For the Love of Art : An Appropriated Intentions Exhibition
For the Love of Art : An Appropriated Intentions Exhibition
Date: November 29th 2020
Location: Fort George Hill (1 Train Dyckman Station)
Artivists:
Nelson Alvarez
Diego Anaya
Ed Andrade
Pablo Caviedes
Franck de las Mercedes
Wildriana de Jesús Paulino
Darwin Erazo
Alex Fdez Fernández
Julia Justo
Domínguez-FEEGZ
Ricardo Llano
Rafaella Luna
Paola Martínez Fiterre
Alexis Mendoza
Yani Monzón
Naivy Pérez
Yumarlis Rodríguez
Moses Ros
Luis Stephenberg Luis Alers
Josè Luis Tejada
The exhibition is focusing in the appropriation of a public space, horizontally created artworks on a vacant fence freely expressing their Ideas. The exhibition includes artworks made out repurposed advertising banners with a temporary/permanent conception that they are going to be taken by nature or consume by the passage of time. The exhibition also expressed the idea that each artist is contributing to collective discourse instead of an individual point of view.
The fences present themselves as empty oversized gallery space. Admittedly, it would have been easy – and somewhat unscientific – to present an exhibition on the appropriation of space as a hodgepodge of squatting and hippie camp sites. Instead, the organizers of the project invited the creative minds of local artists and adopted the work-with-what-you-can-find attitude of squatters, but applied it in a slightly different way to the area.
Read MoreDate: November 29th 2020
Location: Fort George Hill (1 Train Dyckman Station)
Artivists:
Nelson Alvarez
Diego Anaya
Ed Andrade
Pablo Caviedes
Franck de las Mercedes
Wildriana de Jesús Paulino
Darwin Erazo
Alex Fdez Fernández
Julia Justo
Domínguez-FEEGZ
Ricardo Llano
Rafaella Luna
Paola Martínez Fiterre
Alexis Mendoza
Yani Monzón
Naivy Pérez
Yumarlis Rodríguez
Moses Ros
Luis Stephenberg Luis Alers
Josè Luis Tejada
The exhibition is focusing in the appropriation of a public space, horizontally created artworks on a vacant fence freely expressing their Ideas. The exhibition includes artworks made out repurposed advertising banners with a temporary/permanent conception that they are going to be taken by nature or consume by the passage of time. The exhibition also expressed the idea that each artist is contributing to collective discourse instead of an individual point of view.
The fences present themselves as empty oversized gallery space. Admittedly, it would have been easy – and somewhat unscientific – to present an exhibition on the appropriation of space as a hodgepodge of squatting and hippie camp sites. Instead, the organizers of the project invited the creative minds of local artists and adopted the work-with-what-you-can-find attitude of squatters, but applied it in a slightly different way to the area.
