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SUMMARY:Painting Situations: Sigfredo Chacón and Liliana Porter / ISLAA Artist Initiative
DESCRIPTION:Exhibition Dates: October 12 through December 2\, 2022Opening Reception: October 12 from 5:00 p.m. to 7:00 p.m.Exhibition tour by Laura Colkitt: October 21 at 5:00 p.m.Exhibition tour by Helena Chen: November 10 at 5:00 p.m.Exhibition tour by Jesús Fuenmayor: November 16 at 5:00 p.m.Lecture by Sérgio B. Martins\, Art as Project\, Project as Art: November 16 at 6:00 p.m. Fine Arts Building B\, Room 105 \n\n\n\n\n\n\n\nPainting Situations: Sigfredo Chacón and Liliana Porter/ISLAA Artist Initiative curated by Jesús Fuenmayor and Kaira M. Cabañas and taking place in the Gary R. Libby University Gallery\, is the first exhibition in the ISLAA Artist Seminar Initiative / UF series. \n\n\n\nThe Institute for Studies on Latin American Art (ISLAA) designed its Artist Seminar Initiative to support academic institutions in fostering intimate exchanges between students and living artists from Latin America. For this first iteration at University Galleries\, the work of renowned artists Sigfredo Chacón and Liliana Porter informed the two-semester program of a curatorial seminar followed by an exhibition. Students in art history and museum studies took part in the seminar led by Jesús Fuenmayor in Spring 2022 and also serve as members of the curatorial advisory committee to the exhibition. \n\n\n\nPainting Situations: Sigfredo Chacón and Liliana Porter showcases the work of two pioneers of Latin American conceptualism. The curators chose to focus on Chacón’s and Porter’s most emblematic projects: his Pinturasparlantes (Speaking-paintings) and her Forced Labor series. In doing so\, the exhibition highlights how\, despite each artist’s deployment of radically different aesthetic strategies\, the works on view share a common ambition. Each artist’s work critically comments on painting as a medium and as a situation that calls upon viewers’ lived experiences and attention to social contexts. Chacón’s practice focuses on dismantling painting’s modernist programs by inscribing language within its visual field as they attempt an unmediated communication with their audience\, while Porter turns to the invisible labor of painting and how gender and class intersect beyond its traditional frame. \n\n\n\n\n\n\n\nPainting Situations is complemented by a second exhibition Más Situaciones: Sigfredo Chacón and Liliana Porter (parts I and II)\, which is curated by doctoral candidates Helena Chen and Laura Colkitt in the Gary R. Libby Focus Gallery as part of the series “On View: Curatorial Studies.” For the exhibition at the Focus Gallery\, Porter will present her video Actualidades. The stochastic film incorporates nonlinear vignettes of miniature figurines engaged in unexpected or surprising situations. Analogously arranged like a newspaper\, the video’s segments display expressive scenarios–from tender to farcical–evoking a range of human experiences. Chacón will present a selection of the works related to his 1972 installationSituaciones [Situations]\, a series of pieces that he recently reconstructed for his solo exhibition in a private foundation in Miami. Treating painting as objects\, the installation explores the situational aesthetic and references military forces as well as organized oppression in Venezuela. \n\n\n\nA fully-illustrated catalogue with contributions by the curators and interviews with the artists will be published by University Galleries. \n\n\n\nThe exhibition program and publication are sponsored by the Institute for Studies on Latin American Art and the School of Art + Art History\, University of Florida\, Gainesville. Additional event sponsors include the Harn Eminent Scholar Chair in Art History and the UF Center for the Humanities and the Public Sphere (Rothman Endowment).
URL:https://arts.ufl.edu/event/10389/
LOCATION:Gary R. Libby University Gallery\, 400 SW 13th Street\, Gainesville\, FL\, 32611\, United States
ATTACH;FMTTYPE=image/jpeg:https://arts.ufl.edu/app/uploads/2025/06/PaintingSituations-SChacon.jpg
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DTSTART;TZID=America/New_York:20221104T120000
DTEND;TZID=America/New_York:20221202T120000
DTSTAMP:20251107T180601Z
CREATED:20251006T182851Z
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UID:19915-1667563200-1669982400@arts.ufl.edu
SUMMARY:Más Situaciones II: Sigfredo Chacón / Curatorial Studies and the ISLAA Artist Initiative
DESCRIPTION:Curated by Helena ChenMás Situaciones II presents a selection of works by internationally known artist Sigfredo Chacón (b. 1950\, Venezuela)\, capturing shifts from the conceptual to the more overtly political in his practice. Chacón’s original Situaciones (Situations\, 1972) exhibition at the Ateneo of Caracas is here represented in documentary photographs. One sees how the artist displayed seemingly casual arrangements of fabrics hung by ropes on the wall or looped over a toppled pedestal. Chacón approached painting as an “object” by elevating unprimed canvas to the status of a final work that stands in for the “idea” of painting. In so doing\, Chacón criticized the dominant aesthetic trend of Kinetic Art in Venezuela\, which is characterized by its calculated hard-edge geometric abstraction and optical appeal. \n\n\n\nChacón emigrated to Miami in June of 2017\, and in this new environment he made conspicuous changes for the 2018 version of Situaciones\, which was featured in his solo exhibition at Miami Biennale\, which is in part recreated here. With its serial presentation of olive-green canvases each suspended by a rope\, the work conjures military force and hanging. On the gallery floor\, the artist has added a pile of white canvas bags with the word “ANONIMO” (Anonymous) in uppercase letters\, referencing body bags and the Venezuelan government’s slaughtering of innocent people. In conjuring the violence of contemporary Venezuela\, Chacón’s 2018 rendition of Situaciones can be related to the practices of other artists working under dictatorships such as Arturo Barrio’s trouxas ensangüentadas (bloody bundles)\, which reference the tortured remains of the “disappeared” in Brazil. Finally\, the exhibition presents three paintings from the Fornowpainting series (2018–2019). Painted in army green with red lines that recall the modernist grid and cross hair marks\, these surfaces allude to the visuality of authoritarianism while a stenciled word (i.e.\, MOMENTS\, PEOPLE\, and INVADER) remains visible on each canvas.   \n\n\n\nBy showcasing the 1972 and 2018 Situaciones as well as the Fornowpainting series\, the exhibition demonstrates how Chacón’s practice is both supremely conceptual and imbued with broader reflections on how politics and the experience of exile can inhabit conceptually driven painting through how he puts to use color\, language\, and materials. \n\n\n\n– Helena Chen\, Doctoral Candidate in Art History
URL:https://arts.ufl.edu/event/mas-situaciones-ii-sigfredo-chacon-curatorial-studies-and-the-islaa-artist-initiative/
LOCATION:Gary R. Libby Focus Gallery\, 1370 Inner Road\, Gainesville\, FL\, 32611\, United States
ATTACH;FMTTYPE=image/png:https://arts.ufl.edu/app/uploads/2025/10/Mas-Situaciones-II.png
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DTSTART;TZID=America/New_York:20221117T180000
DTEND;TZID=America/New_York:20221117T193000
DTSTAMP:20251106T202741Z
CREATED:20250605T205504Z
LAST-MODIFIED:20251106T202741Z
UID:10877-1668708000-1668713400@arts.ufl.edu
SUMMARY:HESCAH Lecture: Jenni Sorkin
DESCRIPTION:Join us for a talk by Jenni Sorkin\, Professor\, History of Art & Architecture\, University of California\, Santa Barbara: “Deviant Scale.”Intense and immersive\, the immediacy of cloth is its evocation of the body. Conveying abstraction\, embodiment and corporeality in the shadow of U.S.-based Culture Wars\, and the global AIDS epidemic\, 1990s-era sculptural textile practices offered dynamic structures in which cloth was manipulated\, folded\, stacked\, clustered\, layered\, and sewn\, through repetitive accretions\, to approximate sizes\, shapes\, and contours of the body. In an era that fostered social and political inequities\, textiles were repeatedly employed as allegories of repair\, mending\, and healing. This paper will address the complexities and biases aimed at 1990s textile-based installation in relation to the female-identified body\, ideologies of abjection\, and problems of scale.
URL:https://arts.ufl.edu/event/hescah-lecture-jenni-sorkin/
LOCATION:Samuel P. Harn Museum of Art\, 3259 Hull Rd\, Gainesville\, FL\, 32608\, United States
ATTACH;FMTTYPE=image/png:https://arts.ufl.edu/app/uploads/2025/06/HESCAH-jSorkin.png
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