Join us for the opening of our three new exhibitions, featuring our Fall 2022 International Artists-in-Residence: María José Crespo, K8 Hardy, and JD Pluecker. The artists have been in-residence at Artpace since September, working on a new body of work. Meet the artists and curator, then join them in conversation at 6:30pm.
The Fall 2022 Resident Artists were selected by Sofía Hernández Chong Cuy, Director at the Kunstinstituut Melly.
This event is free and open to the public.
María José Crespo’s exhibition Flaws in negotiation with non-cohesive sand unfolds in a series of structures informed by gestures that administer water and land at the border between Mexico and the United States during the 20th century. During her residency, Crespo explored on-site spaces and archives to investigate how different landscapes, objects, and mechanisms around the Rio Grande – Bravo are part of a history that can be expanded into multiple materialities and observed as diverse layers of experience in different settings. Flaws in negotiation with non-cohesive sand is an environment where clashing acts of self-governance and politics embedded in physical forms question the way history is displayed and therefore understood, contrasting the infrastructure of the space with the intimacy that materials offer. The work in the exhibition experiments with possibilities through ethno-fictional methodologies of researching in archives, as found objects applied to collage, video, and sculpture.
JD Pluecker opens another chapter of the 12-year-project of The Unsettlements with the Artpace exhibition, The Unsettlements: Moms. The exhibition is the result of a dive into the archives of their two moms–their birth mother, Claire D. Pluecker and the person JD calls their “dyke mom,” Linda L. Anderson. Wading through the archives of both women, Pluecker unearths the legacies of both of their moms, creating a series of object poems, tracings, and embroidered pieces, investigating the exclusions of the traditional Western genealogical tree and centering an expanded sense of lineage as queer, trans, and feminine. JD writes, “The lines of research with both moms are happening at the same time, as I am interested in how these two women and their very different meanings and materials speak to one another, how they clash, how they conflict, and how they combine. In that process, I am attempting to consider the legacies of white supremacy and the wonders of queerness and femininity in the same space. A move to imagine the possibility of dismantling whiteness and to embody a generationally-inherited queerness, tinged with struggles around neurodiversity and access to joy.”
