Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un lin...

Curtis Talwst Santiago █ At Rachel Uffner Gallery

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Curtis Talwst Santiago
Drawings and Miniatures

November 13, 2016 - January 8, 2017

Press Release
Curtis Talwst Santiago: Drawings and Miniatures
November 13, 2016 – January 8, 2017
Opening Reception: Sunday, November 13th, 2016, 6 – 8 pm

Rachel Uffner Gallery is pleased to present new sculptures and drawings from Curtis Talwst Santiago. His practice explores issues of transculturalism, memory and ancestry in the contemporary Diasporic experience. Santiago’s infinity series of miniature dioramas in reclaimed ringboxes consider the absence of certain narratives in dominant culture and draw on the tradition of storytelling to question the production of historical understanding. The ringboxes are unusually mobile artworks; between exhibitions they close and travel with the artist. Encased in structures that protect and transport precious objects through generations, the ringboxes become symbolic of oral historical practices. The lack of an immersive experience in viewing these works and their overt objecthood suggest the distance between dominant culture and the stories they hold.

More recently, Santiago has introduced drawing into his practice. Using paper and rocks as his surface, these works consider more directly the connection between the artist and his ancestors, and will be shown for the first time in this exhibition. The drawings were made as a current artist-in-residence at Pioneer Works, Brooklyn and from his studies at the New York Studio School, wherein Santiago stretched his artistic inquiries. The series depicts contemporary figures that aesthetically conjure the past, echoing the gestures and processes of art history’s masters before him.
Santiago’s own experience of growing up in Trinidadian household against the backdrop of Canada holds weight within the context of his practice. Santiago’s interest in storytelling, in particular narratives from African and Caribbean culture, comes alive in his practice, which aims to animate and reinsert these silenced histories into contemporary art and history.

Curtis Talwst Santiago is a Canadian-Trinidadian artist currently working Brooklyn. He is a former apprentice of Lawrence Paul Yuxweluptun, and has exhibited internationally in solo and group shows including at the Studio Museum in Harlem, Hunter College, Savannah College of Art and Design, Fortnight Institute and the Art Gallery of Mississauga. A current artist-in-residence at Pioneer Works, Brooklyn, Santiago will participate in a residency with Gallery MOMO (Cape Town and Johannesburg, South Africa) in 2017. He will also be included in an upcoming show at the Art Gallery of Ontario, Toronto. His work is included in the permanent collection of the Studio Museum in Harlem.