The Writing on the Wall: Posters, Graffiti, Protest – ArquetopiaSUMMER 2022 Triple International Academic Residency Program (Puebla, Mexico)
Arquetopia Foundation & International Artist Residency – Puebla, Mexico
The Writing on the Wall: Posters, Graffiti, Protest
ArquetopiaSUMMER 2022 Triple International Academic Residency Program
Includes Printmaking Technique Instruction, Critical Seminars & Independent Art Production
Program Dates: 6 weeks – June 6 to July 18, 2022
Deadline Extension: Apply Now through Saturday, January 1, 2022
Apply Now: Spaces are limited. All residency applications are evaluated for selection when they are received vs. after the deadline has passed.
TESTIMONIALS FROM OUR PAST RESIDENT ARTISTS
For profiles, feedback and testimonials from many of our outstanding past resident artists, art historians, and writers, don’t miss this page on our website: Arquetopia Foundation: Our Resident Artists www.arquetopia.org/our-resident-artists
The Writing on the Wall: Posters, Graffiti, Protest – ArquetopiaSUMMER 2022, Arquetopia’s flagship residency program, will focus on the art techniques and visual culture of posters, graffiti and the long-standing tradition of protest in Latin America and the Caribbean. Thinking of the major challenges of the 21st century, including climate change, domestic and geopolitical racial injustice, and the new concerns with global health, have made the questions about resistance and resilience even more relevant today. ArquetopiaSUMMER 2022 will address these and other pertinent questions through the powerful legacy of graphic arts and the profound visual history of these regions. From the Latin American printmaking revolutionary traditions of the early 20th century, to the influential images of OSPAAAL, and the reclaiming power of street art and graffiti, the act of protest has constantly engaged with issues of visibility and invisibility. After a long period of isolation, many artists are eager to reconnect, reclaim spaces and rethink social change. Is the 21st century really offering us another chance? Is it possible to subvert the violent legacy of visual culture? What lessons could we learn from other struggles and the cultures of resistance they have produced?
ArquetopiaSUMMER 2022 Triple International Academic Residency Program (with Master Printmaking Technique Instruction, Critical Seminars, 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 20 and over. This unique program will offer diverse critical approaches to challenge historical visual assertions, vocabularies, categories, and beliefs, as well as a variety of institutional visual practices and explore the problematics of the production of images. In her book “Touching Liberty” Karen Sánchez-Eppler calls attention to the dynamics of representation as rhetoric intersects, and how the figures produced by one discourse are altered or subsumed through contact with another.
Through this program, participants with diverse art practices and media will be able to conceptualize their art by engaging their practice in critical discussions and expand the notion of artistic agency in their work. One of the central goals will be to understand how visibility/invisibility through representation, discourse and intersection function beyond our intention as artists, by putting in context the role of cultural institutions in the production of meaning through objects, social relations, and art consumption. In that sense, what are the limits of representation, especially when thinking about radical difference? What happens when the problem of embodiment intersects with the violence of representation for the purposes of political and textual discourses? Although resistance and resilience have been a constant in the formation of multiple and diverse cultures in Latin America and the Caribbean, what happens when they intersect with the act of protest and the difference between private and public space becomes more visible? It is also true that the visual culture produced in these regions has had an undeniable influence in the materialization of modern and contemporary art and thus commodifying multiple struggles and social issues. This strong political legacy has not only influenced other forms of art but also set the tone to the tense and contradictory relationship between art and discourses, so how do we reconcile art, protest and social justice?
The accessibility and collaborative nature of printmaking as an art practice will create a generous and dynamic space where multiple discussions and exchanges will happen. Through a series of seminars and other academic activities, this program will explore the problematics of visual cultural and the possibility of resistance and resilience through artistic agency. Through hands-on workshops, in collaboration with the Erasto Cortés Printmaking Museum https://www.arquetopia.org/our-community-collaborating-spaces, participants will have the opportunity to expand their art practice by exploring several graphic art and printmaking techniques.
This unique program offers critical methodologies for diverse art practices allowing participants to conceptualize their art by engaging in critical discussions and expand the notion of artistic agency in their work. One of the central goals will be to understand how visibility/invisibility through representation, discourse and intersection function beyond our intention as artists, by putting in context the role of cultural institutions in the production of meaning through objects, social relations, and art consumption.
GRAPHIC ARTS & PRINTMAKING LEGACIES IN LATIN AMERICA
The Writing on the Wall: Posters, Graffiti, Protest will address the powerful legacy of graphic arts and the profound visual history of Latin America and the Caribbean. From the revolutionary printmaking traditions of the early 20th Century, to the influential images of OSPAAAL, and the reclaiming power of street art and graffiti, the act of protest has constantly engaged with issues of visibility and invisibility. The accessibility and collaborative nature of printmaking as an art practice will create a generous and dynamic space where multiple discussions and exchanges will happen.
SEMINARS, CRITIQUES & TOURS
Through a series of seminars and other academic activities this program will explore the problematics of visual cultural and the possibility of resistance and resilience through artistic agency. Through hands-on workshops, in collaboration with the Erasto Cortés Printmaking Museum https://www.arquetopia.org/our-community-collaborating-spaces, participants will have the opportunity to expand their art practice by exploring several graphic art and printmaking techniques.
ARQUETOPIASUMMER 2022 PROGRAM ITINERARY
This program includes 30 seminar hours; 27 hours of collective critiques, guided tours and visits to prominent museums in Puebla, and relevant sites. The program also includes a 27-hour hands-on art workshop instructed by a professional master printer, exploring the artistic dimensions of graphic arts and printmaking techniques. Activities are designed to promote intense creative work and artistic dialogue; therefore, artists are expected to allocate self-directed studio hours 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 Mexico’s most important art museums, in Puebla’s majestic central historic district https://www.arquetopia.org/our-community-collaborating-spaces.
SIX SPECIAL GUEST SCHOLARS & INSTRUCTORS
1. DR. KIRSTEN PAI BUICK (USA)
Kirsten Pai Puick, Ph.D., was born and raised in Chicago, Illinois. Dr. Buick specializes in art of the United States, focusing her research on African-American art, the impact of race and gender on the history of art, representations of the American landscape, the visual and material cultures of the first British Empire, 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. Buick is a tenured, full professor at the University of New Mexico, where she has taught since 2001. She earned her bachelor’s degree in art history and Italian literature in 1985 from the University of Chicago. She earned her master and doctorate degrees in art history from the University of Michigan. 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 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 Distinguished Scholar, Rhoades Foundation Visiting Lectureship, and the UNM University Libraries Faculty Acknowledgement Award.
2. REBECCA YEON AE COREY (Tanzania)
Rebecca Corey is the director of Nafasi Art Space, a centre for contemporary art in Dar es Salaam, Tanzania, which supports an artist collective, studio spaces, art workshops, artist residencies, exhibitions, and other public events, providing a meeting point for intensive dialogue between artists and the public. She has curated several group and solo exhibitions in Tanzania and organizes monthly interactive public art workshops and concerts. Rebecca is also a co-founder and former director of the Tanzania Heritage Project, an initiative for cultural preservation that seeks to revitalize heritage music, especially through the digitization of reel-to-reel archives. Rebecca was the Managing Director of Sauti za Busara festival in Zanzibar during 2012-14, and an advisor to Santuri Safari, an East African project that facilitates collaborations between traditional musicians and electronic music producers. She is the co- director and producer of a feature documentary film called ‘Wahenga’ (The Ancestors).
3. FRANCISCO GUEVARA (Mexico)
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.
4. KARIM KATTAN (Palestine)
Karim Kattan is a writer who lives between Bethlehem and Paris, where he is completing a Ph.D. in comparative literature. In 2014, he cofounded el-Atlal, an international residency for artists and writers in Jericho, Palestine. He has written among others for The Paris Review, Vice’s i-D, and The Funambulist. His first collection of short stories, Préliminaires pour un verger futur, was published in 2017 by Elyzad, and It was positively reviewed by national and local newspapers, radio and television shows in France and abroad, including Libération, l’Humanité, Radio France International and TV5.
5. DR. PABLO SIERRA (Mexico/USA)
Carlos Rivas, Ph.D. completed his doctorate in Art History at UCLA. Born in Los Angeles to undocumented parents who fled the Salvadoran civil war, Carlos has taught courses on Latin American visual and material culture at UCLA, Pitzer College, and Cal State Long Beach, and is involved in numerous Latinx artist and activist collectives in Southern California. His dissertation uses Mesoamerican spirituality and decolonial methodologies to analyze an eighteenth-century set of watercolor landscapes/maps from Central America, found in the lengthy Descripción Geográfico-Moral de la Diócesis de Goathemala. He also writes about Latinx artists working today in the U.S. southwest region and is interested in the contemporary use of ancient and colonial Mesoamerican iconography in art.
6. SERDA YALKIN (USA)
Serda Yalkin is the Curatorial Assistant for the Arts of the Americas and European Collections at the Brooklyn Museum. At Brooklyn, she has worked on projects including Impressionism and the Caribbean: Francisco Oller and His Transatlantic World and French Moderns: From Monet to Matisse, 1850-1950 and serves on the Native American Graves Protection and Repatriation Act (NAGPRA) committee. Her research interests include the intersection of art and activism in Latin America and de-colonial approaches to art and art history. While Serda has a regional focus, she believes in the importance of working with ideas that cross geo-political borders and is interested more broadly in issues of race, gender, and the historiography of art. Prior to working at the Brooklyn Museum, she worked for the Agustin Fernández Foundation with headquarters in New York and Paris. A Brooklyn based native New Yorker, she holds a B.A. in Art History from Bard College and a M.A. in Art History with a concentration in 20th century Latin American art and visual culture from the University of New Mexico.
OUR ARTIST-IN-RESIDENCE PROGRAMS
Our customized International Artist-in-Residence Programs offer competitive professional opportunities for emerging and mid-career, national and international artists, designers, curators, art historians, art educators, journalists, writers, and cultural researchers age 20 and over.
Arquetopia is distinguished worldwide for its array of unique residency programs with substantial content anchored in local knowledge, critical academic perspectives; therefore, our residency spaces function exclusively for productive art professionals, writers, historians and researchers, offering customized programs; a network of collaborative workspaces, institutions, and studios; individualized mentoring, and project support by our directorial/curatorial staff. Through the years, Arquetopia Foundation has raised the bar worldwide in the residency field, by putting the value of reciprocity at the forefront of every relationship with the environment, our residents and staff, as well as the diverse communities connected to our programs. The range of contents and artistic techniques offered through our artist residency programs are rooted in local knowledge, the cultures of resistance found in Mexico, Peru and Italy, and the preeminent question of ethics; thus, we provide exceptional life-changing opportunities where artistic practices become a space and time for experimentation and learning.
Our residency programs are comprehensive in what they include for the resident artists and writers and are based on a non-exploitative model promoting social consciousness. Residents are strongly encouraged to question all dominant forms of knowledge, including art history and visual culture; and to expand their artistic practices by engaging in critical discussions and exploring local epistemologies as part of their their residency experience. All of our residency programs are process-oriented, and the core of the residency is a critical approach to art making, learning, and research.
Selection decisions are based on quality of applicant’s work and proposed project. Candidates at all stages of their careers (emerging and established) must demonstrate a clear sense of potential. Our pool of applicants and residents is diverse in all aspects. Our residency programs are competitive opportunities for artists and researchers to pursue their own work, free of pressure (especially work that in their particular circumstances would normally be difficult to produce). The creation of community with fellow residents and staff during the residency period is important.
Now in its twelfth year, Arquetopia Foundation https://www.arquetopia.org/our-mission is a multiple award-winning nonprofit arts and cultural foundation with a social scope that is internationally established on three continents. Our mission emphasizes critical thinking, a commitment to reciprocity, and a sense of ethics at the core of all artistic practices. Our customized, professional International Artist-in-Residence Programs https://www.arquetopia.org/our-artist-writers-residencies are among the largest and most reputable worldwide. All of our multinational artist residency programs are unique, with an array of content anchored in local knowledge, critical academic perspectives, and a solid structure of collaborations with prominent cultural institutions, renowned experts, and notable artists. Our residency sites are located in four distinct cultural regions selected for their historical importance, influence and artistic contribution to the world: Puebla and Oaxaca in Mexico, Cusco in Peru, and Naples in southern Italy.
Considering how dominant visual culture has contributed to the invention of Mexico, Peru, and Italy in popular imagination, at Arquetopia, we are constantly exploring local epistemologies and cultures of resistance as a source of knowledge to contribute to social change. We are invested in approaching creative practices with critical perspectives to challenge all preconceived notions of “history” and “place,” and through the use of dynamic language, we question the idea of the body as a fixed identity. Through the years, we have successfully created a generous space where different perspectives meet and address important questions on the legacy of art history and the current state of the world.
ARQUETOPIA PUEBLA https://www.arquetopia.org/puebla
A spectacular, four-story 1939 Mexican Colonial California-style compound conveniently located in Puebla’s central historic district and and close to the Zócalo (city square) accommodates the offices, residency space for up to 12 artists-in-residence, and numerous production spaces of Arquetopia. Recently renovated and expanded, the residency offers a large, natural-light studio; a darkroom; a full printmaking studio, a ceramics firing facility with a medium-sized gas kiln; a natural pigments laboratory; a multi-room public gallery space; ten furnished bedrooms; a large dining room; an open-access kitchen; a small botanical garden; a research library; and outdoor terraces with panoramic views of the city.
PUEBLA, SOUTHERN MEXICO
Accessible via two international airports in Puebla (PBC) and Mexico City (MEX), Puebla is a UNESCO World Heritage Site that lies 136 km (84 mi) from Mexico City and has approximately 5,000 colonial buildings. With a population of 2.7 million, Puebla is famous for a deep cultural identity, delicious cuisine, Talavera ceramics, and traditions rooted in the 16th-century baroque and enriched by a blend of five pre-Hispanic/indigenous cultures, Arab, Jewish, French, and Spanish influences. Puebla lies 45 km (28 mi) east of the Popocatépetl and Iztaccíhuatl volcanoes, giving the residents a magnificent view of their snow-topped peaks. At an elevation of 2,200 m (7,200 ft), Puebla features a temperate subtropical highland climate, resulting in an average of only three days per year seeing temperatures above 29°C (84°F).
WHAT THIS COMPREHENSIVE RESIDENCY PROGRAM INCLUDES
Our residencies are mentored, professional programs with academic content customized to each artist-in-residence. Our programs include weekly meetings with our directorial and curatorial staff for personalized research assistance and resources, project guidance, and critique; 24-hour access to large, shared studio with natural light, personal workspace, large tables, wall space, and some tools; wireless Internet; furnished, private bedroom and use of shared indoor and outdoor common spaces; home-cooked meals, locally grown coffee, and stocked kitchen for 24-hour resident access; shared (serviced) bathrooms with modern fixtures and showers; utilities and housekeeping. For the Printmaking course, materials and supplies are provided. Materials and supplies for the instructional course provided. For additional project production, artists bring their own materials and supplies or obtain them locally. Arquetopia provides carefully detailed trip preparation materials, arrival transportation instructions, and orientation materials to all incoming residents.
– 30 hours in seminars with guest scholars
– 27 hours master technique instruction (9 hours per week, for first 3 weeks)
– 27 hours of collective critiques
– Each resident artist and researcher meets weekly with our directorial and curatorial staff for individualized research assistance/resources, project guidance, and critique
– Our residencies are process-based; residents are not expected to give talks, exhibitions, or workshops
Accommodation and Meals:
– Furnished, private bedroom
– Meals and 24-hour access to kitchen stocked with local and organic food, and large dining room
– Wireless Internet Use of Arquetopia’s residency spaces including outdoor terraces
– Shared, serviced bathrooms with modern fixtures and showers
– 24-hour access to large and bright, shared art studio with natural light
– Personal workspace with large table and wall space
– Some tools provided
– On-site darkroom provided for photographers
– On-site print/graphics studio provided for all participants
– Materials and supplies for the instructional course provided
– Materials and supplies for additional project production not included but available for purchase locally
RESIDENCY PROGRAM DATES, TUITION & TERMS
Session Dates: 6 weeks, June 6 to July 18, 2022.
Arquetopia offers flexibility without penalty in postponing scheduled residency dates if necessary due to the current and changing global health and travel circumstances. See also the attached document and our COVID-19 Health Protocol.
Program Tuition: USD $795 per week (USD $4770 for the 6 weeks). If applying during this deadline cycle, tuition is reduced to USD $4494. Deposit of 25% of Residency Tuition due within 1 week of selection notification. Balance due by 90 days before residency start date. Further partial tuition reduction option also available; e-mail us.
HOW TO APPLY
Apply Now through Sunday, December 12, 2021
E-mail us at firstname.lastname@example.org
Visit the Arquetopia website at https://www.arquetopia.org
Complete and submit the Arquetopia Artist-in-Residence Online Application Form https://www.arquetopia.org/residency-application, following the instructions on the web page.
Following selection, applicants are notified immediately via e-mail.
Arquetopia is committed to providing an inclusive and welcoming environment for all members of our diverse local and international community. Arquetopia’s resident artist and staff backgrounds vary in all aspects. As part of Arquetopia’s mission is to promote diversity, Arquetopia actively fights discrimination by offering access to its programs and activities without regard to race, color, gender or gender expression, national origin, age, religion, creed, or sexual orientation.
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