BIO
BIO
Genesis Báez

Génesis Báez es un artista de Brooklyn que trabaja con la fotografía y el video. Nacido en Massachusetts, Báez creció tanto en los EE.UU. como en Puerto Rico. Tiene un MFA de la Universidad de Yale, donde fue galardonada con el Premio John Ferguson Weir a la Excelencia (2019) y el Premio a la Práctica Crítica (2018). Es ex-alumna de la Escuela de Pintura y Escultura de Skowhegan (2019) y posee una licenciatura en fotografía con honores del Colegio de Arte y Diseño de Massachusetts. Báez ha expuesto recientemente con Yancey Richardson en Nueva York, Living Arts of Tulsa en Oklahoma, Diagonal en Puerto Rico y Chart Gallery, Nueva York.

Sitio web

Karina Aguilera

Karina Aguilera Skvirsky es una artista multidisciplinar que trabaja principalmente con fotografía, video y performance. Actualmente es Profesora Asociada de Arte en Lafayette College, Easton, PA. De manera regular trabaja en exposiciones individuales y colectivas, ha participado en bienales como en la de Cuenca, comisariada por Dan Cameron (2016) o en la de São Paulo (2010). Ha sido beneficiaria de numerosas residencias y becas. Actualmente está produciendo"Cómo construir un muro y otras ruinas" gracias a la beca obtenida en 2019 por parte de Creative Capital. Su obra se puede ver en ferias como, ARCO Madrid, NADA Miami o PArc Lima, a donde acude regularmente con las galerías que la representan. Su obra forma parte de importantes colecciones como la Urbes Mutantes, el Whitney Museum of American Art, el SFMOMA el Art Institute of Chicago, así como numerosas colecciones privadas

Trabajando con fotografía y video, Génesis Báez explora cómo la gente se relaciona con el lugar, la historia y la imaginación en el contexto de la vida en la diáspora. Centrándose en las vidas y entornos de las mujeres en Puerto Rico y su diáspora en los EE.UU., Báez traza las formas en que el lugar y la pertenencia pueden existir en movimiento. Al centrarse en elementos efímeros y mutables, como el agua, el sonido, el aire, la luz y la sombra, sus imágenes consideran las formas en que la ausencia es un espacio que no siempre está vacío, y cómo la vida puede moverse dentro y fuera de él. Para The Backroom, Genesis reúne diferentes imágenes y textos que establecen una relación emotiva con la visibilidad, la transitoriedad, el anhelo y las inestables reivindicaciones de la fotografía para la preservación de la memoria.

[1] En algunos materiales el título de la exhibición es descrito como “Acto de presencia en México.”

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Hellen Ascoli writes—about weaving and translation—"To let my body be the place where tension meets the ground," and I imagine a lightning rod connecting languages, pulling threads. She combs, she rakes, she draws an exhibition with neon tapes across her backyard, she stacks two tree limbs in an embrace. I spend my pandemic mornings in the sand of a barren yard in the Great Plains in isolation, and the grit powders my skin and gets into my teeth. We write each other letters. Manal Abu-Shaheen sends me a cyanotype she makes, of the ship that brought her great-grandfather to Ellis Island in 1907. She sends a photograph of the sun dunking into the sea beside Beirut. We talk about the failure of language to account for the distance between here and there, especially in these anguished weeks since the explosion. Her photographs of that city were already moving indoors, but now, isolating in New York, she imagines the intimacy of photographing her friends in their homes, indoors, together. The imagining is about closeness, about touch, about longing and what is no longer here, about having a coffee and telling the stories of this particular year. Thuy-Van Vu describes how her father would plant patches of green, plants and flowers, in the sun-bleached yard of his home in Phoenix, Arizona, and how they would always die under the summer sun there. We talk about things that couldn’t be said in words. “This is the idea of a house my father built,” writes poet Diana Khoi Nguyen. Plants now cover every surface of her Seattle office and home; she feels guilty for letting one of them expire for a painting. She sends photographs from a trip to Vietnam: modest sandals in a glass case at the Museum of Fine Arts in Ho Chi Minh City are marked with dirt from an artist’s day of work. A boy sands a carved Buddha, and the wood gradually changes tones. A typed list of “useful phrases for emergencies” in Vietnamese includes “Don’t shoot!” Photographs of a helicopter made of woven grasses and a broken wooden sculpture of a tank are local thrift store finds, imported from Vietnam.

1
3d anatomy rendering, brain, 2010, stockphoto
2
Representation of the trunk and its organs. From the Hua Tuo Xuanmen Neizhao Tu , Hua Tuo's Images for Internal Visualisation According to the Mystery School), imprint published by Sun Huan in 1273 . This version of the Hua Tuo Xuanmen Neizhao Tu incorporates images of the viscera drawn by the doctor Yang Jie ( fl. 12th century), styled Jilao , in his Cunzhen Huanzhong Tu (1118).chinese, circa 1100
4
Organs of the gastrointestinal system, Bartolommeo Eustachi, 1564
5
Kaishi Hen (Analysis of Cadavers), an anatomical atlas from the dawn of experimental medicine in Japan, published in Kyoto in 1772. The book details, in exquisite woodcut illustrations by Aoki Shukuya (d. 1802), the experiments and findings of Kawaguchi Shinnin (1736-1811), Edo-period Japan, 1603-1868
7
digestive system, Verheyen, flemish, Corporis Humani Anatomia, 1710
8
Kaishi Hen (Analysis of Cadavers), an anatomical atlas from the dawn of experimental medicine in Japan, published in Kyoto in 1772. The book details, in exquisite woodcut illustrations by Aoki Shukuya (d. 1802), the experiments and findings of Kawaguchi Shinnin (1736-1811). Edo-period Japan, 1603-1868
9
3d anatomy rendering, digestive system, 2011, stockphoto
10
3d anatomy rendering, brain, eye, 2010, stockphoto
11
Wilhem ten Rhyne 'Dissertatio de Arthritide: Manissa Schematica: de Acupunctura', Dutch,17th century. Original first-hand published account of eastern medicine and introduced the western world to the concept of acupuncture, 1683