Christina Mejías Gómez, A un tiempo. Unos higos y un cántaro, solo exhibition at Centro Párraga (Murcia, SP, 2020). Curated by Ana García
Alarcón. Photo courtesy of Centro Párraga.
“We’re each of us alone, to be sure. What can you do but hold out your hand in the dark?”
-Ursula K. Le Guin
Life, when examined in the most minute terms, is a lonely prospect. For many of us, we spend it surrounded by people – family, friends, colleagues, neighbors, acquaintances – and yet it is written again and again that in the end, we are alone. No one can tread the path precisely beside us. Our closest companions are limited to what they know of us externally, only we ourselves possess the deeper knowledge of our true hearts and minds. While this may seem an isolating concept, therein lies
our deepest strength. Only we know what lies within, the depth of our own wisdom, our limits, our capacity for the very things that make us human.
Zeren Oruc spoke to us from Belgrade where indoor spaces reopened recently. Oruc recently completed an exhibition examining blaach culture, an ethnic minority in Serbia, focusing on the spirituality and connection with nature within the culture. For this show, in addition to photos, Oruc included an installation of peppers, a
major crop in the region cultivated by the blaach people. There is another exhibition in line for the end of August working artists from a residency Oruc curated in Spain. The topic of this exhibition will be climate change within the area of Spain where the residency takes place as well as in Serbia. Artists will work with bio-materials including kombucha and mushrooms. To hear more about this and other projects, including more about the residency in Spain, listen to the complete interview.
Christina Mejías Gómez lives and works in Madrid, Spain where lockdown has eased and the city erupted in jubilant – if perhaps somewhat irresponsible – celebration. Gómez is working on a collaborative piece alongside a theater artist, which they have presented in Mexico. In addition, she was recently in residency in
the Azores, isolated islands in the middle of the Atlantic that are an autonomous region of Portugal. There she made a number of discoveries which she is now sifting through as she moves ahead with projects. To hear more about this residency, the islands themselves (including on island that emerged and then disappeared), and other projects, listen to the complete interview.
|
The King’s Fates: Regicide, Dismemberment, Drowning, Marriage, and Regeneration
|
Weekly Grants &
Resources for Artists
Emily Kennerk, installation, 2015
Every week you will find updated resources here to apply for grants, find residencies and more.
|
Warm sun, cool breezes, rain, thunder, crickets chirping – the delights of summer are upon us and the world feels like it is coming to life once more. Channel this living energy into your artistic practice, let it be the catalyst for your next endeavors. As a career artist, it is up to you to create opportunities for your art...
|
As the heat of summer begins to ramp up, now is the time to recharge your energy and get to work finding opportunities to carry you through the next phase of the year. Artists are responsible for creating their own paths, which is why a regular part of your practice must be to seek...
|
To grow anything, you must nurture and cultivate it. This is no less true for your art career than for a garden flower. Success in the art world doesn’t just happen, it is the result of patient cultivation, hard work and the willingness to take risks. Along the road to success, you will...
|
Time moves on whether we are prepared or not, and as a career artist, time is one of your main assets in finding success. Use it wisely and you will secure ample opportunities to expand your own practice and make sure your art is seen by the world – squander it and your career is at risk of faltering even before it...
|
These are positive and / or negative reviews of galleries, art fairs, consultants, writers, online pay to play offers,
residencies and more – all written by artists so that other artists can beware of situations where institutions treat artists badly, or that end up costing the artist money or are outright scams.
|
|
|