Thursday, November 6, 2008

Pipelines and Borderlines in Mexico.

Inicia la exposición Oleoductos y fronteras de artistas de EU y México; cancelan canadienses.

Marisol Wences Mina/ La Jornada Guerero. México.


La escritora Manú Dornbierer y el artista Nicolás de Jesús, entre otros, en la inauguración de la muestra plástica binacional en el puerto de Acapulco; de fondo un mural que forma parte de la exhibición Foto: DAVID NOH COLLI .

En la mesa redonda de cristal se encuentra una computadora portatil con audífonos y cámara web tapada con una manteleta. Como fondo peculiar, un mural dedicado a la lucha en contra de la construcción de la presa La Parota le hace compañía.

Son casi las 3 de la tarde y en el inmueble Calpulli Mogote se encuentran varias personas esperando la inauguración de la exposición Oleoductos y fronteras, y del enlace con las ciudades de Tixtla y Chicago, que la exhibirían al mismo tiempo; los artistas canadienses, donde también se llevaría a cabo la muestra –como se anunció en un principio–, suspendieron su participación porque su país está en medio de un proceso electoral.

En el pasillo principal de la casa 21 grabados de diferentes artistas reflejan la realidad que actualmente se vive a nivel mundial acerca del tema del petróleo: la incertidumbre por las variaciones en su cotización y los efectos colaterales de la lucha entre países por el dominio de territorios con grandes yacimientos. Ineludibles son las gráficas donde aparece el Tío Sam y un hombre con túnica y turbante.

Pero más que esas figuras que ingresaron ya a la iconografía mundial, las imágenes de gente luchando por su vida y su tierra llaman la atención como un tema que une los trabajos de los diferentes autores.

Pipelines and borderlines (su nombre original en inglés) unió a creadores canadienses, estadunidenses y mexicanos que comparten su preocupación por la crisis energética mundial; sin embargo, no todas las imágenes fueron hechas a propósito de la exposición, según comentó la coordinadora del evento en Acapulco, Blanca Estela Villalba, sino que formaban parte del catálogo de los artistas.

Trampa Global by Nicola#2DE
"Trampa Global". Print by Nicolás de Jesús.

“Es que ellos tienen la visión del futuro”, expresó la promotora cultural frente al artista guerrerense Nicolás de Jesús, quien junto a los reporteros observaban dos grabados: uno titulado One dead dollar, de Jeff Maldonado hecho a la técnica del linoleum, donde el icono del billete verde es una calavera; y otro donde el continente americano aparece representado sobre unos barriles de petróleo mientras un hombre camina sobre la cuerda floja, el título de la obra es Dangerous walk for oil, de Janeth Schill.

Cuatro artistas guerrerenses estuvieron presentes en el evento inaugurado el domingo el Acapulco: Nicolás de Jesús, de Ameyaltepec, Gabriel Trinidad, de Cuanacaxtitlán, Jesús Orlando Martínez, de Taxco y Víctor Juárez Vázquez.

Alrededor de las 3:30 de la tarde se estableció contacto vía internet con el pintor Javier Lara en Tixtla, quien para esos momentos estaba terminando los últimos detalles para la inauguración de la muestra en aquella población. El pintor Jesús Carranza tomó los audífonos y comenzó la plática con Lara a través de la cámara web, éste confirmó que todo iba bien.

El mural acerca de La Parota –pintado por Nicolás de Jesús, Trinidad y Juárez– resume también la preocupación por la lucha social del Consejo de Ejidos y Comunidades Opositoras a la Presa la Parota (Cecop), pero al final el tema de la presa es solamente el pretexto que sirve para reflejar “el amor a la madre tierra y al alimento que nos produce, y la defensa de la misma y el espíritu de lucha que infunde un niño a través de un soplido”, dijo Nicolás de Jesús. En el caso de México, la “madre tierra” produce una mazorca-jaguar pintada en el mural.

Mientras, la tecnología mostró que no es del todo confiable, al menos así fue este domingo, pues por más esfuerzos que se hicieron, la comunicación con la ciudad de Chicago no fue posible.

Tomado del diario mexicano La Jornada Guerrero.

Pipelines and Borderlines


Artists from the United States, Mexico and Canada have formed a grassroots collaboration to create artwork to spread awareness of the Security and Prosperity Partnership (SPP), what the Bush administration calls "NAFTA-PLUS", an umbrella for some 300 joint corporate and government initiatives affecting all three countries. This artwork is included in: Pipelines and Borderlines a tri-national political print portfolio that will be on exhibit at the Oak Park Public Library from October 2 through October 30, with a reception on Sunday, October 12th from 2 to 5:30 p.m. A talk by one of the artists, René Arceo, will be presented that day at 4 p.m.


"Sed en lo Profundo" (Deep Thirst). Print by Gabriel Trinidad.

The curator of this project is printmaker, Beverly Keys, a member of Expressions Graphics in Oak Park and an artist with a passion for politics. One afternoon, while listening to her favorite public radio show, her interest was piqued. She learned that the SPP was formed in 2005 when the presidents of the United States and Mexico and the prime minister of Canada met at the behest of 30 corporations (10 from each country). They formed a covert partnership and set an agenda free of any public input.

“They claim this agenda would expand economic opportunities for the people of North America, but these initiatives adversely affect the public health, labor relations, environment and other dimensions of the lives of everyone living on this continent! ” exclaims Keys. “And democracy is at stake here!”

Motivated by passion, Keys recruited 19 artists from the three countries, many who are also members of Expressions Graphics. Keys asked each to create a print edition focusing on two of the initiatives that she found of particular threat to global health and human rights. One is the Oil Sands Project, the largest surface mining operation in the world. A pipeline, starting in Alberta, Canada, will run mostly to US refineries, including the local British Petroleum (BP) refinery in Whiting Indiana. This could threaten the health of millions of people that depend on Lake Michigan for drinking water. The amount of ammonia released into the lake will increase three fold, which would mean dumping an average of 3822 lbs of ammonia per day.


"Lucha por el Petróleo". Print by Nicolás De Jesús.

The second initiative is an Automated Targeting System that integrates the United States “no-fly” list into a single North American database. This system assigns every person flying in and out of the United States a risk assessment score. The system is based on government databases that are full of errors. The list includes preschoolers and one U.S. Senator. Furthermore, no one has access to find out what their score is or any right to challenge it.

The result of the artists’ efforts is 35 portfolios consisting of 21 political prints (two of the artists created two prints) that will travel to different venues throughout North America. The first exhibitions will be presented at the Oak Park Public Library in Illinois and in Acapulco Mexico. The following exhibition is scheduled in early 2009 at Alberta Printmakers in Calgary.

One of the participating U.S. artists, René Arceo, will give a talk at the exhibit’s opening reception about the history of printmaking and politics in Mexico. Arceo is an internationally exhibited artist with solo shows in France, Mexico, Poland and the U.S. to his credit. He also has extensive curatorial experience and advised Keys on this project.


"Water Water". Print by Heather Huston.

The artists in the portfolio are: René Arceo, Marnie Blair, Nicolás De Jesús, Javier Lara Diaz, Steve Fisher, Carol Friedle, Baltazar Godoy, Heather Huston, Beverly Keys, Eveline Kolijn, Jeff Abbey Maldonado, Jesús Orlando Martinez, Michael McGovern, Laura Myntti, MaryEllen Ponsford, Janet Schill, Gabriel Trinidad,Victor Juarez Vasquez and John Weber.

Wednesday, November 5, 2008

Artists in Pipelines and Borderlines


RENE ARCEO.
He is an internationally exhibited artist with solo shows in France, Mexico, Poland and the U.S.A. to his credit. He also has extensive curatorial experience and advice Beverly Keys on this project.

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"Whiting IN". Print by René Arceo.

Whitening, Indiana. My print shows and innocent child seating on a wooden chair in the center of the composition. The child wears a mask of death, as if he is playing with death, which ironically is close by - behind him. In the background, I placed two giant skeletons operating a factory of death represented by the two smoke stacks.


MARNIE BLAIR.
Marnie Blair is currently researching the built environment. The focus of Blair's work is the impact of industrial development and post-industrial decay. Blair is the print and paper Facilitator in the Visual Arts at the Banff Center in Alberta, Canada.


"Heart of the New West". Print by Marnie Blair.

Heart of the New West. I created this street art-inspired work and adopted the tagline "Heart of the New West", which is the official brand of Calgary, reflecting the city's heritage, spirit, and its economic driving force. Blair's satirical take on this motto juxtaposes the city wealth and success with the ambivalence of its inhabitants over the oil boom's legacy.


NICOLAS DE JESUS.
Nace en Ameyaltepec Guerrero, Mexico, el 6 de Diciembre de 1960. Autodidacta aprende de los maestros que conoce. Compañeros en el viaje del arte a través del mundo.
Expone su obra tratando de hacer conciencia en la igualdad entre los seres humanos, que otro mundo es posible. Que la tierra nos da la luz para aprender a convivir y compartir lo que nos dá. Que es posible acabar con la exclavitud de las conciencias atrapadas entre el comercialismo y la destrucción de nuestra Madre. Que para eso la educación es la via para la liberación y para acabar con los egoísmos y las reglas establecidas por el poder que le dá el dinero.

Expone donde puede.

"Trampa Global". Print by Nicolás de Jesús.
Ahí estamos atrapados , quién se escapa . Los intereses se entrelazan unos con otros .
La disputa hasta la muerte , inventando mentiras hasta enl las Naciones Unidas para crear una guerra . Todo por los energéticos que necesitan las máquinas de la muerte.
Estamos unidos a lo que nos imponen a través de los medios de comunicación electrónicos.
¿Hasta dónde el hombre es dueño de su voluntad y hace lo que le dicta su conciencia y no es solo una máquina que repite otra creada para favorecer el consumismo y la destrucción ecológica?
Es una borrachera fatal , y un día llegaremos al fondo, con qué compraremos un árbol sano , una semilla sana , libre de contaminantes?
Nosotros mismos cómo nos libraremos de las enfermedades degenerativas creadas por la gran inteligencia del hombre?

SOLO ES COSA DE CONSCIENCIA Y EN LA NATURALEZA ESTA LA LECCION.

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"Lucha por el Petróleo". Print by Nicolás de Jesús.

De cómo crece la consciencia a través de las movilizaciones para rechazar la privatización de el petróleo .
Donde están los recursos provenientes de la venta del petróleo?
Es la corrupción lo que ahoga a este pueblo seminconsciente, y hasta el cinismo los políticos convierte en verdad las mentiras que propagan.
Ah México ¡! Un día despertarás para sacudirte a esa podredumbre que contamina tu carne y que te hace eructar crímenes cometidos por las altas esferas del poder?
Y a los luchadores sociales como Nacho del Valle condenado a más de 70 años por defender la Madre Tierra en contra de los intereses del gran capital , y los de LA PAROTA , los indígenas presos por defender su dignidad y sus derechos …
YA BASTA !!!



JAVIER LARA DIAZ.
Nace en Tixtla, Guerrero, Mexico en 1973.
Egresado de la Escuela Nacional de Pintura, Escultura y Grabado "La Esmeralda". En el año de 1984 realiza sus primeros ensayos de dibujo y pintura en el Taller del maestro Jaime Gómez del Payán de quien aprende las técnicas y el uso de algunos materiales. Ha realizado diferentes exposiciones en el DF. Estado de Mexico y Guerrero, y en el Tercer Encuentro Cultural Guerrerense organizado por los Clubes Unidos Guerrerenses del Medio Oeste en el 2006, en Chicaco IL.


"Océano Negro". Print by Javier Lara Diaz.

Océano Negro. Los principales elementos de la obra son las figuras de dos niñas en primer plano, de pie a la orilla de una playa. El color de la piel contrasta - una de color y la otra de piel blanca. Una de ellas muestra el cuerpo cubierto de petróleo crudo que le escurre por las manos. La otra observa con gesto de sorpresa



STEVE FISHER.
Steve Fisher studied Art at the American Academy of Art in Chicago. His prints and paintings are exhibited widely throughout the Chicago area. He has been teaching classes and giving workshops at Expressions Graphics as well as other facilities in the area for several years.


"Suckers". Print by Steve Fisher.

Sucker. I chose the image of a skull with dollar signs, spewing oil and tears of blood to symbolize death and corporate greed, founded on the bloody tears of ALL the people. This is a global issue.


CAROL FRIEDLE.


"End of the Line". Print by Carol Friedle.


BALTAZAR GODOY.
Pintor, grabador y muralista. Nace el 3 de Agosto de 1959 en Cruz Grande, Guererro, Mexico. En 1975 forma parte del Jardín del Arte en Acapulco Gro. Cofundador del Taller de Artes Plásticas "José Clemente Orozco". En 1986 Realiza estudios de litografía en los Talleres de Gráfica Popular del INBA. Ha realizado diferentes Murales en diferentes lugares y exposiciones en diferentes partes de Mexico y una en la Habana, Cuba el 13 de febrero del 2003.

Ecocidio by Baltazar Go#19E
"Ecocidio". Print by Baltazar Godoy.

Ecocidio. Esta obra refleja la reflexión y preocupación por el gran deterioro ambiental que está sufriendo el mundo, la obra es para concientizar a la humanidad, para poner un Alto al Ecocidio que está acabando con los recursos naturales. "No más incendios forestales, No más tala inconsciente de bosques, No más desechos industriales arrojados indiscriminadamente sobre los mantos acuíferos". Humanidad qué diferente serías si despertaras!!!


HEATHER HUSTON.
Heather Huston received her MFA in printmaking from the University of Alberta in 2006 and has been working as an artist, instructor and technician in Calgary since. She has exhibited locally, nationally and internationally and serves on the board of the Alberta Printmakers' Society.


"Water Water". Print by Heather Huston.

I have had a longstanding interest in the mundane and finding ways to re-represent it to the viewer in a way that articulates the sense of strangeness that occurs when the familiar is seen out of context. I chose to address the oil sands issue from the perspective of the water resources that are utilized in mining activities, as water is (in the west) a quotidian part of everyday living. My fear is that we are exchanging one resource for the other and that in the end we will most regret the loose of a large portion of fresh water in our province. This issue is not thought about by much of our population since the mining is happening far from major centers. The connectivity of ecosystems means that ignoring a problem simply because it occurs beyond our walls and of our sight does not mean that it does not affect us. When it becomes a problem that we can no longer ignore, it will be too late to do something about it.


BEVERLY KEYS.


"Oil and Water: We All Pay". Print by Beverly Keys.


EVELINE KOLIJN.
An international youth and Master's degree in Anthropology from the Rijksuniversiteit Leiden, The Netherlands, nurtured Eveline's interest in the diversity of human culture and nature. She graduated from the Alberta College of Art and Design (BFA with distinction) in 2008. She is vice-president on the board of Alberta Printmakers Society, an artist-run center devoted to promoting and facilitating production of print in Calgary's community. Her work is represented by the Axis Contemporary Art Gallery in Calgary.


"G3: Greed Guts Gaia". Print by Eveline Kolijn.

I ceased believing in an economic system that advocates ever increasing profits and consumption as necessary. It depletes our resources and fattens pockets of a few mammoth corporations. These corporations successfully pressure governments in granting them special favors. In the oil-sands of Alberta, Canada, the government is too tolerant in allowing polluting practices, resulting in ever growing poisonous tailing-ponds that endanger the lives of the native population and wildlife. The U.S. corn-lobby received massive subsidies when they resurrected a flagging market by converting their food-crops into ethanol. The environmental gain of this product is highly questionable and it resulted in unaffordable prices of this staple food for many Mexican households.


JEFF MALDONADO.


"One Dead Dollar". Print by Jeff Maldonado.


JESUS ORLANDO MARTINEZ.
Jesús Orlando Martinez Velasquez nació el 6 de agosto de 1989, en Taxco Guerrero, México. Realizó los talleres en la Escuela Nacional de Artes Plásticas de la UNAM extensión Taxco: Taller de Pintura entre enero y junio del 2004 y diplomado en pintura.
Ha participado en las exposiciones organizadas en las jornadas Alarconianas, en exposiciones de arte durante la feria de la bandera en Iguala Gro. Y ha participado en Murales realizados por Nicolás De Jesús.


"Hijo del Petróleo". Print by Jesús Orlando Martinez.

Hijo del Petróleo. Es la visión personal del impacto histórico y económico, en la que se ha construido una nación como México, en la dependencia de la explotación del petróleo como recurso energético y que en la actualidad, la posibilidad de la apropiación extranjera amenaza la soberanía en la propiedad del hidrocarburo e irónicamente el increíble impacto ambiental que ha producido en el planeta la utilización del llamado "oro negro".


MICHAEL McGOVERN.


"Pattern of Abuse". Print by Michael McGovern.

The environments and people that have surrounded my life inform the art I create. My work is about constructing autobiographical images that explore the ghost of may past. I am interested in how both personal and cultural histories have profoundly affected my visual language.
I compose memorials to the intangible memories of my past. By visually recording impressions of specific times, places, and events in my life I am preserving memories that seem to fade with each passing year.
My work calls upon the repetitive nature of photography and printmaking to create a network of reoccurring image that I meditate on to help search for a truth. I use a lexicon of images that relate to specific events in my history. Repeated images of bridges, birds, trains, war, urban landscapes, and old family portraits find their way into my work lending themselves to an unfolding narrative. All these images carry a personal biography, but also carry the weight of their own metaphors helping to furnish and ever-growing personal narrative.


LAURA MYNTTI.

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"Eco-Terrorism". Print by Laura Myntti.

In uncovering more factual information about this project, I am amazed at the refusal of the Canadian and Alaskan (American) political and capital machine to commit themselves to a logical and practical environmental policy. The greed, fear and sneaky back room political tactics of Bushco and the Canadians pressured by ravenous US market have come together in Alberta and Alaska with scandalously weak environmental practices. In the end I am faced with questions. How can the National Environmental Policy Act of 1969 and the Canadian Environmental Assessment Act of 1980 be so abashedly disregarded and ignored? How can they allow the landscape and it's innocent inhabitants be punished by the disastrous and long lasting effects of their actions? How can they take all that they can get without a thought for others' needs? (very bad manners) Why have the CEO's and the political powers that be not put into place the most rudimentary of environmental and public policies? It's so impractical! And still the TransCanada Corp is aiming to build a 1,715 mile pipeline rooted in the Arctic oil fields in Alaska's North slope to ship natural gas to markets in the US and Alberta (-to surface mine the tar sands). The CEO of TransCanada Corp has Sarah Palin's blessing (2008). Hopefully I can get back to you with better news next time.


MARYELLEN PONSFORD.


"Ancient Echoes in Jeopardy: Mercury". Print by Maryellen Ponsford.


JANET SCHILL.
She received her Bachelors degree in Art from Southern Illinois University in Carbondale, IL, and a MFA in printmaking and metal-smithing from Northern Illinois University in Dekalb, IL. She is the Master Printmaker for Expressions Graphics of Oak Park. Schill also runs their visiting artist and community outreach programs, as well as teaches classes and workshops. Her work has been exhibited nationally and in Canada and Mexico.

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"Dangerous Walk for Oil". Print by Janet Schill.


GABRIEL TRINIDAD.
Grabiel Rodriguez Trinidad nace el 12 de Agosto de 1981 en Cuanacaxtitlán, Guerrero, Mexico. Se inicia en la pintura con el maestro Jaime Ignacio López, en Ometepec, Gro. Ha exhibido su obra en diferentes lugares de la República Mexicana y en Encuentros Culturales Guerrerenses realizados en Chicago IL. Premio al mérito Juvenil en Artes en Guerrero en el 2007. Imparte cursos de grabado en comunidades y realiza murales sobre el ecocidio y las luchas sociales en el Estado de Guerrero, Mexico.

Los gigantes monstruos #D0E
"Los Gigantes Monstros". Print by Gabriel Trinidad.

Los Gigantes Monstros representa el despojo y la invasión de los países poderosos a los países débiles, y la manera en que la tecnología contribuye a la contaminación, destruyendo al ecosistema en el que convivimos los seres humanos.


"Sed en lo profundo". Print by Gabriel Trinidad.

Sed en lo Profundo representa a los grandes empresarios de las compañias transnacionales disputándose el poder y los recursos del planeta, creando inestabilidad, y problemas económicos y sociales que llevaran a un estallido global por la desigualdad.


VICTOR JUAREZ VASQUEZ.
He was born in Ciudad de Tixtla, Guerrero on December 28, 1971. He studied art at the National School of Painting, Sculpture and Engraving "La Esmeralda" INBA Ciudad de Mexico. He participated in many art exhibits througout the Mexico and also in the "Tercer y Cuarto Encuentro Cultural" organized by the Midwest Guerrerenses United Clubs in Chicago IL in 2006 and 2007.

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"Entre Vida y Muerte". Print by Victor Juarez Vasquez.

Between Life and Death describes a fetus on the verge of being born, the planet earth functions as the maternal womb in which the umbilical cord is outside of the planet (womb). The child breathes contaminants inside as well as outside, demonstrating that inside the womb he/she is not protected from contaminants and once being born, he will exposed to more of the same.


JOHN PITMAN WEBER.
Best Known as a public artist, have been making prints since childhood. While studying in France, he learned intaglio at the legendary Atelier 17, with Stanley Wm. Hayter and Krishna Reddy. He studied lithography with Ray Martin and later with Marc Pascale at the School of the Art Institute of Chicago. He is a professor of art at Elmhurst College, where more of his prints and murals can be seen. He lives in Chicago's Pilsen neighborhood and participates in this month's Pilsen Open Studios.

John P Weber lr
"Oil Makes Us Free". Print by John Pitman Weber.

Oil Makes Us Free comments on the delusions induced by our dependence on petroleum fueled vehicles. Our cars, trucks and tanks are all tethered to the international Empire of Oil by its pipelines and its gas-pump hoses. We pay for our freedom of circulation by accepting the massive pollution of our air, ground and water, in addition to the costs of endless war and preparations for war.