IRREVERSIBLE Edouard Duval Carrie

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THE book (magazine nickname) and our art projects are a testimony to our unique angle, which fosters the interaction between us and many other communities and nationalities all over the world. IRREVERSIBLE programs (International Cultural exchanges, Art Fairs participation, Videos/ Documenta, Exhibits, Special Projects and THE book) over the past years have gone through an evolution towards becoming an innovative, international venue for young contemporary art and towards a way of thinking that tasks the audience to look beyond assumptions about art and stereotypes.

PUBLISHER/EDITOR Norelkys Blazekovic Contact: 786- 444-2790 Carlos Suarez De Jesus Art Critic Miami, FL

Much of today’s IRREVERSIBLE content expresses art to embody something meaningful enough to be relevant beyond time. IRREVERSIBLE, like Professor John Baldessari said, celebrates the motto,“ Art Comes out of failure” ….“You have to try things out. You can’t sit around, terrified of being incorrect… !

Alex Heria Head Graphic Designer Miami, FL USA PHOTOGRAPHY Alex Heria

There is always so much to see, and there is always so much to feel. There is so much we don’t talk about, so much we have trouble believing in. The connections between people, things to admire in people, trust that goes unnoticed, small kindnesses, shared silences. I deeply thank the artists who contributed original ideas, essays, statements, struggles, critics and stories, making another IRREVERSIBLE book possible. They challenge us by stretching and bending reality and thereby keep pushing the boundaries of perception. At the same time we deeply appreciate our readers, whose curiosity and interest keep us rolling.

I am grateful to all (Alejandro Mendoza, Alex Heria, Andreas Kreienbuehl, Edouard Duval-Carrié, Lucinda Linderman, Luisa Elena Betancourt, Laura Jamieson, Sandra Gonzalez, Alexis W, Alberto Garcia-Alix) who support the independence of IRREVERSIBLE as an International Art Project. Last but not least to Nathaniel Jones, my daily inspiration. Just use your imagination and tremendous things will happen. Imagine you have the ability to see the world with different eyes, whenever you choose. Each time you open your eyes, You see the world around you in a different way... Irreversible Way.

See you at the fair. Noor At a time when cultural institutions are suffering restrictive budget cuts and scaling back programs, and when publications are disappearing due to a lack of advertising dollars, what Norelkys Blazekovic is accomplishing with Irreversible Magazine is simply astonishing. Practically single-handedly, and with an admirable determination of purpose that miraculously trumps her scant financial resources, she has succeeded in transforming her dream into a cultural portal joining creative voices from Miami to Tokyo, from Spain to Switzerland and beyond. She has become a catalyst for linking artists of diverse vision in her publication. Whether she meets an artist in her travels to art fairs and creative forums in the United States, Latin America, Europe or Asia, Blazekovic has a knack for attracting those she encounters in the spirit of collaboration. In this edition of Irreversible you will discover varied voices and artists ranging from Edouard Duval-Carrie to Alberto Garcia-Alix, Antonia Wright, Lucinda Linderman and Alex Heria.

She is also spotlighting the Jumex Collection at the Bass Museum of Art during Art Basel Miami Beach. “Where Do We Go From Here? Selections from La Coleccion Jumex” marks the first time that the largest private collection of international contemporary art in Latin America is being shown outside its home base in Mexico City. This exhibition includes a selection of international figures of contemporary art such as Mike Kelley, Urs Fisher, Jenny Holzer, Louise Lawler, and Rirkrit Tiravanija, alongside Mexican conceptual artists Damian Ortega, Inaki Bonillas, Gabriel Kuri and Stephan Bruggeman. And, unlike the show at the Bass, her magazine serves as a portable exhibit because she approaches the publication with the eye of a curator.

Andreas Kreienbuehl Basel, Switzerland

FILM & VIDEO Alfonso Vasquez

Special Thanks to: Zakarin Public Relations Destiny Spang Miami, FL CONTRIBUTORS

Babacar MBow International Programs & Exhibits Coordinator for the Broward County Libraries Division in Fort Lauderdale, Florida.

Donald J. Cosentino Ph.D Professor UCLA Department of World Arts and Cultures Professor of Culture and Performance (Folklore, Literature, Visual and Material Arts, Popular Culture, African and Afro-Caribbean Studies).

Bernardo J. Canteñs, Ph.D Associate Professor and Chair, Department of Philosophy Moravian College, Bethlehem, PA His areas of competency are Medieval Philosophy, Modern Philosophy, American Pragmatism, Metaphysics, Epistemology, Latin American Philosophy and Hispanic/ Latino Issues. Victor Zamudio-Taylor Jumex Collection Art Advisor to Mr. Eugenio Lopez, & La Colección Jumex Victor Zamudio Taylor is an independent researcher, curator critic & film co-producer who is currently based in Mexico City. He has worked for Public Progams at MoMA, and been a curator & researcher for the Photography Collection formed by Manuel Alvarez Bravo & the Televisa Collection.

Her goal at Irreversible has always been to “strive to broaden the global understanding of contemporary art and to foster cultural exchange by creating new paradigms through creative initiatives.”

In these pages you will not only find some provocative art, but perhaps more importantly, an equal measure of Blazekovic’s clarity, boldness and independence, not to mention a resolute and unwavering passion for doing what she loves.

Carlos Suarez de Jesus, Art Critic



Copyright© Irreversible Magazine an International Art Project. 520 West Ave, # 803 Miami Beach, FL 33139 USA All rights reserved. No part of this publication may be reproduced in any form or by any means, electronic, digital, or otherwise without the prior consent of the publisher. Irreversible Magazine an International Art project.

Alexandre Arrechea, Arena, 2007, Espumacor fiber, Courtesy of the artist

Courtesy of Lyle O. Reitzel Gallery

Betty Rosado, from the Identity series, 2001, Silver gelatin print

Jorge Pineda, Afro Fight, 2007-09, Mixed media policromed wood, boxing gloves, drawing

Blue Curry, (detail) Untitled, 2009, Mixed media, steel and plastic


Global Caribbean Focus on the Contemporary Caribbean Visual Art Landscape December 4, 2009-March 30, 2010 260 NE 59th Terrace Miami FL 33137

Little Haiti Cultural Center


The exhibit, curated by Edouard Duval-Carrié, an internationally

renowned artist living and working in Little Haiti in the heart

of Miami, is a major project launched by Caraibes en Creation,

a new program of Culturesfrance, the French Government agency for international cultural exchanges.

The exhibit will showcase contemporary artists from throughout the Caribbean.

“Whatever the artistic experiences might be and however

varied they are, when analyzing the Caribbean region’s production, the underlying notion is that our history is fraught with serious social and economic fragility,” said Duval-Carrié.

“One can add to this picture a racial construct that is closer to

the patchwork than a large brushstroke, and an evolution that is rather short in span.”

Duval-Carrié added that the region’s history, as a colonial/

plantation backwater of European powers, interested only

in a systematic exploitation of their colonies, has not been conducive to artistic expressions worthy of that name. Some

Caribbean nations, breaking with their respective colonizing

nations have created the need to assert their independence with some sort of affirmation of their cultural prerogatives,

he said. He went on to say that this affirmation was done

in some cases as a conscious effort by the governing elites, as in the case of Cuba, to promote and nurture the national

cultural expressions, through institutions such as art schools,

museums. At the other end of this cultural assertion program is the case-model of Haiti, which imposed its cultural identity

by the sheer will and ingenuity of its peasantry, in the total absence of any elitist guidance, Duval-Carrié said.

“The case for the rest of the island-nations of the Caribbean can be said to vacillate between those two models,’’ Duval-Carrié

added. “Some have programs, others don’t. But what they all Hew Locke, Kingdom of the Blind #5-6-7, 2009, Courtesy of Hales Gallery

have are artists, and the thrust of my effort is to prove that

whatever the case, these artists are alive and well. Whether they are part of well-intentioned cultural directives or are solo

acts whose productions are in defiance of all odds, I want to honor their efforts by presenting them and their works in a

pristine new facility that will only enhance the quality and strength of their visuals.”

photo by Thierry Bal


Image courtesy Miguel Fleitas

japan special prize winner kobe biennale 2009

Gustavo Acosta Jose Bedia Noor Blazekovic Tomas Esson Miguel Fleitas Karen starosta gilinski Frank Hyder maitejosune tony kapel anakin koenig Angel Ricardo Rios Federico Uribe

2008 Knight Arts Challenge Winner

DECEMBER 2 –7 09 Bayfront Park Miami

The Entrance of the Vodou Gods into Miami The lwa,---as Haitians call their living gods---have been on the move for five hundred years. And Haitian-American artist Edouard Duval-Carrié has tracked their every step from the idyllic

forests of Dahomey, to the slave plantations of St. Domingue, to their new hangouts in sexy

Miami. No other artist has ever chronicled so much of Haiti’s extravagant history, nor done so

by creating such over-the-top imagery. His paintings, sculptures and altar assemblages re-script

the progress of Haitian history as if were all some post-modern production of a Jean Genet play: surreal stage sets whose grotesque actors---Gods, Slaves, Caciques, Generals, Mermaids,

Courtesans, Dandies---jostle each other amid suffocating lianas or in flimsy boats. From what vantage point does Edouard want us to observe his divine riff-raff? Has he cast us inside the

privacy of his nightmares? Or on the ceiling of some campy whore house where we look down on the shop-worn goddesses doing double time as working girls? Are we in ancient Africa?

Colonial St. Domingue? Some temple in downtown Port-au-Prince? Or are we washed up with the human flotsam in Florida, near Edouard’s studio in Little Haiti?

Edouard Duval-CarriĂŠ Boussu, 2009, Tinted resin and fiberglass sculpture

Nature Vivante, 2005 Mixed Media on Aluminum Sheet Collection of Brandon Fradd, New York, NY

While no other Haitian paints or sculpts in his idiom, Edouard inherits his penchant for recoding

the lwa from an artistic lineage which stretches from Hector Hyppolite (1894-1948), the first Haitian painter with an international audience, through such successors as Rigaud Benoit,

Celestin Faustin and Andre Pierre. These and many other artists have re-imagined the lwa in

the shapes and colors of their own time. Each has given new expression to the critical role the lwa play in the daily life and endless drama of Haitian history. Without that divine reckoning, very little of Haitian art or culture can be truly understood.

Vodou priests sometimes observe, “Each serves the lwa in his own way.” For the early masters of the “Haitian Renaissance”---that near miraculous fluorescence that began after World War II—art was their service to the divinities. Paintings, sculptures, flags and other devotional

objects, now avidly collected by museums and connoisseurs, were directly inspired through personal encounters with the lwa, and reflected their real presence in the secular world. But

Edouard did not grow up in such a world. He was born into a middle class family that fled Haiti during the Duvalier years. He grew up in Puerto Rico, New York and Miami. He was formally

trained as an artist in Paris and Montreal. His Miami studio is full of art books, arcana and bibelots from Paris, Dahomey, Tibet, Machu Pichu and the hundred other places he visits and dreams about.

Edouard’s lwa reflect all these cosmopolitan places and things. They are twenty-first century gods, and like the artist who made them, they are always on the move. They are global nomads,

like many of those who serve them. Ten percent of the Haitian population now lives in the United States. They’ve arrived here by any and all available means. On airplanes to JFK, or in

flimsy boats from the Haitian coast to wherever the Gulf Stream might carry them (if La Sirene and Admiral Agwe, co-divinities of the Sea, don’t claim them first). As Haitians have moved on,

they’ve brought their raffish and savvy pantheon of gods with them. In their painted and sculpted

manifestations, we appreciate how cosmopolitan the Black Atlantic world is (and always has Erzulie Freda, 2009, Tinted resin and fiberglass sculpture Boussu, 2009, Tinted resin and fiberglass sculpture

La Societé des Jens de Couleurs (The Society of Colored People series) Dame Jaune, 2001, Mixed media on artist frame, Private collection, David Wallack

been) and how central Haiti is (and always has been) to its expressive culture.

When we look into the surreal mirror that is Edouard’s art, we say, ‘Oh, that’s what Vodou looks like now.’ A religious culture whose gods have become refugees. Shopping cart divinities dressed

in tatters and hand-me-downs. What a motley crew of washed up revelers. This is where their

migration (without green cards) from Africa to Haiti to Miami has finally landed them. But before we shed too many tears for their tawdry fate, consider the ironies in the Haitian proverb,

‘Nou led men nou la.” (We’re ugly, but we’re here!) That’s the joking response Haitians give to

all the natural and social forces forever threatening to crush them. And from Edouard’s art, we know these red-haired, purple-lipped goddesses are indeed here. And suddenly Miami---and the United States---look a whole lot sexier because they’ve decided to stick around. Donald J. Cosentino

Professor, Department of World Arts and Cultures University of California-Los Angeles.

13 “In this way (that is, by reading the text of Fa), do men discover their destiny and conduct its worship. What is in store for a

man is foreordained. Yet,... a ‘way out’ is not

denied to man. This power that permits man to scape his destiny – philosophically the

personification of Accident in a world where

Destiny is inexorable - is found in the character of Legba”

Papa Legba, 2002, Mixed media on artist frame

-Melville Herskovits, Anthropologist



Alejandro Mendoza creates intellectually provocative sculptures and drawings, and a prominent theme of his work is the cross. The cross is

a universal symbol of humanity; it transcends all cultures, nationalities, religions and ethnicities. The cross is a basic and profound symbol that represents the essence of our being and the complex socialpolitical world that we have created.

While Mendoza’s creative works insightfully explore our common

nature, they also resplendently embody his particular experiences as a Cuban exile living in the US. His art offers for contemplation abstract intellectual themes such as freedom, courage, trepidation, time, evolution, friendship, trust, humility, human rights, human

dignity, good, evil, strength, weakness, and mystery. What is most alluring about Mendoza’s art is its power to usher one to a boundless

creative-horizon of interpretations, where one’s intellect exhilarates among the ideas.

Bernardo J. Canteñs, Ph.D

Associate Professor and Chair Department of Philosophy

Moravian College, Bethlehem, PA

Alejandro Mendoza (Detail) Mas Fuerte que Nunca, 2009, Mixed media wall sculpture, acrylic and resin on wood, Courtesy of the artist

La Revancha, 2009, Mixed media wall sculpture, acrylic on wood

Mas Fuerte Nunca, 2009, Mixed media wall sculpture Mas fuerte que nunca, 2009, Mixed que media wall sculpture, acrylic and resin on wood


I am, by default, the illustrator of my ideas, even though I seem to

lie to myself constantly. Creating is the most “bestial� process of my

conclusions. It is the energy of starting something without exactly knowing the actual outcome.

My environments are constants on my aesthetic proposal which is tied to the parallel need to understand common sense and making my interpretation of it more or less acceptable or understandable.

Limiting me to an immutable idea or a permanent line of reasoning

would be to deny the logical possibility of responding to my rising impulses.

Creating is the experience of being constantly unsatisfied. When this happens, I should redo and lie to myself again. Alejandro Mendoza.

Previous Page Enormous, 2009, Mixed media color drawing on clear polyurethane

This Page Arrival, 2009, Mixed media wall sculpture, acrylic and resin on wood

21 15-19 January 2010 (JAN 14 PREVIEW) PALM BEACH COUNTY CONVENTION CENTER WEST PALM BEACH, FLORIDA USA t: +1 239 495 9834 Courtesy Verve Gallery, Ft. Lauderdale, FL USA Tom Wesselmann, Still Life w/Liz 1989

Irreversible.indd 1

10/2/09 2:39:44 PM

December 4, 2009–January 2010

Identity in an Era of Globalization

Caribbean Canvas

Featuring Alejandro Mendoza Genevieve Lahens (IRIS) Philippe Dodard Guy Syllien Turgo Bastien Peter Wayne Lewis Franklin Sinanan Marie Therese Dupoux

5570 NE 54 Street Miami FL 305-759-5959

Luisa Elena Betancourt seeks beauty through visual whispers in

small intimate images, with writings and drawings transferred to handmade papers and books. Photographs, as memories of life,

become digital collages creating an equilibrium between craft and

technology. She guards each page inside boxes that repress any sensorial contact. These Huellas de Vida pages become a metaphor for memory resurrection through the power of art. Eduardo Planchart Ph.D., Curator,

Museum Centro de Arte de Maracaibo Lia Bermudez (CAMLB) Series Huellas de Vida

Exhibit CAMLB Museum LiaBermudez, Maracaibo Venezuela 2008.

Assamblage, handmade paper book, wood from Gabante RainForest, digital image, leather, beads, mother-pearl, metal and clay.

Luisa E. Betancourt

Alberto GarcĂ­a-Alix

Autorretrato, 2007, Images courtesy of artist

“Con veinte años me fui de casa de mis padres a vivir con un amigo que tenía mis mismas inquietudes. Ambos éramos aficionados a la fotografía y montamos en nuestro departamento, un pequeño laboratorio. Allí mismo, nos pusimos nuestro primer chute y salieron estas fotos. Fotos que el mismo mejunje y el mismo narcótico han hecho visibles. Ves. Aquí, en la oscuridad de los limites hay un horizonte donde se destruye toda ambición de ser. Las fotografías traen un sin fin de resonancias a mis ojos. Hoy, miro aquellos días congelados en las cucharillas, con dolor. El dolor que da la ausencia y el fracaso. También con nostalgia y no lo hago porque fueran buenos, sino porque fui joven.“ Alberto García-Alix

“At the age of twenty, I left my parent’s home to live with a friend who shared my

restlessness. We were both aficionados of photography and set up a small lab in our apartment. There we arranged our first shoot and these photos were the results of those efforts. These photos were made visible by the same concoctions and narcotics

of the subject matter.

You see, here in the darkness of what limits one, there is a horizon where all ambition

of being is destroyed. The photos bring with them a limitless resonance to my eyes.

Today I observe bygone days frozen in those spoons, with pain. That pain of absence

and failure. I also look upon them with nostalgia, yet not because they were good rather because I was young.”

Master Spanish lens man Garcia-Alix is recognized as one of the finest contemporary

photographers of Europe. He is the best known photographer to emerge from La Movida, the post-Franco era of free expression.

His documentary approach vividly captures the atmosphere of 1980’s Madrid and its

seedy underbelly. His portraits and still lifes are provocative, erotic and highly personal.

The artist was honored with Spain’s National Photography Award in 1999.

La Gata, 2001

Jorge y Siomara, 1978

Paul McCarthy, Propo-Miracle Whip, 1992, C-Print

Where Do We Go From Here?

Selections from La Colección Jumex December 3, 2009 – March 14, 2010

Paul McCarthy, Untitled (Jack), 2002, Silicon

The exhibition of selected Works of La Colección Jumex is its first in the United States, various exhibitions

of its holdings organized around themes have been on view in Buenos Aires, Bogota, Glasgow. Currently there is an exhibition hosted by the MUMOK in Vienna, Austria´s most important museum of modern and contemporary art.

Where do Where do we we go go from from here? here?like likeall allother othertravelling travelling exhibition exhibition projects projects is is a collaboration between the Bass Museum, CAC, Cincinnati, and La Colección Jumex. Partnerships are key in our era, they respond to the global character of the art scene, and art as an important part of our ofcultural our cultural life. life.

The selections for the exhibition was based on the research of La Colección Jumex strengths, the three

co-curators seek to highlight key aspects aspects of of the the art art and and present present its its complexity complexity through throughan an attractive show that will have a broad public appeal. “Art about art”, “Urban Culture or Anthropology”, and “Text

in Art” are the three nuclei around which the show is organized. There are also “Profiles” of artists that

La Colección Jumex collects indepth and has followed over time such as Rudolf Stingel; the Swiss duo,

Fischli & Weiss; Loiuse Lawler –La Colección Jumex has the most important holding of her art; Ugo Rondinone; Gabriel Orozco; and Paul McCarthy.

Through these themes we address key issues in contemporary art, and convey the concept of a collection

as a cultural practice. For Mr. Eugenio Lopez art, and in particular his collection is a cultural index, it is a barometer of our times; through formal investigation and thematic endeavors, a collection sums up the issues and concerns of a given moment of society at large.

La Colección Jumex is inter-generational, and inter-national. For Mr. Eugenio Lopez, the support of emerging artists is fundamental. Through his critical eye, he has identified key young talent and

acquired the very early work of artists who are now well established and respected and whose works have tremendously increased in value. In all of La Colección Jumex exhibitions, established artists and young talent are juxtaposed. Victor Zamudio Taylor

Art Advisor to Mr. Eugenio Lopez, and La Colección Jumex

The Bass Museum continually interprets art from the past to discover what contemporary art is today.

The Bass With creativity, Museum excitement continually and interprets scholarship, art from our the exhibitions past to discover programwhat willcontemporary reflect this ever-shifting art is today. With creativity, perspective, as will excitement our collection. and Our scholarship, educationour program exhibitions is focused program on creativity will reflect and depth this of ever-shifting experience. perspective, as will IDEA@theBass, developed our collection. in conjunction Our education withprogram StanfordisUniversity, focused on takes creativity place and indepth the classroom of experience. and IDEA@theBass, uses art as a catalyst developed to learnincritical conjunction thinking with skills. Stanford Later, school University, children takes are place invited in the withclassroom their families and

uses to Family art asFun a catalyst Day, a free, to learn monthly critical art thinking afternoon skills. at the Later, Museum. school children The Bassare Museum invitedactively with their engages families its to Family Fun community in Day, many a free, othermonthly ways asart well: afternoon concerts, atjazz the Museum. nights, artThe history Basscourses, Museumlectures, actively docent engagesand its communityprograms, internship in many other and special ways asevents. well: concerts, jazz nights, art history courses, lectures, docent and internship programs, and special events. Silvia Karman Cubina Executive Director/ Chief Curator

Silvia Karman Cubina

Executive Director/ Chief Curator


“Art about Art”: Robert Gober; Louise Lawler, Sherrie Levine, Jonathan Monk “Art about Art”: Robert Gober; Louise Lawler, Sherrie Levine, Jonathan Monk “Urban Culture or Anthropology”: Carlos Amorales, Maurizio Cattelan, “Urban Culture or Anthropology”: Maurizio Cattelan, Abraham Cruzvillegas, On Kawara,Carlos ‘Moris’Amorales, Israel Moreno, Damian Ortega Abraham Cruzvillegas, On Kawara, ‘Moris’ Israel Moreno, Damian Ortega “Text in Art” : John Baldessari, Monica Bonvicini, Douglas Gordon, “Text in Art” : John Baldessari, Monica Jonathan Hernández, Sarah Morris, Ed Bonvicini, Ruscha Douglas Gordon, Jonathan Hernández, Sarah Morris, Ed Ruscha

Gabriel GabrielKuri, Kuri,Carretilla CarretillaIV,IV,1999, 1999,Wheelbarrow Wheelbarrowand andchristmas christmasornaments ornaments




Ping Pong Miami ’09 | Tuesday 01. – Sunday 13. December 2009

Basel Matthias Willi Sue Irion Dirk Bonsma Aldo Bonato Max Grauli „Dare“ Sigi von Koeding

Miami Robert Chambers Mette Tommerup Noor Blazekovic Kuhl & Leyton Gavin Perry Beatriz Monteavaro

special open hours during the art week Wed 02. | Fri 04. Dec. | 2 – 7pm Thu 03. | Sat 05. Dec. | 2 – 9pm | night event Sun 06. Dec. |12 – 4pm grand opening | Tue 01. Dec. | 5 – 10pm DJ Large Kool | Miami DJ Nic Plesel | Basel

events, contact The Buena Vista Building |180 NE 39 Street | Suite 120 | Miami FL 33137 | Miami Design District

Site Memory, 2009, detail of ink installation

Philippe Dodard engages a re-formulation of transnational ties. Africa, Europe, Asia and the New World fuse into an aesthetic tool for repairing the bridge to our humanity. We know “a bridge that

has been repaired may in fact be stronger that the original”; this, the work of Philippe Dodard

Phillipe Dodard

articulates in form, style and sensibility and this is what makes it compelling.

The kinetics of his brushes are truly contributions to the twenty first century aesthetics with a strong bridge to the pasts through a dynamic of re-membering. Crossing this bridge of connections,

interconnections and passages of peoples, places, memories and histories, we emerge onto an artistic landscape where our diversity in equal footing allows the seeing of all that is best in the enduring “spirit work” of our humanity.

Through the art of Philippe Dodard, “men of profoundly diverse cultural, historical, religious,

and racial backgrounds can discover something of their own fate on earth, something of their own persisting strivings to make a more humanistically meaningful experience.”

This art is a blossoming of creative thought, methodology, criticism, theory and articulation. It cuts the “Basel” for the leaves to yield their aromatic scent. Honneur, Respet!

Babacar M’Bow is the International Programs and Exhibits coordinator for the Broward County Libraries Division in Fort Lauderdale, FL.

Site Memory, 2009, detail of ink installation

Antonia Wright The Nature of Things is a project that attempts to question and disrupt

our idea of ‘environment’ and what it means today. By using the body as a tool, I set up scenes that aim to change the landscape by introducing the unnatural into the natural, or the natural into the unnatural.

Through performance and photography, the reactions of the passerby’s

are captured, highlighting the bizarre within the everyday façade of the ‘normal’. This project, like all my work, investigates interpersonal

connections to our surroundings to ultimately question both collectively and individually, why we do the things we do.

Let’s You and Me Get Lost In The Breath Of Trees, 2008, C-print (performance)

I am the Other Woman, 2008, C-print (performance)

Alex Heria

Blue Funk, 2009, C-print (Mixed media, resin sculpture, Swarovski crystal)

The luminous as a symbol of the infinite Contrary to how his work may appear, Alex Heria does not narrate about God, but rather speaks to aesthetics.

A multicultural stampede determines his condition as an artist. He avails himself of our residual symbols,

mixing and fusing them together before unleashing them on an unsuspecting world. The results are enriched

symbols, ready for the grand voyage of interpretations. Heria presents us novel pact between religion and aesthetics that form retooled alliances and lead to spontaneous philosophical musings. It’s an advanced formula of reconstructing our facades and the vernacular path of art as a tribute to the decorative.

For the artist it is not sufficient to recontextualize objects of adoration. On the contrary, it’s how he

begins his lengthy “Calvary,” revisiting and retransforming his imagery with appearances at times both contemporary and “divine”. But even after these Danteesque manipulations, his work is not yet completed.

The artist returns to his task yet again, revisiting the profaned object as a model for and end full of the effects and techniques of his photographic practice.

The completed work represents a state of crises and a strangled structure of consumerism hinting at a

kaleidoscopic oblivion, at once diffuse and blinding to our perception. In them the radiant dominates and sweeps us on a journey to a place of emptiness where cultural kitsch is infinite.

Right page, The Heaviest Burden, 2009, C-print (Mixed media, resin sculpture, Swarovski crystal) Left page, Freedom, 2009, C-print (Mixed media, resin sculpture, Swarovski crystal)

Lucinda Linderman Inspired by the discarded things around me, I transform something

thought of as waste into something desirable. Constantly frustrated

by my over-consumption and production of plastic waste from packaging of consumer goods, I upcycle my trash to create sculpture

resembling organs in the body, the digestive system in particular. The

intestines are the lifeline of the body. They filter ingested nutrients, helping the body use and store those nutrients. They then excrete excess food and wastes the body cannot use. These wastes, however,

can be used as fertilizer, fuel, or nutrients for other organisms in our ecosystem. In this cycle the nutrients are never lost. This is the same

approach used in my artwork. I model my process as an artist on

this system of renewal. The building blocks for my sculpture come from methodically separating my trash into compost, recyclable

bottles, cans and plastic; and unrecyclable packaging from consumer products. Material also comes from collecting plastic trash in my neighborhood like left over plastic wrap lying on the street and in dumpsters.

Dry Cleaning Bag Labyrinth, 2009, Upcycled dry cleaning bags

LORNA MARSH THE ALDO CASTILLO GALLERY 675 North Franklin Street Chicago, IL 60654 Tel: 312-337-2536 “I See Pluto” 2009 Mixed media on board; 11”x 14” “Yes! Yes!” 2009 Mixed media on board; 11”x 14” “Happy Pluto” 2009 Mixed media on board; 11”x 14” Arrival, 2009, Mixed media wall sculpture

Image credit - Russell Young, Pig Portraits: Sid Vicious, 62” x 48”, 2001

2505 N Miami Ave FEATURING Boltax Gallery - Shelter Island Brooklynite Gallery - Brooklyn Glowlab - New York Grace Exhibition Space - Brooklyn Greg Haberny - Brooklyn Jon Frum Art Foundation - Brooklyn

Krasa Fine Art - Miami Leo Kesting Gallery - New York Milk Gallery - New York Sara Nightingale - Shelter Island Super/Prime - Brooklyn We-Are-Familia - Brooklyn

Dec 3rd > 6th 2009 ph: 917.650.3760

SCHEDULE VIP- Press Preview > Thurs Dec 3rd, 11am - 7pm Reception for the public > Fri Dec 4th, 7pm - 12am Live screen printing feat. Russell Young @ Fri 4th Reception Whitehot Mag Release Sat Dec 5th, 7pm - 12am > Filter Mag live music Final Day > Sun Dec 6th, 7pm - 11pm

Seven Swiss artists presented by 9 6

Sonja Feldmeier, Jung-Yeun Jang Lori Hersberger, Kerim Seiler Loredana Sperini, Sue Irion Olaf Breuning

Sonja Feldmeier, Basel The End of the Rainbow„Sonja“, 1999 airbrushed acrylic and car varnish on MDF, ø 123 cm photo: Donata Ettlin

Jung-Yeun Jang, Basel Plug in, 2004 oil on cotton, 100 cm x 80 cm photo: Christian Schoch

Lori Hersberger, Zurich Horizons 003, 2009 c-print, 46 cm x 36 cm (edition 3) courtesy: Galerie Nicola von Senger, Zurich

Kerim Seiler, Zurich Schlaf, 2000–2004 lacquer, MDF, ø 150 cm, (edition 1/3) courtesy: Galerie Susanna Kulli, Zurich

Loredana Sperini, Zurich untitled, 2003 hand embroidery on cotton, 61 cm x 64 cm private collection photo: Mancia /Bodmer

Sue Irion, Basel Third Eye, 2008 photoemulsion on canvas, 50 cm x 70 cm

Olaf Breuning, New York 120 x 150 cm (edition 6/6) i like japanese food very much, 2007 courtesy: Kodama Gallery, Tokyo / Olaf Breuning

We look to our governments, businesses and non-profit organizations to solve our environmental problems. In reality, however no organization or government can stop climate change, only individuals can. Each of us has the ability to make minor changes to our own lives that can have rapid and positive impacts on the global environment.