Catalog Liene Bosquê - Triptykhos

Liene BosquĂŞ Tr i p t y k h o s

copyright © 2015, Liene Bosquê, New York

Liene BosquĂŞ Tr i p t y k h o s

Dismissed Traces Recollection Collecting Impressions

New York | 2015

Cross Bronx Expressway, 2015.

Preface

This catalog celebrates Liene Bosquê’s first solo and museum exhibitions in New York. It additionally marks the 10th anniversary of Bosquê’s career as artist. Triptykhos, a play on the word triptych or tripico in Portuguese, gathers the artist’s recent body of work presented simultaneously in three different venues. Each one is here introduced by three different independent curators: Julian A. Jimarez Howard, who discusses Bosquê’s solo show Dismissed Traces at William Holman Gallery (October 14 - November 14, 2015); Julia Clemente, who examines Recollection, a work part of MoMA PS1’s Greater New York group exhibition (October 11, 2015 - March 7, 2016); and Jodi Waynberg, who describes Bosquê’s participation in the public art festival Peekskill Project 6 at the Hudson Valley Center of Contemporary Art (September 27 December 31, 2015).

This year Bosquê continues to investigate changes within urban environments and the landmarks of cities she has visited, laboring at the intersection of art, architecture, and archeology. Through installations, objects, video, and public performance (walks), the artist tackles issues of personal and collective memory, discussing how we look at, interact with and remember public places.

By focusing on fragments and impressions of buildings, Bosquê unearths obliterated histories, bringing to attention traces that have thus far been dismissed or simply ignored. The artist makes use of materials such as latex, plaster, cement and clay that transform into rigid structures making sensorial objects charged with memory and affection.

Francine Kath

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Introduction

I met Liene Bosquê in 2012 after looking for her all over an office tower floor converted to studios in the Liberty Plaza tower overlooking the 9/11 memorial hole and Ground Zero, donated

by Goldman Sachs to the lower Manhatttan Cultural Council for LMCC artists studio spaces.

The remarkable work Castello Plan, a city of hundreds of models of the new One World Trade Center replicated in plaster and placed on the Dutch city plan of Manhattan below the “Wall” - the original wooden stockade wall of Wall Street - was sitting on the floor of an empty office.

It was not an accidental work as the new One WTC building was just outside her window-heavily fortified in its base and beginning to rise 1776 feet up to replace a fallen tower covering a cemetery. The installation was beautiful in its stark simplicity, the small models, all in white, as soldiers in an army, repeating, again and again, the rebirth of the deadly site, of the end of Manhattan. It was also unattended, isolated and alone, an installation not requiring the presence of the artist - at least until I found her.

Symbols that endure are rare. This work is among them and will be reproduced countless times as it becomes better known. The practice of modeling, over and over, in small and large scale is essential to the art of architects, and to the viewers’ understanding of our built environment. Liene trained to build large buildings, but instead captures whole worlds and single elements of the built world, and interprets them so people can relate to them as objects held in ones hand, postcards known as cartes de visite, brightly colored models taken from a shop, or models pressed in clay from a real wall. This is a celebration of the way humans experience and remember big buildings and big places. Only by capturing a large structure on a small plate, or hand size model, we can take them with us and remember their importance in our lives as they sit on the shelves of our memory at home.

We are honored to present this solo exhibition of work by Liene Bosque in conjunction with her museum exhibits at MOMA Ps1, the Hudson Valley Center for Contemporary Arts, and recent shows at Syracuse Univeristy and Cuchifritos Gallery on the Lower East Side.

William Holman

Stockade, 2015.

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Dismissed Traces Julian A. Jimarez Howard

The power of memory is rarely whole. Instead, it often lies in fragments. Something you see out of the corner of your eye, the hint of a scent, the golden light of a sunbeam. Details are what give depth to experience and what make poetry of life. This is even truer for traumatic events.

In a 2013 study by Courtney Welton-Mitchell, et al. published in Applied Cognitive Psychology, the authors were able to demonstrate that thematic content like fear, anger, alienation, self-blame, and spirituality predicted detailed memory recall.1 Indeed, it is the acknowledged emotion of an event that helps us to remember it. In a separate study led by Anna Jaworek and published in the journal Cognitive Neuroscience, researchers further noted the link between emotionally laden content and memory recall, especially in “spontaneous retrieval.”2 This might explain why history is such a messy subject: remembering is a process laden with emotion, often prone to distortions and inaccuracies. For her exhibition Dismissed Traces at William Holman Gallery, artist Liene Bosquê delves into these complications.

A mini-survey of her recent work, Dismissed Traces fittingly begins with the 2013 installation Castello Plan. All of Bosquê’s works start with extensive research; this helps ground them within the context of their site. Castello Plan is no different; it is a sculptural interpretation of the famous 1660 Jacques Cortelyou map of lower Manhattan found centuries later in Italy. However, Bosquê has remade the city map not only in three dimensions, but out of a variety of tourist-sized replicas of One World Trade Center. The work is immediately jarring. By juxtaposing two instantly familiar sights onto one another she has created a discomfiting hybrid; uncomfortable, because of the emotionally charged tenor of the building used in replica, but also because of its banality, which is further exacerbated through the seemingly endless repetition. While the miniatures vary in size and distribution, just like the buildings of any actual city, their sameness is unmistakable. This homogenized whitewashing (the little sculptures are literally white plaster) paradoxically highlights a darker truth about changing urban environments. Just as the twin towers were violently erased, so too has all the rich local history of the neighborhood in this vision of lower Manhattan. Bosquê has cruelly replaced it with the latest trend in integrity-compromised corporate blue-glass stacking.

If Castello Plan warns of an impending dystopic future, then an historical reminder of just how horrible this process of erasure can be lies nearby in the gallery. In 1945 master builder Robert Moses proposed an expressway that would cross the middle of the Bronx linking several other highways together. His proposed plan called for the seizure of residents’ property by the state to clear space for the new expressway. Though he faced pointed opposition from Bronx residents, they failed to prevent the project. Construction began in 1948, violently forcing many from their homes and plunging the southern region of the borough, especially East Tremont, into seemingly perpetual poverty.3 Cross Bronx Expressway is Bosquê’s powerfully emotional response to this shameful history.

Pulling from historical records of, and personal walks through the borough, she developed a set of commemorative china for the destroyed neighborhoods, images from that period are transferred then glazed on to found porcelain plates from Syracuse, New York. But just like the environment they memorialize, the plates are not whole, they lay in smashed fragments, lining the gallery’s main window ledge: some dishes proudly hold themselves up in wire display systems, albeit with jagged shards pointing in various directions, while others lay breathless in shatters.

Castello Plan, 2013.

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Cross Bronx Expressway, 2015.

But just across the floor, Bosquê offers a somewhat more optimistic dialogue. Lower Manhattan Expressway is a sister work: a glut of thirty-three plates, adorning one of the gallery’s long walls in an uneasy array. They are the same found porcelain imprinted in burgundy with various architectural forms removed from their backgrounds, a synagogue here, a tenement building’s corner there, a little further on, a fire escape. They evidence the ordinary while speaking the language of the monumental. Indeed, hung as a cluster on the wall, they resemble the domestic space of some worldly, if rather old-fashioned, traveler honoring far-flung memories. But while this set of commemorative china is local in its scope, the plates depict more than the humdrum of Lower East Side architecture. Indeed they celebrate it. The buildings imprinted onto the plates are ones that would have otherwise been razed in the building of another of Robert Moses’ misguided highways, the Lower Manhattan Express Way (LOMEX). Where Cross Bronx Expressway draws attention to the breakdowns in urban planning, this work celebrates the triumph of local activism in preventing community displacement4 while both works simultaneously reconfigure our assumptions of monument to fit within the quotidian and the domestic.

Much of this work, though seemingly rooted in New York City, is actually an organic continuation of projects began when Bosquê was invited to show at Point of Contact Gallery in Syracuse, New York. It was in Suspended Memories, her exhibition there, that these found porcelain plates entered her artistic vernacular. Conducting copious historical research and exploring the city, again as part of her initial process, she encountered stacks of these untreated porcelain plates discarded from the Syracuse China Company after they closed their factory in 2009. This became the impetus for Syracuse China Field. To some plates she applied appropriated images of buildings now lost to post-industrial decay. They had been recorded in a catalog of Syracuse Then and Now Bosquê found while conducting research at the Erie Canal Museum. She then hunted down vintage versions of actual commemorative plates from the same company with images depicting industrial architectural motifs, intermingling them into stacks arranged on the floor just as she had found them outside at the defunct factory. Instead of simply re-presenting a situation as commentary 8

Lower Manhattan Expressway, 2015.

on history, this work complicates it by inserting an alternative dialogue into that history. The viewer is unaware which works are authentic and which were invented by Bosquê. Estranged from mythically objective arbiters of “official history” the stacks in Syracuse China Field become a new ambiguous history, exposing the subjectivity in collective memorializing. For the version on display at William Holman, Bosquê has updated the work with traces of salt that slightly obscure the plates’ images. By doing so she brings in another key element of post-industrial Syracuse, once noted for producing the majority of salt used in the nineteenth century United States.

Another work from this time, AMEZ Church emerged no less organically and is equally effective in refocusing our notions of memory and memorial. Bosquê happened upon this unique, though now decrepit church, the oldest African-American church in Syracuse, at the urging of the Director at the Erie Canal Museum. In a process similar to Castello Plan she decided to cast the structure, but instead of casting the whole thing, a nearly impossible project given the size of the building, and with no handy souvenirs of it being sold, she instead created latex impressions of its sides. The resulting works are haunting in effect. Not only because the building, a true landmark, remains in such a derelict condition, but because the latex so accurately preserves this ghostly state. The life like impressions of the brick walls and name placard hang suspended in air, eerily preserving their own decay. Fragments of dirt, cement, and even graffiti cling to them, rendering these unique casts uncomfortably lifelike. Though its parishioners have long since built a new place of worship for the community, this landmark remains in that sad in-between state of much of this country’s history: too important to destroy, but too difficult to repair. A nearby video of the building says it all in a simple angled-profile shot, blue tarp roof flapping in the wind.

But as much as Bosquê’s work is about displacement, it is also about belonging. Each of her works recast the typical power balance into something more nuanced. There is also a friction that comes from being an immigrant responding to a new environment while simultaneously remaining tied to where one originated. In Castello Plan for example, made in response to a stay at the Lower Manhattan Cultural Council Residency where One World Trade was a daily presence, there is 9

Lower East Side Impressions, 2015.

perhaps also a hint of her native São Paulo: a city so vast, upon visiting the top of a building on the main thoroughfare Avenida Paulista, the only view is of similar high rise buildings as far as the horizon line, Mid-Town for miles… But what makes the work more than a one-liner is the way that it subtly subverts the power dynamic. Typically, buildings impose their view upon us, just as new countries impose mores on recent arrivals. Here Bosquê has flipped the script so that viewers look down on the city, the scale makes the city intimate, more human, if not also because it is so inhumane. Being plaster casts of tourist souvenirs, the originals are real objects, they constitute fragments of the city both physically and metaphorically that now literally belong to Bosquê… again the balance of power has shifted.

In a similar process of subversion and collective place making, Bosquê has created another makeshift map, this time in expansion concrete. Lower East Side Impressions is a recent work evolved from “City Souvenirs” a project begun in 2009, initially in collaboration with Nicole Seisler. Dressed in an official looking uniform, the artist facilitates walks where passersby are employed in the process of collecting impressions from various urban geographical features.

Participants are given a chunk of unfired porcelain and asked to make an impression of an element around them. This serendipitous process often yields mysterious but visually dynamic shapes, which then become archived historic markers of a certain locale in a specific moment. It is as if she has become a sculptural ethnographer, focusing, for this project, on these physical impressions.

More importantly however, these markers represent a kind of call and response with the city, a democratic dialogue of landmarking where each impression represents a deliberate choice on 10

Syracuse China Field, 2015.

behalf of its randomly selected creator to focus on and preserve that specific urban element. As much as they impress the raw porcelain into the city, so too are they injecting themselves into it; the work records both the architectural relief and that of the impresser’s hand. Bosquê’s concrete map, translates this process into a geographical representation of these moments, a kind of opaquely embodied transcript of that particular urban experience of sonder.

This kind of profound realization underscores the majority of Bosquê’s work. She uses the small to allude to the large, the part to indicate the whole. Her works compress the monumental into memorial and in doing so they personalize history. Less interested in the impossibility of objectivity, her work is narrative historiography. In Dismissed Traces she reworks the often overlooked details fragmented in our collective urban memory into a much richer narrative, one that speaks the hegemon’s tongue through the subaltern’s voice: the violence of displacement and the familiarity of belonging commingling into a nuanced commentary on the state of urban society.

Notes: Welton-Mitchell, C., McIntosh, D. N. and DePrince, A. P. (2013), Associations between Thematic Content and Memory Detail in Trauma Narratives. Appl. Cognit. Psychol., 27: 462–473. doi: 10.1002/acp.2923 2 Anna Jaworek, Mathias Weymar, Andreas Löw, Alfons O. Hamm, Brain potentials reflecting spontaneous retrieval of emotional long-term memories, Cognitive Neuroscience, Vol. 5, Iss. 3-4, 2014 3 Caro, Robert A., The Power Broker: Robert Moses and the Fall of New York, 1st Ed. 1974, Knopf: New York.

4 See Jacobs, Jane, The Death and Life of Great American Cities, 1961, Random House: New York.

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Left: Stockade, 2015.

Top: AMEZ Church, 2014.

Bottom: Homage to Louis Sullivan, 2010.

Recollection Julia Clemente

Coming across Liene Bosquê’s new work Recollection one finds an open door to the Brazilian artist’s nostalgic world. Once inside, humanity’s great monuments sit, but in miniature form devoid of grandeur and majesty. Yet, arranged as they are, next to each other like the improbable blocks of some fantastic city, they generate a different energy. The public, armed with their gaze, has free reign to walk through the neighborhoods and streets of this imaginary metropolis.

Traveling by their own memories and finding themselves face to face with the artwork’s iconic elements, a more intimate relationship emerges with each of them.

By employing a grid system, but without any apparent order, Bosquê leaves observers to establish their own relations of meaning: the Sagrada Familia, Barcelona’s icon of architectural and cultural difference, is comfortably juxtaposed with One World Trade Center, a landmark of American economic power. Similarly, a humble Brazilian colonial house, with its walls in the typical white and blue, is surrounded by Asian temples and ancient constructions, while the National Palace in Brasilia, the country’s emblem of modernity, waits across the street as its neighbor.

These souvenirs, collected by Bosquê over 10 years of journeys, carry her memories and personal experiences, but beyond her, they speak to each viewer who, like the artist, has their own notions of these places. This shared connection, brings her and her work closer to the viewer, while her work, in turn, brings the viewer closer to themself.

Bosquê’s work however follows a complex formula to do this. She takes the monument, a unique icon of a distinct location, turned through commerce into a souvenir, innumerably reproduced and widely circulated, almost defeating its initial intention and re-transforms it into a work of art, again rendering it unique.

Conflicts between art and geography, collecting and hording, copy and original are made plainly visible in works like Recollection. Through the appropriation and replication of these symbolic objects, issues such as gentrification of cities, the impact of architecture and urbanism on the environment, the relationship between the public and the private, also become clear parts the artist’s production.

In the past, these original pieces were not exhibited, but used by the artist as molds for many of her other works, allowing her to personally multiply these iconic elements, and create a new context in every work.

The question now, however, is that by publicly exhibiting her original collection has she ended a decade long cycle with them?

Right: Recollection, 2010-2015.

Next page: Recollection, 2010-2015.

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Recollection, Instalation View, MoMA PS1, Greater NY, 2015.

Collecting Impressions Jodi Waynberg

“What if one would view the part of an artist’s practice that is made public, whether in the form of an object, a performance, a text, a talk or conversation or an articulation of a position, as consisting of moments of communication?”

Falke Pisano1

Liene Bosquê’s Collecting Impressions is a psychological score written in blocks of clay, composed of trace architectural details and the remnant gestures of human presence expressed in the muted impressions of finger and palm prints; the delicate communication of impact and influence between constructed space and those who inhabit it. Through both presence and absence, Bosquê illustrates the reflexive impressions left by people and place through the occupation of sites across time.

Presented in collaboration with Peekskill Project 6 in Peekskill, New York, the project is an extension of work that began 2009 (originally under the moniker City Souvenirs2). Combining public performance (walks) and the exhibition of clay architectural impressions taken by walk participants, Bosquê’s work merges public engagement and installation to reflect on the complex relationship between shared cultural histories, the impact of renewed urban landscapes, and the community of residents and visitors that it serves. The project initiates a tangible connection between audience and site, as individuals walk together in search of details that visually and culturally define a city’s historical significance — on one side of the imprint, a sharp record of the built environment and, on the other, the subtle marks of the individual’s hand.

For Bosquê, this new phase of the project acts as a bridge between New York City and Peekskill, between constant redevelopment and recent urbanization. The installation includes an interactive display showcasing porcelain pieces made in spring 2015 during three Lower East Side-based walks, in addition to video documentation, alongside impressions taken during two walks through Peekskill’s waterfront and town center. While this exhibition represents only a small fraction of the total archive that Bosquê has created over six years and nearly two dozen walks, the juxtaposition of the Lower East Side and Peekskill embodies an issue of particular importance throughout the United States today, namely the redevelopment and revitalization of urban and urbanized cities.

The Lower East Side is an oft-cited example of the ways in which political will and influence both demand and stunt redevelopment. For nearly a half century, 1.9 million square feet of (mostly) undeveloped land, referred to as Seward Park Urban Redevelopment Area (SPURA), became a battleground between cultural groups and majority parties. It was not until 2014 that city planners and community members could come to a consensus and a redevelopment plan was approved, with the first building scheduled to open in 2018. Over the course of three walks, Bosquê led participants through SPURA and beyond, investigating the multiple histories of the neighborhood including the diverse cultural heritage created by immigrant populations in the mid 19th century, sites critical to the legacy of artistic experimentation of the mid 20th century and, finally, an experimental walk through empty spaces of impending change.

City Souvenirs. Walk 2 LES, 2015.

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Walk 1 Peekskill, 2015.

By contrast, the two walks through Peekskill revealed a more immediate and ongoing transformation of both community and physical space from an industrial center to a cultural enclave for families and young artists. The focused and deliberate infusion of culture and capital to affect the value of real estate and quality of life in Peekskill has not only altered the profile of residents, but also the strategy for re-appropriation of space. Buildings that once sat empty, former company headquarters and inoperative civic structures have been re-purposed to accommodate changing priorities. While the buildings themselves, many of them landmarked, remain intact, their histories have been overwritten by immediate need.

Bosquê’s invitation to community members (both long-term and visiting) to walk the roads, sidewalks, and unpaved paths of an area or route that she has pre-determined is an invitation to experience one’s environment with the whole body; to move through and between buildings, empty lots, abandoned structures, stretches of manicured green and occupied homes with full awareness of the details that construct the experience of “space” and to capture the important and ordinary textures that reflect this sensation on a simple block of clay, where the hand meets place.

The resulting objects become artifacts of both (re)collection and prescience. Small performative sites that capture the adaptation of architectural space over time and catalogue the invisible potential for revision; generating and extracting memory through the integration of people and built environment.

Bosquê’s ongoing project is an opposition to the constant renewal of urban space and a fail safe that protects the collective memory from collective forgetting. Collecting Impressions becomes a temporal 22

Walk 2 Peekskill, 2015.

archive with a purpose not yet fully revealed. The collection of impressions composed by Bosquê and walk participants — the bark of a tree, the hard edges of a sewer cover, the sinuous details of pediment, the text of a commemorative plaque — operates as a memory lying in wait. It is an amassment of what once was; a former state that remains hidden, only to become visible through change over time.

The histories and future represented by each individual impression, and the archive as a single edifice, are visible insofar as one can see their traces in the textures of each clay surface, but they remain invisible insofar as they are not represented as narratives in the material itself. Bosquê’s work questions how we, as artists, curators, activists and planners, can represent the invisible in material space. The performance of impression seeking and making preserves the critical importance of ephemeral interactions in urban spaces, as well as those in the process of slow or rapid urbanization, communicating through the language of displacement, the shadows of alternate histories, and the threads of latent memory.

Notes: 1 2

Falke Pisano, Figures of Speech (Zürich: JRP|Ringier Kunstverlag AG, 2010), p. 11 City Souvenirs began in 2009 as a collaboration between Liene Bosquê and Nicole Seisler. In early 2015 Bosquê and Seisler began to work independently on the project, expanding City Souvenirs into new geographic and material territories.

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Liene Bosquê Born in São Paulo, Brazil, Liene Bosquê (1980) is a visual artist based in New York City. In 2013 she was a resident artist at Workspace Lower Manhattan Cultural Council (LMCC), and received the Manhattan Community Arts Fund. Bosquê has attended the New York Foundation for the Arts Mentoring Program for Immigrant Artists, in addition to participating in the 2012 Lower East Side Studio Program and being granted a place at the 2011 New York Art Residency and Studios (NARS) Foundation.

Bosquê holds a MFA from the School of the Art Institute of Chicago (2011), a BFA from the São Paulo Estate University (2003), and a BA in Architecture and Urbanism from the Mackenzie University (2004), also in São Paulo, Brazil. While living in Lisbon, Portugal, she was the recipient of the 2007 “Anteciparte” Award, having completed, in 2008, the Advanced Course at Centro de Arte e Comunicação Visual (Ar.Co.).

Her installations, sculptures, performances, and site-specific works have been exhibited internationally at locations such as Point of Contact Gallery in Syracuse, New York with a solo show, Cuchifrittos Gallery (2015); William Holman Gallery in New York (2015); the Museum of Contemporary Photography in Chicago (2013); Lower Manhattan Cultural Council Arts Center in Governors Island, New York (2013); and New York Foundation for the Arts Gallery in Brooklyn, New York (2013); the Elmhurst Art Museum in Elmhurst, Illinois (2012); Carpe Diem in Lisbon, Portugual (2010); Museu de Arte de Ribeirão Preto in Ribeirão Preto, Brazil (2007); among others non-profit galleries and public spaces in Brazil, Portugal, Turkey, and United States.

Previous First row: Walk 1 LES, 2015.

Second row: Walk 2 LES, 2015.

Third row: Walk 3 LES, 2015.

Fourth row: Walk 4 LES, 2015.

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Selected Exhibitions 2015

Greater New York, MoMA PS1, Long Island City-NY

Dismissed Traces, William Holman Gallery, New York (solo)

Project 6, Hudson Valley Center for Contemporary Art, Peekskill-NY

Suspended Memories, Point of Contact, Syracuse-NY (solo)

Shifting Impressions, Cuchifritos Gallery, New York

2014 Gatekeeper, William Holman Gallery, New York

Pangea, NYFA Gallery, Brooklyn

2013 Of Walking, Museum of Contemporary Photography, Chicago

If color, then also dimension (...), LMCC’s Arts Center, Governors Island

2012 No Rules: Contemporary Clay, Elmhurst Art Museum, Elmhurst, IL

O MARP e o Corpo da Arte, Museu de Arte de Ribeirão Preto, Brazil

2011 Chimera, New York Art Residency & Studios Foundation, New York

Excavanting History, International Museum of Surgical Science, Chicago

All Wall is a Door (Todo Muro é uma Porta), Tag Gallery, Sao Paulo

2010 Messing with Jane, Hull House Museum, Chicago

Materials of the City, Sullivan Galleries, SAIC, Chicago

4X, Carpe Diem Arte e pesquisa, Lisbon, Portugal

2008 MARP 15 Years, Museu de Arte de Ribeirão Preto 2007 Anteciparte, Museum of Natural History, Lisbon

Nós, Ribeirao Preto Museum of Art (MARP), Brazil (solo)

2004 Olhar Paulista II – Institute Cervantes, Sao Paulo 2003 31° Salão de Arte Contemporânea de Santo André, Brazil

www.lienebosque.com

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Julian A. Jimarez Howard Julian is a curator, educator, artist, entrepreneur, and art advisor, though not always in that order. He has lectured about curatorial practice and the art market at institutions such as Pratt, Brown University, and Sotheby’s Institute of Art and was NURTUREart’s 2012/2013 Project Curate Educator at Juan Morel Campos Secondary School in Brooklyn. His exhibitions have been featured in The New York Times, New York Magazine, Hyperallergic, Artnet News, Artinfo, Bushwick Daily and many others. He is the founder of OUTLET Fine Art and co-founder of Associated Gallery. As an established expert on the emerging art market and a leader in the Brooklyn art scene, Julian currently splits his time between acting as curator and Co-Director of OUTLET and his numerous outside art and curatorial projects, such as the recent exhibition Archimedes’ Bathtub with the New York Foundation for the Arts’ 2014 Immigrant Artist Program.

Julia Clemente Julia Clemente is an independent curator and gallery director based in São Paulo, Brazil.

She holds a degree in International Relations, as well as Curatorial Studies and Art History from Central Saint Martins, in London. She has worked with some of the most influential art galleries in São Paulo, such as Luciana Brito Galeria, Leme gallery and Sé | Phosphorus. With a focus on the internationalization of artists and on art fairs, Clemente has curated many noteworthy projects such as Every Wall is a Door, at Tag Gallery and Urbe_Exhibiton of Public Art, at the Centro Cultural Banco do Brasil, both in Sao Paulo.

Jodi Waynberg Jodi Waynberg is an independent curator and the Director of Artists Alliance Inc, a non-profit organization on Manhattan’s Lower East Side, which plays a pivotal role in launching and strengthening the careers of emerging and mid-career artists and curators through residencies and exhibition opportunities. Since joining AAI in 2012, Waynberg has curated several group and solo exhibitions including Liminal Inversions (2012), Philip Emde Destroyed My Life (2013), The Real Estate Show, What Next: 2014 (2014), Little Gloating Eve (Milan/NYC 2014), Some Great Modern Mediums (2015) and Peekskill Project 6 (2015). Waynberg has served as a visiting critic and juror at Residency Unlimited, The Wassaic Project, Hunter College MFA Program, NARS Foundation and Wave Hill. Waynberg began her professional career in San Francisco as the Associate Curator at the Contemporary Jewish Museum, where she curated and supported numerous exhibitions including Chagall and the Artists of the Russian Jewish Theater, 1919-1949 and Maira Kalman: Various Illuminations (of a Crazy World).

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List of works page 2 Cross Bronx Expressway, 2015. Found porcelain plate, decal and glaze.12 inches. Photo by Joana Toro page 4 Stockade, 2015. 40 Plaster blocks. Detail. 72 x 63 x 20.25 inches. Photo by Joana Toro. page 7 Castello Plan, 2013. Plaster and pvc. 8 x 76 x 84 inches. Photo by Joana Toro. page 8 Cross Bronx Expressway, 2015. Found porcelain plates, decal and glaze. Variable dimensions, 16 plates. Photo

by Joana Toro. page 9 Lower Manhattan Expressway, 2015. Found porcelain plates, decal and glaze. Variable dimensions, 33 plates.

Photo by Joana Toro. page 10 Lower East Side Impressions, 2015. Expantion cement. 32 x 17 x 1 inches. Photo by Joana Toro. page 11 Syracuse China Field, 2015. Found porcelain plates, decal, salt crystals and glaze. Variable dimmentions, 180 plates. Photo by Joana Toro. page 12 Stockade, 2015. 40 Plaster blocks. 72 x 63 x 20.25 inches. Photo by Joana Toro. page 13 Top: AMEZ Church, 2014. 3 Latex panels. 114 x 50 inches. Photo by Joana Toro.

Bottom: Homage to Louis Sullivan, 2010. Cardboard cutout. 60 inches (background). Photo by Joana Toro. page 15 Recollection, 2010-2015. Found souvenirs. 80 x 42 x 32 inches. Photo by Joana Toro. page 16-17 Recollection, 2010-2015. Photo by Dave Broda. page 18-19 Recollection, Instalation View, MoMA PS1, Greater NY, 2015. Photo by Joana Toro. page 21 City Souvenirs. Walk 2 LES, 2015. Photo by Joana Toro. page 22 Walk 1 Peekskill, 2015. Photos by Philipp Muller. page 23 Walk 2 Peekskill, 2015. Photos by Joana Touro. page 24-25 First row: Walk 1 LES, 2015. Photos by Philipp Muller Second row: Walk 2 LES, 2015. Photos by Fan Chen Third row: Walk 3 LES, 2015. Photos by Philipp Muller Fourth row: Walk 4 LES, 2015. Photos by Essex Market page 30-31 Collecting Impressions, 2015. Installation of paperclay impressions taken by Peekskill residents during the opening reception of Peekskill Project 6. Photo: Philipp Muller 29

Special Thanks To my husband Philipp Muller and my mother Aely Bosquê. Without their support, I would not pursue my career as an artist.

Catalogue Design: Mayra Simone dos Santos Assistants: Natália Primo, Makiko Tanaka, Marta Prudencio, Shoko Kajimoto, Ryochiro Ishimatsu, Maiko Fuji, Maureen Celine, Maria Alejandra, Adrain Magel, Chanhee Choi, Yunseok Tim Hong Dimissed Traces, William Holman Gallery, New York Chip Holman, Partner Derek Johnson, Exhibition Manager Inas Al-soqi, Special Projects Virginia Ciccone, Special Projects Greater New York, MoMA PS1, Long Island City, New York Mia Locks, Assistant Curator Margaret Aldredge, Curatorial Assistant Jen Watson, Head Registrar Collection Impressions, Peekskill, New York Presented in collaboration Peekskill Project 6, Hudson Valley Center for Contemporary Art’s citywide public art festival devoted to bringing contemporary art out of the museum and into the community Jodi Waynberg, Project Curator Emilie Nilsson, Peekskill Project 6 Curator Livia Straus, HVCCA Co-Founder / Director Sarah Connors, HVCCA Manager Collecting Impressions (installation view), 2015

Peekskill Walks Alva Calymayor, Walk #1 Assistant Philipp Muller, Walk #1 Photographer Kristen Pareti, Walk #2 Assistant Joana Toro, Walk #2 Photographer Kate Stryker, Videographer Walk Participants: Alessandro Bulgini, Yardena Donig Youner, Rosdi Newmar, Anna Prahl, Michael Sklaar, German Fragoso, Sedamoom Bowler-Tunick, Giacomo Mutti, Seth Larson, Kristine Nilsson, Kelly Steveas, Emmanuel Faure, Robert Olsson, Kaylah Fusiak, Robin Fusiak, Gene Panczenko, Andre Garcia, Jesse Garcia, Chris Victor, Lea Donnan, Christina ChurĂŠ, Mattew R., Melody R., Brad Bolan, Michael G., Inge Dube, Man Bartlett, Joana Toro, Lilanthi Mavapana, Kate Stryker, Peg Taylor, Norah Thompson, Nedia Themas Lower East Side / Cultural Heritage Walk Presented in conjunction with the exhibition Shifting Impressions by Liene BosquĂŞ and Nicole Seisler at Cuchifritos Gallery + Project Space, a program of Artists Alliance Inc. Lynnette Miranda, Curatorial and Public Programming Jodi Waynberg, Executive Director, Artists Alliance Inc. Etta Sandry, Walk Assistant Alexandra Henry, Videographer Walk Participants: Allison Flamberg, Alva Callymayor, Chabelly Pacheco, Charlotte Pradie (Saxelby Cheesemongers) Darin Atkins (Essex Street Market), Dorothea Basile, Jason (FDNY), Monica Trejo, Rob Blayer, Ryoichiro Ishimatsu, Saha Rkubba, Tarek, Zaun Lee

William Holman Gallery 65 Ludlow Street NYC 1000 O. 2124751500 C. 646 286 7254 Collecting Impressions (installation view), 2015.