Silvia Perea, Selections from Curatorial Portfolio (2008-2018)

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Silvia Perea, Ph. D.

Selections from Curatorial Portfolio 2008 - 2018 2430 Old Groves Rd, 204, Naples, Florida 34109 E. sip041@g.harvard.edu; T. (+1) 646 248 45 62

Someday is Now The Art of Corita Kent

September 27, 2014 - January 4, 2015

Organized by Silvia Perea for The Baker Museum

Responsibilities assumed: - Research on Corita, gathering publications and archive materials as well as interviewing to people related to her. - Creation of the exhibition´s concept and elaboration of the checklist of artworks and ephemera material accordingly. - Writting and design of didactic materials, including the pamphlet, labels and transcription of silkscreens. - Design of the exhibition´s layout in relation to the aforementioned concept, comprising architectural plans and elevations of gallery´s walls, as well as constructive details. - Maintaining a lively correspondence with lenders. - Administration of the budget and coordination of the production process with providers. - Touring the galleries with docents. - Answering questions to the press.

Panoptic view of the exhibition´s entrance Someday is Now, The Art of Corita Kent

Exhibition´s plan

Circus Alphabet, 1968

Marine Alphabet, 1968 Someday is Now, The Art of Corita Kent

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feminist and anti-war activist, Corita—as she is commonly referred to—was one of the most popular American graphic artists of the 1960s and 1970s. Throughout her rich and varied career, she made thousands of posters, murals, and signature serigraphs that combine her passions for faith and

Corita Kent’s art reflects her spirituality, her commitment to social justice, her hope for peace, and her delight in the world that takes place all around us.

Opposite: Corita Kent (Sister Mary Corita),

courtesy of the Tang Museum at Skidmore College and Corita Art Center, Los Angeles.

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Press coverage including cover of Art Districts OMEDAY IS NOW�

is the first full-scale survey of more than 30 years of work by Corita Kent (Sister Mary Corita). A teacher, a civil rights feminist and anti-war activist, Corita—as she is commonly referred to—was one of the most popular American graphic artists of the 1960s and 1970s. Throughout her rich and varied career, she made thousands of posters, murals, and signature serigraphs that combine her passions for faith and

Corita Kent’s art reflects her spirituality, her commitment to social justice, her hope for peace, and her delight in the world that takes place all around us.

Opposite: Corita Kent (Sister Mary Corita), courtesy of the Tang Museum at Skidmore College and Corita Art Center, Los Angeles.

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Meaning ‘Little Heart’ in Latin, Corita was the nickname of Frances Elizabeth Kent (1918-1986), an insightful artist, devoted Catholic, influential educator and persuasive activist who, through these facets, confronted major artistic and political issues of her time. Certainly, the Latin nickname that Ms. Kent received at the Immaculate Heart of Mary Order (IHM), which she joined at the age of 18 in Los Angeles, would anticipate the leading force of her philanthropic contributions: her love fueled a heuristic and playful search for goodness in all aspects of life. Seen within the historical context she knew, Corita appears, in fact, as a staunch lonely heart infusing a renovated breath to the common assumption of the Given.Such independent approach to the world stressed and continues to stress today the creative dimension of her legacy. As an artist, Corita used an inexpensive printing technique —the silkscreen—, which in her days was not even considered an artistic medium, to convey messages of hope and acceptance to the greatest possible audience. These messages, picked from the advertising barrage of consumerist culture, borrowed from writings of prominent intellectuals, or even self-authored, document the phases Corita’s humanistic engagement underwent: starting with her apostolic mis-

sion, while being a Sister of the IHM; including her claims against racism, crime, inequality and the Vietnam War, in the 1960s; continuing with her poetic reading of the adversity, through the next decade; and ending with the optimism with which she endured a cancer in her last days. The style of her prints evolved accordingly to these phases. Corita’s early figurative work led to a garish Pop-inspired stage after which it experienced an abstract less colorful twist before regaining some realistic contours. An extension of her artistic practice, Corita’s teachings were not less extraordinary. At the Art Department of the Immaculate Heart College (IHC), where she taught for more than 20 years, the Sister encouraged her students to undertake a disciplined pursuit of the creative freedom, while she strove to free such pursuit from a disciplinary character. Her assignments, often of titanic proportions, were meant to make the scholars explore their intuition and inventiveness. “The only rule is work,� she would claim. The joyful nature of such work culminated in the College celebration of massive flowery parades, colorful art fairs, and spirited gatherings with avant-garde artists and activists. Awakening the local community to a new perspective of

the Catholic experience, these practices troubled the local archbishopric deeply. As a result, the See urged the Sisters to remain subordinated to its government. This pressure, infringing upon Corita´s natural reluctance to accept principles that restricted her freedom of thought and expression, would influence her to leave the IHM in 1968.The public interest that Corita´s work had brought on in the previous years, adding to her agenda a good number of commissions, exhibitions, and lectures, had turned her into an acclaimed artist; the same interest would persist in the ensuing decades transforming some of her late works, such as Rainbow Swash (1971), Yes #3 (1979), or the Love stamp (1985), into icons of a fraternal understanding of mankind. Utterly personal and simultaneously fully committed to make of love the driving reason of her time, Corita´s legacy stands out as one of the most clear examples of a humanist art. Someday is Now, the Art of Corita Kent is the first full-scale survey of Corita´s career. Through the presentation of over 180 works on paper, a wide collection of ephemera, two films and didactic material, it revives Corita´s buoyant message, which in today´s world finds a similar sense to that with which it was originally conceived. Silvia Perea, August 2014

Pamphlet: cover+back (top), interior (bottom) Someday is Now, The Art of Corita Kent

Face to Face Artists´ Self-Portraits from the Collection of Jackie and Curtis Finch

January 17 - April 12, 2015

Organized by Silvia Perea for The Baker Museum View of the galleries

Responsibilities assumed: - Research on the artists represented, gathering publications on their work and careers. - Creation of the exhibition´s concept and checklist of artworks accordingly. - Writting and design of didactic materials, including the exhibition´s pamphlet, intro text and labels. - Design of the exhibition´s layout in relation to the aforementioned concept, comprising architectural plans and elevations of the gallery´s walls. - Maintaining a lively correspondence with the artists represented and the lender. - Administration of the budget and coordination of the production process with providers. - Touring the galleries with docents, artists and the lender. - Attending special events related to the exhibition.

Panoptic view of the exhibition´s entrance Face to Face, Artists´ Self-Portraits

Exhibition´s elevations (top) and plan (bottom)

Views of the galleries Face to Face, Artists´ Self-Portraits

Narcissism, experimentation, practice, storytelling, selfpromotion, personal quest... There are many reasons that, over the centuries, have led artists to portray themselves. A prominent theme in the history of art, self-portraiture bears witness to the evolution of self-consciousness and, simultaneously, of metaphysics. From medieval times, when artists used to represent themselves in enlightened poses to convey their belief in eternal life, to today, under the influx of the selfie, the subject’s artistic projection has enjoyed as many approaches as authors. Nevertheless, all of these approaches originate from the same question: “who am I?” The responsive potential to this question moved Jackye and Curtis Finch Jr., long-time supporters of the Arkansas Art Center, to enrich their art collection, initially composed of drawings of faces, with acquisitions and commissions of self-portraits. A meticulous selection of these, the exhibition Face to Face illustrates the fertile nature of the answers that artists from around the world have given to the question of

Press reviews of the exhibition

Pamphlet´s cover and back cover

selfhood. Among them are Melissa Cooke and Bill Amundson, who tackle it from an ontological point of view —their self-portraits result from an introspective search. Luis Cruz Azaceta and Alfredo Castañeda reply to the question fantasizing about their personas and represent themselves with a highly enigmatic and intriguing air. Concurrently, Ian Ingram, Aj Smith and Victor Koulbak, respond ‘literally’ to it, depicting themselves with striking realism, as to reveal their souls through the canvas. Other artists, such as Jack Levine and Hugo Schiber, approach it with humor, exorcising their facial features in unabashed caricatures. Peri Schwartz and Jerome Witkin, from their part, get inspiration from notorious self-portraitists —Rembrandt and Max Beckmann are deliberately quoted in their respective works—. And while Gaela Erwin assesses the question in spiritual terms, shaping her likeness through a mystic context, Joyce Treiman gives it an exotic sense, portraying a fictional alter ego of herself. No matter the approach, the translation of the subject on the canvas is never exhausted.

Stemming from the crossings of philosophy and anthropology, self-portraiture is a source for continuous exploration. It addresses the visible and the invisible, the permanent and the ephemeral, the immediate and the dreamy qualities of the portrayed. Along with its universal nature, the irreversibility of the personal state conveyed may explain the recurrence with which self-portraiture has been and continues to be practiced. Face to Face: Artists’ Self-Portraits examines, precisely, the different courses of such suggestive conditions pointing out correspondences —whether physical, conceptual or technical—, among the numerous regards featured. No sections are delineated though: the sixty-six contemporary self-portraits that make up the exhibition coexist in the same space as to stress the multiplicity of self-perception. Brief biographical notes and statements by the living artists represented complement the graphic narratives of the works. Silvia Perea, January 2015

Pamphlet´s interior pages Face to Face, Artists´ Self-Portraits

Weegee by Weegee Photographs from the Jean Pigozzi Collection

May 2 - November 8, 2015

Organized by Silvia Perea for The Baker Museum

Responsibilities assumed: - Research on Weegee, including gathering publications on his work and life and ephemera material for display. - Creation of the exhibition´s concept and the checklist of artworks (125) accordingly. - Writting and design of didactic materials, comprising the exhibition´s pamphlet, intro text and labels. - Building a data base with Weegee´s quotes on the photographs exhibited for including them in the labels. - Design of the exhibition´s layout in relation to the aforementioned concept, including architectural plans, elevations and 3D views of the gallery´s walls. - Design of Weegee´s 7 foot long graphic career timeline. - Design of wavy and cross-shaped stands for displaying ephemera material. - Maintaining a lively correspondence with the lender. - Administration of the budget and coordination of the production process with providers. - Supervision of the installation. - Touring the galleries with docents and the press.

View of the galleries Weegee by Weegee

Weegee´s graphic Timeline

View of the galleries Weegee by Weegee

Wavy and cross-shaped stands for displaying ephemera material

Stands designed displayed in the galleries

Exhibition reviews in the press Weegee by Weegee

Pamphlet´s cover and back cover

red compassion; the powerful mockery; women desire; and children empathy.

At the heart of the legendary photographer Weegee’s (born Usher Fellig, 1899-1968) oeuvre is the exploration of human nature and especially its inclination towards ridiculous behavior and morbid impulses. Through Weegee’s lenses, life became a tragicomedy in which the less privileged inspi-

Weegee’s electrifying portrayal of reality is explained by a tireless practice and independent spirit. His determination to prove himself as a unique photographer and chronicler contributed to his galvanizing artistic output. Working especially during late hours in New York City, when his competitors were asleep and his subjects at their most vulnerable, he earned himself a singular spot in American photojournalism of the 1930s and 40s. His signature topics —crimes, arrests, fires, accidents and social events— were prompted by the gruesome appetite of the tabloids he collaborated with. Growing up in Manhattan’s Lower East Side in the 1910s —by then New York’s densest ghetto— had prepared Weegee for the hardships of the Prohibition and Depression eras. It also gave him a unique vantage point from which to understand and portray the city’s delirious subculture. Flirting with the police and the mafia alike, he won favors from both. The outcome of this privilege was a report of men’s resilience, which finds echoes in the social documentary practices of photographers such as Jacob Riis and Lisette Model.

In 1945 the publication of Naked City, Weegee’s account on New York nighttime calamities, catapulted him to fame. The sweet taste of success took him to Hollywood where he contributed to films as an actor, photographer and consultant. The artificial environment he discovered in “the factory of dreams” would support his endeavor to extend the limits of photography. Weegee’s experiments with lenses, which triggered his distorted portraits of women and celebrities, solidified his understanding of photography as a means to free human reality from its bias.

purpose. A graphic timeline depicting the evolution of the cameras he used, his incursions into cinema, the books he published, and curious facts about his life contributes to the contextualization of Weegee’s narrative. Silvia Perea, April 2015

An overview of his photo-documentary pursuit, Weegee by Weegee presents over 120 images by the artist from the collection of philanthropist and photographer Jean Pigozzi. Organized according to the time the photos were presumably taken, from dawn through the dead of night, the exhibition is an invitation to spend “a day with Weegee.” The photographer’s presence is suggested throughout the gallery by the use of autobiographical comments and notes on the works featured, hence the exhibition’s title. A broad selection of period tabloids and magazines including Weegee’s photographs highlights his production’s practical

View of the galleries Weegee by Weegee

Paco Pomet November 25, 2015 - March 30, 2016 Exhibition organized by Silvia Perea for The Baker Museum

Responsibilities assumed: - Research on the Spanish painter Paco Pomet, including gathering publications on his work and life. - Creation of the exhibition´s concept (please refer to pamphlet´s text) and checklist of artworks in accordance to the above-referred research work. - Interview to the artist. Recording and video-editing of the interview (18 min. long) for its projection in the galleries. - Edition and design of didactic materials, comprising the texts and layout of the exhibition´s catalog, pamphlet, text panels and object labels. Translation of texts into Spanish. - Design of the exhibition´s spatial layout in relation to the aforementioned concept, including architectural plans, elevations of the gallery´s walls and 3d views. - Design of the exhibition´s logo (title) and typography. - Maintaining a lively correspondence with the artist, gallerists and lenders regarding loans and shipping. - Translation of loan agreements into Spanish. - Development of exhibition proposal for potential funding. - Coordination of the production process with providers. - Supervision of the registration and installation processes. - Touring the galleries with the artist and the docents. - Attending special events related to the exhibition. - Photographic report.

Views of the galleries Paco Pomet

Pamphlet´s text

The work of the Spanish painter Paco Pomet (Granada, 1970) inserts itself against the flow in the contemporary visual culture of intensive production of images, vindicating the use of the imagination to challenge the commonly obsolete perception of reality. For the execution of his paintings, the artist selects anonymous images, usually from photographic archives, and reproduces them with astonishing accuracy and exceptional technical mastery. Along with this operation of mimesis, Pomet distorts the meaning of the original image through different ways: integrating an element alien to the thematic depicted, and usually humorous; deforming the limbs or physical extremities of the beings he portrays; combining diverse scales; or using bright, almost unreal, colors, among others. The result is a hilarious if not shocking or mysterious composition that urges the viewer to find a meaning. This playful offer that Pomet proposes to the public reflects the artist’s ultimate wish to “nourish an active naiveté which invites to look at everything anew,” far from bonds and conventions. The longing for the innocent glance that the painter’s words denote finds a clear expression in

Press release

Exhibition´s pamphlet

the studies of the infantile naiveté that abound in his work, as well as in the inclusion of characters extracted from comics and TV programs for children in the portraits of society and political events that he recurrently makes. As it also happens with children’s imagination, the exception becomes the rule in Pomet’s paintings. For instance, La Tierra Prometida (2010) shows a group of adults and youngsters on the moon, posing naturally in front of the lunar module of Apollo 11, simply wearing daily clothes and spherical fish tanks on their heads. In a context that the collective memory associates with the latest technology, the human being is presented as a real alien. But the dreamlike quality of Pomet’s compositions is not incompatible with his satirical propensity. On the contrary, the absurdity and the humor align themselves in his paintings in favor of the ironic message that they convey. Both features, the normalization of the exception and the use of reverse psychology with critical purposes, approach Pomet’s legacy to some drifts of Surrealism, such as Pataphysics and the Situationism. At the same time, the artist’s confessed and clear inspira-

tion in the work of René Magritte emphasizes the link of his production, especially the early one, with the pictorial Surrealism. Other references add to Magritte’s in Pomet’s production. With the work of the painter Mark Tansey (San Jose, California, 1949) his keeps a great methodological thematic and color affinity. The artist from Granada joins Gerhard Richter (Dresden, 1932) in his interest in the ‘photo-painting,’ naturalizing the illusionistic space and equalizing the oeuvre’s information through the blurring of its background. In Spain, Pomet’s work shares with Angel Mateo Charris’ (Cartagena, 1962), its inspiration in comics and the Pop-Art, and with that of his former studio colleague, Santiago Ydáñez (Jaén, 1969), its technical freshness. A characteristic feature of Paco Pomet, however, is the almost tangible value that the dimension of time acquires in his paintings. The artist’s fascination with the technological revolution of the first half of the twentieth century, and the innovative spirit from which it arose, is translated, in his work, in the representation of inventions of this epoch animated

by a futuristic air. No less exclusive of Pomet’s oeuvre are his “grotesque” propositions; the recreation of Americana’s scenes; the framing of non-sites; and the capture of situations immediately preceding a fatal event. Each of these singularities is represented in Paco Pomet, the first retrospective of his production in an American museum, organized by Artis—Naples, The Baker Museum. With 25 works from Spain and the United States, this exhibition connects the main themes in the painter’s oeuvre in accordance to his understanding of them as chapters of a sole project. The arrangement of the artist’s paintings in an open space, allegedly panoptic, responds to this condition, as well as to the intention of turning the interpretative game to which Pomet’s work invites into a smooth and collective experience. With it all, the organization of this exhibition enhances the commitment of The Baker Museum to promoting emerging artists in the international art scene.

Silvia Perea, October, 2015

View of the galleries Paco Pomet

Jorinde Voigt Cartographies of the Untold

November 14, 2015 - January 10, 2016 Exhibition contributed by S. Perea for The Baker Museum

Jorinde Voigt’s oeuvre challenges the semantic limitations of language by graphically interpreting the ideas conveyed in literary, musical, scientific and philosophical works. The artist develops this semiotic translation in a variety of formats–drawings, texts, paintings, and installations–, as well as through the use of several techniques–pencil, oil stick, ink, watercolor and collage. Inherent to this modus operandi is the elaboration of a graphic code, which reflects Voigt’s sensitive approach to the multidisciplinary sources she appropriates in her artistic practice. When transcribed onto paper, this code is conceived as a score or “performative notation,” which attests to the artist’s music education: a thought is unfolded in matrices of flowing lines oriented by time vectors and spots of vibrant colors that represent eloquent aspects of the works she interprets. The code emerges, therefore, from the overlap of temporal, spatial and dyna-

mic dimensions, and interconnected layers of meaning. Along with the variety of books Voigt transcribes into her drawings —from Roland Barthes’ A Lovers Discourse: Fragments, to Niklas Luhmann’s Love as Passion: The Codification of Intimacy, the density of references she addresses in each composition adds to her oeuvre’s syncretism. Voigt takes straight lines and curves, numbers, words, and collage elements and develops them into a visual grammatology that maps her phenomenological perception of the world. The potential of the artist’s codifying method enhances her work’s universality. So does her oeuvre’s virtual nature for it amplifies the apprehension of reality and its consolidated meanings. As a metalanguage, outgrown from intellectual sources of different nature through a process which is both self-regulated and spontaneous, Jorinde Voigt’s production embodies the infinite expressive capacity of creative thought.

Born to scientist parents 38 years ago in Frankfurt am Main, Voigt studied philosophy, comparative literature and sociology at the Freie Universität of the German capital before enrolling the Berlin University of the Arts, where she graduated in 2003. Ever since, Voigt’s artistic practice has earned global recognition: not only has it been shown in solo and group exhibitions throughout the world, but it has also been collected by museums such as the Centre Pompidou in Paris, the Museum of Modern Art in New York, and the Art Institute of Chicago. The recognition of Voigt’s oeuvre extends to her reception of the Otto Dix Prize in 2008 and the Daniel & Florence Guerlain Contemporary Drawing Award in 2012. Since 2014 Voigt has been teaching conceptual drawing and painting at the Academy of Fine Arts, in Munich. Currently, she lives and works in Berlin. Silvia Perea, October 2015

Responsibilities assumed: - Research on the German artist Jorinde Voigt, including gathering publications on her work and life. - Creation of exhibition´s proposal, including the title Cartographies of the Untold. Presentation of this proposal to the Museum´s Director. - Edition of the exhibition´s main text, reproduced in the galleries as well as in the website of Artis--Naples. - Design of the exhibition´s spatial layout considering available artworks. Drafting architectural plans and elevations of the gallerys walls. - Coordinating the production process with providers. - Supervision of the installation. - Touring the galleries with the artist, her gallerists and the Museum´s docents. - Interview to the artist. Audio recording. - Photographic report.

View of the gallery Jorinde Voigt, Cartographies of the Untold

Harry De Zitter Photographer Sans Frontières

Preliminary idea

April 16 - July 31, 2016 Exhibition organized by Silvia Perea for The Baker Museum

Responsibilities assumed: - Creation of the exhibition’s concept and final checklist (with 99 works) in accordance with available budget. - Design of the exhibition’s architectural layout in accordance with the aforementioned concept. - Provision of the exhibition’s visual materials (architectural plans, 3d views, pamphlet, etc.) to funding companies (funding was achieved). - Active correspondence and exchange of information with the artist. Transcription of all conversations personally maintained with him (Project # 3 of the Oral History Project). - Contribution of the texts for the exhibition’s pamphlet, web page and catalog (leaflet). - Design of the exhibition’s pamphlet, leaflet, and labels in accordance with available budget. - Interview to the artist, filmed in video (1h 30min long). - Successive editions of the filmed interview. - Provision of subtitles to the filming company. - Edition of the exhibition’s press release (published in the program book of Artis-Naples, May 2016). - Coordination of the production process (printing of photos and leaflets) with local premises. - Coordination of the shipping of display fixtures. - Review and edition of loan agreement. - Supervision of installation. - Touring the galleries with the artist, docents and the press.

View of the galleries Harry De Zitter, Photographer Sans Frontières

Exhibition´s leaflet

Freelance photographer Harry De Zitter’s life and career have interwoven into an incredible journey. Starting in 1949 when he was born in Belgium, it continued to South Africa, where he grew up and studied, and took him later to the United States and numerous other countries to become a key figure in advertising photography while he developed extraordinary personal projects. The photographer’s vast body of work, produced over four decades, accounts for an insatiable search. His motto, “expect the unexpected,” defines his approach to both life and photography. De Zitter’s open mind behind the camera explains the interchangeability of his commissions and self-assignments. Often, a photograph taken as part of a personal project has become the leading image of a campaign; in other instances, shooting for ads has enabled him to make powerful collateral images. No matter the subject or nature of the photograph, composition has always been the guiding prin-

ciple to its framing. Inherited from Alexander Podlashuc, his professor at the Port Elizabeth School of Art in South Africa, the need for structuring the image’s content along diagonal lines, as well as for balancing the frame’s positive and negative spaces, is a signature of De Zitter’s work. So is the humorous spirit that drives his practice, a quality which De Zitter also admired in his mentor. No less well known are the 6’’x 12’’ and 6’’x 17’’ formats he popularized in the United States and the United Kingdom throughout the 1980s and 1990s, the golden years of advertising photography during which he traveled the five continents on innumerable commercial assignments. The different cultural, political and economic contexts De Zitter has encountered on his trips around the world inform his production. They also align with the variety of topics he captures, ranging from portraits to landscapes, still lifes to street scenes, textures to architectural details. De Zitter’s

compositions convey mysterious atmospheres, the exceptional qualities of common things and the graphic arrangement of natural elements. While these topics and attributes appear throughout his career, De Zitter’s assessment of photography radically changed a few years ago when he shifted from film to digital. Today, he only uses digital cameras and embraces the post-production process courageously. “Ancora imparo,” —“I’m still learning”—, he says when referring to the creative potential of the newest imaging technology. His last series of photos were made in Naples, Florida, where De Zitter currently resides. A collection of landscapes of the ever-changing sky during the summer days, this series evokes the openness and constant reinvention of his practice. Photographer Sans Frontières, the first retrospective of Harry De Zitter’s work in an American museum, features a selection of 100 images taken throughout his life, including

his first paid landscape, made in Argentina, and his last photograph, recently shot in South Africa. Conceived as a form of storytelling, with vignettes accompanying the pieces, the exhibition provides insight into the tireless spirit underlying the photographer’s adventurous career. Silvia Perea, March 2016

Exhibition´s pamphlet

Shots of the interview made by Silvia Perea to the artist Harry De Zitter, Photographer Sans Frontières

Views of the galleries Harry De Zitter, Photographer Sans Frontières

Jacque Fresco

100 Years of Vision

November 2016 - April 2017

Organized by Silvia Perea for The Baker Museum

Timeline

Responsibilities assumed: - Conception of the exhibition´s argument, content and design, after establishing contact with Fresco. - Proposal of exhibition to the museum´s director. - Research on Fresco´s vast archive during multiple trips to Venus, Florida, where the archive is housed. - Creation of the checklists. - Construction of a timeline covering the last century and detailing the facts of Fresco´s life that have shaped his vision of the future. The timeline consists on 190 illustrated, letter size labels each narraring a specific fact. - Writing and designing the layout of the timeline´s labels and object labels in accordance to the fruits of research. - Writing the texts for the exhibition´s pamphlet, webpage and intro text. Design of the exhibition´s pamphlet. - Clearing rights of the timeline´s images (over 300). - Maintaining a regular correspondence with the lender. - Design of the exhibition in accordance to the exhibition´s budget, from preliminary studies to detailed plans. - Coordination of production process with local vendors and supervision of the exhibition´s installation. - Tour of the galleries with the lender, docents and visitors.

View of the gallery Jacque Fresco, 100 Years of Vision

Detail of the shelves with distribution of models and sketches.

Plan of the gallery

Shelves with models and sketches. Jacque Fresco, 100 Years of Vision

Pamphlet This exhibition honors the creative, ideological and scientific legacy of Jacque Fresco, a self-described “social engineer and industrial designer,” based in Florida, who, in March 2016, celebrated his 100th birthday.

For over eight decades, as world events became increasingly affected by the economy, Fresco has designed a comprehensive plan for future generations, prioritizing care for the natural environment and humanity’s welfare over individual interests. Conceived as an alternative to monetary-based cultures, his proposal advocates a “resourcebased economy,” a currency-free system operating on the computerized accounting and equal distribution of Earth’s natural wealth. Highly technologically advanced, the society that inhabits this system is served by machines which, performing all jobs traditionally done by people, enable its members to pursue more fulfilling ends of their choice, ensuring global progress.

thousands of functional, multipurpose designs that shape his vision vary from household items to space stations anticipating numerous concepts developed by different industries today. His innovative contributions include a smoking pipe that filters out nicotine, a three-dimensional film projector and various prefabricated aluminum-home prototypes. Among these, Fresco´s project for the city of tomorrow epitomizes his vision’s breadth. Circular in plan and divided by radial communication axis into research and living sectors, this metropolis is a high-tech eco-organism run by a central computer, yet fully integrated into its surrounding natural environment. Unmediated by money, life in Fresco’s proposed habitat is meaningful, fraternal and progressive.

Fresco’s lifelong project stems from his firsthand experience of the Great Depression, which instilled in him the urge to reevaluate how many of the world’s systems work. The

Exemplifying how a better tomorrow could appear and inspiring future generations to make it possible, Fresco and his partner, Roxanne Meadows, have built part of his ideal

city in Venus, Florida. Supported by a global network of collaborators, The Venus Project, as the couple´s mission is known, is dedicated today to spreading the visionary’s teachings through lectures, books and films. Jacque Fresco, 100 Years of Vision presents a century-long timeline, which places the designer’s biography, inventions and thesis within their historical context. The presentation also includes a wide selection of the models and sketches that Fresco has produced to represent his ideas, arranged by scale to emphasize the scope of his proposal. This exhibition is organized by Artis—Naples, The Baker Museum, with generous support from Jacque Fresco, Roxanne Meadows, Nathanael Dinwiddie, Joel Holt and Maja Borg. Silvia Perea, November 2016

Jacque Fresco, 100 Years of Vision

Jan Yoors A Retrospective

May 16 - October 20, 2015

Co-organized by S. Perea for The Baker Museum

Responsibilities assumed: - Research on Jan Yoors, including gathering publications on his work and life and analyzing the digital archival information provided by the lender. - Refinement of the exhibition´s concept and checklist of artworks (over 150) in accordance to the above-referred research work. - Edition and design of didactic materials, comprising the exhibition´s pamphlet, intro text, text panels as well as object and ephemera material labels. - Design of the exhibition´s layout in relation to the aforementioned concept, including architectural plans, elevations of the gallery´s walls, and constructive details. - Maintaining a lively correspondence with the lender. - Coordinating the production process with providers. - Supervision of and participation in the installation. - Touring the galleries with docents and the lender. - Attending special events related to the exhibition.

View of the galleries Jan Yoors, a Retrospective

View of the galleries Jan Yoors, a Retrospective

Florida Contemporary February 22 - April 27, 2014

Exhibition contributed by Silvia Perea for The Baker Museum

Responsibilities assumed: - Organization of information received from artists. - Edition of the 26 participating artists’ biographies and personal statements. - Edition and approval of the exhibition’s pamphlet. - Attendance to the exhibition’s opening.

Press review

Pamphlet: cover and interior

View of the galleries Florida Contemporary, 2014

Pamphlet: cover (left) and interior

100 Years of American Abstraction

15 Years of Collecting

Selections from the Permanent Collection

At The Baker Museum

September 6 - October 25, 2014

June 6, 2015 - January 31, 2016

Exhibition contributed by Silvia Perea for The Baker Museum

Exhibition contributed by Silvia Perea for The Baker Museum

Responsibilities assumed: - Design of different proposals for the organization of paintings on the exhibition’s intro wall (see below). - Review of exhibition’s checklist along with curator. - Clearing rights for the images used in the exhibition’s pamphlet, webpage, kiosk and poster, including search for and identification of rights’ holders. - Photographic report.

Responsibilities assumed: - Design of the exhibition’s layout, comprising architectural plans and elevations of each wall. - Along with the exhibition’s curators, redefinition of the checklist in accordance with available space in the galleries. - Design of exhibition’s pamphlet. - Management of the exhibition’s production process. Pamphlet: cover (left) and interior

Exhibition´s plan

Intro wall studies

View of the galleries Miscellaneous exhibitions

Adolf Loos Our Contemporary October - November, 2013

Exhibition contributed by Silvia Perea for Columbia University

Responsibilities assumed: - Research on publications and materials related to the exhibition´s topic. - Maintaining a lively correspondence with curators in Portugal and New York regarding loans and programming. - Recording of several of the interviews with contemporary architects featured in the exhibition. - Photographic report. - Attendance to the exhibition´s opening and theme-related symposium hold at Columbia University.

Adolf Loos: Our Contemporary celebrates the centenary of the Looshaus and the publication of Adolf Loos´s most provocative text: Ornament and Crime. The exhibition centers on a series of interviews with contemporary international figures, who comment on the relevance of Loos for architecture and their own practices. Reflecting on the status of originals and replicas, the exhibition assembles projects

in a range of media by artists and architects with a strong Loosian inheritance. The exhibition traces Loos´s influence in America through correspondence with R. Neutra and R. Schindler, and through photographs of exhibitions staged by the MoMA and the Cooper Union. With the interviews, and through the documents, the exhibition aims to capture the sense of contemporaneity that Loos continues to exert.

Installation´s views Adolf Loos Our Contemporary

Alterpolis

Reflections on a Utopian City

May - December 2008

Exhibition curated and designed by Silvia Perea along with the collective N+13 for the CCC Matadero, Madrid

Responsibilities assumed: - Conception of the exhibition´s argument —the acupunctural utopization of urban problems affecting Madrid. The concept was awarded 1st Prize in the event´s call for entries. - Design of a 3x3x3m model featuring the conclusions of a sequential reflection on the aforementioned problems. - Supervision of the model´s construction process, recorded in a video accessible through: http://intermediae.es/project/ alter_polis/blog/documentacion_audiovisual_proceso_de_ trabajo_de_ntrece - In successive sessions, public presentation of each of the layers conforming the model and participation in the debate following the presentation.

Installation´s views Alterpolis, Reflections on an Utopian City

Sketches of the model

Hanging layers Alterpolis, Reflections on an Utopian City

Sketch of the model

Installation´s plan (top) and side elevation (bottom)

Installation´s views Alterpolis, Reflections on an Utopian City

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