Curated by Armando Marino & Meyken Barreto
FACTION’s inaugural New York project celebrates the building of identity from a common heritage within a community engaging Harlem exhibition.
FACTION Art Projects presents their inaugural exhibition, All That You Have Is Your Soul, a group show of 17 artists, all of whom are tied together by their responses to building identity within a foreign land. The exhibition uses the link of heritage between the artists to present artworks that celebrate difference in identity.
Pavel Acosta Alejandro Aguilera Jairo AlfonsoMaria Magdalena Campos-Pons Marc Dennis Anthony GoicoleaEnrique Gomez de Molina Quisqueya Henrique Armando MarinoMaritza Molina Ariel Montejo Cabrera Elsa Mora Geandy PavonJuan Miguel Pozo Ernesto Pujol Juan Carlos Quintana Juana Valdes
Jack Fischer Gallery is pleased to announce hoodwink by didactix by Juan Carlos Quintana, the third solo show of the artist with the gallery. Join us for the opening reception November 4, from 4:00 to 6:00 p.m. at Minnesota Street Project gallery #104. The exhibition will be up through December 30, 2017.
Quintana’s work is known to not pull any punches. In this new body of work, he continues to search for a just world. The characters portrayed in his paintings are the heroes and villains of these tumultuous times. The villains are oblivious to the havoc they wreak. He manages to capture the defiance of heroes, which can be lovely and yet heartbreaking, reminding us of the music that is defiantly blissful in the face of adversity.
We are all hoodwinked into believing in one thing or another. We are schooled at an early age that a certain ideology is best for us, that patriotism and love for a country is important or a certain religion can give us salvation. Popular culture has taught us that to be happy you need to accumulate monetary wealth and obtain a certain social status. We are seduced into believing that a so-called “American Dream” is attainable if you work hard enough.
I see these paintings as social commentaries or observation of the times we are living in. I wish to memorialize a moment in time where we are bearing witness to the hubris, incompetence, arrogance, folly and violence, in a culture that emboldens racist hate groups and xenophobic attitudes. While the powers that be fervently gaslight the populace, any sense of reason is thrown out the window.
The paintings oscillate between being didactic and cryptic. Despite having a dystopian outlook, the works portray a humorous and raucous open ended narrative full of inflatable dancing blow-up men, predatory housing billboards that promote wealth inequality and gentrification, and nouveau riche on their way to a trendy art fair.
I am pleased to announce that I have been awarded the
8. Salon is pleased to announce the exhibition "Abortion of Cute". This will have been an iconic show (not being ironic).
The works of the artists in the exhibition, Abortion of Cute, explores the relationship between emerging sexualities and Lumpenproletarier ethics. With influences as diverse as Wittgenstein and Margaret Keane, new insights are generated from de-construction, de-colonization and undiscovered discourses.
Ever since they were young pubescent teenagers, these artists have been fascinated by both the theoretical limits of meaning and the endless possibilities of being exiled on a tropical island. What starts out as a well intended vision soon becomes corrupted into a carnival of distress, leaving only a sense of chaos, anti-cultural leanings, and the prospect that “failure, my friend, is just around the corner”. Subversion to the notion of signifiers, the perceived ineptness, garish, unsophisticated, or trivial conditions of their artistic practices becomes the vital force that liberates them from the humdrum circumstances of having to do the “same old shit”. These artists are conscious that the pervasiveness of all things cute are always susceptible of being co-opted by the counter-anti aesthetics of the so called progressive forces. They do not drink the Kool Aid.
As temporal derivatives become frozen through boundaries and repetitive art practices, the gentle viewer is left with a subversive hymn ("Feudin' Banjos") to the inaccuracies of our cultural tableaus and to the abortion of cute.The artists in this exhibition includes: Carlo Ricafort (San Francisco), Gerardo Tan (Manila), Lizza May David (Berlin), Juan Carlos Quintana (Oakland), Manuel Ocampo (Manila/ Marseille), Maria Cruz (Berlin), Timo Roter (Hamburg/Iloilo).
Opening: july 6, 7pm.
Exhibition hours: Thursday - Saturday, 3-6pm. July 7 - August 10.
Looking forward to seeing you.
From our partners at Art Practical, today we bring you a review of Juan Carlos Quintana: Retrospectives at Jack Fischer Gallery in San Francisco. Author Maria Porges quotes the artist at the end of the review: “And who is to say what is failure and what is success? As an artist you just need to trust and listen to yourself and keep moving forward.” This article was originally published on September 16, 2015
Interview with Michael Hall's Painters' Painters here.
July 18th - August 29th, 2015
An exhibition or compilation showing the development of the work of a particular artist over a period of time.
Looking back on or dealing with past events or situations
Quintanaʼs work offers a heady mixture of pessimism, humor, bright color, and impasto. In Art Collectors Descending on Unsuspecting Emerging Economies (2015) , a motley cluster of creatures float in the center of a beautifully worked surface of white and grey. Quintanaʼs title warns that, in spite of their toothy grins and big eyes, these animals have sinister intentions. The artist often directs ridicule at the art world through his titles, though no established form of elitism and conservatism is spared (see Agents of Status Quo). Quintanaʼs paintings are not illustrations of his titles, so much as provocative juxtapositions that summon reflection on humanityʼs absurdity, malice, futility, and banality.
"My exhibition, Retrospectives, is an attempt to act as curator and collaborator with myself, while recognizing the absurdity of such an endeavor. Using glass display cases, I futilely tried to formalize my work. I envisioned each case as an attempted retrospective, though ultimately they become an exercise on 'how not to show your paintings.' The cases constitute, as a whole, a failed retrospective or mini-faux-retrospectives, but within that 'failure' is a creative exploration and playfullness that I believe is the crux of my studio practice."
- Juan Carlos Quintana
Quintanaʼs approach to the works in Retrospectives is earnestly and comically explained in the statement above. Having been prompted by recent events to consider the idea of a retrospective, he wonders how to go about such a thing, where to draw his parameters, and what roles he might assume in the process.
An opening reception for the artist will be held on July 18th from 4:00 to 6:00pm