Held at the haudenschild Garage and envisioned as working sessions centered on questions pertinent to the terrain of San Diego/Tijuana, the inSite_05 Conversations were conceived to rethink issues of local import within a broader frame.
August 28, 2005
Michael Krichman (San Diego)
Mans Wrange (Stockholm)
Mark Bradford (Los Angeles)
Judi Werthein (Buenos Aires)
Paul Ramirez Jonas (New York)
Joshua Decter (Los Angeles)
Beverly Adams (Arizona)
Ruth Auerbach (Caracas)
September 25, 2005
Chris Ferreira (San Diego)
Javier Téllez (Venezuela/USA)
Maurycy Gomulicki (Poland/Mexico)
Itzel Martinez del Canizo (Tijuana)
Hans Fjellestad (Los Angeles)
Magaly Ponce (Massachusetts)
October 22, 2005
Michael Krichman (San Diego)
Beverly Adams (Arizona)
Osvaldo Sánchez (Mexico City)
Joshua Decter (Los Angeles)
Sally Stein (Irvine)
Carmen Cuenca (San Diego/Mexico City)
Tania Ragasol (USA)
Chris Ferreira (San Diego)
Donna Conwell (Los Angeles)
About the Participants
Beverly Adams (Vancouver, Canada, 1965) received her undergraduate degree in Latin American Studies from The University of Texas at Austin, where she subsequently completed an MA and a PhD in Art History. Invited interlocutor for the curatorial process of Interventions, inSite_05, Adams is currently Curator of The Diane and Bruce Halle Collection in Scottsdale, Arizona. She served as Curator of Latin American Art at the Phoenix Art Museum from 1997 to 2001, and as Brown Curator of Contemporary art at the San Antonio Museum of Art from 1996 to 1997. Her curatorial projects include: Phoenix Triennial, Phoenix Art Museum (Phoenix, US, 2001); Secret Lives of Toys: Liliana Porter Photographs, Phoenix Art Museum (Phoenix, US, 2000); and Prospect and Perspective: Recent Art from Chile, San Antonio Museum of Art (San Antonio, US, 1997). From 1997 to 1999 Adams was Assistant Professor of Art History at Arizona State University. She continues to lecture extensively and to participate in numerous symposiums. Adams currently lives and works in Phoenix.
Bulbo (Tijuana, Mexico, 2002) explores the possibilities of exchange and collaboration while employing broadcast media to constructive ends. Each of the collective’s projects enables people, who in their daily lives do not pursue an art practice, to participate in a creative process and helps nurture other ways of understanding our context. Bulbo intervenes in media with bulbo TV (throughout Mexico); bulbo press (magazine); disco bulbo (record label); and bulbo broadcast web streams at www.bulbo.tv. Other bulbo projects include Tianguis de Diseño, Antiguo Colegio de San Ildefonso (Mexico City, Mexico, 2007) and La Tienda de Ropa, inSite_05 (Tijuana-San Diego, Mexico/US, 2005). Bulbo have also participated in group exhibitions, such as Tijuana Organic, Cornerhouse (Manchester, UK, 2006); IV Bienal de Estandartes, CECUT (Tijuana, Mexico, 2006); Strange New World, Museum of Contemporary Art, San Diego (San Diego, US, 2006) and Santa Monica Museum of Art (Santa Monica, US, 2007); and Tijuana Sessions, ARCO (Madrid, Spain, 2005).
Since 2011, Carmen Cuenca has been the Director of the Museo Tamayo Arte Contemporáneo in Mexico City. A native of Mexico City, Cuenca graduated in 1980 from the Universidad Iberoamericana with a degree in Art History. Prior to moving to Tijuana in 1989, she served as Associate Curator at the San Carlos Museum in Mexico City. For the past 20 years, Cuenca has been actively promoting contemporary artists and artistic practices in the binational region. She recently resigned as subdirector of visual arts at the Centro Cultural Tijuana, where for five years she directed the curatorial and programmatic development of El Cubo, the first international-scale museum in Baja California. From 1994 through 2005, Cuenca played a central role in the inSite project, a binational venture focused on commissioning new public projects by artists in the San Diego/Tijuana region. She served as coordinator of Mexican projects for inSite94 and as Executive Director, Mexico, for both inSite2000 and inSite05. During her work with inSite, Carmen Cuenca was responsible for completing over 200 commissioned projects, from site-specific installations to performances to the production of film and video works. Prior to joining inSite full time in 1997, Cuenca served as cultural attaché for the Mexican Consulate in San Diego, and before that as chief curator at the Centro Cultural Tijuana.
Donna Conwell is a curator-producer and writer, and Project Specialist, Contemporary Programs and Research, at the Getty Institute. From June 2003 to September 2006, she was associate curator of inSite_05 where she co-organized a three-year residency program and co-curated eight interventions in the public domain. From November 2002 to June 2003, Conwell was commissioning editor for Latinart.com, a web-based magazine concerning art and culture in the Americas. From September 2001 to November 2002, she served as assistant curator at the Museo de Arte Carrillo Gil in Mexico City. Her independent curatorial projects include From A to B, Fellows of Contemporary Art, Los Angeles, and the inSite Archive Project, inSite, San Diego-Tijuana, where she acted as consulting curator. She is currently a project specialist at the department of Contemporary Programs at the Getty Research Institute, where she recently co-curated Overflow, a reinvention of Allan Kaprow’s Fluids by the LA Art Girls.
Hans Fjellestad is a musician and filmmaker based in Los Angeles. He studied music composition and improvisation with George Lewis at University of California San Diego (UCSD), and classical piano with Krzysztof Brzuza. Fjellestad has composed for film, video, theater, dance and has presented his music, film and video art throughout the U.S., Canada, Europe, Australia, Japan, Taiwan, Mexico, Argentina and Brazil. His film and video work has shown at the London Institute of Contemporary Arts, Queen Elizabeth Hall, Tokyo’s Shibuya Cinema Society, Los Angeles Grand Performances Series, BorDocs Foro Documental Tijuana, Museum of Contemporary Art San Diego, Point Loma Wastewater Plant, Cleveland Museum of Art, Chicago’s Gene Siskel Film Center, Oklahoma City Museum of Art, Miami Art Central, Salina Art Center, IAF Videoart Festival Tijuana, and the São Paulo International Short Film Festival.
inSite is dedicated to the realization of binational collaborative arts partnerships among nonprofit and public institutions in the San Diego-Tijuana region. Operating through a unique collaborative structure that is based on the active participation of cultural and educational institutions in the US and Mexico, inSite is focused on promoting artistic investigation and activation of urban space. The distinctive character of inSite, understood as a cultural practice of intervention in the urban social weave, stems from a commitment to facilitate new works developed through a long-term engagement with the artists. The core of inSite, as it has evolved over the past twelve years, is commissioning projects as interventions in the extraordinary context of the San Diego-Tijuana border region. The axis of this project is a process of two-year periodic residencies that culminate in the realization of works sited in the public domain throughout the two cities. The flexibility to respond to the shifting interests of artists and institutions and, in turn, to test new structures of collaboration and venues for the presentation of innovative work, has been a fundamental characteristic of this project.
Itzel Martínez del Cañizo
Itzel Martínez del Cañizo (Mexico, 1978) is a documentary director, scriptwriter and photographer. She is co-founder of Polen Audiovisual in Tijuna and teaches at the Universidad Autónoma de Baja California. She is co-director of BorDocs, Foro Documental, the most important festival and workshops of nonfictional cinema in the North of Mexico. Her films have been presented in numerous national and international festivals, including Festivales de Arte: IDFA 2006, Ambulante Gira de Documentales, Festival Internacional de Cine de Morelia, Latin American Film Festival de Ultrech, VIVA13th Spanish and Latin Film Festival, Bienal Sao Paulo-Valencia, Cornerhouse Manchester, inSite_05, and Festival Internacional de Mujeres en el Cine y la Televisión. Her documentary, Que Suene La Calle, commissioned by inSite_05 won the jury award in the San Diego Women Film Festival and the Signos de la Comunicación award in the Festival Voces Contra el Silencio. Currently she is directing the documentary El Hogar Al Revés coproduced by Polen Audiovisual and IMCINE through FOPROCINE. In addition, she currently directs Triples/Trillizos commissioned and produced by haudenschild Garage. She is a grantee for FONCA in the Video Category.
Video installation artist Javier Téllez’s films combine documentary with fictionalized narratives to question definitions of normality and pathology. Collaborating with institutionalized patients living with mental illness to rewrite classic stories or invent their own, he creates what he calls a cinematic “passport to allow those outside to be inside” by renegotiating sociocultural barriers. This approach to using art as a voice for the marginalized positions itself within the tradition of art therapy, though Téllez attempts to “cure” viewers of false assumptions, rather than the patients of their disorders. Circus tents and other props provide ironic references to historically carnivalesque exploitations of abnormality, epitomized in director Tod Browning’s films. In contrast, Tellez’s projects assert the individualism and competence of his actors and emphasize their human dignity by engaging their creativity on sophisticated intellectual levels. Working intimately with his casts, Téllez blurs distinctions between artist and patient to consider the arbitrary boundaries of reality, reason, and insanity. Made for inSite_05 in San Diego, California, and Tijuana, Mexico, One Flew Over the Void (Bala Perdida) (2005) documents Téllez’s “self-organized circus” of patients from Mexicali’s CESAM mental health center, who, wearing animal masks and carrying handmade signs, walked in protest against general views on mental illness in today’s society. The procession culminated at the site of a performance in which human cannonball David Smith was shot over the Mexico-U.S. border to critique current immigration policy. Combining two disparate political concerns, Téllez’s film takes issue with larger notions of exclusion. Bright color footage of patients marching and playing horns, interspersed with shots of Smith’s audience, suggest humor and celebration as healing alternatives to isolation, segregation, and racism. In the last sequence, entitled “Circus Performers,” participants remove their masks for individual facial close-ups, the pleasure they experienced from the event obvious.
Joshua Decter has been a critic, curator, and art historian since the mid-1980s. He is a contributor to Artforum, Afterall, and other periodicals, and has organized exhibitions at PS1 in New York, The Center for Curatorial Studies at Bard, The Museum of Contemporary Art in Chicago, Apex Art in New York, The Kunsthalle Vienna, the Santa Monica Museum of Art, among other institutions. Decter was a curatorial interlocutor for the inSite_05 San Diego/Tijuana Interventions exhibition project, and organized the conference, The Situational Drive: Complexities of Public Sphere Engagement, in collaboration with inSite San Diego/Tijuana and Creative Time, New York, presented at The Cooper Union, NY, in May 2007. Decter has been a member of the graduate faculty and graduate committee at Bard’s Center for Curatorial Studies, where he developed and supervised a number of curatorial practicum seminars. He has also taught at the School of Visual Arts in New York, New York University, UCLA, Art Center College of Design in Pasadena, and the School of the Art Institute of Chicago. He is currently Assistant Professor and Director of MPAS Program at the Roski School of Fine Art, USC.
Judi Werthein was born in Buenos Aires and lives in Brooklyn, New York. She graduated with a degree in Architecture and Urbanism from the University of Buenos Aires. Her work has been exhibited in various institutions including: The Vera List Center for Art and Politics, New York; Tate Modern, London; Centrum Beldende Kunst, Rotterdam; Americas Society, New York; De Appel, Amsterdam; CAC Contemporary Art Center, Vilnius, Lithuania; Studio Gallery, Budapest; Musee de Art Moderne Grand-Duc Jean, Luxemburg; Bard Mseum, The Center for Curatorial Studies Annandale on Hudson, New York. She has participated in many biennales and similar events such as: Manifesta 7, Bolzano, Italy; 41 Salon Nacional de Artistas, Cali, Colombia; Bienal de Pontevedra, Galicia, Spani; inSite_05, San Diego/Tijuana, USA/Mexico; S-Files, Museo del Barrio, New York, and la 7ma Bienal de la Habana, Cuba. Her solo exhibitions include: Corporate Logo, Art in General, New York; The Doc Art Center, Ireland; Manicurated, Bronx Museum, New York; Jessica Murrary Gallery, New York; Galeria Ruth Benzacar, Buenos Aires. Her work has been reviewed in The New York Times, The Los Angeles Times, Miami Herald, Village Voice, Artforum, Art in American, Art Nexus, Frieze, Another Publication, and Flash Art.
Magaly Ponce is a video and installation artist from Chile. Ponce studied Graphic Design at Universidad de Valparaíso, Valparaíso Chile. Received a Creative Video Grant awarded in Latin America by the Rockefeller, Mac Arthur and Lampadia Foundations. Later, received a Creative Video Grant awarded by Fundación Andes, in Chile. She graduated with a M.F.A. degree thanks to a two-year Fulbright grant and a Syracuse University fellowship. Ponce currently teaches New Media at Bridgewater State College in Massachusetts. Her work has been exhibited widely in her home country, Denmark, Korea and in the US. Ponce’s inspiration comes from a variety of sources; ranging from repression, anxiety, anger, love, admiration and contemplation. She uses metaphoric language to convey the complexity of the subject matter, something explicitness cannot convey. Her work gravitates from the Poetic to the Political maintaining a love for audio and crafted imagery.
Mans Wrange is an artist based in Stockholm, who works with long-term projects in which he explores strategies that influence opinion forming, such as lobbying, opinion polls and focus groups, as well as techniques on how to alter human behaviour through social organization, objects and architecture. He is the founding member of OMBUD (www.ombud.org), a combination of think tank and creative studio, which conducts these projects and is organized as a network of people from the fields of science, media, politics and the arts. His and OMBUD’s projects include The Average Citizen Lobbying Project (1999-), in which the views of a statistically average citizen affect public opinion through a combination of political lobbying and product-placement; The Good Rumor Project (2004-), in which two positive rumours about both sides of the US-Mexican border were created through the use of focus groups, and then spread epidemically through a viral marketing campaign involving thousands of people in Tijuana and San Diego; The Compromise House (2001-), an experimental house project where social and aesthetic solutions are based on the principle of compromise as a positive and productive principle.
Mark Bradford is a 2009 MacArthur Fellow and received a B.F.A. (1995) and an M.F.A. (1997) from the California Institute of the Arts. His work has appeared in numerous solo and group exhibitions at such venues as the Whitney Museum of American Art, the Studio Museum in Harlem, the Los Angeles County Museum of Art, and the Museum of Modern Art, among many others. Mark Bradford is an artist who incorporates ephemera from urban environments into mixed-media works on canvas that are rich in texture and visual complexity. Though he has experimented throughout his career with many different artistic media, including public art, installations, and video, his signature and best-known work takes the form of massively scaled, abstract collages that he assembles out of signage and other materials collected, most frequently, from his own neighborhood in South Central Los Angeles. Bradford’s aesthetic language makes use of such elements as bits of billboards, handmade advertisements, foil, string, and permanent wave end-papers from beauty shops, which he arranges, layers, singes, sands, and bleaches into brilliantly hued, painterly structures that appear to sprawl and swirl. Loosely gridded and often cartographic in character, these pieces both reflect his interest in the formal traditions of modernist abstraction and reference the communities from which he culls his materials. Glimpses of partially legible text and imagery within his map-like works evoke a multitude of metaphors and suggest intricate systems in a constant state of flux. In the multilayered tableau Los Moscos (2004), bursts of bright yellows and reds radiate through a predominance of darker fragments, calling to mind clusters of pulsing city lights viewed from a collapsed and distanced perspective. With this piece and numerous others in his increasingly ambitious body of work, Bradford is developing a visually arresting means of representing in two dimensions the dynamism and depth of the sites and streets he excavates.
Maurycy Gomulicki, born 1969, lives and works between Mexico DF and Warsaw. His attention concentrates on subjects of fantasy, pleasure and idealizations. Works on mixed fields between of them photography, installation and digital graphics. His method could be defined as lyrical minimalism and abundant minimalism. His work is often based on exploration of phantoms of pop culture on a wide range of significance. Author of space arrangements, objects, murals, mosaics, art books, animations, photographic diaries from exotic to everyday travels. Collector, between 1996 and 2005 was showing in various magazines obsessive typologies of different pop cultural phenomena developing an extensive archive of common imagination and iconography. Co-participant (as artist and consultant) of ABCDF Project — Visual Dictionary of Mexico City (2003). His work was shown in many exhibitions in Poland and abroad (Mexico, Russia, Japan, Belgium, US and others). His recent important projects are Air Bridge at InSite — Art Practices in Public Domain Tijuana/San Diego (2003-2005) and the creation of the visual and architectonical image of a sex shop chain named Erotika (Mexico, 2005 — together with Jorge Covarrubias and Salvador Quiroz). Author/artist/curator on the project Pink not dead! — Mexico City and Warsaw(2006). His two art-books “Funebre” (together with Jeronimo Hagerman, Editorial Diamantina, 2006) and W-wa (Bec-Zmiana Fundation, 2007) were published recently. His latest realizations on big scale were: Eco Feler (Museo Experimental El Eco, Mexico DF, 2008) Pink Bridże (San Diego, Children’s Museum, 2008), Fertilty Pop (Zachęta Narodowa Galeria Sztuki, 2008). Since October 2009 his Lightspurt shine on Kępa Potocka in Warsaw. He lives and works alternately in Poland and Mexico.
Michael Krichman obtained a JD at Georgetown University and a BA at Brandeis University. Krichman has served as the Executive Director of inSite since 1995. From 1993 to 1994, he was President of the Board of Directors. During his seventeen-year tenure at inSite, a collaborative project of nonprofit and public cultural institutions in the United States and Mexico, he has facilitated the creation of over 200 works by artists in the context of residencies in the San Diego-Tijuana region. For the past two years, Krichman has led the development of the inSite Archive (to be presented in spring 2010 at MUAC in Mexico City) and managed the completion of El Ágora, a commission with Mexican architect Gustavo Lipkau that transformed a 9,000-square-foot area of the Centro Cultural Tijuana into a new space devoted to public discourse. Together with Osvaldo Sánchez and Carmen Cuenca, he is currently planning the next version of inSite, with programming slated to begin in 2010. From 1989 to 1992, he was a partner in Quint-Krichman Projects (QKP), a San Diego-based residency program for artists from Europe and the United States. Prior to founding QKP, he was an associate in the environmental department of the law firm of Latham and Watkins, where he specialized in state and local agency compliance under the California Environmental Quality Act. Krichman has served as an advisor to numerous city and state public art commissions and, currently, is a member of the board of directors of the Orange County Museum of Art in California and the Museum of Modern Art in Mexico City.
Osvaldo Sánchez is the artistic director of inSite_05, and he was cocurator of inSite_2000. From 1998 to 2001 he was director of the Museo de Arte Carrillo Gil, Mexico City, and subsequently the director of the Museo Tamayo, Mexico City. His essays and articles on Mexican and Latin American art have appeared in Third Text, ArtNexus/Arte en Colombia, Poliester, Curare, Arte Internacional, Revista de Occidente, and Sulfur, among other publications. Sánchez was involved with Mexico’s National Fund for Culture and the Arts, the IADB’s First Competition for Young Painters, and the Central American Biennial in Costa Rica. He has lectured and taught courses on contemporary and Latin American art at universities in Guadalajara, Mexico; Austin; Alicante, Spain; Mexico City; Madrid; and Buenos Aires.
Paul Ramirez Jonas
Paul Ramirez Jonas is a contemporary artist whose work currently explores the potential between artist and audience, artwork and public. Many of Ramirez Jonas’ projects use pre-existing texts, models, or materials to reenact or prompt actions and reinsert himself into his own audience. His works have been exhibited internationally, most recently in the 53rd Venice Biennale. Currently, Ramirez Jonas sees his role as “extending beyond the private reader, and into someone who invites viewers to join in. The result of this shift is the reassertion of a contract between the artwork and its public.” In 2008 at the 28th Sao Paulo Biennial, Ramirez Jonas arranged for members of the public to a receive a key to the front door of the biennial venue, the Ciccillo Matarazzo Pavilion. Each person who received a key was required to leave behind a copy of one of their own keys as well as sign a contract that established an agreement between themselves, the curators, the artist and the biennial foundation. For the 7th Mercosul Biennial in Porto Alegre, Brazil in 2009, Ramirez Jonas altered three large boulders by carving into them a space for monument plaques to be placed. Instead of creating permanent monuments to a State honored figure or event, he turned the monuments into platforms for cork boards for the fleeting message or personal note-the ephemeral voice of his public. In 1987, Ramirez Jonas graduated with a BA from Brown University and went on to earn his MFA in Sculpture from the Rhode Island School of Design in 1989.
Ruth Auerbach (Düsseldorf, Germany, 1953) studied at the Universidad Central de Venezuela and since 1979 has participated in numerous courses, conferences, and seminars related to curating and arts management. Invited interlocutor for the curatorial process of Interventions, inSite_05, she is currently Director and Curator at the Sala Mendoza in Caracas, Auerbach served as Director of Museography at the Museo Alejandro Otero in Caracas from 1999 to 2001 and as Co-Founder and Co-Director of the Galería Sotavento in Caracas from 1985 to 1989. Auerbach has curated numerous shows such as Javier Téllez. Un artista del hambre, Museo de Arte Carrillo Gil (Mexico City, Mexico, 2004); XIII Premio Mendoza, Sala Mendoza (Caracas, Venezuela, 2003); Adán y Eva ya no viven aquí, anymore, Fotofest (Houston, US, 2002); and Utópolis, La Cuidad 2001, Galería de Arte Nacional (Caracas, Venezuela, 2001). She has authored texts for diverse publications and regularly contributes to Estilo, Extracamara, Arconoticias and Curare. Auerbach currently lives and works in Caracas.
Sally Stein, Emeritus Faculty of Art History and Visual Studies at University of California, irvine, has focused her research and writing for many decades on the history of photography, particularly the work of documentarians Dorothea Lange, Marion Post Wolcott, Jack Delano, Rondal Partridge and, most recently, John Gutmann.
Tania Candiani is among the most highly respected young artists in Mexico. Known for her ability to make art from the trappings of everyday life and to question traditional ways of seeing, she could almost be characterized as an artist-anthropologist. For example, with her photographs of women wearing cooking pots on their heads as helmets—both a defensive and subtly warlike gesture—and using the words on a standard kitchen blender (chopping, grating, whipping) as comments on domestic violence, she turns expectations and stereotypes upside down. But her interests extend beyond a feminist cultural critique. InHabita Intervenido (2008), she brought together graffiti artists to spray paint their “tags” on glass and to discuss, as she phrased it, “how certain forms of visual expression are prioritized,” and in Kaunas Graffiti (2009), she embroidered onto a canvas with thread and ribbon the tags that had “defaced” the exterior of a museum in Mexico City and then exhibited her artistic transcription within the same museum. Textiles and sewing are repeated themes and mediums in her work. During her Guggenheim Fellowship term, Ms. Candiani will be working on a multi-tiered project that explores anew the interrelatedness of how we construct our homes, garments, and self-identity. In late 2011 she received a three-year grant from Mexico’s Sistema Nacional de Creadores de Arte to support her work on Fragmentos de un discurso domestico. Mexico’s Fondo Estatal para la Cultura y las Artes and Fondo Nacional para la Cultura y las Artes have also supported her work, and she has held artist residencies at the Bemis Center for Contemporary Art in Nebraska and at the International Studio and Curatorial Program (ISCP) in New York. Ms. Candiani’s work has been included in scores of group shows around the world, from Mexico City, to Los Angeles, Madrid, and Warsaw, to name but a few sites. The Museum of Contemporary Art in San Diego, California; the Ruben Center at the University of El Paso, Texas; Meno Parkas Galerija in Lithuania; Kunsthaus Miami in Florida; and the Abrons Art Center in New York City are among the venues that have mounted her solo exhibitions. From March through August 2012, Laboratorio de Arte Alameda in Mexico City will host her solo exhibition entitled Cinco variaciones sobre circunstancias fónicas y una pausa, which explores the relationship between machines and language, and the potential of sound, speaker/listener, and writing/coding as materials for art. The collections of Deutsche Bank and the Centro Cultural Tijuana and, in California, the Museum of Contemporary Art and the Alberta Du Pont Bonsal Foundation in La Jolla, the Mexican Museum in San Francisco, the San Diego Museum of Art, and the Museum of Latin American Art in Los Angeles are among those that boast examples of her work.