el otro lado

Anne Wallace

Exposición: Nov 11, 2004 – Ene 23, 2005


Para su proyecto Artpace, el otro lado , Wallace se enfoca aún más en la frontera entre Estados Unidos y México. A través de la investigación y recorriendo el límite de dos mil millas, reunió historias del río, el desierto y las paredes de ambos lados de la frontera. El material reunido ha resultado en una instalación de video y sonido que explora los miedos, deseos y políticas proyectadas de la barrera construida, y reflexiona sobre las dificultades innecesarias que crea.

Simulando la división norte / sur divisiva y claustrofóbica, la galería está bifurcada por paredes y una pantalla de dos lados que transmite video de la cerca real. Al igual que la línea real que separa las zonas fronterizas, esta versión seduce con hendiduras lo suficientemente grandes para los ojos o las manos, pero no los cuerpos que constantemente buscan pasar.

Un sistema de sonido envolvente transmite las palabras en español e inglés de las personas que se encuentran: migrantes que se arriesgan a viajar por el desierto, trabajadores humanitarios que proporcionan agua, un miembro de una tribu cuya tierra está rota, ambientalistas, terratenientes, un vocero de la frontera y un coyote reformado. El segmento de sonido final representa un momento anual de resiliencia y resistencia; un juego de voleibol binacional usando la línea fronteriza como red.

A través de voces y videos, el otro lado excava el impacto del muro impuesto por el gobierno. Como en trabajos anteriores, con esta pieza Anne Wallace teje material personal en una instalación compasiva que se pregunta por qué ya qué costo.

Artista

Anne Wallace

San Antonio, Texas, USA

Native Texan Anne Wallace gathers material from her immediate surroundings and recontexualizes it in community-based projects, videos, sculpture, and sound pieces that fuse personal and collective issues. Through sidewalk panels that reveal the past, a video of abandoned oil on the family ranch, or a sculpture made out of salvaged trees, Wallace connects mythology and history with present realities, and questions the individual’s role within the environment.
While Wallace has used video and sound to evoke place, in the 1980s/90s she produced a body of works with wood. The artist re-presented damaged trunks to highlight people’s affect on nature, but also to explore the raw realities of those on the U.S./Mexico border. As a human rights advocate living along the frontera for a decade, she imaged refugee’s stories through drawings and carvings. In Amando en Tiempo de Guerra (1989-91) a group of roughly hewn, life-size figures lament the fallen. Intermingled with smooth patches of wood are painful chainsaw marks signifying both physical and psychological injuries. This installation, like Wallace’s others in wood, sound, and video, empathetically explores an issue intimate to the artist and of broad social concern.
Anne Wallace received her BA from Duke University, Durham, NC in 1976. Solo shows include Galveston Arts Center, TX (2002); Sala Diaz, San Antonio, TX (2001); and Orchard Gallery, Derry, Northern Ireland (1992). Recent group exhibitions include Latino Redux, University of North Texas Art Gallery, Denton, TX and Texas Dialogues: Scenic Overlook, Blue Star Art Space, San Antonio, TX, both in 2000. Wallace lives in San Antonio, TX.

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Curador

Dan Cameron

Newport Beach, California

From 2012 to 2015 he was Chief Curator at the Orange County Museum of Art in Newport Beach, California. In 2006, Dan Cameron founded the Biennial Prospect New Orleans, where he worked at until 2011. From 1995 to 2005 he was Senior Curator at the New Museum, New York, where he developed numerous group exhibitions, such as East Village USA and Living inside the Grid, and several individual shows dedicated to the artists Martin Wong, William Kentridge, Carolee Schneemann, Carroll Dunham, Doris Salcedo, José Antonio Hernández Diez, among others.
As independent curator he has organized many exhibitions that brought him international attention, such as El arte y su doble (Fundación Caixa, Madrid, 1987); El jardín salvaje (Fundación Caixa, Barcelona, 1991); Cocido y crudo (Museo Nacional Centro de Arte Reina Sofía, Madrid, 1995), among many others. In 2003, he was the Artistic Director of the 8th Istanbul Biennial, and in 2006, Co-curator of the 5th Taipei Biennial.
He has published hundreds of texts in books, catalogues and magazines, and has given numerous talks and conferences at museums and universities around the world, also carrying out an important teaching activity in New York.

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