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THROUGH THE ROOF: 

FROM DECLARATION TO INDEPENDENCE

OPEN CALL

 

CURRENTLY ON VIEW 

Broken  Country

Pepe Coronado is founding member of the collective Dominican York Proyecto GRAFICA and founder of Coronado Print Studio in the East Harlem Neighborhood of New York. His work is often inspired by the historical relationship between his country of origin, the Dominican Republic, and the United States; and the continual conflict of the island due to its division into two separate countries since colonial times. Born the year of the US invasion of the Dominican Republic, Coronado’s work often features elements of fracturing and interventions of the picture plane. In the serigraph Broken Country II, Coronado continues this examination of borders, using a splintered map that has been chaotically put back together. Coronado has been master printer at various workshops throughout the United States and his work has been exhibited throughout the US, as well as in the Dominican Republic, Puerto Rico, Portugal, and Mexico.

 
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Q & A

Artist Statement 

What’s your name?
Pepe Coronado
Where are you from ?
Dominican Republic
When did you start to create? 
In my teenage years I did some work with artisan in DR. but was not train
academically and upon arrival in the US in 89 I started with artesania and moving
into ceramics and eventually arrived at printmaking and stay there till now.
I did take some classes in different art center and colleges and also got my MFA
later on.
How would you describe your work?
I work on 2 spaces, abstract and literal but conceptually is based in some
empirical experiences form the process of migration and also from a socio
political stand. A lot of the work is inform by historical events that reveals the
relationship of the DR with US and its consequences .
What can you tell us about your piece for the show?
Broken Country II, 2019
Screenprint
When privilege is threatened the walls go up, and when a critical view of history and
placement in these lands is denied the game is one of fear.
Depicting a map of the US broken and split into corners.

What’s next for you?
This is a tough question right now, as you kow I moved the studio from NYC to
Austin at the end of last year. My plan was to come and go and do projects
between the 2 cities… of course that plan is on hold because the pandemic, I
have not been able to go baco to NY since December.
I had a 2 person show based on the collaboration works that Carlos J. Martinez
Dominguez and I have created in the last several years, sponsor by Hi-Arts in
east Harlem, this was planned for May and that was postponed.
Adjusting to the new situation, trying to stay focus on ongoing projects but also
putting out some works that support the current social justice situation and issues
of our current political crisis and coming elections.
And of course how to deal with studio rent…….

While using this platform Is there anything you would like to say to the new
generations? Advice, message
All I can say to them right now is keep doing what your doing as we have seen in
the way the have confronted and voice their concerns and perspective in recent
weeks. They are changing a lot of traditions that need to be torn down.
I’m actually learning form them.
In terms of the arts, I can only share experiences. But the path is been redefined,
so I’m just watching and supporting however I can.

 

CURRENTLY ON VIEW 

énfasis

“I describe my process as Chromatic Immersion Journeys.  I use the language of color to develop works through different concrete forms such as pigments, materials, and textiles as well as non-tangible forms such as light, community engagement  and performance, bodies  of work in which I involve political, social, aesthetic and universal issues”
Daniel Djuro-Goiricelaya @ddjuro

 
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ÉNFASIS

Artist Statement 

While working on a project that involved my bare hands on dirt, caly and soil  my nails started to get a bit wonky.

Coming from my own vanity I decided to use nail polished to protect them but make them a bit more “presentable”

I kept following the BLM movement and  during the times of corona I kept getting expose to the BTLM signs.

Humbly, embracing this vulnerability  I would admit that I had been quite ignorant on this matter . This motivated me to research and learn more about them:

In 2019, advocates tracked at least 27 deaths of at least transgender or gender non-conforming people in the U.S. due to fatal violence, the majority of whom were Black transgender women.

These victims, like all of us, are loving partners, parents, family members, friends and community members. They worked, went to school and attended church. They were real people -- people who did not deserve to have their lives taken from them.


These victims were killed by acquaintances, partners or strangers, some of whom have been arrested and charged, while others have yet to be identified. Some of these cases involve clear anti-transgender bias. In others, the victim’s transgender status may have put them at risk in other ways, such as forcing them into unemployment, poverty, homelessness and/or survival sex work.

These numbers shocked me. It also made want to learn about it but also learn how much does my community /inner circle was aware of this.

Meanwhile, my Job as a Self-Manicurist wasn’t necessarily the greatest: I will just apply tons of glitter to my nails to barely get by.  My hands were looking a bit like the Category was Peter Pan lost for days in a Black Rock city Sandstorm realness. Not a good look. Not a good look.

 My dear friend Wendy offered me to help me with my nails.  She showed me this magical world of nail painting. Little pieces of their own. Like mini canvases. Tiny little worlds. tiny little canvases.

There is certain level of physical intimacy while one is of getting their nails done, and while having that physical moment with Wendy I decided to start a conversation about what did both of us knew about BTLM making me realize the great room for opportunity of education around my inner circle on this matter .

Emphasis and its interdisciplinary body of work is the result of several pieces that are currently being created not only by myself but other people in within my inner circle providing a safe space to create  awareness around the BTLM movement, learning ways to support and celebrate these lives.  And it is my intention to invite to “zoom in” the struggling reality of this fighting community to discover the powerful and learn how to celebrate these undermined, strong, and brave people.

 

CURRENTLY ON VIEW 

Together we fight

"Most of my work is composed of explicit, raw and unpleasant visuals that function as a platform to talk about explicit, raw and unpleasant concepts."  

-Palén Obesa

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Q AND A:

BY DANIEL DJURO-GOIRICELAYA 

With PALÉN OBESA

What’s your name?
My name is Palén Obesa [Paloma Leida
Natividad Obergh Santos].
Where are you from?
I am originally from the Dominincan Republic. I
moved to New York City in 2012.
When did you start to create?
I’d like to think I started ‘creating’ when I
began making comics (around 6 or 8 years
old). My younger-self would dedicate long
hours to drawing, researching and building my
characters and stories. I have been devoted to
making art ever since.
How would you describe your work?
My work has a manual-like illustrative style. I
am always looking to explain and invite the
viewer to learn abstract concepts through my
work. Sometimes I go as far as to even write
explanations in the piece. My work can’t afford
to be “vague”. I have never been interested in
making aesthetically pleasing images or
leaving the concept of a piece “up to the
viewer’s discretion”. Each piece has a specific
purpose and background to be analyzed and
explored. Both my visuals and the concepts
being explored in those visuals can often be
perceived as controversial, ominous or too
complex to discuss. I am not looking to give
out the answers of the most complicated
questions, but to open a room for
conversation.

What can you tell us about your piece for
the show?

Together We Fight, (or Together We Fight,
United We Are Strong). This archival inkjet
depicts a pacific protest by individuals from
various cultures, races and ethnicities,
religions and countries. They all fight for a
common goal and their differences do not
impede them from empathizing with one
another and supporting each other. The world
is ever-changing and we will naturally continue
to diversify as we discover new forms of
expression. Because of this, it is more than
necessary that we learn to look past our
differences and understand that we don’t need
to have the same beliefs, just respect and
sincere love for one another.
The comic-like style was inspired by Marjane
Satrapi’s Persepolis: a graphic novel about the
life of the author in Iran during and after the
Islamic Revolution. When I was younger, my
biggest dream was to make comics. I was
discouraged by family and teachers since that
profession was “childish” and unimpressive. I
read Persepolis when I was in high school and
this book was anything BUT childish. It was
raw, real, impactful, revolutionary, and we
were learning about it as teenagers! These
complex concepts were made more digestible
thanks to its format and we were introduced to
the hardships and realities of someone’s else’s
life. We were being educated and humanized
by a comic. This print is simple (no more than
10 colors, no fancy lineart, the font of the text
is Comic Sans MS). Perhaps the visuals are
unimpressive, but the power of its existence is
radical. Hopefully its ideals will be welcomed
by many more in the near future.

What’s next for you?
Hopefully there will be a lot going on in the
future! I am planning to get my masters in Arts
Administration and/or Arts History. I want to
apply to more residencies, show my work at
more venues and dedicate more time to my
practice. I am looking forward to improving as
an arts professional so I can support my work
and the artists and institutions I serve.
While using this platform Is there anything
you would like to say to the new
generations? Advice, message

I hope younger generations find nurturing
environments to thrive. I don’t think it is
stressed enough how important it is to be safe,
respected and appreciated by mentors and
more established professionals. It’s all about
survival now: “look out for yourself. Life is a
competition”. I have been lucky, filled with
support and patience by admirable people,
and I hope I am able to provide that same
support and patience to younger generations.
I hope we start working towards more healthy
and holistic communities that focus on the
betterment of everyone. But we can only give
love if we receive love. So make sure you are
in an integral, safe and amicable space to
grow.

 

CURRENTLY ON VIEW 

The Killing of  George Floyd  by Egard Rippel 

ARTIST STATEMENT 

The morning that I learned about the killing of George Floyd, pleading for his breath, in the exact same way that Eric Garner pleaded for his, I stared at the screen dumbfounded. I couldn’t believe that it was happening in such a flagrant way, in broad daylight. Again. 


As an immigrant, I had my passes with the police, although I don’t have a record. When I was 16, a police officer put me in the back of his car because he didn’t believe me when I told him I was waiting for my mom on the road, on a halfway point between a home she cleaned and our home. I will never forget how scared I was when he said that “if she doesn’t show up in 5 minutes, I’m taking you in”. 


That will always be with me and, luckily, I only had a few encounters. I can’t not imagine the constant threat that black Americans live under everyday. Uncertain of what will be of their lives once they are out in the street.


I created this piece and would like to participate out of solidarity to my fellow citizens, for a fairer country, and for justice to be served to the innocent.

EDGAR RIPPEL

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Edgard Rippel
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Q AND A:

BY DANIEL DJURO-GOIRICELAYA 

With Edgard Rippel 

What’s your name?

Edgard Rippel
Where are you from?

Petrópolis, Brazil / Coral Springs, FL
When did you start to create?

My earliest memories of creating was when I was 4 years old, and I was caught drawing on my grandmother's bedroom wall. From then on, I would draw and write on any surface I could find.
How would you describe your work?

It has been said that music isn't made of notes, but of the pauses between the notes. In the same way, my work explores the silent and lonely in-betweens of our extroverted, hype-driven culture. Through the aesthetic of social media, with its endless snack-sized pictures, I work these images through a technique I developed called korigami, from collage/origami.

What can you tell us about your piece for the show?

This piece came from a place of confusion and pain that I felt when I watched the killing of George Floyd on the morning news for the first time. The disregard to his pleading for breath (reminiscent of Eric Garner's plead), the supremacy of the police's knee on his neck, the inconceivable death in broad daylight. In this piece, I tried to capture these moments from my perspective as a viewer, and his perspective as a victim. This piece was created to preserve that moment, and as the catalyst of the movement for justice that followed.
What’s next for you?

I want to keep exploring ideas in art, design and poetry and ways to express them deeper.

While using this platform Is there anything you would like to say to the new generations? Advice, message.

"Whatever your life's work is, do it well. A man should do his job so well that the living, the dead, and the unborn could do it no better."- Martin Luther King

 

Sorry Angel by Adam Handler 

My desire to participate is based on my belief that art can unite one another through peace and positivity. As a form of protest I believe art can bring together communities through discussion and active participation in social change. While changes are needed on a national level through voting for the right candidates to mandate change through legislation, I feel change on a smaller level within the household and local neighborhoods is equally as powerful and effective. Adam Handler

 

Q AND A:

BY DANIEL DJURO-GOIRICELAYA 

With Adam Handler 

What’s your name?

Adam Handler


Where are you from ?

Born in New York and never left :) 


When did you start to create? 

I started to write poetry/short stories in High school but when I was 18 I switched to Visual Arts.


How would you describe your work?

That’s always a tough question and it tends to vary depending on what I am currently working on. If I were to give a blanket description it would be Contemporary Folk Art.


What can you tell us about your piece for the show?

The works chosen for the show are introspective pieces, dealing with loss and the unexpected encounters in life. 


What’s next for you?

My summer exhibitions have been postponed however they have been rescheduled for the Fall which has given me some extra time to show new work which I am excited about. 


While using this platform Is there anything you would like to say to the new generations? Advice, message.

It may sound cliche but believe in yourself and your work. Love what you create with all your heart and you cannot go wrong. 

 

PREVIOUSLY SHOWCASED 

BLM by Julia Justo 

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STATEMENT 

"I combine installation, digital technology  and collage to create mixed media works.
I believe that present social struggles are rooted in the past and that my role as an artist is to give society the tools to resist discrimination and to protest all other injustices."

 Julia Justo 

Bio:

Justo earned an MFA with a concentration in painting from the University of Argentina

She was raised in Argentina and currently makes her home in New York, where she serves as a teaching artist at El Museo del Barrio.

She has received numerous grants and awards including a LMCC Creative Grant; a Foundation for Contemporary Arts Grant, a First Nations Contemporary Biennial Award of Merit by Frank Buffalo Hyde and a Certificate of Recognition by Laura Phipps, curator Whitney Museum of American Art among others.

Her work has been published in: New York Times Guide for Immigrants to New York City; Memoir Magazine; Sonder Midwest; Cold Mountain Review; That Literary Review; 805 Lit+Art; ART511MAG; Raven Chronicles; Hayden’s Ferry Review; and News NY1 among other




 

Q AND A:

BY DANIEL DJURO-GOIRICELAYA 

With Julia Justo 

Interdisciplinary Artist/ Art Educator 

My name is Julia Justo

I’m from Argentina


When did you start to create?

It’s hard to remember a specific moment when I start creating. I think, just like everybody else, I start creating when I was a child, but usually at one point people stop doing artwork, in my case I never did.


How do you describe your work?

I work across different medias, I do collage, textile work,  photography, installation and I recently started doing digital animation. A recurrent theme that I explore on all those disciplines is issues of social justice. I think art is the best tool to make your voice heard.


What can you tell us about your pieces in the show? I am just an artist but I support and stand behind every unheard voice, every black person that is fighting for equality. We are witnessing history and I am out there documenting it. I am at the Black Lives Matter protests because I want to see all people treated equally no matter their race, religion, nationality or gender. 

 

3K BY ADRIAN HASHIMI 

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STATEMENT 

Hope!
Hope that we are a nation of people from every walks of life who will finally achieve the promise of freedom and equality.


Hope, that the turning point is finally here and now.

Hope, that creating art helps even in the smallest way, to remind us to achieve this dream.
 
As President Obama once said, “If you go out and make some good things happen, you will fill the world with hope, you will fill yourself with hope.”


I hope to create art & original films that speak the people.
Adrian Hashimi 

 

Q AND A:

BY DANIEL DJURO-GOIRICELAYA 

With Adrian Hashimi

Multimedium Storyteller  

Q What’s your name?

A Adrian Hashimi

Q Where are you from ?

A I’m originally from Malaysia.

Q. When did you start to create?

A. Probably as long as I can remember, there are drawings on walls of family’s home from when I was 3.

Q. How would you describe your work? A. Multi-medium storyteller. I am a painter, film director, illustrator, conceptualist, sculpture and writer. Any method to express the story.

Q. What can you tell us about your piece for the show?

A. Here are the pieces that I submitted. ‘O’ A portrait of President Obama. It was the last piece I painted in 2016. I painted it on the day the election results came out and I was trying to reflect my emotions and whether what I felt was akin to the rest of the US. I remember thinking, “what was going through his mind right now?” ‘3K’ This is a painting of my friend, Kelvin Badu. I tried to capture the three stages of grieve from afar. At the time, my friend had just lost his father. Like him we are both originally from another country so I knew what it was like to lose a parent and family members and not being able to be there in person.

Q. What’s next for you?

A. Currently I am creating a graphic novel set in 15th century Malaysia titled, Tales from the Straits, on Patreon. It is an action drama interweaved with culture, history and actual places. Even culinary arts.

Q.  While using this platform Is there anything you would like to say to the new generations? Advice, message.

A. Insert passion and love in everything you do!

 

TIRED by Milicent Fambrough 

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“Statement”

I am an artist.

Creative,

Curious,

Abstract,

Thought filled,

Dreamer!


-Milicent Fambrough


I consider myself a creative person firstly. I say this because I do so many different things centered around creating.

 

Q AND A:

BY DANIEL DJURO-GOIRICELAYA 

With Milicent Fambrough

Artist and fire eater.

Q. What’s your name?

A. Milicent Fambrough 

Q. Where are you from ?

A. San Antonio, Texas 

Q. When did you started to create?

A. That’s hard to say. My earliest memory would be age five or six. I say that because I had just moved to San Antonio Texas from the state of California to be closer to family. See my grandmother is one of the biggest artistic influences due to her constant creativity t that time and beyond. Her oil painting, flower arranging, and cooking always had my attention. My grandmother and I would become very close to each other. Her encouragement is still a constant influence even now as she has on.

Q. How would you describe your work?

A. I really dislike labeling myself as I enjoy trying new things and revisiting past techniques, mediums, projects too. I’m an artist. Contemporary artist would fit within this time period and encompasses the bulk of artwork I created. I really just consider myself a creative. I love art in many forms.

Q. What can you tell us about your piece for the show?

A. My piece is a digital artwork. I use my tablet and adobe to freehand draw the artwork. “Tired”, is the title. I drew this while thinking of current events. The brutality coming from the past few years. The emotional response I have to the news media. My reflection on struggling to survive as I am not as well off as my parents or grandparents. There are tears running down a brave face because it is all I have to keep going. The tears are just an exhaust a release of pressure.

Q. What’s next for you?

A. That is hard to say. My goal is to cement myself and artwork in this time. To use my creativity to say I was here. I represent my family. I represent my home of San Antonio Texas. That I made the world a bit more interesting.

Q. While using this platform Is there anything you would like to say to the new generations? Advice, message.

A. Create especially in uncertain times. The world needs art. Support your community.

 
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OPEN CALL

THROUGH THE ROOF: 

FROM DECLARATION TO INDEPENDENCE

CALL FOR SUBMISSION

La Ventana 533, in collaboration with EL PATIO DE MI CASA and Omo Misha Gallery are  seeking submissions for a rotating art exhibition called:

THROUGH THE ROOF: 

FROM DECLARATION TO INDEPENDENCE

July 4th – August 28th, 2020


DEADLINE: ASAP


NOTIFICATIONS: Ongoing

OPENING: Saturday, July 4th

ELIGIBILITY: Open to artists residing in Harlem


The phrase “through the roof” is used to describe a person who becomes suddenly and uncontrollably angry. That anger explodes, burning anyone and everyone in its sphere.

At this moment, it feels like our nation is about to go “through the roof.” It is for us to decide.

Beginning on July 4th, the day Americans commemorate the Declaration of Independence, and culminating on August 28th, the 57th anniversary of Dr. King’s “I Have a Dream” speech, THROUGH THE ROOF: From Declaration to Independence will explore the responses of Harlem artists to the Black Lives Matter movement as we live through the summer of 2020.

We hope that, through contemplation of these works, viewers will experience the power of visual expression to heal and uplift the human spirit, galvanizing us to strive for a more equitable society. In this way, we can take our collective potential, rather than our anger, THROUGH THE ROOF to achieve independence from prejudice and fear.

The work of each artist will be displayed for a period of 1-2 weeks in a large picture window of the townhouse located at 533 Manhattan Avenue (details below). The organizers, who have registered to participate in the March on Washington planned for August 28th, intend to conclude the exhibition with a photo essay documenting the March. All works will then be installed on the mural-like wall on the roof of the townhouse at 533 and photographed in collage.

 

COMING UP SOON:

  • Adam Handler 

  • Julia Justo

  • Adrian Hashimi 

  • Edgar Rippel 

  • Omo Misha 

  • Daniel Djuro-Goiricelaya 

  • Pepe Coronado  

 

SUBMISSION REQUIREMENTS:

  • Brief bio (max 200 words)

  • Brief statement explaining desire to participate (max 200 words)

  • Two (2) images of two-dimensional artwork that best represent artist’s work overall


EXHIBITION REQUIREMENTS:

Artwork should be consistent with a non-violent approach to advancing social justice. Artwork that includes obscenities or other derogatory language will not be eligible for selection.

 
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EXHIBITION SPACE:

  • Artwork will be displayed from the indoors in large townhouse picture window located at 533 Manhattan Avenue (@122) for a period of 1-2 weeks

  • Lighting will be provided from sundown to sunrise each night

  • Outdoor plaques containing a description of the exhibition and the displayed artist’s bio will be installed on the townhouse fence at sidewalk level

  • Comment box for viewers will be installed next to outdoor plaques

 

©2020 by el patio de mi casa.

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