Feliz Navidad

© Brandon Queen, 2013

A combination of the holidays, a never-ending analysis of Puerto Rican Spiritist literature and a part-time gig in a sexy boutique have prevented me from updating with some of the many art happenings that have taken place in San Juan since November. Some of those include a few interesting shows at Galeria Espacio 304 and yet another obscenely amazing international street art festival called Los Muros Hablan (The Walls Are Talking).

But I don't want to leave anyone empty-handed at the holidays, so rather than the gift of another review I thought I'd leave you with a stocking-stuffer run-down of what's been covered here over the past year.

Appropriately enough, this blog began with an entry about the Puerta al paisaje exhibit, where I couldn't say enough good things about painter Carmelo Sobrino. Then came my grudging acknowledgment of performance art followed by a foray into gossip and architectural history. The frivolity continued with a note about eighteenth-century European artist Luis Parét y Alcázar. 

We shot back to the modern world with a trip to a comic-inspired exhibit organised by Pernicious Press. Gritty modernity kept its hold in a brief mention of the other urban art festival, Santurce es ley. That entry was followed by a quick summary of Puerto Rico's other major artistic strength, poster art, and one of the genre's elder statesmen, Antonio Martorell. The national theme continued with a review of the National Expo 2013, where the best of the best were showcased. When spring term finals cut time short, I decided to highlight another one of San Juan's Art Deco treasures, the Arriví Theatre in Santurce.

The summer highlight was the second half of the Puerta al paisaje exhibit, Entremundanos, at the Puerto Rican Museum of Contemporary Art. As I'm a fan of extreme time travel, that review was followed by a note on the pre-columbian art of the Tainos and archaeology in Puerto Rico.

Student work got a shout-out in this review of Omar Velázquez's exhibit Undo. Finally, in October, I reviewed another survey of national art that focused on the work of Elizam Escobar at the Puerto Rico Museum of Art.

And here we are, dear readers.

I hope this past year will have introduced some of you to some amazing new work and piqued your interest in Puerto Rico's art historical tradition. It's rich and varied and what has been covered here is not even close to scratching the surface. There are new exhibition spaces opening every month and the festivals, talks, and publications are multiplying exponentially.

For now, happy holidays and hasta 2014!

Paging Dr. Freud

© Brandon Queen, 2013

The current exhibition of Elizam Escobar's work at the Puerto Rico Museum of Art is thematically organised, with the resulting theme being general stylistic confusion. With the English title of "A Symbolic Introspective," the viewer can only expect the slightly surreal scenes that they are actually confronted with in each of the paintings. And it is precisely the narrative content of the works that takes precedence. However, relating the very personal scenes with those making social and political commentaries requires a mental stretch that is completely unnecessary.

Escobar is an established artist whose work goes at least as far back as the seventies. The pieces in "A Symbolic Introspective" cover this entire period, with the bulk of them being from the eighties and many from the past decade. The resulting retrospective (which seems like what this show is in some sense meant to be, which would explain the odd translation of the title) draws attention to some amazing work, but overall one wonders where exactly to situate the message and if a different theoretical framework might have clarified certain compositional decisions. Although the introductory text mentions Realism and Impressionism, most of the paintings could easily be described as Outsider art in style if not in substance. A more serious curatorial misstep occurs near the end of the exhibit, where a work from Carlos Raquel Rivera is placed next to a series of Escobar's paintings for an illustration of comparisons made in the informational panels; for me this makes Escobar look like an imitator and breaks the rhythm of the exhibit, especially since it's the only non-Escobar work presented.

There were four paintings that not only stood out, but completely saved this show. Toward the middle of the exhibit hope is offered in the form of La imaga (2005), where the abstraction Escobar seems to be most comfortable with comes to the fore. In this painting he mixes textures and shades, using each to highlight just the right parts of the composition. Another high point comes toward the end with the painting La nube (The Cloud) (2003); this is a large-scale painting (167.64 x 243.84 cm) and the simplicity of the image, with its duotone colour scheme, pulls the viewer into the very cloud depicted. A piece both well conceived and well executed.

By far the two most impressive works were the abstract ones, also on large canvases. El rinocerante (The Rhinoceros) (1988) is masterful, painterly work that shows that Escobar is far more at home when he thinks big. Even better than this painting was La maga y el vejigante (The Wise Woman and the Mummer) (1985). Measuring 127 x 247.65 cm, this painting shows that Escobar is a master at his craft and can create visual narratives that delight and intrigue. Free from any kind of ideology or psychoanalytic pretensions, this is is an exhaustive exploration of the possibilities of colour, shape, and saturation. Because of the topic (vejigantes are the traditional masks worn during carnival season) and its treatment, this painting is far more complex and interesting than the others for the simple fact that it does not feel forced.

"A Symbolic Introspective" runs until 1 December.

Trashy



 

© Brandon Queen, 2013

The exhibit Undo by Omar Velázquez is an appropriate one for the on-campus art gallery of the Universidad del Sagrado Corazón in San Juan's hip Santurce neighbourhood. Appropriate, because the overall theme of the pieces presented is nothing new and - to employ a bit of irony - recycles once more the concept of trash-as-art while touching on the dystopian nature of consumer culture. To be fair, in an age of Brian Jungen, it's quite difficult to find new approaches to this particular concept.

However, it is important to say that almost all of the pieces are very well executed from a technical standpoint.  Velázquez uses a range of techniques to make his point about the refuse left over from all of our society's industrial pursuits, including serigraphy, photography, collage, and sculpture (using Styrofoam, no less). One of the most refreshing aspects of his take on this issue is the playfulness of all the pieces. Rather than inviting the viewer to meditate gravely on the impact of capitalist production on the environment, Velázquez's works come off as a snide Pop Art commentary that belong as much in a hip café as in a museum or gallery.

In fact, his Styrofoam packing pallets serve as a bridge between the visions of the aforementioned Jungen and Jeff Koons. But the strongest piece(s) for me were the two untitled wood engravings, Sin título V and Sin título VI. They are a minimalist pair with small touches of colour - and even a small patch of duct tape - and are the most sophisticated execution of Velázquez's vision for this show.

The exhibit lasts until Saturday, September 14th at the Galería de Arte de la Universidad del Sagrado Corazon (Tuesday-Friday, 9h 30 - 17h 30; Saturday, 11h - 16h).

Digging Up the Past

© Brandon Queen, 2013

As the signage at the entrance of the exhibit explains, guaca is a Taino word for "region" or "surrounding area" and also denotes the small vases in which offerings were placed, as well as a tomb. The Museum of History, Anthropology, and Art of the University of Puerto Rico is currently showcasing part of its collection of Taino archeological treasures and, as is the case with many archealogically themed exhibitions, the items on display are primarily ritual pieces.

From stone slabs with petroglyphs to fully intact vases and stools, this small exhibit gives a great deal of insight into the development of indigenous culture in Puerto Rico for the past couple of millenia; there's even an almost complete skeleton to welcome you into the world of Puerto Rico's native history. The chronologically organised display begins with a display of stone and crystal tools, proceeds to some of the most beautifully executed pottery and jewelry produced anywhere in the Americas, and ends with a series of ritual items, including the famous dujos, or stools, used by noble and religious figures during important activities.

More broadly, this exhibit showcases the archeological activity that has taken place in Puerto Rico over the past century and reminds us that every corner of the New World was inhabited before the arrival of European armies, merchants, and religious groups. While I don't have a clear idea nor good knowledge of the historiography of Puerto Rican archeology, I can say that the collection poses more questions than it answers regarding native history on the island. In other words, the archeological scene in Puerto Rico should be a very interesting and exciting one in the years to come (if the funding is available, of course).

The nation boasts a very well-rounded programme of study in archeology at the prestigious Centro de Estudios Avanzados de Puerto Rico y el Caribe (Puerto Rico and Caribbean Centre for Advanced Studies). The island also recently hosted the 25th Congress of the International Association for Caribbean Archeology, which brought together researchers from all over the world and focused on all of the Caribbean nations; there were presentations in French, English and Spanish and not a single cultural block was left out of the programme (the oft-ignored Dutch islands were the subject of a few presentations).

In addition to shedding light on the full history of Puerto Rico, and the Caribbean in general, these discoveries provide a range of beautiful new additions to the material and architectural heritage of the Americas as a whole.

The exhibit runs throughout the fall of 2013.

Interworlders

 © Brandon Queen, 2013

 The Puerto Rico Museum of Contemporary Art is  hosting one half of the Puerta al paisaje exhibit, a show organised in conjunction with the Museum of History, Anthropology, and Art of the University of Puerto Rico - Río Piedras. This part of the exhibit, entitled Entremundanos (Interworlders), regroups the work of established artists and further explores the relationship between the artist's gaze and the landscape.

The most notable works in this exhibit are without a doubt those by Myrna Báez, an artist active since the 50's. Báez's work is masterful; she perfectly manipulates colour and texture to create captivating visual narratives. Of all her works on display in this show there are two that stand out for their pensive beauty:  Pensando en Proust (Thinking of Proust) and Mangle en las salinas (Mangroves in the Salt Marsh). Both paintings arrest first the eyes and then the mind, creating a contemplative artistic experience for the viewer.

The next most impressive piece in this show is a sculptural installation by Jaime Suárez entitled Galerías de la Tierra (Hall of Regions). This as a true delight for the senses, as the use of paper and clay sheets suspended from the ceiling gives one the very real impression of wandering through the deepest caverns of the Earth's surface layers. The monumental size and deft use of the materials provides the viewer with the approximative experience of a natural phenomenon.

Another notable contribution to Entremundanos is the series of photographs by John Betancourt, Puerto Rico: Calor. These black and white shots of landscapes and the built envrionment are technically very well executed and reflect their title perfectly; one can actually sense the heat of the day in each photograph, inspite of the cool black and white tones. There is a variety of compositions that were perfectly chosen and captured, which demonstrates the mastery Betancourt has over his medium.

These three artists are certainly some of the best in Puerto Rico and - I would venture - in the world. Each one shows a full understanding of their medium and has a sense of how to communicate with the viewer regardless of the latter's understanding of fine art. All three artists' works are a pleasure to encounter and any collection would be all the more complete with their presence.

The exhibit runs through September 2013 at the Puerto Rico Museum of Contemporary Art in San Juan, Puerto Rico.

Stage Presence

© Brandon Queen, 2013

Appropriate for a long absence from the blogosphere stage, my return is marked by a piece on another of San Juan's Art Deco treasures: the Teatro Arriví.

Unfortunately, this theatre doesn't have a website anywhere online so all I can say about its productions is that they are relatively frequent and are occasionally the work of international troupes.

The original venue was a cinema, one of the first in Puerto Rico in fact. After successive decades of use and abandonment, today the structure stands refurbished and has established itself as an important part of the ever-gentrifying neighbourhood of Santurce.

The theatre's namesake is Francisco Arriví, a prolific writer and literary figure that has been called the father of Puerto Rican theatre. He was especially active in the forties and completed a number of works in English.

As I said, the lack of a website makes it difficult to speak about Teatro Arriví's productions, but each time I pass by there seems to be a new banner advertising a new show or theatre festival. In fact, it was one of the main venues during the recent international theatre festival. Aside from hosting the vibrant theatre scene in Puerto Rico, it's also a great example of what architectural restoration can achieve for cultural preservation and urban development, something the city's leaders will hopefully be attentive to in the coming years.

Arsenal

© Brandon Queen, 2013

The Muestra Nacional 2013 (National Expo 2013), organised by the Institute of Puerto Rican Culture, takes the country's artistic pulse with a multi-generational survey of artists working in Puerto Rico. The exhibit, held in what used to be the Spanish marine's armoury, combines work from well-established and emerging artists.

Although time was short and the exhibit closed before I could see the whole thing, I can say that the work is of a very high quality, particularly the paintings, which are the high points of this show. Some of the sculptures and video works are out of place in comparison to the more refined pieces, but overall this exhibition shows that artists in Puerto Rico are producing world-class art.

While the paintings in the show are reason enough to check out the exhibit, the skill displayed in the mixed-media installations is especially striking. In the two rooms I was able to visit there were three pieces that stood out for their plastic sophistication and visual composition, all three from established artists.

One of them, by Franklin Graulau, is a three-piece sculptural installation in ceramic, enamel, and fibers entitled Jardín de media noche. Calling to mind 3D Surrealist flowers with Freudian undertones, each component has rounded edges and is a soft greyish colour, thus heightening the sense of dream-like playfulness.

Next to Graulau's work is a large-scale installation by Daniel Lind Ramos, Guardacosta(s). I will unreservedly admit that this was my favourite piece in the entire show (at least what of it I saw). An assembly of painted wood panels, palm fronds, pots, pans, machetes, and hoes, it sweeps the viewer away with its game of visual seduction and then invites them to consider the significance of each of the components. Referencing the name of the work (which means "coast guard") are the palm fronds, a bag of sand laid at the foot of the piece, and a background painted to recall the sea's horizon, all of which bring Ramos' biography into play since he is from Loíza, one of the country's oldest towns and located on the northern coast.

In the same corner with Graulau and Ramos' works is a piece by Spanish artist Luis Ivorra, who has been in Puero Rico since the late seventies and studied at the prestigious Escuela de Artes Plásticas (School of Applied Arts) in San Juan. His mixed-media sculpture Tránsito combines metal work, wood work, and ceramics to produce an austere and surreal effect. The apparent minimalism of this sculpture belies the skill necessary to produce such a clean but large-scale work.

All three of these works hearken to the Arts and Crafts Movement and take as a given the place of craft in contemporary art. They demonstrate that traditional techniques such as ceramics and wood working can be used to achieve a contemporary artistic vision without wallowing in a more traditionalist past.

The exhibit runs at the Antiguo Arsenal de la Marina until 8 October 2013.