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Santa Barbara

VARIEDADES: A Variety Show on the Border

The VARIEDADES performance series, curated by writer and performer Rubén Martínez, takes its cue from the Latin American “variety show” format and pushes the genre, combining spoken word, performance art, music, and a dash of “critical karaoke.” In honor of the Looking In, Looking Out: Latin American Photography exhibition, the VARIEADADES crew approach the border between the U.S., Mexico, and Central America through renderings of utopia and distopia—anarchist-inspired communes, on the one hand, and the brutal violence that results from state collusion with transnational illicit markets in human and drug trafficking, on the other.

Submitted on Tue, 10/27/2015 - 20:55

VARIEDADES: A Variety Show on the Border

The VARIEDADES performance series, curated by writer and performer Rubén Martínez, takes its cue from the Latin American “variety show” format and pushes the genre, combining spoken word, performance art, music, and a dash of “critical karaoke.” In honor of the Looking In, Looking Out: Latin American Photography exhibition, the VARIEADADES crew approach the border between the U.S., Mexico, and Central America through renderings of utopia and distopia—anarchist-inspired communes, on the one hand, and the brutal violence that results from state collusion with transnational illicit markets in human and drug trafficking, on the other.

Submitted on Tue, 10/27/2015 - 20:55

Interventions: Cayetano Ferrer

The foundations of Cayetano Ferrer’s sculptures and installations involve notions surrounding the remnant. Starting with a fragment—an ancient textile, a found piece of carved wood, a section of marble, or even an Art Deco-era ashtray removed from a casino lobby—the artist utilizes an array of technological methods to incorporate such objects into the larger scheme of his imagination. His work renders the obsolete and defunct both current and functional while also establishing entirely new values and contexts for objects that are most often overlooked.

Submitted on Tue, 10/27/2015 - 20:49

Geometry of the Absurd: Recent Paintings by Peter Halley

For over 30 years, Peter Halley’s paintings, with their characteristic Day-Glo color and distinctive faux-stucco surfaces, have engaged in variations on the same closed set of geometric forms, designated by the artist as prisons, cells, and conduits — “icons that reflect the increasing geometricization of social space in the world in which we live.”

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Submitted on Tue, 10/27/2015 - 20:44

Geometry of the Absurd: Recent Paintings by Peter Halley

For over 30 years, Peter Halley’s paintings, with their characteristic Day-Glo color and distinctive faux-stucco surfaces, have engaged in variations on the same closed set of geometric forms, designated by the artist as prisons, cells, and conduits — “icons that reflect the increasing geometricization of social space in the world in which we live.”

[1]

Submitted on Tue, 10/27/2015 - 20:43

Geometry of the Absurd: Recent Paintings by Peter Halley

Using distinctive materials including Day-Glo acrylics and Roll-a-Tex, Peter Halley’s paintings present variations of geometric forms that he and others have designated as prisons, cells, and conduits. With their visual associations with modern and contemporary architecture and design, electronic and digital models, and social systems, Halley’s paintings have long predicted—and continue to serve as metaphors for—a vast range of cultural phenomena. In particular, his intense and often dazzling combination of colors and connecting shapes may be perceived as allegories for many of the physical and conceptual elements of the Information Age.

Submitted on Sat, 10/17/2015 - 00:35

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