fuego pily estrada aguala memoria del agua

AGUAsusanna v. temkin

50 AÑOS (30 MÁS 20)

l a m e m o r i a d e l a g u a

airetiago de abreu pinto

fuegopily estrada

TIERRADAVID BARRO

susanna temkin COMISARIa

genesis báezraúl díaz reyes

frances gallardolina puerta

evelyn rydz

50 AÑOS (30 MÁS 20)

la memoria del agua

Susanna TEMKIN

The Memory of Water is a group exhibition featuring five artists whose practices explore aqueous imprints on history, the imagination, and the physical world. The show draws its title from French immunologist Jacques Benveniste’s 1988 theory on the capacity of water to retain “memory” at the molecular level. Though controversial within the scientific community, Benveniste’s proposal reignited interest in the metaphysical possibilities of water, particularly as related to healing and remembrance. Such renewed attention reflects long-standing traditions and cross-cultural beliefs about water and its properties, including the origins of memory in Western society as linked to the mythological river Mnemosyne of the Greek underworld. In The Memory of Water, the second of Galería Ponce+Robles exhibitions dedicated to the four elements, artists Genesis Báez, Raúl Díaz Reyes, Frances Gallardo, Lina Puerta, and Evelyn Rydz present works that visibilize the sensorial and perceptual experiences of water and watery phenomena, and their impact on collective and personal narratives. Echoing water’s shape-shifting ability to move between the forms of solid, liquid, and gas, their artwork evince a range of media including sculpture, textile, photography, printmaking, and video.

Broadly interested in meteorological patterns, Frances Gallardo explores the nature of hurricanes, powerful systems of water and wind with which she is intimately familiar, having been raised in Puerto Rico. In Carmela, Gallardo borrows from the convention of naming tropical storms, a practice that first arose in the 1950s and is today supervised by the World Meteorological Organization (WMO). According to the WMO, this system was originally intended “to help in the quick identification of storms…because names are presumed to be far easier to remember than numbers and technical terms.” In addition to serving as an aide-de-memoire, this practice additionally humanizes these potentially destructive, if natural, systems. Indeed, part of a larger body of cut-paper collages named after the artist’s family and friends, Gallardo’s Carmella converts the swirling abstractions of satellite imagery into an individual portrait.

La memoria del agua es una exposición colectiva que presenta a cinco artistas cuyas prácticas exploran las huellas acuosas en la historia, la imaginación y el mundo físico. La muestra toma su título de la teoría de 1988 del inmunólogo francés Jacques Benveniste sobre la capacidad del agua para retener la «memoria» a nivel molecular. Aunque controvertida dentro de la comunidad científica, la propuesta de Benveniste reavivó el interés en las posibilidades metafísicas del agua, particularmente en lo relacionado con la curación y el recuerdo(1). Esta atención renovada refleja antiguas tradiciones y creencias transculturales sobre el agua y sus propiedades, incluidos los orígenes de la memoria en la sociedad occidental en relación con el río mitológico Mnemosyne del inframundo griego (2). En La memoria del agua, la segunda de las exposiciones de Galería Ponce + Robles dedicada a los cuatro elementos, los artistas

Genesis Báez, Raúl Díaz Reyes, Frances Gallardo, Lina Puerta y Evelyn Rydz presentan obras que visibilizan las experiencias sensoriales y perceptivas del agua y de los fenómenos acuosos y su impacto en las narrativas colectivas y personales. Haciendo eco de la capacidad de cambio de forma del agua para moverse entre las formas de sólido, líquido y gas, sus obras de arte muestran una variedad de medios que incluyen escultura, textiles, fotografía, grabado y video.

Muy interesada en los patrones meteorológicos, Frances Gallardo explora la naturaleza de los huracanes, poderosos sistemas de agua y viento con los que está íntimamente familiarizada al haberse criado en Puerto Rico. En Carmela, Gallardo toma prestada la costumbre de nombrar tormentas tropicales, una práctica que surgió por primera vez en la década de 1950 y que hoy está supervisada por la Organización Meteorológica Mundial (OMM). Según la OMM, este sistema se diseñó originalmente para «ayudar en la identificación rápida de tormentas ... porque se presume que los nombres son mucho más fáciles de recordar que los números y los términos técnicos» (3). Además de servir como ayuda para la memoria, esta práctica humaniza adicionalmente estos sistemas potencialmente destructivos, aunque naturales. De hecho, formando parte de un cuerpo más grande de collages en papel recortado que llevan el nombre de la familia y los amigos del artista, Carmella de Gallardo convierte las abstracciones arremolinadas de las imágenes de satélite en retratos individuales.

De manera similar, Gallardo toma prestados conceptos de los mapas científicos en las dos obras en forma circular de su serie, The Unnamed. Como lo sugieren sus títulos, estas piezas de base textil se apartan de obras como Carmella en el sentido de que representan tormentas a las que nunca se les asignó un nombre formal, a pesar de alcanzar el estatus de huracán. Gallardo honra estos eventos climáticos aparentemente olvidados al conmemorar sus «vidas» a través de líneas bordadas que trazan el camino de los huracanes en una región geográfica determinada. Sus trayectorias están cosidas en algodón azul y seda reflectante, materiales que hacen referencia al mar. En estas líneas que a veces se cruzan antes de desviarse en varias direcciones curvas, sus diseños abstractos codifican un palimpsesto de archivo de historias de huracanes.

Mientras Gallardo explora los sistemas de nominación, la instalación de Raúl Díaz Reyes, Splash! ¡Splosh! ¡Ba-wooosh! considera cómo el agua y la experiencia de lo líquido dan forma al lenguaje. El trabajo se centra en un vocabulario acuático identificado por el artista en diálogo con el aclamado dibujante Mogorrón, quien ha creado trabajos para los cómics de Marvel y DC. Observando cómo las cualidades sensoriales del agua están aparentemente incrustadas dentro de los sonidos onomatopéyicos de palabras como Bwas! GluGlu! aparte de los del título, Díaz Reyes se extiende a lo visual a través del desarrollo de signos gráficos.

Tallados en madera, estos divertidos inventos invocan representaciones tanto simbólicas como pictóricas de goteos, gotas, salpicaduras y otros comportamientos líquidos. Al combinar sonidos, imágenes y otras cualidades perceptivas, recurren a las reservas de la memoria para proponer un enfoque sinestésico de la materialidad del agua.

Gallardo similarly borrows from scientific mapping in the two tondo-shaped works from her series, The Unnamed. As suggested by their titles, these textile-based pieces depart from works like Carmella in that they depict storms that were never assigned a formal name, despite reaching hurricane status. Gallardo honors these seemingly forgotten weather events by memorializing their “lives” through embroidered lines that chart the paths of hurricanes in a given geographical region. Their trajectories are stitched into blue cotton and reflective silk, materials that reference the sea. These lines at times intersect before veering off into various curving directions, their abstract designs encoding an archival palimpsest of hurricane histories.

While Gallardo explores systems of naming, Raúl Díaz Reyes’s installation Splash! Splosh! Ba-wooosh! considers how water and the experience of liquidity shapes language. The work centers on an aquatic vocabulary identified by the artist in dialogue with the acclaimed draftsman Mogorrón, who has created work for Marvel and DC comics. Noting how the sensorial qualities of water are seemingly embedded within the onomatopoeic sounds of such words as Bwas! GluGlu ! and those of the title, Díaz Reyes extends this into the visual through the development of graphic signs. Carved from wood, these playful inventions invoke both symbolic and pictorial depictions of drips, drops, splashes and other liqueous behaviors. In conflating sounds, sights, and other perceptual qualities, they draw on the reservoirs of memory to propose a synesthetic approach to the materiality of water.

Mientras que la instalación de Díaz Reyes invita a los espectadores a recordar sonidos imaginados, la escultura Island of Langerhans de Lina Puerta, presentada en la entreplanta de la galería Ponce + Robles, emite un goteo pacífico. Siendo un ejemplo de la serie Fountains de la artista, la pieza presenta agua corriente que se bombea a través de un entorno natural fantasioso y falso creado a partir de materiales encontrados, plantas artificiales y porcelanas hechas a mano dentro de una maleta “vintage”. “Island of Langerhans” deriva su título de un grupo de células dentro del páncreas que son responsables de la producción de insulina. De manera reveladora, en su tratado sobre el agua, el filósofo Gaston Bachelard hace referencia a los elementos como «hormonas de la imaginación», y cita al agua como la «realidad poética más completa». (4)

Estos procesos internos, así como la concepción del cuerpo como un paisaje acuático, son compartidos en la otra obra escultórica de Puerta expuesta: Cliff. Las formas anatómicas y botánicas híbridas de Island of Langerhans y Cliff hacen referencia a la creencia de Puerta en la interconexión del cuerpo con la naturaleza, así como en los sistemas necesarios para mantener ambos funcionando en equilibrio. Estos principios guían gran parte de su práctica, incluida su serie más reciente de tapices de técnica mixta que exploran los ciclos ambientales y agrícolas. Así, con su superficie azul reluciente, su Untitled (Turquoise), compuesto por un conjunto de telas, encajes, terciopelo, lentejuelas y alas de mariposa, recuerda el papel esencial del agua en el ciclo de vida, responsable tanto de sustentar la vida como de su eventual podredumbre y regeneración. Significativamente, este equilibrio entre las propiedades creativas y destructivas del agua está involucrado en la elaboración misma de esta serie, que requiere un método húmedo que le permita a Puerta dar forma y manipular la pulpa de papel para construir sus superficies con texturas. Como en una excavación arqueológica, las capas expuestas descubren secciones transversales de materiales y procesos incrustados dentro del trabajo.

Whereas Díaz Reyes’ installation invites viewers to recall imagined sounds, a peaceful trickle is emitted by Lina Puerta’s Island of Langerhans sculpture, presented on the landing of the Ponce+Robles gallery. An example from the artist’s Fountains series, the piece features running water that is pumped through a fanciful, faux natural environment created from found materials, artificial plants, and hand-made porcelains contained within a vintage suitcase. Island of Langerhans derives its title from a group of cells within the pancreas that are responsible for the production of insulin. Tellingly, in his treatise on water, philosopher Gaston Bachelard references the elements as “hormones of the imagination,” citing water as the most “complete poetic reality.”

Such internal processes, as well as the conception of the body as an aquatic landscape, are carried forth into Puerta’s other sculptural work on view, Cliff. The hybridized anatomic and botanical forms of Island of Langerhans and Cliff reference Puerta’s belief in the interconnectedness of the body within nature, as well as the systems required to keep both functioning in balance. These principles guide much of her practice, including her more recent mixed media tapestries series which explore environmental and agricultural cycles. Thus, with its shimmering blue surface, her Untitled (Turquoise), composed of an assemblage of fabrics, lace, velvet, sequins and butterfly wings, recalls the essential role of water in the life cycle, responsible for both sustaining life, as well as its eventual rot and regeneration. Significantly, this balance between the creative and destructive properties of water are involved in the very making of this series, which requires a wet method that allows Puerta to shape and manipulate paper pulp to build her textural surfaces. Like an archaeological site, the exposed layers uncover cross-sections of materials and processes embedded within the work.

La artista multidisciplinar, Evelyn Rydz, utiliza de manera similar el agua como parte de su práctica artística, recurriendo a los ríos y océanos como fuente pictórica y material físico. Creada recientemente para The Memory of Water, su obra Open Oceans Together/Apart a gran escala se compone de fotografías ensambladas para simular el flujo de agua a través del piso de la galería. Recortada de diversas formas, cada fotografía refleja la superficie de cuerpos de agua de todo el continente americano, desde ríos y afluentes en el área de Boston donde Rydz vive y trabaja, hasta el Mar Caribe, la región de donde proviene su familia. Dichas fuentes no solo hacen referencia a la biografía personal del artista, sino que también hablan de historias más amplias

de inmigración, comercio e industria, así como de las particularidades del clima. En conjunto, estas imágenes forman un nuevo cuerpo de agua que habla de conexiones globales; sin embargo, como sugiere el título de la obra, cada uno mantiene su naturaleza individual. Estas tensiones internas están ilustradas por las olas y corrientes que se disponen de modo que se mueven en diferentes direcciones unas de otras, dotando a la pieza de una sensación de tenso dinamismo.

Efectos similares son también evidentes en la obra de Rydz Aguas Dulces / Aguas

Saladas, collages de menor tamaño colgados en la pared. Al igual que Open Oceans, estos trabajos también combinan varias imágenes fotográficas de superficies marinas y acuarelas. Esta suma hace referencia al proceso más amplio del trabajo de Rydz con diferentes medios artísticos, en el que traduce fotografías a acuarelas y dibujos minuciosamente creados. En Aguas Dulces / Aguas Saladas, los dos medios se combinan y se superponen para producir un efecto sombrío. Rydz embellece estas superficies mediante la adición de agua salada, que se disuelve en patrones orgánicos y cristalinos. Como manchas literales, aluden además a las historias y traumas incrustados en el agua.

Multidisciplinary artist Evelyn Rydz similarly uses water as part of her artistic practice, turning to rivers and oceans as both pictorial source and physical material. Newly created for The Memory of Water, her large-scale Open Oceans Together/Apart is composed of photographs pieced together to simulate the flow of water across the gallery floor. Cut into variously shaped forms, each photograph reflects the surface of bodies of water from across the Americas, ranging from rivers and tributaries in the Boston area where Rydz lives and works, to the to the coasts of Colombia and Cuba, the regions from which her family is from. Such sources not only reference the artist’s own personal biography, but also speak to larger histories of im/migration, trade, and industry, as well as the particularities of climate. As a whole, these images form a new body of water that speaks to global connections; yet, as intimated by the work’s title, each nevertheless maintains its individual nature. Such internal tensions are illustrated by the waves and currents that are arranged so as to move in different directions from one another, endowing the piece with a sense of tense dynamism.

Similar effects are also evident within Rydz’s Aguas Dulces/Aguas Saladas, smaller scale collages hung on the wall. Like Open Oceans, these works also combine various photographic images of marine surfaces as well as watercolor. This addition references Rydz’s wider process of working between artistic mediums, in which she translates photographs into watercolors and painstakingly created drawings. In Aguas Dulces/Aguas Saladas, the two media are combined and layered to produce an ombre effect. Rydz embellishes these surfaces through the addition of saltwater, which dissolves into organic and crystalline patterns. As literal stains, they further allude to the histories – and traumas - embedded within water.

La fotógrafa Genesis Báez expresa un interés formal por el agua en sus formas mutables, capturando el elemento en algunos de sus estados más efímeros, como la niebla, el aliento, las nubes y el rocío. Como artista de la diáspora que se mueve entre el noreste de los Estados Unidos y Puerto Rico, es testigo de grandes oscilaciones en los cambios de temperatura y sus efectos sobre el agua, que a veces refleja un sustituto metafórico de la propia fluidez del artista entre lugares y culturas. Éste es el caso de una imagen como Condensation (San Juan Airport), en la que la luz del amanecer se refracta de un anillo de condensación formado en la ventana de un aeropuerto, enfatizando los límites literales y fronterizos entre adentro y afuera, líquido y gas, noche y día, aquí y allá. Aunque las fotografías de Báez aparentemente fijan momentos tan fugaces en la imagen , la artista sigue siendo consciente de la impermanencia

tanto del medio de la fotografía como del agua misma. De hecho, éste es el tema de la obra Held Together, tomada en un jardín en el Bronx, Nueva York, en la que los efectos de la humedad hablan de los estragos del tiempo en fotografías y papeles cuidadosamente pegados con cinta adhesiva y colgados en una ventana.

Los conceptos de memoria, preservación y nostalgia se exploran aún más en el cortometraje de Báez, Holding Water el cual, a pesar de su título, no muestra agua en absoluto. En cambio, el trabajo se centra en dos fragmentos de hormigón de un edificio, pintados en un tono cerúleo. Aunque no se identifican en el video, estos fragmentos arquitectónicos son de la colección de «Objetos de agua» de Báez, que consiste en piezas de vidrio, cuerdas, rocas y otros objetos encontrados que guarda en su estudio. Pasados en la película entre las manos de viejos y jóvenes, los fragmentos, como la magdalena de Proust, traen recuerdos a medida que son tocados y acariciados. A medida que las voces cuentan historias personales, los fragmentos azules parecen convertirse en agua. Tal y como se presenta a lo largo de las obras de The memory of water, esta capacidad transformadora refleja el poder del agua para retener historias, dejar huellas físicas y emocionales, curar traumas y resonar en la mente, el corazón y los oídos.

Photographer Genesis Báez expresses a formal interest in water in its mutable forms, capturing the element in some of its most ephemeral states, including as mist, breath, clouds, and dew. As a diasporic artist who moves between the northeastern United States and Puerto Rico, she is a witness to vast swings in temperature changes and its effects on water, which at times reflects a metaphoric surrogate for the artist’s own fluidity between places and cultures. This is the case with an image like Condensation (San Juan Airport), in which the light of daybreak refracts off a ring of condensation formed on an airport window, emphasizing the literal and liminal boundaries between inside and outside, liquid and gas, night and day, here and there. Although Báez’s photographs seemingly fix such fleeting moments on film, the artist remains aware of the impermanence of both the medium of photography as well as water itself. Indeed, this is the subject of the work, Held Together, taken in a botanica in the Bronx, New York, in which the effects of humidity speak to the ravages of time on photographs and papers carefully taped and hung in a window.

The concepts of memory, preservation, and nostalgia are further explored in Báez’s short video, Holding Water, which despite its title, features no water at all. Instead, the work centers on two concrete shards from a building, painted in a cerulean tone. Though not identified in the video, these architectural fragments are from Báez’s collection of “Water Objects,” consisting of pieces of glass, string, rocks, and other found odds and ends which she keeps in her studio. Passed between hands old and young in the video, the fragments, like Proust’s madeleine, draw forth memories as they are touched and caressed. As voices recount personal stories, the blue shards seem to convert to water. As presented throughout the works in The Memory of Water, this transformational capacity reflects the power of water to retain histories, leave physical and emotional traces, heal traumas, and resound in the minds, heart, and ears.

(1) Philip Ball. “The Memory of Water.” Nature. Octubre 8, 2004. https://www.nature.com/news/2004/041004/full/news041004-19.html (acceso March 2021).

(2) Almas seleccionadas bebieron de las aguas de Mnemosyne para preservar la memoria de la vida, de la que se deriva la palabra "mnemotécnica". Quizás las almas menos afortunadas bebieron del río Leteo, olvidando así su existencia moral.

(3) “Tropical Cyclone Naming.” World Meteorological Organization. https://public.wmo.int/en/our-mandate/focus-areas/natural-hazards-and-disaster-risk-reduction/tropical-cyclones/Naming (accessed March 2021).

(4) Gaston Bachelard. Water and Dreams: An Essay on the Imagination of Matter. Trans. Edith R. Farrell (Dallas: Institute of Humanities and Culture, 1999), p. 15.

CITAS / QUOTES

genesis báez

Genesis Báez es una artista que trabaja con fotografía y video. Nacida en Massachusetts, Báez se crió en Nueva Inglaterra, Estados Unidos y Puerto Rico. Tiene un máster en fotografía por la Universidad de Yale, donde recibió el premio John Ferguson Weir a la excelencia y el premio a la práctica crítica. Es alumna de la Escuela de Pintura y Escultura de Skowhegan en 2019, y tiene un BFA en Fotografía con honores de la Facultad de Arte y Diseño de Massachusetts. Báez ha exhibido su trabajo a nivel internacional, incluyendo Diagonal en Santurce, Puerto Rico, Yancey Richardson en Nueva York, NY, CHART en Nueva York, NY. Actualmente enseña fotografía y videoarte, y vive y trabaja en Brooklyn, NY.

Genesis Báez is an artist working with photography and video. Born in Massachusetts, Báez was raised in both New England, US, and Puerto Rico. She holds an MFA in Photography from Yale University, where she was awarded the John Ferguson Weir Award for excellence and the Critical Practice Award. She is a 2019 alumni of the Skowhegan School of Painting and Sculpture, and holds a BFA in Photography with honors from Massachusetts College of Art and Design. Báez has exhibited her work internationally, including Diagonal in Santurce, Puerto Rico, Yancey Richardson in New York, NY, CHART in New York, NY. She currently teaches photography and video art, and lives and works in Brooklyn, NY.

CONDENSATION (SAN JUAN AIRPORT), 2019IMPRESIÓN CON PIGMENTO PERDURABLE/

ARCHIVAL PIGMENT PRINT76,2 x 95,2 cm

Held together, 2018impresión con pigmento perdurable /

archival prgment print70 x 46 cm

Holding water, 2018video digital monocanal con sonido/

single channel digital video with soundmedidas variables /variable measures

Para ver el vídeo online, haga click en el siguente enlace: https://drive.google.com/file/d/1mSvd5QJQhykKtrLocycXmcnjsvA2A2q_/view

Lifiting water, 2017impresión con pigmento perdurable/

archival pigment print76 x 95 cm.

frances gallardo

Frances Gallardo obtuvo un master en arte de estudio por la Universidad de Cornell y una licenciatura en dibujo y humanidades

por la Universidad de Puerto Rico.

Ha tenido la oportunidad de desarrollar nuevos trabajos a través de numerosas residencias, entre ellas Latin American Roaming Art,

Caribbean Linked, The Center for Book Arts y La Práctica, Beta-Local. El trabajo de Gallardo ha sido ampliamente exhibido en los

Estados Unidos e internacionalmente en lugares como el Museo de Arte Latinoamericano (Los Ángeles), el Museo de Arte Pérez (Miami), el Instituto de Cultura Puertorriqueña (San Juan) y el

Museo de Arte KUMU (Tallin).

Su obra está representada por Lucy García Arte Contemporáneo (Santo Domingo).

Frances Gallardo earned an MFA in Studio Art from Cornell University and a BFA in Drawing and Humanities from the

University of Puerto Rico.

She has had the opportunity to develop new work through numerous residencies, including Latin American Roaming Art,

Caribbean Linked, The Center for Book Arts and La Práctica, Beta-Local. Gallardo’s work has been widely exhibited throughout the

US and internationally in venues such as the Museum of Latin American Art (Los Angeles), Perez Art Museum (Miami), Instituto de Cultura Puertorriqueña (San Juan) and the KUMU Art Museum

(Tallinn).

Her work is represented by Lucy García Arte Contemporáneo (Santo Domingo).

Carmela, 2011papel calado y collage/

openwork paper and collage70 x 100 cm

the unnamed (san juan), 2012-2019bordado en algodón sobre seda/

cotton embroidery on silk76 cm dia

The Unnamed (Florida Panhandle, Houston), 2020bordado en algodón sobre lino/

cotton embroidery on linen76 cm dia

Lina Puerta nació en Nueva Jersey, se crió en Colombia y vive y trabaja en la ciudad de Nueva York. Puerta tiene un máster en Educación Artística de Queens College / CUNY y ha expuesto internacionalmente. Actualmente es Artista en la Residencia KODA, en Nueva York, y tiene próximas exposiciones individuales en 2021 en: el Museo de Arte y Narración de Cuentos de Sugarhill Children; Hunter College East Harlem Gallery organizado con KODA en NYC y en El Taller Puertoriqueño en Philadelphia. También ha sido honrada con el premio Artista en residencia 2019/2020 en el Museo de Arte y Narración de Cuentos Infantiles de Sugar Hill; Beca NYFA en Artesanía / Escultura 2017, Artista en residencia 2017 en el Centro Joan Mitchell en Nueva Orleans, Residencia en el espacio de trabajo Dieu Donné 2016, Premio a la sustentabilidad Artprize-8. Sus próximas exposiciones incluyen la Ford Foundation Gallery, El Museo del Barrio, The 8th Floor, Smack Mellon, Wave Hill y Geary en la ciudad de Nueva York; 21C Museum Hotels en Louisville, KY y Bentonville, AR; y Pi Artworks en Londres. El trabajo de Puerta ha sido publicado en Hyperallergic, The New York Times, The Brooklyn Rail y Artnet News, entre otros.

Lina Puerta was born in New Jersey, raised in Colombia and lives and works in New York City. Puerta holds an MSEd in Art Education from Queens College/CUNY and has exhibited internationally. She is currently an Artist-in-Residence at KODA, in NYC and has upcoming 2021 solo shows at: the Sugarhill Children’s Museum of Art and Storytelling; Hunter College East Harlem Gallery organized with KODA in NYC and at El Taller Puertoriqueño en Philadelphia. She also has been honored with the 2019/2020 Artist-in-Residency at the Sugar Hill Children’s Museum of Art and Storytelling; 2017 NYFA Fellowship in Crafts/Sculpture, 2017 Artist-in-Residency at the Joan Mitchell Center in New Orleans, the 2016 Dieu Donné Workspace Residency, Artprize-8 Sustainability Award, Exhibition venues include the Ford Foundation Gallery, El Museo del Barrio, The 8th Floor, Smack Mellon, Wave Hill, and Geary in New York City; 21C Museum Hotels in Louisville, KY and Bentonville, AR; and Pi Artworks in London. Puerta’s work has been written about in Hyperallergic, The New York Times, The Brooklyn Rail, and Artnet News among others.

lina puerta

“cliff”, 2012Espuma de poliuretano, porcelana, resina, hilo de algodón, tela, relleno de fibra, pintura acrílica, árbol modelo, adornos, abalorios, pedrería, cadena, lámina acrílica, follaje artificial y musgo y cera/

Polyurethane foam, porcelain, resin, cotton thread, fabric, fiberfill, acrylic paint, model tree, trims, beads, rhinestones, chain, acrylic sheet, artificial foliage and moss and wax22 x 18 x 16,5 cm

Island of langerhans, 2011Arcilla, esmalte, tela, pedrería, apliques, espuma de poliuretano, pegamento, modelar árboles, pintura, plantas artificiales y maletín vintage/

Clay, glaze, fabric, rhinestones, appliqué, polyurethane foam, glue, modeling trees, paint, artificial plants and vintage briefcase28 x 34 x 28 cm

untitled (rug), 2016Papel hecho a mano compuesto de algodón pigmentado, lino y pulpa de abacá; incrustado con piel sintética, cadenas, adornos, telas con lentejuelas y encajes/

Handmade paper composed of pigmented cotton, linen and abaca pulp; embedded with, fake fur, chains, trims, sequined fabrics and lace9 paneles de 35,5 x 28 cm (dimensiones totales 120 x 91,5 cm)/ 9 panels of 35,5 x 28 cm (Overall dimensions 120 x 91,5 cm)

VIDEO SOBRE EL PROCESO DE FABRICACIÓN DE ESTA SERIE EN EL SIGUIENTE ENLACE: https://vimeo.com/236307999

evelyn rydz

Evelyn Rydz, a lo largo de su carrera, recibió la Beca de la Fundación Joan Mitchell, la Beca Brother Thomas, la Beca del

Consejo Cultural de Massachusetts, la Beca Itinerante SMFA, el Fondo Charla del Foro de Arte Latino de EE. Fundación Cintas

Knight. Su trabajo ha sido exhibido en Lowe Art Museum (Miami, FL),

Palacio de Justicia (Matanzas, Cuba), Palmer Art Museum (Penn State University), Institute of Contemporary Art (Boston, MA),

Jordan Schnitzer Museum of Art ( Eugene, OR), El Parque Cultural del Caribe, (Barranquilla, Colombia), USC Fisher Museum (Los

Ángeles, CA), Anchorage Museum (Anchorage, AK) entre otros. Las colecciones públicas incluyen el Banco de la Reserva Federal,

la Fundación Barr, las Galerías de Arte de la Universidad de Tufts, el Museo de Arte Fitchburg, el Museo DeCordova y Fidelity

Investments.

Rydz ha creado proyectos comunitarios para el I.C.A. Watershed, la Galería Cooper de la Universidad de Harvard, la Universidad de

Massachusetts, el Centro de Artes Visuales LIST del MIT, la Galería 808 de la Universidad de Boston, Urbano Project, el Museo de

Bellas Artes de Boston y más.

Her work has been exhibited at the Lowe Art Museum (Miami, FL), Palacio de Justicia (Matanzas, Cuba), Palmer Art Museum

(Penn State University), Institute of Contemporary Art (Boston, MA), Jordan Schnitzer Museum of Art (Eugene, OR), El Parque

Cultural del Caribe, (Barranquilla, Colombia), USC Fisher Museum (Los Angeles, CA), Anchorage Museum (Anchorage, AK) among

others. Public collections include the Federal Reserve Bank, Barr Foundation, Tufts University Art Galleries, Fitchburg Art Museum,

DeCordova Museum, and Fidelity Investments.

Rydz has created community projects for the I.C.A. Watershed, Harvard University’s Cooper Gallery, University of Massachusetts,

LIST Visual Arts Center at MIT, Boston University’s 808 Gallery, Urbano Project, the Museum of Fine Arts, Boston and more.

Open Oceans: Together/ Apart, 2021impresión con pigmento perdurable /

Archival Pigment Prints350 x 400 cm

#1, 2021Estampados pigmentados, acuarela y agua salada sobre papel/

Pigment Prints, Watercolor and Salt Water on Paper35,5 x 40 ,5 cm


Pigment Prints, Watercolor and Salt Water on Paper40 x 37,5 cm


Pigment Prints, Watercolor and Salt Water on Paper106,5 x 91,5 cm

raúl díaz reyes

Raúl Díaz Reyes ha expuesto y recibido importantes becas internacionales en España, Alemania, Estados Unidos, Rusia y Brasil, siendo en este país donde ha desarrollado su creación en los últimos años. Actualmente le representan galerías en Madrid, São Paulo y Moscú.

Las obras de Raúl Díaz Reyes rompen las fronteras disciplinarias haciéndonos entrar en una contemporaneidad rotunda en la cual los lenguajes se alejan de la convención y nos invitan a conformar una mirada panorámica de los entornos. La unión que establece con la arquitectura, así como la mezcla de materiales, nos habla de las ciudades en relación con sus habitantes como sistemas dinámicos en movimiento y alteración constante. De este modo no hay límites dimensionales, no hay leyes técnicas: la fotografía se contempla como escultura, la pintura se adentra en ella. Los frutos de interacción y cambio cuestionan los modelos expositivos, alterando códigos y dando lugar a nuevos paisajes de posibilidades múltiples.

Raúl Díaz Reyes has exhibited and received important international scholarships in Spain, Germany, the United States, Rusia and Brazil, being in this country where has developed its creation in recent years. Currently, he is represented by galleries in Madrid, São Paulo and Moscow.

Raúl Díaz Resyes’ work breaks the frontiers between disciplines, taking us into a decisive contemporaneity, in which all languages drift away from the standard and invite us to knock into shape a panoramic look of our surroundings. The union that is established with architecture, and the mash-up of materials, talks to us about cities in relationship with their inhabitants as dynamic systems in constant movement and alteration. This way, there are no dimensional limits, no technical laws: the photograph is contemplated as a sculpture, and the painting gets into it. The results of this reflection on the city as a place for interaction and change question exhibition models, alters codes, and generate new landscapes with multiple possibilities.

splash!, splosh!, ba-wooohs!, 2021MDF/

MDFmedidas variables / variable measures

GABRIELA ALBERGAIRA(1965, VALE DE CAMBRA, PORTUGAL)GENESIS BÁEZ(1990, MASSACHUSETTS, USA)

SELECTED cv information

Education

2019 MFA Photography, Yale University, New Haven, CTSkowhegan School of Painting and Sculpture, Madison, ME

2012 BFA Photography, Departmental Honors, Massachusetts College of Art + Design, Boston, MA

Awards & Artist Residencies

2019 John Ferguson Weir Award for Excellence, Yale School of Art, New Haven, CT

2018 Critical Practice Award & Research Fellowship, Yale School of Art, New Haven, CT

2015 Civil Society Institute Fellowship, Vermont Studio Center, Johnson, VTResidency: Vermont Studio Center, Johnson, VTLatin American Fotografía 4, New York, NY/ Buenos Aires, Argentina

2014 St. Botolph Emerging Artist Award, Nominee, Boston, MA

2012 Departmental Honors in Photography, Massachusetts College of Art and Design, Boston, MA

2008 Dr. Martin Luther King Junior Merit Scholarship for Minority Students, Attleboro, MA

Solo Exhibitions

2018 Reclamation/Reclamación, Brooklyn Public Library at Grand Army Plaza, Brooklyn, NY

Selected Group Exhibitions

2021 THE MEMORY OF WATER, CURATED BY SUSANNA V. TEMKIN, PONCE+ROBLES, MADRIDGroup Show curated by Leslie Martinez, And Now, Dallas, TX Free as Air and Water, Mattatuck Museum, Waterbury, CT

2020 Imperfect Clocks, CHART, New York, NY Incertidumbre y subversión en lo cotidiano, Diagonal, Santurce, Puerto Rico

2019 Transcript, Yancey Richardson, New York, NYYale MFA Photography Thesis Exhibition, Yale School of Art, New Haven, CTLiving Arts New Genre Festival, Tulsa, OK

2018 Under a Dismal Boston Skyline, Stone Gallery at Boston University, Boston, MASecond Year MFA Photography Exhibition, Yale School of Art, New Haven, CT

2017 Space: Placemaking in the 21st Century, New Bedford Museum of Art, New Bedford, MAStand Up, Gallery Kayafas, Boston, MA

2016 Flash Forward Film Festival, Boston, MAHello, World!, Art Space, New Haven, CT

GABRIELA ALBERGAIRA(1965, VALE DE CAMBRA, PORTUGAL)


2015 All Visual Boston, Institute of Contemporary Art, Boston, MABelow the Sky, Above the Clouds, Piano Craft Gallery, Boston, MAOn Photography, Hynes Convention Center, Boston, MA

2014Placed: Inside Out, Gallery Kayafas, Boston, MA

2013Young Boston Artists, Harbor Gallery, University of Massachusetts, Boston, MAHistories of Now, Grossman Gallery, Boston MA

2012 PRC Juried Student Exhibition, Photographic Resource Center, Boston, MA

Lectures + Artist Talks

2020 Pepperdine University, Malibu, CACalifornia State University, Long Beach, CALesley University College of Art + Design, Boston, MAThe Humid, Athens, GeorgiaNew York University, New York, NYParsons School of Design, New York, NY

2019International Center of Photography/ School, New York, NYWesleyan University, Wesleyan, CT

2018University of Puerto Rico, Rio Piedras, Puerto RicoMarble Hill Camera Club, New York, NYMassachusetts College of Art and Design, Boston, MA

2015 Vermont Studio Center, Johnson, VT

2014 Massachusetts College of Art and Design, Boston, MA

Selected Bibliography

2020 Contribution to The Backroom, Museo Tamayo, Mexico City, MexicoPhotographer of the week on CapriciousInterview with Art of Choice Experience Movement and Sound in Genesis Báez’s PhotographsDer Greif online Guest Room, Curated by Oluremi Onabanjo

2019 Musée Magazine: Genesis Baez

2018 Art in America- Exhibition review of Under a Dismal Boston Skyline/ Print + OnlineBoston Art Review -Exhibition review of Under a Dismal Boston Skyline

2015Papersafe: Across, A Wild Sea, curated by Elle Perez/ PrintInterview with Fototazo, Medellín, Colombia/ Online


SOLO EXHIBITIONS

2019Jardins, Ponce + Robles, MadridRaquel Arnaud Gallery, São PauloOsnova Gallery. Moscow

2016I’M THE PROBLEM Atelier Fidalga, São PauloPatterns. Osnova Gallery. Moscow

2014Renovations, Ponce+Robles Gallery, Madrid

2012Archimede’s Principle. (with Santiago Morilla. Curated by Edu Hurtado)3+1 Contemporary Art. Lisbon

2011Intimate Freaks.Emma Thomas Gallery. São PauloPixaçao São Paulo. Jose Robles Gallery. Madrid

2010Vitamina R. La Gesta Imposible. La Noche en Blanco (Curated by David Armengol) Madrid

2009Un paseo entre el dibujo, la pintura y un más allá. (Curated by Virginia Torrente) Centro de Arte Joven, Madrid

2008Always in love. Alfara Gallery, Oviedo / Brita Prinz Gallery, Madrid

SELECT GROUP EXHIBITIONS

2021the memory of water (ponce+robles gallery) madrid

2020PArC’20 online (Ponce+Robles Gallery) MadridArco’20. (Ponce+Robles Gallery) Madrid

2019Pinta’ 19. (Ponce+Robles Gallery) MadridPArC’19. (Ponce+Robles Gallery) Madrid

2018Idea, materia, forma. Nuevo paradigma en la escultura actual, Red ITINER(Curated by This is Jackalope) Travelling exhibition, MadridARCO, (Ponce+Robles Gallery) Madrid

2017UNTITLED Art Fair Miami Beach. (Ana Mas Projects)Contemplation Room & Library of Love (Project curated by Sandra Cinto)CAC - Cincinnati Contemporary Arts Center, USATell Me Net. Osnova Gallery, MoscowThe Matter of Color. (Curated by Franck Marlot) Raquel Arnaud Gallery, São PauloArt Lima (Ponce+Robles Gallery) LimaKaptateka. Argunovskaya Library. Moscow

2016VOLTA 12. Basel. (Ponce+Robles Gallery)ARCO’16 (Ponce+Robles Gallery) (Land Rover Gallery) MadridUNTITLED Art Fair Miami Beach. (Ana Mas Projects)RAID_8. Raquel Arnaud Gallery. São Paulo. São PauloTomar Posición. Ponce+Robles Gallery, Madrid#ABSOLUTICON. Palacio de las Alhajas. Madrid

RAÚL DÍAZ REYES(1977, MADRID, SPAIN)



2015VOLTA 11. Basel. (Ponce+Robles Gallery)Vidas Cruzadas. Paula Alonso Gallery. MadridDe la mano. CENTRO CENTRO. Madrid

2014Si no todas las armas, los cañones. MATADERO MADRID, MadridTangentes. IED, Madrid. (Curated by Cristina Anglada)El Ranchito. PIVÔ, São PauloVOLTA 10. Basel. (Ponce+Robles Gallery)ARCO ‘14. As Tables Are Shelves. Múltiplos

2013Open Studio. 110 Building Art Center. LMCC. New YorkHigh society Pelaires gallery. Palma de Mallorca. (Curated by Fernando Gómez de la Cuesta)VOLTA 9. Basel (Pro Gallery)SP Arte. São Paulo International Art Fair. Brazil. (Emma Thomas Gallery)Une Vie Á La Gomme. +R Gallery. BarcelonaCasa Arte Art Fair. (FranjaMelero). MadridNo hay Banda. Matadero MadridARCO’13. (Paddle8). MadridBlue 7 Phenomenon. Sant Andreu Contemporani Art. BarcelonaBiblioteca Intervenida. DAFO Space of Proyects and Contemporay Art. LleidaArchimovile. Independent Curators International (ICI) New YorkJUSTMAD MAM. Basel / Miami Fair. (Jose Robles Gallery)

2012Suporte/ Leilão de Parede. Pivô. Copan Building, São Paulo100% Desván. Sant Andreu Contemporani Art. BarcelonaLet Stock About Art. Palacio El Imparcial. MadridLos Inmutables. DAFO Space of Proyects and Contemporay Art. LleidaThe 12th Gas Natural Fenosa Art International Exhibition. MACUF, La CoruñaMasquelibros- I Feria del libro de artista de Madrid. (José Robles Gallery)

AWARDS AND RESIDENCIES

2016Paulo Reis Residency. Atelier Fidalga, São Paulo

2014Grant AECID. El Ranchito / MATADERO MADRID and PIVÔAid to the Production Omnivoros Studio

2013Grant for the Promotion of the Spanish Contemporary Art, Ministry of Culture of SpainSwing Space Residency. LMCC (Lower Manhattan Cultural Council) New York. USA

2012Finalist. Swab Drawing Prize

2011Grant for the Promotion of the Spanish Contemporary Art, Ministry of Culture of SpainFAAP Art Residency. São PauloCircuitos 2011 (selected)

2010Hangar Grant. Casa das Caldeiras, São PauloGrant for Contemporary Creation Matadero MadridHonourable mention Carmen Arozena. International Graphic Award

2009International Creators Movility Grant. Matadero Madrid, Emma ThomasGallery, São Paulo



education

2016 MFA ‘Studio Art,’ Cornell University, Ithaca, NY 2008 BA, ‘Fine Arts and Humanities,’ Universidad de Puerto Rico, San Juan, PR

Resident artist

2018 Visiting Scholar, Flight and Space Exploration Archives, Purdue University, IN

2017 Latin American Roaming Art, Panama City, PA

2016 Caribbean Linked IV, Ateliers ‘89, Oranjestad, AW

2014Taller Vivo, Museo de Arte Contemporáneo, San Juan, PR

2012 The Center for Book Arts, New York, NY

2011La Práctica, Beta-Local, San Juan, PR

collections MTA Arts & Design, New York, NY, US Federal Reserve Bank of New York, New York, USThe Center for Book Arts, New York, NY, USPurdue University, West Lafayette, IN, USMuseo de Arte de Puerto Rico, San Juan, PRColección Chocolate Cortés, San Juan, PRColección Iris Marcano & José Hernández Castrodad, San Juan, PRPrivate Collections: Puerto Rico, Dominican Republic, BVI, USAsiaciti Trust, Australia

Cover artwork haymarket books contributions

2019Aftershocks of Disaster: Puerto Rico Before and After the Storm, Haymarket Books

2018The Puerto Rico Review: No. 2

nominations

2018Cisneros Fontanals Foundation Emerging Artist Grant, Miami, FL

2017Joan Mitchell Foundation Painters & Sculptors Grant, New York, NY

2016Cisneros Fontanals Foundation Emerging Artist Grant, Miami, FL

2013AICA- Puerto Rico Chapter: Best Curatorial Project, Elvis Fuentes, Meteoro, Frances Gallardo,

FRANCES GALLARDO(1984, san juan, puerto rico)



Commissions

2019Line to Line, ¬MTA Arts & Design “Percent for Art,” Mount Vernon, NY

2014Agave Azul, illustrations for poetry book, Folium Editores, San Juan, PR Individual & two person exhibitions

2021 Gallardo/Budoff: Growth, Breadth, and Terrain, two-person exhibition, Cornell FineArts Museum, Rollins College, Orlando, FL (forthcoming)

2019Terramóvil (Mobilearth), Tompkins County Public Library, Ithaca, NY

2016 Landings (lift off), MFA Thesis, Olive Tjaden Gallery, Cornell University, Ithaca, NY

2014Meteorology, The Torpedo Factory, Alexandria, VA

2012Meteoro, Arsenal de la Marina Española, ICP, San Juan, PR

2011Of Dreams and Hurricanes, two-person exhibition, Frances Gallardo & María Berrio, Praxis Gallery, New York, NY

selected group exhibitions

2021the memory of water, ponce+robles gallery, madrid, sp[…]ENTREFORMAS, Museo de Arte de Puerto Rico, San Juan, PR (forthcoming)Novenario, Museo de Arte Contemporáneo, San Juan, PR (forthcoming)

2020Rising Water, FSU Museum of Fine Arts, Tallahassee, FLAnarquía y dialéctica en el deseo: mujeres artistas de Puerto Rico, Museo de Arte Contemporáneo, San Juan, PR

2019Whose Vestiges Subsist, Clemente Soto Vélez Cultural Center, New York, NYPuerto Rico plural, Museo de Arte de Puerto Rico, San Juan, PR Puerto Rico In/Ex, Glendale Community College, Glendale, CA Return to Entry: Interpreting Purdue’s Space Exploration Archives, Robert L. Ringel Gallery, Purdue University, West Lafayette, IN Nada Tropical, Galería Miscelánea, El Raval, BarcelonaSatellite calling control, no answer, Beta-Local presents unidentified flying objects,one day pop-up exhibit for Mundos Alternos: Art and Science Fiction of the Americas, Queens Museum, Queens, NY

2018 Puerto Rico: Defying Darkness, 516 ARTS, Albuquerque, NM PM, Embajada, San Juan, PR Correspondencia, El Lobi, San Juan, PR

2017Pacific Standard Time: LA/LA; Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, Museum of Latin American Art, Long Beach, CATraveling exhibition: Wallach Art Gallery; Delaware Art Museum; Portland Museum of Art; Frost Art MuseumEn 63M2, Lucy García Arte Contemporáneo, Santo Domingo, DR



EDUCATION

1995-1998 Master of Science in Art Education, Queens College, NY

1988-1992 Bachelor of Arts with Honors in Studio Art, Wells College, Aurora, NY

SELECTED GRANTS, AWARDS & RESIDENCIES

2020 KODA Lab Residency, Brooklyn, NY

2019-20 SugarHill Children’s Museum of Art and Storytelling Artist Residency, NY, NY

2017 NYFA Fellowship in Crafts/ Sculpture, NY, NYJoan Mitchell Artist Residency, New Orleans, LA

2016 Artprize Eight’ Sustainability Award, Grand Rapids, MIDieu Donné Artist Residency, New York, NY

2015 Joan Mitchell Foundation’s Painters and Sculptors GrantJohn Michael Kohler Arts/Industry Residency Program, Sheboygan, WI

2014 Materials For the Arts, Art Studio Residency, LIC, NY (Summer/Fall 2014)

2013-14 Smack Mellon Artist Studio Program and Fellowship, Brooklyn, NY

SELECTED SOLO EXHIBITIONS

2021Residency Exhibit, Sugarhill Children’s Museum of Art and Storytelling, NY, ForthcomingSurvey Exhibition, organized by Koda and the East Harlem Hunter College Gallery, ForthcomingSolo Exhibition, El Taller Puertoriqueño, Philadelphia, PA, Forthcoming

2018Tapestries, Smack Mellon, NY

2017 Within/Without, Geary Contemporary, NY

2015 Lina Puerta: Traces, Geary Contemporary, NY

SELECTED GROUP EXHIBITIONS

2021la memoria del agua, ponce+robles gallery, madridEveryday Magic: Artistic/Gnostic Impulses curated by Jenny Mushkin Goldman and Rebecca Goyette, The National Arts Club, NYThe Future is Latinx, The Art Gallery at Eastern Connecticut State University, Willimantic, CT, Fall 2020; Schitkamp Art Gallery, Clark University, Worcester, MA March- May 2021 (Traveling exhibition)

2020A Kind of Compass, Transmitter, Brooklyn, NYPresent Bodies: Papermaking at Dieu Donné, BRIC, Brooklyn,

2019Figuring the Floral, Glyndor Gallery at Wave Hill, BronxRadical Love curated by Jaishri Abichandani and Natasha Becker, Ford Foundation Gallery, NY

LINA PUERTA(1969, englewood, usa/raised in colombia)




Buen Vivir/ Vivir Bien curated by Tatiane Schilaro Santa Rosa, Mexic-Arte Museum, Austin, TX Labor & Materials, 21C Museum Hotels, Louisville, KY, Mar., 2019- Mar. 2020; Bentonville, AR Jan. –Nov. 2018 (Traveling exhibition).

2018 Sedimentations: Assemblage as Social Repair, The 8th Floor Gallery at The Rubin Foundation, New York, NY.Site & Survey: The Architecture of Landscape. Patrick VanCaekenbergh, Hildur Ásgeirsdóttir Jónsson, Lina Puerta, Richmond Center for Visual Arts at Western Michigan University, Kalamazoo, MIAmerican Histories, curated by Alexandra Schwartz. Pi Artworks, London, UK, Nov. 18 – Jan. 7, 2017

2014Back to Eden: Contemporary Artists Wander the Garden, curated by Jennifer Scanlan, Museum of Biblical Art, NY

2012El Museo’s Bienal: The S-Files 2011, El Museo del Barrio, NY, NY – June 2011- Jan. 2012

2011 EAF10: 2010 Emerging Artist Fellowship Exhibition, Socrates Sculpture Park, NY Sept. 2010 – March 2011

SELECTED BIBLIOGRAPHY

Hyperallergic, What Does Radical Love Look Like? By Seph Rodney, August 2, 2019- ReviewBrooklyn Rail, Harlem Perspectives: Decolonizing the Gaze & Reconfiguring the Local by Nico Wheadon, May 1, 2018 -ReviewHyperallergic, Relics of a Future Environmental Collapse, by Benjamin Sutton, April 1st, 2015 -Review.Hyperallergic, When Snakes Could Walk: Contemporary Artists Take On the Garden of Eden by Allison Meier, July 7th, 2014 -Review


EDUCATION

2005 MFA, School of the Museum of Fine Arts at Tufts University

2001BFA, Florida State University, Minor in Art History

SELECTED PUBLIC COLLECTIONS

Federal Reserve BankBarr FoundationFitchburg Art MuseumFidelity InvestmentsTufts UniversityDeCordova Museum and Sculpture ParkCaturano & CompanyFlorida State University

HONORS & AWARDS

2020 CHARLA Fund, U.S. Latinx Art Forum

2018 Joan Mitchell Fellowship, Painters and Sculptors GrantCintas Knight Foundation, Visual Arts FinalistMassArt Foundation Inc, Faculty Fellowship

2017 Brother Thomas Fellowship Award, The Boston FoundationArtist’s Resource Trust Grant, Berkshire Taconic

2012 Traveling Fellowship Award, School of the Museum of Fine ArtsBruce Dayton Faculty Fellowship, MassArt Foundation, IncTo Extremes: Public Art in a Changing World, Massachusetts Institute of Technology, Finalist

2010 James and Audrey Foster Prize, Institute of Contemporary Art, FinalistArtist Grant, Drawing, Massachusetts Cultural Council

2008 Institute of Contemporary Art’s James and Audrey Foster Prize, Nominee

2007 St. Botolph Foundation Grant, NomineeViewing Program, The Drawing Center, New York

2006 The Artist Project, Visiting Artist, Community Arts Initiative, Boston Museum of Fine Arts

selected solo exhibitions

2019A La Mesa, MIT List Visual Arts Center, Cambridge, MA

2018Floating Artifacts, Tufts University, Science and Engineering Complex, Medford, MAUnravel to Splice, Ellen Miller Gallery, Boston, MA

2014forever Yours, Museum of Fine Arts, Boston, MA

20121000 Years, Ellen Miller Gallery, Boston, MA

EVELYN RYDZ(1979, miami, usa)



2011Islands, Louis Vuitton, Copley Place, Boston, MA

2008Interference, eo Art Lab, Chester, CT

SELECTED GROUP EXHIBITIONS

2021the memory of water, ponce+robles gallery, madrid

2020 Awaken: Conjuring Our Tomorrow, Winfisky Gallery, Salem State University, Salem, MALocal Ecologies, University of Massachusetts, Intercampus Exhibition, Boston, MA

2019 Ríos Intermitentes, 13th Havana Biennial, Palacio de Justicia, Matanzas, CubaAquí y Allá: juntos a la mesa, with Kannan Thiruvengadam, Eastie Farm, ICA Watershed, Boston, MA

2018 Nine Moments for Now, Cooper Gallery, Hutchins Center, Harvard University, Cambridge, MAPlastic Entanglements, Palmer Museum of Art, Penn State University, PA (Traveling Exhibition)How Nature Instructs Us, Suffolk University Art Gallery, Boston, MA

2017 The Ocean After Nature, Independent Curators Int’l, SMFA & Tufts University, Medford, MAThrive, Part of Now + There’s Year of the Woman, The Beehive, Boston, MA

2016 Latinx@mericañaza, Samson Projects, Boston, MA

2015 GYRE, Anchorage Museum, AK & Fisher Museum of Art, L.A., CA (Smithsonian Traveling Exhibition)

2013 Still Life Lives, Fitchburg Art Museum, Fitchburg, MA

2012 To Extremes: Public Art in a Changing World, Massachusetts Institute of Technology, Cambridge, MA

2011 Massachusetts Cultural Council Grant Recipients, Tufts University Art Gallery, Medford, MASummer Show 11, Joshua Liner Gallery, New York, NY

2010 Foster Prize Exhibition, Institute of Contemporary Art, Boston, MAThe Pencil of Nature, Julie Saul Gallery, New York, NYGracias por Pensar en Mi, Parque Cultural del Caribe, Barranquilla, ColombiaOn the Mark, Steven Zevitas Gallery, Boston, MA

2009 Drawing Itself, Brattleboro Museum of Art, Brattleboro, VT

2008 La Otra: Contemporary Art Fair, Bogotá, ColombiaDynamics of Belonging, GASP Gallery, Brookline, MA

2007 Berliner Liste 07, Berlin, GermanyDrawing the Line, Mills Gallery, Boston Center for the Arts, Boston, MAIn an Instant, Rhys Gallery, Boston, MAPetrified, Frame 301 Gallery, Montserrat College of Art, Beverly, MA

2006 DeCordova Annual, DeCordova Museum and Sculpture Park, Lincoln, MABlue Print Voyage, Community Arts Initiative, Museum of Fine Arts, Boston, MA


Catálogo de exposición del proyecto Ponce+Robles 50 años (30 más 20). LA MEMORIA DEL AGUA, comisariada por SUSANNA V. TEMKIN . 04 de Febrero a 30 de Abril de 2021

Exhibition catalogue of the project Ponce+Robles 50 years (30 plus 20). THE MEMORY OF WATER, curated by SUSANNA V. TEMKIN. 04 February to 30 April 2021

texto: SUSANNA V. TEMKINimágenes: JUAN BARAJAedición editorial: ponce+robles

agradecimientos: SUSANNA V. TEMKIN, GENESIS BÁEZ, RAÚL DÍAZ REYES, FRANCES GALLARDO, LINA PUERTA, EVELYN RYDZ, EDUARDO PRADO Y ÁLVARO TALAREWITZ

CON LA COLABORACIÓN Y APOYO DE:

MADRID | ESPAÑA

fuego pily estrada aguala memoria del agua

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