an exploration of their themes and projects independently. Art instruction is included in the second week, which will place a particular emphasis on Novohispanic Graphic Arts techniques. Lastly, the second Mapping the City tour will focus on violence through visual culture.
  • Seminar with Siamak Delzendeh (9 hours)
  • Self-directed art production time (12 hours, approx.)
  • Novohispanic Graphic Arts Techniques Workshop (9 hours)
  • Collective art critique
  • Mapping the City: Violence through Visual Culture
Week 3
During the third week, we will introduce participants to the complex mural tradition reflecting an amalgam of art techniques that produced a very rich visual culture. Studio hours will increase, allowing artists to explore their themes and projects independently. Art instruction will focus on Novohispanic mural painting techniques, and individual critiques will allow participants to assess their progress. Mapping the City will focus on exploring the Mesoamerican and Novohispanic mural tradition, including Cholula and Casa del Dean. Artists will have the option to share their process in a roundtable as part of Arquetopia's cultural community outreach programs in collaboration with Benemerita Universidad Autónoma de Puebla.
  • Self-directed art production (18 hours, approx.)
  • Novohispanic Mural Painting Techniques Workshop (9 hours)
  • Individual critique
  • Mapping the City: Exploring the Mural Tradition
  • Community outreach roundtable at BUAP
Week 4
The fourth week will focus on contemporary art case studies as examples of discourse on violence and its normalization in art. We will welcome Dr. Annette Rodríguez, who will teach the second seminar exploring how violence constructs and reinforces ideologies and heirarchies of race, gender, citizenship, and national belonging. Studio hours will continue, while collective critique will serve as feedback for the individual art practices. Mapping the City will focus on Mexico and Pueblas contemporary art scene, including studio visits and an artist talk.
  • Seminar with Dr. Annette Rodríguez (9 hours)
  • Self-directed art production (18 hours, approx.)
  • Collective critique
  • Mapping the City: Contemporary Violence
Week 5
For the fifth week, we will welcome art historian Emmanuel Ortega, who will teach a seminar on violence and the stratification of artistic practices. With the main purpose of challenging hierarchies that negatively impact the production of art and art history to this day, the seminar will also focus on the construction of national identity. This seminar also includes guided visits to relevant sites in order to further contextualize colonial art practices. Participants will continue to produce in the studio and have individual critiques. The activities and tours will include baroque architecture and other relevant sites.
  • Seminar with Emmanuel Ortega
  • Self-directed art production (18 hours, approx.)
  • Individual critique
  • Mapping the City: Violence and National Identity
Week 6
For the sixth and final week, we will welcome art historian Dr. Kirsten Buick, who will teach a master class on the aesthetics of violence and the writing of art history. Through a series of case studies, participants will explore how artists, art historians, critics, and the public construct meaning through objects and how we frame, at various times race, gender, sexuality, and class through visual expression. For the final critique, participants will present the results of their residency and collectively review the diverse processes. A farewell dinner for all ArquetopiaSUMMER 2017 participants will be held during this week. Artists will have the option to share their process in a roundtable as part of Arquetopia cultural community outreach programs in collaboration with Universidad Iberoamericana Puebla.
  • Master class with Dr. Kirsten Buick
  • Self-directed art production (18 hours, approx.)
  • Final collective critique
  • Farewell dinner
  • Community outreach roundtable at Ibero
Special Guest Scholars, Artists-in-Residence, Arquetopia staff, and Arquetopia studio spaces
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ArquetopiaSUMMER 2017 SPECIAL VENUE
The Museum of Art of the Former Convent of Santa Monica is one of Mexicos most prominent religious and colonial art museums. Its collections were formed in the 1930s with artwork from the 16th through 17th centuries including some of the greatest artists of the New Spain such as Juan Correa, Miguel Cabrera, Miguel Jerónimo de Zendejas, and Lorenzo Zendejas, among others. The museum also records monastic life in different periods of history, from everyday life to religious rituals.
 
RESIDENCY LOCATION
Arquetopia Puebla Our spectacular 1939 compound in Pueblas majestic central historic district
 
RESIDENCY DURATION / TIME PERIOD
Term of 6 weeks. Session dates for this program are fixed, from Monday, June 5 to Monday, July 17, 2017.
 
WHAT THIS RESIDENCY INCLUDES
Staff Support:
  • Each resident meets weekly with our staff for individualized research assistance/resources, project guidance, and critiques
Accommodation and Meals:
  • Furnished, private bedroom
  • Meals and 24-hour access to stocked kitchen and large dining room
  • Wireless Internet
  • Use of Arquetopias residency spaces including 4th-floor lounge and outdoor terraces
  • Shared bathrooms with modern fixtures and showers
  • Housekeeping
Studio Workspace:
  • 24-hour access to large and bright, shared art studio with generous natural light
  • Personal workspace with large table and wall space
  • Some tools provided
  • On-site darkroom provided for photographers
  • On-site print studio provided for printmakers
  • On-site ceramics firing facility provided for ceramists
  • Materials and supplies for the instructional course provided
  • Materials and supplies for additional project production not included but available for purchase locally
RESIDENCY FEE AND APPLICATION DEADLINES
E-mail This email address is being protected from spambots. You need JavaScript enabled to view it. for fee and application deadlines for this program.
 
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Please Donate

Arquetopia is a self-sustaining, Mexican official nonprofit foundation that is strictly unaffiliated with any political, religious, or war industrial / weapon-building entities. Your fully tax-deductible donation will help us continue to develop our unique arts programs and contribute to positive social change.

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