DIAZ LEWIS - media.virbcdn.commedia.virbcdn.com/files/4f/185ec1088ba6d283-Aspect... · Booth D-12...
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Alejandro Figueredo Diaz-Perera and Cara Megan Lewis make up the collaborative Díaz Lewis. Díaz Lewis are based in Los Angeles where they stage performances and develop work that deals with shared global and human-rights interests. Recent projects include: 34,000 Pillows, an ongoing project that is in direct response to a US Congress mandate where 34,000 immigrants must be detained per day in one of 250 detention facilities. Another work, A Dream Deferred, a two-channel HD/8mm video installation simultaneously follows a game of soccer in the desert between undocumented workers while a young girl reads from Langston Hughes’ poem: Harlem. In 2015, their work was highlighted in the New York Times for Cheryl Haines’ group exhibition: Home Land Security. SELECTED SOLO EXHIBITIONS 2017 Safe Harbor, Visual Arts Gallery, curated by Allison Lacher and Jeff Robinson, University of Illinois, Springfield, IL Mumbai Art Room, Focus Festival Mumbai, Bombay, India making plans, Human Resources, Los Angeles, CA 2015 A Dream Deferred, Aspect/Ratio, Chicago, IL 2014 A Home Coming, Antena Space, Chicago, IL 2013 SMS: Simultaneous Moments of Silence, essay by Jessica Cochran, EXPO Chicago, IL and Garcia Squared Contemporary, Kansas City, MO SELECTED GROUP EXHIBITIONS 2016 Home Land Security, curated by Cheryl Haines, For-Site Foundation, San Francisco, CA 34,000 Pillows, David Weinberg Gallery, Chicago, IL SELECTED PRESS, RADIO AND TELEVISION 2017 KT Hawbaker, “See It Now,” The Chicago Tribune, November 9, 2017 Zahra Amiruddin, “The anxiety of waiting, divided by silence,” The Hindu, May 29, 2017 Matt Strongberg, “Inventive Responses to Labor and Immigration Issues at Human Resources,” Hyperallergic, March 23, 2017 “34,000 Pillows Casting a Spotlight on Immigration Reform,” ABC 20, Illinois, March 2, 2017 “Safe Harbor: Work by Díaz Lewis- ‘Artivism’ in Springfield,” NPR Illinois, March 1, 2017 Rob Marks, “Home Land Security,” Frieze Magazine, January-February, 2017 Open Engagement, 34,000 Pillows, Chicago, IL 2016 Jori Finkel, “A ‘Home Land Security’ Art Show, at the Foot of the Golden Gate Bridge,” The New York Times, June 23, 2016 “Presidio Hosts Artwork Examining Human Cost of National Security,” NPR Northern California, September 13, 2016 “Art Trip: Chicago,” Art Assignment, PBS Studios, March 10, 2016 “Artist’s Pillow Exhibit Draws Attention to Plight of Undocumented Immigrants,” CBS 2 Chicago, February 16, 2016 SELECTED RESIDENCIES AND TALKS 2017 Open Engagement, “34,000 Pillows,” panel discussion, Chicago, IL 2016 DCASE Cultural Center of Chicago, artist-in-residence, Chicago, IL Hyde Park Art Center, “Latino Art Now!, panel discussion, Chicago, IL DIAZ LEWIS Alejandro Figueredo Díaz-Perera, born Havana, Cuba Cara Megan Lewis, born Kansas City, MO Both Live and Work in Los Angeles, CA Booth D-12
Transcript of DIAZ LEWIS - media.virbcdn.commedia.virbcdn.com/files/4f/185ec1088ba6d283-Aspect... · Booth D-12...
Alejandro Figueredo Diaz-Perera and Cara Megan Lewis make up the collaborativeDíaz Lewis. Díaz Lewis are based in Los Angeles where they stage performances and develop work that deals with shared global and human-rights interests. Recent projects include: 34,000 Pillows, an ongoing project that is in direct response to a US Congress mandate where 34,000 immigrants must be detained per day in one of 250 detention facilities. Another work, A Dream Deferred, a two-channel HD/8mm video installation simultaneously follows a game of soccer in the desert between undocumented workers while a young girl reads from Langston Hughes’ poem: Harlem. In 2015, their work was highlighted in the New York Times for Cheryl Haines’ group exhibition: Home Land Security.
SELECTED SOLO EXHIBITIONS
2017 SafeHarbor,VisualArtsGallery,curatedbyAllisonLacherandJeffRobinson,UniversityofIllinois,Springfield,IL Mumbai Art Room, Focus Festival Mumbai, Bombay, India making plans, Human Resources, Los Angeles, CA2015 A Dream Deferred, Aspect/Ratio, Chicago, IL2014 A Home Coming, Antena Space, Chicago, IL 2013 SMS: Simultaneous Moments of Silence, essay by Jessica Cochran, EXPO Chicago, IL and Garcia Squared Contemporary, Kansas City, MO
SELECTED GROUP EXHIBITIONS
2016 Home Land Security, curated by Cheryl Haines, For-Site Foundation, San Francisco, CA 34,000 Pillows, David Weinberg Gallery, Chicago, IL
SELECTED PRESS, RADIO AND TELEVISION
2017 KT Hawbaker, “See It Now,” The Chicago Tribune, November 9, 2017 Zahra Amiruddin, “The anxiety of waiting, divided by silence,” The Hindu, May 29, 2017 Matt Strongberg, “Inventive Responses to Labor and Immigration Issues at Human Resources,” Hyperallergic, March 23, 2017 “34,000 Pillows Casting a Spotlight on Immigration Reform,” ABC 20, Illinois, March 2, 2017 “SafeHarbor:WorkbyDíazLewis-‘Artivism’inSpringfield,”NPRIllinois,March1,2017 Rob Marks, “Home Land Security,” Frieze Magazine, January-February, 2017 Open Engagement, 34,000 Pillows, Chicago, IL2016 Jori Finkel, “A ‘Home Land Security’ Art Show, at the Foot of the Golden Gate Bridge,” The New York Times, June 23, 2016 “Presidio Hosts Artwork Examining Human Cost of National Security,” NPR Northern California, September 13, 2016 “Art Trip: Chicago,” Art Assignment, PBS Studios, March 10, 2016 “Artist’s Pillow Exhibit Draws Attention to Plight of Undocumented Immigrants,” CBS 2 Chicago, February 16, 2016
SELECTED RESIDENCIES AND TALKS
2017 Open Engagement, “34,000 Pillows,” panel discussion, Chicago, IL2016 DCASE Cultural Center of Chicago, artist-in-residence, Chicago, IL Hyde Park Art Center, “Latino Art Now!, panel discussion, Chicago, IL
DIAZ LEWISAlejandro Figueredo Díaz-Perera, born Havana, Cuba Cara Megan Lewis, born Kansas City, MO Both Live and Work in Los Angeles, CA
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KambuiOlujimiisaNewYorkbasedartistwhoseworkreflectsonmythology,historicnar-rative, media cultures amongst many themes. These works are manifested in installation, photography, performance, tapestry, video, large sculpture, works on paper and painting.
Staying Afloat is a video that refers to the struggle to “stay above water” when even the basicpillarsofhumanexistencehavebecomeasdifficulttoattainaswalkingonairandtheadageof“makingadollaroutoffifteencents”islessmagicthennecessity.StayingAfloatisalsoaplayonthefamousAliquote“Floatlikeabutterfly,stinglikeabee”andcommemorates the political and humanitarian services of the late champion.
EDUCATION AND SELECTED RESIDENCIES
2017 Robert Rauschenberg Residency, Florida2013 MFA, Columbia University, New York, NY2009 Bemis Center for Contemporary Arts, Bemis, NE2006 Skowhegan School of Painting and Sculpture, Skowhegan, ME
SELECTED SOLO EXHIBITIONS
2017 Where Does the Time Go..., Lincoln Center for the Performing Arts, New York, NY Zulu Time, Madison Museum of Contemporary Art, Madison, WI2016 What Endures, Catherine Clark Gallery, New York, NY Solatalgia, Cue Arts Foundation, New York, NY2014 A Life in Pictures, MIT List Visual Arts Center, Boston, MA2010 Wayward North, Art in General, New York, NY
SELECTED GROUP EXHIBITIONS
2017 Project 107: Long Wolf Recital Corps, Museum of Modern Art, New York, NY The Half-Life of Love, MASS MoCA, North Adams, MA2015 Winter in America, Jack Shainman Gallery: The School, Kinderhook, NY2014 Crossing Brooklyn, Brooklyn Museum of Art, Brooklyn, NY2010 On Screen: Global Intimacy, Museo de Arte Carillo Gil, Mexico City, MX (travelling) 2007 For the Love of the Game, The Wadsworth Museum, Hartford, CN2005 Frequency, Studio Museum in Harlem, New York, NY
SELECTED PRESS AND PUBLICATIONS
2017 Seph Rodney, “Water as a Cinematic Metaphor for the Tides of Time,” Hyperallergic, November 17, 2017 Faye R. Gleisser, “unstable objects,” ARTFORUM, Critics’ Picks, September 20, 2017 Carrie Mae Weems, “Carrie Mae Weems in conversation with Kambui Olujimi,” Performa, July 10, 20172016 Jan Castro, “Solastalgia and Personalizing Displacement at CUE Art Foundation,” White Hot Magazine, June 1, 20162014 Ken Johnson, “The Artist Next Door,” The New York Times, October, 2, 20142006 Thelma Golden, “Frequency,” The Studio Museum of Harlem (exhibition catalogue), p 88-89, 2006
KAMBUI OLUJIMILives and works in New York, NY
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Skin 182017latex paint, spackling paste and drywall24” x 30” 60.9 x 76.2 cm
ALEJANDRO FIGUEREDO DIAZ-PERERA
Skin 192017latex paint, spackling paste and drywall24” x 24” 60.9 x 60.9 cm
ALEJANDRO FIGUEREDO DIAZ-PERERA
Skin 202017latex paint, spackling paste and drywall24” x 24” 60.9 x 60.9 cm SOLD
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Skin 212017latex paint, spackling paste and drywall24” x 24” 60.9 x 60.9 cm
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Skin 82017latex paint, spackling paste and drywall24” x 24” 60.9 x 60.9 cm
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Skin 142017latex paint, spackling paste and drywall24” x 24” 60.9 x 60.9 cm
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Skin 112017latex paint, spackling paste and drywall24” x 24” 60.9 x 60.9 cm
Skin 172017latex paint, spackling paste and drywall24” x 24” 60.9 x 60.9 cm
ALEJANDRO FIGUEREDO DIAZ-PERERA
ALEJANDRO FIGUEREDO DIAZ-PERERA
DIAZ LEWIS
Unfamiliar Setting 12017embossedlintcomprisedofhair,skincells,dustandclothingfibersinacustomacrylic frame(frame not depicted) 20” x 23.5” x 2.5” 50.8 x 60 x 6.4 cm
DIAZ LEWIS
Unfamiliar Setting 22017embossedlintcomprisedofhair,skincells,dustandclothingfibersinacustomacrylic frame(frame not depicted) 20.5” x 26.5” x 2.5” 52 x 67 x 6.4 cm
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Unfamiliar Setting 32017embossedlintcomprisedofhair,skincells,dustandclothingfibersinacustomacrylic frame(frame not depicted) 15” x 20” x 2.5” 38.1 x 50.8 x 6.4 cm
DIAZ LEWIS
Unfamiliar Setting 42017embossedlintcomprisedofhair,skincells,dustandclothingfibersinacustomacrylicframe(frame not depicted) 20” x 30” x 2.5” 50.8 x 76.2 x 6.4 cm
DIAZ LEWIS
Unfamiliar Setting 52017embossedlintcomprisedofhair,skincells,dustandclothingfibersinacustomacrylic frame(frame not depicted) 17” x 22” x 2.5” 43.2 x 55.8 x 6.4 cm
DIAZ LEWIS
Unfamiliar Setting 62017embossedlintcomprisedofhair,skincells,dustandclothingfibersinacustom acrylic frame(frame not depicted) 20” x 23.5” x 2.5” 50.8 x 60 x 6.4 cm SOLD
Staying Afloat2016singlechannelvideowithsignedcertificatehttps://vimeo.com/243127644 password: aspectratio
Edition of 6
KAMBUI OLUJIMI
