CASA BOTANICA

BotanicÁrte:Running till May 11, 2024

The Art of the Resistance
OPENING
MAY 24.24
NATIONALIST-1954--1
COLONIAISMO
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ERASED
Gina Goico, "Casa"
BotanicÁrte: March 8 – May 11, 2024
The Art of the Resistance
OPENING
MAY 24.24
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DECOLONIZATION RICANSTRUCTED
25 Years of Art & Agit-Prop by
vagabond
THE ART OF RESISTANCE
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BotanicÁrte 

Running till May 11, 2024

Curated by Andrea Sofía Matos

Featuring the work of Liana Collective, Gina M. Goico, and Misla

“The Art of Resistance”

By vagabond

by vagabond

May 24- July 27,  2024

Curators:Tontxi Vazquez and Ana Hilda Figueroa de Jesús

Gallery Hours: Tuesday – Saturday 12-6 pm; Monday-Sunday Closed

 

Read More: BotanicÁrte

Celebrating the profound connection between art and healing, BotanicÁrte explores the role of artists as healers, showcasing their unique contributions to integrative wellness and activism. The exhibition features three artists: Liana Collective (Juan Pablo Caicedo, Giselly Mejía, and Angélica Cuevas), Gina Goico, and Misla. Each artist will be doing a site-specific installation, presenting their work in a holistic approach to healing through the arts. Some are directly inspired by indigenous traditions, and others are referencing their context, histories, and practices.

One of the featured artists is Liana. A curatorial research collective that explores healing through the arts as a process that bridges human, plant, and spiritual realms. Through their project, “Coca Worlds”, they address the traditional healing properties of the coca plant for indigenous communities in Latin America, as well as its historical misuse and destructive effects of colonial appropriation and manipulation. Liana will bring to the space the work of Colombian artists Édinson Quiñones (1982), Anyi Ballesteros (1988), and the Colombian-French collective NOMASMETAFORAS formed by Julian Dupont (1985) and Clara Melniczuk (1991). In dialogue with the plant, the artists propose three ways to heal and reimagine the present and the future of our relationship with coca.


Artist Gina Goico shares her journey of discovering solace and transformative healing through art, underscoring its profound influence in navigating life’s complexities mainly through interactive soft sculptures called “LovingSUITS,” inviting reflection on the complexity of self-love and family dynamics. Misla, our third exhibiting artist, delves into memory, identity, and cultural heritage themes, crafting artwork that fosters connection and understanding within her community. Her installation seeks to intertwine the essence of home, community, and identity, reflecting the diverse facets of the Latinx experience. Her contribution to the exhibition is a community healing room complemented by a video installation featuring a compilation of artists who, through an open call, express how their art, whether in its creation or observation, serves as a source of healing.

BotanicÁrte explores how art contributes to wellness, drawing on the Afro-Caribbean botánica. It challenges traditional healthcare ideas and showcases art’s transformative power in individual and community healing. The exhibition offers an immersive experience, inviting viewers to consider art’s healing role in daily life.

Read More:BotanicÁrte En Español

Uno de los artistas destacados, el Colectivo Liana, explora la sanación a través de su proyecto de investigación Coca Worlds, que pretende poner de relieve el valor rehabilitador, místico, político, medicinal y nutritivo de la planta de coca a través del arte contemporáneo. Liana aborda las propiedades curativas tradicionales de la planta de la coca para las comunidades indígenas de América Latina, así como su mal uso histórico y los efectos destructivos de la apropiación y manipulación coloniales. Liana traerá al espacio la obra de los artistas colombianos Édinson Quiñones (1982), Anyi Ballesteros (1988) y el colectivo colombo-francés NOMÁSMETAFORAS formado por Julian Dupont (1985) y Clara Melniczuk (1991). En diálogo con la planta, los artistas proponen tres formas de sanar y reimaginar el presente y el futuro de nuestra relación con la coca.

El trabajo de Gina Goico, “LovingSUITS”, es un testimonio conmovedor de cómo el arte puede ofrecer consuelo y sanación transformadora a través de esculturas blandas interactivas, que invitan a reflexionar sobre la complejidad del amor propio y las dinámicas familiares. Misla, nuestra tercera artista, profundiza en temas de memoria e identidad, creando obras de arte que fomentan la conexión y comprensión dentro de su comunidad. Su contribución a la exhibición es una sala de sanación comunitaria complementada por una instalación de video con una compilación de artistas que, a través de una convocatoria abierta, expresan cómo su arte, ya sea en su creación u observación, sirve como fuente de sanación.

BotanicÁrte explora cómo el arte contribuye al bienestar, basándose en la botánica afrocaribeña. Desafía las ideas tradicionales de atención médica, mostrando el poder transformador del arte en la curación individual y comunitaria. La exhibición ofrece una experiencia inmersiva, invitando a los espectadores a considerar el papel curativo del arte en la vida diaria.

"The Art of Resistance" by vagabon

July 25th, 1998 marked the 100th anniversary of the US invasion of Puerto Rico which led to an ongoing occupation and colonization of the island nation. A group of artists associated with the Puerto Rican hardcore punk band RICANSTRUCTION and activists such as the Puerto Rico Collective banded together to bring attention to this matter in NYC and, specifically in El Barrio (East Harlem). Among those artists and activists was artist, writer, and filmmaker vagabond. Along with Not4Prophet, the lead singer of RICANSTRUCTION, they launched a graffiti tagging agit-prop campaign that began with nightly clandestine raids on the walls of El Barrio and eventually grew to full blown large scale murals done in broad daylight with community participation. There were three large scale murals done. The first among them was the LOLTIA LEBRON mural on the north side of 109th street between Lexington avenue and Third avenue, followed by the MACHETERO mural on  the north west corner of 110th street and Park avenue. The only one left is the ALBIZU / CHE, also known as the DOS ALAS mural. For over 25 years the DOS ALAS mural has survived due in no small part to Marina Ortiz, Xen Medina, Not4Prophet and others who have continually and vigilantly restored and maintained it.

Since 1998, vagabond has dedicated a vast amount of his writing, art, and filmmaking to the Puerto Rican independence movement. Working in conjunction with Comité ’98, the Puerto Rico Collective, Pro-Libertad, RICANSTRUCTION, the RICANSTRUCTION Netwerk and other organizations vagabond has created a vast body of work centered around the independence of Puerto Rico. This show is a collection of 25 years’ worth of his art and agit-prop.

Working in a wide array of mediums vagabond’s art and design work includes sketches, digital collage, graphic design, photography, video and film. This show features actual ephemera such as postcards, posters, zines, chap books, and photography, film and video of the last 25 years from his archive. The exhibit also showcases fine art pieces inspired by Puerto Rican independence.

"El Arte de Resistencia" por vagabon

EL ARTE DE LA RESISTENCIA
DESCOLONIZACIÓN RICANSTRUCTED
25 Años de Arte y Agit-Prop por vagabond
El 25 de julio de 1998 se cumplió el centenario de la invasión estadounidense en
Puerto Rico, que condujo a la ocupación y colonización de la nación-isla. Un grupo
de artistas asociados con la banda puertorriqueña de hardcore punk
RICANSTRUCTION y activistas como el Puerto Rico Collective se unieron para
llamar atención sobre este asunto en NYC y, en concreto, en El Barrio (East
Harlem). Entre estos artistas y activistas se encontraba el artista, escritor y
cineasta vagabond. Junto con Not4Prophet, vocalista de RICANSTRUCTION,
lanzaron una campaña de graffiti agit-prop que comenzó con incursiones
nocturnas clandestinas en las paredes de El Barrio y, finalmente, creció a grandes
murales realizados a plena luz del día con la participación de la comunidad. Se
realizaron tres murales a gran escala. El primero de ellos fue el mural de LOLITA
LEBRON en el lado norte de la calle 109 entre Lexington y la Tercera avenida,
seguido del mural de MACHETERO en la esquina noroeste de la calle 110 y la
avenida Park. El único que queda es el ALBIZU / CHE, también conocido como el
mural DOS ALAS. Durante más de 25 años el mural DOS ALAS ha sobrevivido
debido en gran parte a Marina Ortiz, Xen Medina, Not4Prophet y otros que
continuamente y vigilante lo han restaurado y mantenido.
Desde 1998, vagabond ha dedicado gran parte de sus escritos, arte y cine al
movimiento independentista puertorriqueño. Trabajando conjuntamente con el
Comité '98, el Puerto Rico Collective, Pro-Libertad, RICANSTRUCTION, el
RICANSTRUCTION Netwerk y otras organizaciones, vagabond ha creado un vasto
cuerpo de trabajo centrado en la independencia de Puerto Rico. Esta exposición
recoge 25 años de su arte y agit-prop.
El trabajo artístico y de diseño de vagabond incluye bocetos, collage digital,
diseño gráfico, fotografía, vídeo y cine. En esta muestra se exponen objetos
efímeros como postales, carteles, zines, libros, fotografías, películas y vídeos de su
archivo de los últimos 25 años. La exposición también muestra obras de arte
inspiradas en la independencia de Puerto Rico.

This exhibition and public programming is made possible with support from the The New York City Department of Youth & Community Development, The NYC Council Deputy Speaker, Hon. Diana Ayala, The New York City Department of Cultural Affairs, The New York State Council of the Arts, The Upper Manhattan Empowerment Zone, Material for the Arts, The Puerto Rican Workshop, Inc, Ponce Bank, Goya Foods, and individual contributors.

Esta exhibición y programación pública es posible gracias al apoyo del Departamento de Juventud y Desarrollo Comunitario de la Ciudad de Nueva York, el Consejo de NYC Representante, Hon. Diana Ayala, el Departamento de Asuntos Culturales de la Ciudad de Nueva York, el Consejo de las Artes del Estado de Nueva York, la Zona de Empoderamiento del Alto Manhattan, Material para las Artes, Taller Boricua, Banco Ponce, Goya Foods y contribuyentes individuales.

EL MUSEO DEL BARRIO:  September 12, 2020 – January 17, 2021

TALLER BORICUA: A POLITICAL PRINTSHOP IN NEW YORK
*Online Exhibition*

TALLER-AT-WHITEBOX
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Marcos Dimas 1975

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Lolita / 1971 Silkscreen by Marcos Dimas

ARTForALL

A Historic 1969 Short 16mm Film About the Founding of Taller Boricua

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Albizo / 1972 Silkscreen by Marcos Dimas

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Yolanda Velazquez,
Taller Boricua 6'x 3' Linoleum Print

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Top Row: Ralph Salicrup, Fernando Salicrup. Jorge Soto,
Papo Colo Mid Row: Manny Vega, Nestor Otero,
Gloria Rodriguez, Marcos Dimas, Lower Row: Jose Rodriguez

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READ ABOUT TALLER BORICUA at WHITEBOX

Taller Boricua emerged in East Harlem within the cultural landscape of New York City in 1969, alongside the artistic effervescence that took place Downtown, particularly in SoHo, Tribeca, and the Lower East Side. Their objective was to activate, through art, processes of social resistance in frequently neglected, underserved communities. From their inception, they have been part of the Nuyorican movement that originated in the late 1960s in neighborhoods like Loisaida, Williamsburg, and East Harlem aka El Barrio; visual artists, writers, especially poets, and musicians converged in El Taller (The Workshop), where prints, Spoken Word and Salsa developed within the environment of Latin American culture, today deeply rooted in New York.

El Taller Boricua (The Boricua Puerto Rican Workshop), From the Art Workers Coalition to the Present, is the first exhibition in the “New York Artscapes” series in which WhiteBox is creating a platform to welcome and make visible cultural processes that have fundamentally constituted the cultural landscape of this city but dwell outside the hegemonic discourse due to race, gender, and/or social class. The show presents a panoramic view of the 50-year history of the Workshop, which reveals the volume and complexity of their artistic production directly linked to the social and historical problems of their community. It is an ongoing archival exhibition because it is understandable that after 50 years of uninterrupted work, their work methodologies have been transformed along with their own life stories. Thus, our pondering over New York City’s storied past is quite different now than in 1969.

In New York, the 1970s were characterized by the growing activism within the artistic movement; in May 1970, those the artists demonstrated in the commonly known “Art Strike” against racism, sexism, repression, and the Vietnam War. Likewise, artists based in the city began questioning the essence of art, transforming how contemporary art was created and exhibited, seeking to push the limits of the white cube. For its part, Taller Boricua has worked from what is known today as “insurgent aesthetics.”[1], where their artistic practices are defined as collective, relational, and situated; therefore, they are an expansive form of manifestation against extant forms of domination. Their trajectory reveals their resistance to racial and social class violence exerted on the non-white population, especially upon the Puerto Rican population in New York City.

The Workshop was founded by the artists Marcos Dimas, Adrián García, Manuel Otero, Armando Soto, and Martín Rubio, who in parallel were linked to the AWC movement (The Art Workers Coalition), where (among various statements) museums were required to become more open and less exclusive regarding exhibition policy regarding when working with the artists they exhibited and promoted. One year after the founding of Toleration, the community of Latin American visual artists, writers, and musicians, especially Puerto Ricans, had expanded: Nitza Tufiño, Ada Soto, Carlos Osorio, Olga Alemán, Rafael Tufiño, Dylcia Pagan, Edwin Pitre, Julius Perri, Juan Gonzales, Bobby Ortiz, Jimmy Jiménez, Abdías Gonzales, Sammy Tanco y Vitin Linares, among others. Early on, they had the vision of developing programs that revolved around the reclaiming of Puerto Rican roots, including the rescue of the Taino past and processes of social and educational resistance in schools and public spaces in East Harlem, direct links with the socio-political activist group The Young Lords, support for families of young people killed by the police and dissemination of Nuyorican cultural production.

Taller Boricua Gallery

1680 Lexington Ave.

New York, NewYork, 10029

RT Printmakers Studio

Visits  by Appointment 121 East 106 Street

212-831-4333

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Taller Boricua Board of  Directors

Marcos Dimas

Executive Director

Dan Comas

Chairman of the Board

Nitza Tufiño

Secretary

Jose Carrero

Treasurer

Ethan Casey

Humberto Cintron

William Cruz Colon

Roger Hernanadez

Hiram Vidal, Esq.

All programs are made possible by the New York State Council on the Arts, the New York City Department of Cultural Affairs, the NYC Department of Youth & Community Development, UMEZ Cultural Aid Fund, the NYC Council Deputy Speaker, Hon. Diana Ayala and the Puerto Rican Workshop Inc..

The exhibition BotanicÁrte and public programming is made possible with support from The New York City Department of Youth & Community Development, The NYC Council Deputy Speaker, Hon. Diana Ayala, The New York City Department of Cultural Affairs, The New York State Council of the Arts, The Upper Manhattan Empowerment Zone, Material for the Arts, The Puerto Rican Workshop, Inc, Ponce Bank, Goya Foods, and individual contributors.

Esta exhibición y programación pública es posible gracias al apoyo del Departamento de Juventud y Desarrollo Comunitario de la Ciudad de Nueva York, el Consejo de NYC Representante, Hon. Diana Ayala, el Departamento de Asuntos Culturales de la Ciudad de Nueva York, el Consejo de las Artes del Estado de Nueva York, la Zona de Empoderamiento del Alto Manhattan, Material para las Artes, Taller Boricua, Banco Ponce, Goya Foods y contribuyentes individuales.