¿Cómo crear en un medio de las crisis políticas y qué papeles tiene el arte en medio de la violencia? Otro elemento fundamental en su trabajo es la naturaleza y la crítica al extractivismo, en particular del petróleo, que aparece en sus performances, happenings y esculturas. En algunos de sus videos flotan barriles de petróleo en un fondo negro, en medio de la ambivalencia entre abstracción y extracción. Frente a la dificultad de percibir o mostrar ciertos desastres ecológicos, la producción artística de Rolando permite reflexionar sobre ¿cómo abordar las crisis de la naturaleza desde el arte conceptual?
https://www.humanidadesambientales.com/cafe/13-rolando-pea
Americas Society presents This Must Be the Place: Latin American Artists in New York, 1965–1975, a two-part group exhibition exploring the work of a generation of migrants who created and exhibited in New York City between 1965 and 1975. Featuring installation, photography, video art, painting, and archival material, the exhibition brings together a generation that actively participated in experimental artistic movements while pushing forward their own visual languages and ideas, with works exploring topics of migration, identity, politics, exile, and nostalgia. Additionally, the exhibition highlights the important contributions and solidarity initiatives of groups and collectives, testimony of these artists efforts to create community and to forge a space for themselves.
https://www.as-coa.org/exhibitions/must-be-place-latin-american-artists-new-york-1965-1975
In Person: Venezuelan Actor Rolando Peña
Images of Ernesto "Che" Guevara are the most contested and reproduced in Latin America, and this program explores ways this iconic figure has been represented. Diálogo con el Che (Dialogue with Che, 1968, newly restored, 53’), is a legendary film by queer Nuyorican artist José Rodriguez Soltero that parodies Hollywood portrayals of the revolutionary hero. Una foto recorre el mundo (A Photograph Travels the World (1981, 13’) by Pedro Chaskel (also know at the editor of The Battle of Chile, 1975) analyzes the iconic photograph of el Che taken by Alberto Korda at a political rally in 1960, and the unending international (and commercial) appropriations of this image. Leandro Katz’ El Día Que Me Quieras (1997, 30’) retraces the story behind the last photographs Freddy Alborta took of Che Guevara as he lay dead, surrounded by his captors, in 1967.
The film series and publication are produced by Los Angeles Filmforum under the direction of Jesse Lerner and Luciano Piazza. Made possible through grants from the Getty Foundation as part of the Getty-led Pacific Standard Time: LA/LA, a far reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles.
Curated by Jesse Lerner, Luciano Piazza, Steve Anker and Bérénice Reynaud.
https://www.redcat.org/event/dialogues-che-appropriations-revolutionary-figure