New Media, Sex, and Culture in the 21st Century
Detroit Museum of New Art (MONA)
October 2 - October 30
Detroit's Museum of New Art (MONA) will be opening a new exhibition as part of the city's Art Detroit Now week:
The show, "New Media, Sex, and Culture in the 21st Century," will feature the work of Ana Garces Kiley and over 50 other international, national, and regional artists who explore femininity, masculinity, desire, pleasure, family politics, liberation and repression, pornography, prostitution, sexual violence, exhibitionism and other topics.
The show's theme recognizes that our digital media culture is saturated with sexual representations and complex issues of sexuality from teen "sexting" with mobile phones to YouTube "Booty" videos. The work displayed in this exhibition will probe, comment on, and question such issues through artwork produced in many media including video, performance, photography, painting, drawing, sculpture, interactive computer games, and printmaking.
The opening on Saturday, October 2 (6 to
also feature several performances.
The show will be launched in collaboration
special issue of NmediaC, the online Journal of New Media and Culture,
will feature academic articles on the same topic of "New Media, Sex,
Culture in the 21st Century."
Famous Accountants is thrilled to present
a two person show featuring paintings of figures in ecstatic states of
becoming. These are depictions of the kind of tantric, violent thunder
of the self that propels one upward, toward the divine. Figures in
union, dissolving into one another, rupturing and dividing… Little
Deaths is a show of experimental paintings by two artists, Ana Garcés Kiley
and Myles Bennett, who have developed distinctive,
individual approaches to their craft.
Ana Garcés Kiley
March 28 - May 10th, 2008
"Beating Between Our Veins"
Taller Boriqua, New York City
Ana Garcés Kiley - Entre el Aliento y SalivaFebruary 21 - April 12, 2008
Garcés Kiley explores intimacy in a highly refined way that evokes the sensory delights of sexual activity and the often intangible nature of pleasure, embracing the earthly and the ethereal, and hinting at the peculiar, beguiling realm of dreams. Her erotic representations address a provocative and complex subject, one of the great givens of the human condition, while simultaneously questioning the social acceptability in our time of images of the sexual act.
Through superimposed images and layers in her paintings she suggestively blends natural or animal forms with human bodies. These transformations are part of the poetic representation of myths that since ancient times have owed much to written sources. Garcés Kiley culls her inspiration from the poetry of William Blake to the lyrics of Control Machete, amongst others.
With an acute sensitivity to texture and the inherent properties of materials, Garcés Kiley employs drawing, impasto and staining to render these vulnerable moments in airy, harmonious compositions. Painting on thin, translucent polyester she transgresses the usual practice of completely covering the supporting ground of a painting leaving large surface areas exposed, sparing any narrative that might distract the viewer from the intensity conveyed by the writhing bodies in space. slides where the thighs cut superimposes the image of an eagle to a couple's intercourse as their floating bodies descend almost weightlessly, whence becoming hybrid. The woman sprouts delicate wings as if she is about to take flight, and circling out of her lips tiny flies escape in ecstasy. In entre el aliento y saliva VII a couple stands in a curled embrace, an exchange of tricking fluids gets tucked in the warm pockets of her body, while her long and liquid hair gets transformed into a paused city that marvelously mutates into a sprouting tree. Scattered throughout though, are skulls and bones, reminders of the ephemerality of these moments and of the cruelty of our condition which allows us such pleasures.
Ana Garcés Kiley was born in Colombia in 1974 and is an MFA graduate of Columbia University. She is the recipient of numerous awards including the LeRoy Neiman Center for Print Studies Fellowship, (1998), National Hispanic Foundation for the Arts (1999), the Joan Mitchell MFA Grant, (2000), the Kimbrough Award from the Dallas Museum of Art (2003) and the Wheeler Foundation Grant, (2007). Furthermore, she was a resident artist at the Elizabeth Foundation for the Arts, New York in 2000. Garcés Kiley has had numerous solo and group exhibitions throughout the United States. Concurrently to her show at Latincollector she will exhibit at Taller Boricua, New York in a two person show curated by Marcos Dimas, and a group show in Turin, Italy entitled, ''Nightmares and Dreamscapes'' curated by Ombretta Agro.For further information or press materials, please contact Mónica Espinel at 212-334-7813 or email@example.com.
" Nightmares & Dreamscapes"
Alberto Peola Gallery
A group show of seven
Ana Garcés Kiley
The exhibition Nightmares & Dreamscapes was born out of the desire to show for the first time to an Italian audience the paintings and drawings of seven artists, none of them born in New York, but all currently living and working in the Big Apple.
It is a known fact that painting, after the photography and video boom of the late ‘90s and early 2000s, has come back in full swing and its importance on the international art scene is evident. It would be presumptuous on the curator’s behalf to invest these seven artists with the role of “representatives” of New York painting practices. However, it is fair to say that the diversity of the styles and of the media adopted by them provides significant examples of the development and directions of painting and drawing practices in the American metropolis.
But it’s not only their two-dimensional aspect that brings together these works. The title of the exhibition, “stolen” from an advertisement billboard seen one late summer night coming back into the City, seemed perfect to summarize, on one hand, a similar fascination with dreamlike, surrealistic landscapes, as portrayed by Bradley Castellanos, originally from Connecticut, which mixes the photographic medium with painting, or intended more as an ethereal and atmospheric mental dimension with a strong allegorical connotation, as in the works by Jonathan Podwil, born in Pennsylvania.
The second part of the title, the one that relates to “nightmares”, brings together the work of Dasha Shishkin, of Russian origin but living in the US for approximately 15 years, Zachary Clement, originally from Omaha, Nebraska, Colombian Ana Garces Kiley and Long Islander John Grande. While Grande portrays as a background in his photo-realistic paintings the “nightmares” brought to us by real-life events (such as a nuclear mushroom cloud or the 9/11 explosion at the Pentagon), the other three artists explore a more intimate and at times “darker” and tormented dimension, one that leads to the creation of bizarre, mythical, sometimes sinister, at other times comical characters, that often become alter egos of the artists themselves.
Jeffrey Beebe, born in Indiana, acts somehow as the link between the two groups with his watercolors on paper depicting a surreal world inhabited by comic-like characters often situated in dreamlike landscapes.
For more information please contact Ombretta Agró Andruff: firstname.lastname@example.org
T: +1-212-433 0878 www.ombrettaagro.com
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