Previous exhibitions

Ana De Orbegoso, "The rise and fall of Icarus," 2012. Photography based, mixed media. Courtesy of the Artist.
Ana De Orbegoso, "The rise and fall of Icarus," 2012. Photography based, mixed media. Courtesy of the Artist.


LIMA 130 K

Solange Adum / Mariella Agois / Ernesto Benavides / Ana De Orbegoso / Maricel Delgado / Antonio Escalante / Marina García Burgos + Ricardo Ramon / Nelly García / Sebastian Gonzales / Roberto Huarcaya / Luana Letts / Musuk Nolte / Lorry Salcedo / Hans Stoll / Ricardo Yui

November 13 – March 26, 2014

The long-standing photographic tradition of Peru spans more than a century of visual production, closely linked with documenting the social and regional characteristics of the coast, the Andean region and the Amazon forest. For Lima, the capital city, the 1970s were a period stamped by changes so profound that the size and social structure of Lima was forever redefined. No wonder those years became witness to a drastic change in photographic representation, and Lima became the new center for the production and development of Peruvian photography.

Forty years later, the transformation of Lima continues. Overflowing growth together with imminent social changes challenges the enduring relationship between Lima and the Pacific Ocean. The many contradictions existing between city and sea are further exacerbated by conflicting interests. Colonization, recreation, migration, inequality, environmental degradation, violence, and public access are all current issues underlying the works of these contemporary photographers.

From the northern to its southern boundary, Lima covers 130 kilometers of urban coastline. Each of the 16 artists captures various ways in which the town relates to the sea, using approaches including documentary, digital collage, image motion, conceptual and even photojournalistic techniques. These make up an extensive visual summary, one which ultimately links Lima´s wide heterogeneous range of cultures with its diverse photographic tradition. On the 500th anniversary of the sighting of the Pacific Ocean by Vasco Nunez de Balboa, it is clear that today both city and photography are so overwhelming that they defy comprehension if looked upon from a single place.  Rather, the intersection of art, urbanism and nature faces a broad sea of multiple perspectives and opportunities.

Carlos Caamaño,
Guest Curator


 

 

The Coney Island Hysterical Society (Formed 1981, USA), “25 Shoot,” 2008. Wood Construction, Paint, Dimensional Screen Print. Courtesy of the Artists.
The Coney Island Hysterical Society (Formed 1981, USA), “25 Shoot,” 2008. Wood Construction, Paint, Dimensional Screen Print. Courtesy of the Artists.
Marie A. Roberts (*1954, USA), Sword Swallower, 2001. Acrylic on Canvas. Collection of Aaron Beebe and Deborah Matzner.
Marie A. Roberts (*1954, USA), Sword Swallower, 2001. Acrylic on Canvas. Collection of Aaron Beebe and Deborah Matzner.
Homer Croy (*1883-1965, USA), “Coney Island,” 1929. Serialized in Munsey’s Magazine, August-October 1929. Collection of Aaron Beebe.
Homer Croy (*1883-1965, USA), “Coney Island,” 1929. Serialized in Munsey’s Magazine, August-October 1929. Collection of Aaron Beebe.
Philomena Marano (*1952, USA), “Miracles Only,”  2011. Constructed Collage: Cut Paper and Paint. Courtesy of the Artist.
Philomena Marano (*1952, USA), “Miracles Only,” 2011. Constructed Collage: Cut Paper and Paint. Courtesy of the Artist.
Dick D. Zigun (*1952, USA), “Spook-a-Rama,” 1984. Photograph by Justine Woolner. Courtesy of Coney Island USA.
Dick D. Zigun (*1952, USA), “Spook-a-Rama,” 1984. Photograph by Justine Woolner. Courtesy of Coney Island USA.

 

Topsy Turvy

Coney Island Artists and the Amusement Utopia

June 24 – October 25, 2013

Bambi the Mermaid / Aaron Beebee / Zoe Beloff /  Coney Island Hysterical Society/ Homer Croy / Richard Eagan / William F. Mangels / Philomena Marano / Steve Powers / Marie A. Roberts / Dick D. Zigun

 

A century ago, there was a revolution in Western ideas of work and leisure that opened up new opportunities for creative entrepreneurs to make their marks on the world. New technologies of display in museums, department stores and amusement parks created a topsy-turvy world in which the skills of artists and creative thinkers were in remarkably high demand, and individuals who could think creatively were suddenly hailed as leaders instead of misfits. These new industries relied on the vision of creative individuals to make money and offered exciting new opportunities for artists and visionaries to make their marks on society, elevating popular culture and paving the way for pop artists like Andy Warhol and Roy Lichtenstein generations later.

 

In the 115 years since George C. Tilyou opened Steeplechase Park in Coney Island, Brooklyn, artists, small business owners, and creative individuals have been the leaders in a narrow field of entertainment and amusement that privileged creativity and textual prowess in architecture and design, and offered visitors a place to lose themselves in environments created by nominal outsiders. This strange, special environment continues to look like a world reflected in a funhouse mirror - where a misfit can be mayor and normal, middle-of-the road people are hailed as genius superstars.

 

The artists in this exhibition have all, at some point in their careers, been inspired by the unexpected freedoms that the amusement industry (at its height as well as in its decline) provides for creative thinkers. They have each gravitated to this nurturing space for their own creative outlet, and made the creative arm of the amusement industry all the richer for it. Inspired by the fantastic stories of Coney Island as a home for outsiders and “freaks”, they all create work that is at times literary and performative – and that references the history of amusement. “Topsy Turvy” celebrates the utopian concepts that bind this evolving artistic community, wherever their work takes them, as it continues to be shaped by shared interests and contemporary practices.  

 

 

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