Founded in 2003 by Eloisa Haudenschild, the haudenschildGarage is a 21st century cultural search engine that provides a home to all seeking to engage in experimentation and conversation. The goal is to offer a permissive context for opinion and production. The haudenschildGarage works directly with artists through Garage Projects, Garage Talks, Fuel4Talks, Commissions, and Artist Residencies.
Since 2006, the haudenschildGarage has been instrumental in the realization of numerous international projects. Each garage project is born through collaborative conversations between participating artists and the haudenschildGarage. Projects have included a mural in Los Angeles, California by the New Chinatown Barbershop and eight local graffiti artists (2006); grave rubbings series by New York-based artist, Lisa Tan, Recoleta, in Buenos Aires, Argentina (2007); engaging Los Angeles-based art critic, Matthew Schum, to interview Hou Hanru, the Istanbul Biennale curator (2007) and to dispatch ‘mobile debriefings’ from Documenta 13 (2012); working with fellow Los Angeles-based artist, Karla Diaz, to create a mural with artist Mario Ybarra Jr. at the Prague Biennale (2007); establishing the Fundación Migdalia Rubio, which offers scholarships for education to at-risk youth in Tijuana, Mexico (2010); collaborating with the Periscope Project’s Summer Urban Laboratories workshops in San Diego, California (2011 and 2012) and Estacion Tijuana, and Taller 7 on Proyecto Coyote for the MDE11 Biennial in Medellin, Colombia with curator Lucía Sanromán(2011); working with artist Felipe Zuniga to create the Laboratorio Experimental de Óptica, a program that paired artists from the Universidad Autonoma de Baja California with elementary school students in Tijuana, Mexico (2011); supporting the collaborative video, The Gift Exchange, by Yang Zhenzhong and Eduardo Abaroa (2011).
In 2013, the haudenschildGarage collaborated with artist Mark Bradford on the Hermes Project in Los Angeles and La Jolla, California. That same year, the haudenschildGarage produced the documentary Triples/Trillizos, by Itzel Martínez and Lucía Sanromán, which premiered in Mexico and the U.S. The film has been selected for the 2014 Oaxaca International Film Festival. Two on-going Garage Projects include the fourth iteration of the Political Equator (2013-2015) based in Argentina in collaboration with Teddy Cruz, Alejandro Meitin of Ala Plástica, and Mauricio Corbalan of M7Red and collaborating with the literary collective, Eloisa Cartonera and Washington Cucurto, on a kitchen garden in Buenos Aires, Argentina.
New projects for 2014 include, The Gypsy Project, a collaboration with Steve Fagin and, “Niños Trabajadores de la Linea”, a project with the Migdalia Rubio Foundation to remove children selling at the Tijiuana border. Offering them the opportunity to attend educational labs, including a class by cartoonist Ricardo Arnaiz.
Garage Talks are a series of panel presentations, large conversations and film screenings. These events included the World Premiere of Cao Fei’s video Whose Utopia. Mexico City in the 1990s with Steve Fagin, Yoshua Okon, Roberto Tejada and Rubén Ortiz-Torres. Gerardo Estrada, (UNAM & former Minister of Fine Arts, Mexico), Cuauhtémoc Medina (Art Critic & Curator, Tate London), Rubén Ortiz-Torres (Artist), Yoshua Okon (Artist), and Carmen Cuenca (Director, Museo Tamayo Arte Contemporáneo) (2005); Cities and Circuits – Urban Detours into New Media Practice with Shuddhabrata Sengupta (Raqs Media Collective, Delhi, India) and Ricardo Dominguez (UCSD & Electronic Disturbance Theater)(2005); Asian Art Now with Mami Kataoka (Senior Curator, Mori Art Museum, Tokyo) with Lesley Stern, Norman Bryson, Kuiyi Shen, Eungie Joo, Doryun Chong (Curator, Walker Art Center, Minneapolis), Betti-Sue Hertz (Director, Yerba Buena Center for the Arts), Yukie Kamiya (Curator, New Museum, New York)(2005);inSite_05 Conversations, some participants included Michael Krichman, Osvaldo Sánchez, Mans Wrange, Mark Bradford, Joshua Decter, Beverly Adams, Ruth Auerbach, Javier Téllez, Magaly Ponce, Carmen Cuenca(2005); the panel Alternative Universes: Emerging Artists’ Spaces with Renoud Proch, Nate Harrison, Mario Ybarra Jr., Sergio de la Torre, C. Ondine Chavoya, conceptualized by Rita Gonzalez and Bill Kelley Jr.(2006); the Political Equator I conferences, a three-day event featuring Hou Hanru, Pi Li, Andrew Ross, Teddy Cruz, Steve Fagin, and Eyal Weizman, among others (2006); the Political Equator II conferences with the collaboratives Ala Plástica and the Urban Think Tank (2007); Three Tacos and a Martini with Teddy Cruz with Yvonne Venegas, Josh Kun, and Michael Krichman (2007); The Atlas Group with Walid Raad (2007); the exhibition Disorderly Conduct, a collaboration with the Orange Country Museum of Art with Martin Kersels, Glenn Kaino, Pearl C. Hsiung, Daniel J. Martinez, Karen Moss, Stephanie Hanor, and Mike Davis (2008); the MOCA Allan Kaprow retrospective, Art as Life with Jeff Kelley (2008); Candy and Panda Sex by Chinese author Mian Mian (2009); Argentine literary collective Eloisa Cartonera with author Washington Cucurto (2009); lectures by French philosopher Alain Badiou (2010); and Political Equator III Conference with Alejandro Meitin, Kelley Lindquist, Emiliano Gandolfi, Lucia Babina, Miguel Robles-Duran and Gabriela Rendon, Dana Cuff, Eyal Weizman and Alessandro Petti, Sergio Fajardo Valderrama, Rick Lowe, Anuradha Mathur (San Diego/Tijuana, 2011).
Fuel4Talks are a series of small format interviews that have included Slavoj Zizek (2006); the Orchard Group (2006); Eduardo Abaroa with Ruben Ortiz-Torres and Steve Fagin (2007); Martha Rosler (2007); Leslie Thornton (2007); Jim Nisbet (2007); Lisa Tan with Derrick Cartwright and Lauri Firstenberg (2007); Lincoln Schatz with Monica Jovanovich-Kelley and Jordan Crandall (2008); Julian d’Angiolillo and Eduardo Molinari with Jennifer Flores Sternad (2012); and Ming Wong with Aram Moshayedi (2012).
The haudenschildGarage commissions new work by emerging artists which has included the Super Angel performance by Chinese artist, Shi Yong; and Let’s Pray video by Yang Zhenzhong (2003); a graffiti mural by eight Los Angeles-based graffiti artists in collaboration with the New Chinatown Barber Shop (2006); an Emergency/Conversation Table designed by Raul Cardenas of Torolab for the Political Equator II conferences (2007); the book El Hijo by Washington Cucurto and a video of The Madwoman and the Story of a Crime by its author, Ricardo Piglia (2008); The Gift Exchange, a collaboration and video of Chinese artist, Yang Zhenzhong, and Mexican artist, Eduardo Abaroa (2011); a mural by Argentine artist, Cécile Perret(2011 and 2012); and a short documentary Triples/Trillizos (2014).
Some of the residencies have included artists Yang Zhenzhong and Shi Yong (2003), who produced new works and Yang Zhenzhong’s video while in residency, I Will Die, was selected for the 2004 Venice Biennale; artist Tom Zummer (2007); Washington Cucutro and Maria Gomez from the Argentine literary collective, Eloisa Cartonera (2009); Chinese author Mian Mian discussed her banned novel, Candy (2000) and forthcoming novel, Panda Sex (2009), while in residency (2009) and Yang Zhenzhong and Eduardo Abaroa who produced a collaborative video, The Gift Exchange(2011).
The haudenschildGarage also supports projects and programs ranging from exhibitions at REDCAT, the Americas Society, the New Orleans Museum of Art and the University Art Galleries of both the UCSD and SDSU to the installation of the inSITE Archive at MUAC in Mexico City as well as seminars at the Centro de Investigaciones Artisticas (C.I.A.) in Buenos Aires and Steve Fagin’s feature film A Cloud of Hope. The haudenschildGarage participated in the residency program of SOMA, a Mexico City-based alternative art space and school and established an annual commission for young artists from A Reason to Survive (ARTS) in San Diego, California (2012). The haudenschildGarage supported the production of The Piano & The Ballerina: A Love Song by Samuel Curtis (2013). The haudenschildGarage supported filmmakers Jim Goldblum and Adam Weber as they documented the last days of a colony of magicians, artists and acrobats in India (2012-2014). The resulting film, Tomorrow We Disappear, has been screened at numerous film festivals such as Hot Docs in Canada (2014) and the Tribeca Film Festival (2014).
The haudenschildGarage / SPARE PARTS PROJECTS (2006 – 2009)
In 2006, the haudenschildGarage launched SPARE PARTS, a 3-year cycle of projects commissioned and produced by Eloisa Haudenschild and Steve Fagin. Projects included Decolonizing Architecture (2007) A Crime Has Many Stories (2008) in Argentina, in Palestine and The Last Book (2009) in the U.S.
Decolonizing Architecture, a collaboration between the haudenschildGarage and London-based architect and theorist Eyal Weizman and Bethlehem-based architects Sandi Hilal and Alessandro Petti. Giorgio Agamben was among the consultants for the project. The project took the settlement of Psagot, overlooking Ramallah, and redesigned it for a post-evacuation time and context. A scale model, architectural plans and public events, including an exhibition and symposium at the Bozar Center for Fine Art in Brussels (2008-09), were produced around plans for turning the fabric of this settlement/suburb into a Palestinian public institution.
In 2009, the project was presented at the Venice Biennale and in 2008 it was selected for the 11th International Architecture Exhibition at the Venice Biennale. Decolonizing Architecture has been exhibited at REDCAT in Los Angeles (2010), COAC in Barcelona (2009) and at the 4th International Architecture Biennale in Rotterdam (2009-2010).
A CRIME HAS MANY STORIES
A Crime Has Many Stories is based on Argentine writer Ricardo Piglia’s short story, La Loca y el Relato del Crimen (Madwoman and the Story of a Crime, 1975). A video of Piglia reading his short story at Malba – Fundación Costantini (Museo de Arte Latinoamericano de Buenos Aires) was commissioned as part of the project. In 2008, a multidisciplinary, one-day traverse of Buenos Aires included curators Judi Werthein and Sonia Becce, with Alejandro Ruiz and Monica Jovanovich-Kelley. In response to Piglia’s short story, the project generated two site-specific pieces by Argentine artists Rosalba Mirabella and Roberto Jacoby and Fernanda Laguna, and a commissioned story, El Hijo, by Argentine writer Washington Cucurto. The literary collective Eloisa Cartonera produced a limited edition Survival Kit and a catalog of the entire project.
THE LAST BOOK
The Last Book, produced by the haudenschildGarage, was conceptualized and directed by Steve Fagin. It attempted to resurrect the medieval illuminated manuscript through the invocation of today’s current alchemy – new technologies – to conjure a future as the past in reverse. The haudenschildGarage constructed a one of a kind book that included text, drawings, moving images and sounds. The Last Book enlisted the writing skills of Mary Gaitskill, the moving images of Leslie Thornton and YouTube, the drawings of Davina Semo, the music of Greg Landau, and the soulful voice of Shanghai novelist, Mian Mian. The performance of The Last Book took place at the Schindler House in Los Angeles on April 26, 2009.
Founder and Director, haudenschildGarage
Born in Buenos Aires, Argentina, Eloisa Haudenschild resides in La Jolla, California. She is a collector and active supporter of contemporary art. Collecting is primarily a result of Eloisa’s involvement with artists and the artistic community.
The Latin American collection, in particular, began in the early 1990s due in a large part to Eloisa’s involvement with inSite, a network of contemporary art programs and commissioned projects within the border region of San Diego and Tijuana. As inSite’s President of the Board of Directors, she continues to work closely with significant Latin American curators and artists. Other holdings in the collection include pieces from the Americas, Europe, and Asia.
In the late 1990s Eloisa began traveling to China and forging friendships with young Chinese contemporary curators and artists and began collecting their work. From 2002 -2005, she organized selections from the collection to form the exhibition Zooming into Focus: Contemporary Chinese Photography and Video from the Haudenschild Collection that traveled to five cities in the US, Mexico, China (Shanghai and Beijing) and Singapore.
Marking many important milestones, Zooming into Focus was the first exhibition of its kind in San Diego and Singapore and the first contemporary Chinese photography exhibition at the Centro Cultural Tijuana, Mexico. It was the first time the Shanghai Art Museum exhibited works on contemporary Chinese video and photography from a private collection and most importantly, it was the first retrospective exhibition of Chinese photography and video ever held at the National Art Museum of China, Beijing. Two symposia were organized in the United States and China.
In 2003, Eloisa Haudenschild founded the haudenschildGarage, a 21st century cultural search engine. It presents symposia, lectures and film screenings to the public. A series of residencies introduced numerous young Chinese artists to the US for the first time. Whether international projects, dialogs or commissions, the haudenschildGarage wishes collaborates with like-minded institutions and artists.
In early 2010, the haudenschildGarage established the Fundación Migdalia Rubio with the mission to offer scholarships to economically challenged elementary students in Tijuana, Mexico by providing all necessities for their academic success including art labs and summer camps. In addition, the foundation supports its local community with 3,400 annual Christmas dinners delivered by students and volunteers to needy families.
Eloisa was twice named as one of the top collectors by Art & Antiques Magazine (March 2006 and May 2007) and The Art Newspaper named her as one of the world’s seven greatest collectors of Chinese contemporary art (May 2007). In 2008, Yishu: Journal of Contemporary Chinese Art named her as one of ten collectors instrumental in promoting contemporary Chinese art. In 2006 Frieze Magazine named the Haudenschild Collection one of only two private collections of Chinese art that became publically accessible outside and inside China (January 2006).