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Image credit: Myeongsoo Kim, Snow melts only in winter, 2015

Magical (un)Real: Entranced Land

May 20 - June 30, 2016

Co-curated by Esperanza Mayobre and Daniel Greenfield-Campoverde


Exhibiting artists:

Patricia Dominguez, Beatrice Glow, Terence Gower, Daniel Greenfield-Campoverde Myeongsoo Kim, Esperanza Mayobre + Angela Bonadies, Rachelle Mozman

Claudia Peña Salinas


Public Event Participants:

Silvia Benedetti, Lisa Blackmore/Visual Culture Section, Latin American Studies Association

Moira Fradinger, Luis Ospina

Magical (un)Real: Entranced Land presents a survey of artists living and working in New York City whose subject matter presented in the exhibition is focused on Latin America.


Borrowing its title from Glauber Rocha’s seminal 1967 film Terra em Transe (Transl. Entranced Land), the exhibition presents a cross section of artists rekindling their connections with the Latin American continent through the lens of a traveler, a researcher, or an expatriate. Like Rocha’s film, about a man trapped between political factions in the hypothetical country of El Dorado, the works in this exhibition emphasize the dialectics of a region mired in neoliberal and populist ideologies in the last three decades.


Magical (un)Real: Entranced Land aims to demystify the notion of a unified continent, encapsulating the diversity of narratives that shape contemporary Latin America. These contemporary reflections center on inequalities between races/classes and structural/political violence that continue to prevail throughout the ideological shifts in the recent decades. Through a sensibility strictly rooted in the politically poetic, some of the artists featured in the exhibition examine the Latin American political landscape through the lens of the ‘other’.


Long fascinated with the histories of Modernism, Terence Gower (Canada/US) presents Art in Latin American Architecture, a series of photographs-cum-paintings documenting public artworks done for modernist university campuses in Mexico City, Caracas and Brasilia. Through his photographic and sculptural installation, Myeongsoo Kim (Korea) reconstructs the lost histories of Chacaltaya, Bolivia: the world’s highest altitude ski resort, which has been long abandoned due to the effects of global warming. Esperanza Mayobre (Venezuela), in collaboration with Angela Bonadies (Venezuela), presents Postcards from Venezuela, a suite of eight photographs that document the violent uprisings in her native country wrought upon the Chavista-Madurista regime. Daniel Greenfield-Campoverde (Venezuela/USA) addresses US interventionist histories and informal economies in contemporary Venezuela through his sculptural works. Rachelle Mozman (Panama) presents her video Loneliness Lonely, a fragmentary fictional narrative of Latin Americans, elaborating upon a sense of alienation and undefined trauma. Patricia Dominguez (Chile) examines the historical roles of horses in Honda, Colombia, and conflates colonial histories and the contemporary reality of narco trade in a looped video titled Eres Un Princeso. Beatrice Glow (USA) presents her ethnographical research concerning long-buried histories of the Chinese labor diaspora in Peru, and Claudia Peña-Salinas (Mexico) presents a series of exquisite monoprints documenting found anthropomorphic figures from Pre-Hispanic Mexico.


In addition, the exhibition will be accompanied by a series of film screenings, discussions and public events led by artists and leading Latin American Scholars.

Public Event Schedule

Friday, May 27, 7PM: Presentation of recent publications on Latin American visual culture

                             by Lisa Blackmore/Visual Culture Section, Latin American Studies Association


1. Kevin Coleman. A Camera in the Garden of Eden: The Self-Forging of a Banana Republic (University of Texas Press, 2016)

2. Sam Steinberg. Photopoetics at Tlatelolco. Afterimages of Mexico, 1968 (University of Texas Press, 2016)

3. Phill Penix-Tadsen, Cultural Code: Video Games and Latin America (MIT Press, 2016)

4. Scott Weintraub & Luis Correa-Díaz (editors). Ya salió “Poesía y poéticas digitales, electrónicas, tecnos, new-media en America Latina (Universidad Central, 2016)


Tuesday, May 31, 7PM: Latin American Cinema with Moira Fradinger

Sunday, June 12, 4PM: How To Speak Chino: Performative lecture by Beatrice Glow

Wednesday, June 22, 7PM: Is Domino a Social Practice? organized by Esperanza Mayobre

                                               + Screening of Agarrando Pueblo by Luis Ospina and Carlos Mayolo


Wednesday, June 29, 7PM: Claudio Perna: Artist, Traveler and Geographer

                                                               presented by Silvia Benedetti



Bios of exhibiting artists

Patricia Dominguez (b. Santiago, Chile 1984). Her multidisciplinary work combines her fascination with cultural botany, anthropology, animism and digital culture. She earned her MFA from Hunter College, New York in 2013, a Botanical Illustration Certificate form the New York Botanical Garden in 2011 and her BFA in Santiago Chile. Dominguez had exhibited her projects at Arco Solo Projects  Focus Latinoamerica (Madrid), El Museo del Barrio (New York), FLORA ars + natura (Colombia), Centro Matadero (Spain), Bronx Museum (NY), The Watermill Center (New York), Museo Marte (El Salvador), YAP MoMA PS1 + Constructo (Chile) Gabriela Mistral Gallery (Chile), Matucana 100 (Chile), Museo Arte Contemporáneo MAC (Chile), and 11va Bienal de Artes Mediales in Museo Bellas Artes (Chile), among others. She has been an artist in residency at El Ranchito Centro Matadero (Spain), AIM Bronx Museum (NY), R.A.T (México), FLORA ars + natura (Colombia), The Institute of Critical Zoologists (Singapore), Sandarbh Residency (India), and American Museum of Natural History (New York). Her work has been included in publications such as Younger Than Jesus: Artist Directory by The New Museum and PHAIDON Press among others. She was recently awarded with the Media Art Prize of Fundación Telefónica (2014), 3r prize Norberto Griffa for Latin American Creators BIM (2014),  2do Prize Beca CCU (2015), Concurso Chaco Finlandia (2015) and Matadero - CCE  Prize (2015). She is currently working for her solo show at the Pizzuti Museum and at Patricia Ready Gallery 2016.


Beatrice Glow is a New York-based interdisciplinary artist. Her practice comprises sculptural installations, trilingual publishing, participatory and lecture performances, and augmented/virtual reality immersive experiences. Her research mines the relationship between Asia and the Americas, investigating transpacific economic and cultural circulations, as well as questioning the representation of indigenous realities in colonial aesthetics. She earned a BFA in studio art from New York University, and is currently a Visiting Scholar in the University’s Asian/Pacific/American Institute. Recent activities include The Wayfinding Project at the Asian/Pacific/American Institute at  New York University;  a residency at LES Studio Program, a program of Artists Alliance Inc., New York, NY; a Van Lier Visual Art Fellowship at Wave Hill, Bronx, NY; finalist for the Joan Mitchell Foundation Emerging Artist Award; digital publishing with the Museum of Modern Art, New York, NY; and lecture performances at Asia Society, New York, NY; and My Art Guide: Venice Meeting Point at 56th Venice Biennale. Her work has been featured in recent exhibitions at the Bronx Museum of the Arts; Zebrastraat Gallery, Gent, Belgium; Cavin-Morris Gallery, New York, NY; El Museo del Barrio, New York, NY; and Museo de Arte Contemporaneo de Arequipa, Peru. In 2014, Glow received the Franklin Furnace Fund to organize the Floating Library, a pop-up public space with free programming aboard the Lilac Museum Steamship, New York, NY. As a Hemispheric Institute of Performance and Politics’ Council Member she also help launch the Performing Asian/Americas workgroup in 2014 at the Encuentro 2014 in Montreal. In 2008–9, she was awarded a Fulbright scholarship to retrace coolie geography in Peru. She is preparing for an upcoming solo exhibit at the Museo Nacional de Bellas Artes de Chile in Fall 2016.


Ter­ence Gower (b. 1964, British Co­lum­bia, Canada), stud­ied at Emily Carr Col­lege, and spent the early years of his prac­tice in Van­cou­ver, Cologne, and Mex­ico City and has con­tin­ued to exhibit in­ter­na­tion­ally. He has been based in New York City since 1995 where he has shown at PS1, New Mu­seum, Queens Mu­seum and many com­mer­cial and non-profit gal­leries. In­ter­na­tion­ally he has shown re­cently at In­sti­tut d’Art Con­tem­po­rain Vil­lur­baine, Lyon; MACBA, Barcelona; Ten­sta Kon­sthal, Stock­holm; Museo Tamayo, Mex­ico City; MAC, San­ti­ago, Chile; Na­tional Gallery of Canada, Ot­tawa; Haus der Kul­turen der Welt, Berlin; MUSAC, León, Spain; and Au­dain Gallery, Van­cou­ver.  He has par­tic­i­pated in the Mer­co­sul and Ha­vana Bi­en­ni­als. His work on the mod­ern move­ment in Mex­ico was the sub­ject of a ma­jor solo ex­hi­bi­tion, Ciu­dad Mod­erna, at the Lab­o­ra­to­rio Arte Alameda in 2005. His 2009 solo ex­hi­bi­tion at the Hir­sh­horn Mu­seum in Wash­ing­ton, DC, treated the his­tory of that in­sti­tu­tion. Gower has built four pavil­ions: the Bi­cy­cle Pavil­ionfor the Colección Jumex, Mex­ico City; the Pro­jec­tion Pavil­ion for Lab­o­ra­to­rio Arte Alameda, Mex­ico City; the Work­shop Pavil­ion for MUSAC, León, Spain; and Su­per­Puesto for the Bronx Mu­seum, in New York City. A new pub­lic com­mis­sion from the New York School Con­struc­tion Au­thor­ity, was re­cently in­stalled in Queens, New York and a ma­jor new com­mis­sion from the Re­gion Rhône-Alpes will be in­au­gu­rated in Saint-Ge­nis Pouilly, France in spring 2017.


Daniel Greenfield-Campoverde (b.1984, Caracas, Venezuela) is an emerging visual artist based in New York City. Trained as an architect, he holds degrees from Yale University and Pratt Institute. Exploring themes of identity, memory and place, he contests notions of cultural belonging through drawing, sculpture and installations. His work has been exhibited nationally and internationally, including: The Centro Cultural Chacao (VE), BRIC Arts Media (NY), and Radiator Arts (NY). He has participated in various residencies including The Wassaic Artists' Residency (2015), Obras Art Foundation near Evora, Portugal (2015) and The Watermill Center for Performing Arts (2007). He has received travel grants from the Yale Center for British Art to research biospheres in Cornwall, UK. His Work has been reviewed in Architizer and El Nacional.


Myeongsoo Kim (b. 1980, Cheong Joo, South Korea) holds an MFA in Sculpture from Yale University (2010) and an undergraduate degree from Virginia Commonwealth University (2006). He is the recipient of the 2010 Schickle-Collingwood Prize from Yale University. His work explores the relationship between photography and objects, and how they affect each other when presented within created structures or environments. His work has been shown at Still House, Ernest Newman Contemporary, Roomservice Gallery and Site 95 in Brooklyn, amongst others.


Esperanza Mayobre (b. 1974, Caracas, Venezuela) is an artist whose work ranges from elegant graffiti that portrays urban chaos, to dust that converts illegal to legal aliens. Born during the Venezuelan oil boom, Mayobre was raised between Caracas and Golindano. She holds a degree in cabinetmaking from the IACT in Caricuao and a Diploma in Fine Arts from the Museum School in Boston. Her recent projects include a Smithsonian Artist Research Fellowship at the Air and Space Museum, a Keyholder Residency at the Lower East Side Printshop, a Jerome Foundation travel grant for a Brancusi pilgrimage and Postcards to Venezuela for Creative Time Reports. She is the recipient of the Process Space Lower Manhattan Cultural Council, the Smack Mellon Studio Program, the Workspace Lower Manhattan Cultural Council, the Artist in the Marketplace Program and a fellowship to attend Skowhegan School of Painting and Sculpture. She has exhibited at the Museum of Fine Arts Boston, La Caja Centro Cultural Chacao Caracas, the Bronx Museum, the Jersey City Museum, MIT Cavs, Art Museum of the Americas, Washington D.C., the Contemporary Museum of El Salvador, the New York Art Book Fair at MoMA/PS1, the Incheon Biennial Korea, Smack Mellon, Postmasters, Jack Shainman, TSA, among others. Her work has been reviewed in Bomb, The Brooklyn Rail, The New York Times, Hyperallergic, El Nacional, Arte al Día and Art in America.


Ángela Bonadies (b. 1970, Caracas, Venezuela) is an artist whose work focuses on memory, the archive, urban space and thinking about the photographic image from the perspective of photography. Her recent exhibitions include: West Side at Abra Caracas, Venezuela; Translocations at Arts Santa Mònica, Barcelona, Spain; Bonadies + Caula: cartografías de un territorio compartido at Centro de Historias de Zaragoza, Spain; The beast and the sovereign at MACBA, Barcelona, Spain and WKV, Stuttgart, Germany; The White Elephant at After-the-butcher gallery in Berlin, Germany; and Global Activism at ZKM (Zentrum für Kunst und Medientechnologie) in Karlsruhe, Germany. This year, she has been invited as an artist in residence at the 18th Street Arts Center in Santa Monica, California in conjunction with the Los Angeles County Museum of Art (LACMA) to participate in the exhibition, A Universal History of Infamy / Pacific Standard Time: LA/LA (forthcoming in 2017).


Bonadies has received the Premio Latinoamericano de Fotografía Josune Dorronsoro 2004 and the Ayuda a la Creación 2008 provided by Matadero in Madrid. The project La Torre de David has received recognition from “Best Architecture and Landcape Projects 2011”, provided by the magazine Polis and by DomusWeb Best of Architecture 2011.


Rachelle Mozman (b. 1972, American) grew up in New York City of parents who shared the experience of immigration. As an artist working in photography and video she layers and confounds the documentary with narrative fiction. Mozman’s work explores oral storytelling, memory and identity. Mozman has exhibited in Do/Tell at the Institute of Contemporary Art at the University of Pennsylvania (2015); Portraiture Now: Staging the Self at Americas Society (2015) and at the National Portrait Gallery at the Smithsonian Institution (2014); and Caribbean: Crossroads of the World at The Studio Museum in Harlem (2012). Mozman has been awarded residencies at LMCC workspace, Smack Mellon, The Camera Club of New York, and Light Work. Her work has been published in the Light Work annual Contact Sheet, Presumed Innocence, Exit magazine and numerous other publications.


Mozman is a Fulbright Fellow, and has exhibited at the National Portrait Gallery at Smithsonian Institution, Washington D.C, the Americas Society, New York, New York, the Chelsea Museum, New York, New York, The DeCordova Sculpture Park and Museum, Lincoln, Massachusetts, the Museum of Latin American Art, Long Beach, California, the Shore Institute of Contemporary Art, Long Branch, New Jersey, Festival de la luz at the Centro Cultural Recoleta, Buenos Aires, Argentina the Instituto Cultural Itau, São Paulo, Brazil, the Friese Museum, Berlin, Germany,  the Museo Nacional de Bellas Artes, Santiago, Chile, Museo Nacional de Artes Visuales, Montevideo, Uruguay, Centro Cultural de España, Mexico City, Mexico,  Festival Biarritz, Biarritz, France, as well as the IX Bienal de Cuenca, Ecuador.


Claudia Peña Salinas (b. 1972, Montemorelos, Mexico) is a Brooklyn-based multidisciplinary artist who was born in Mexico. Her work takes many forms, from books to sculpture, paintings to installations and videos. It develops over a period of time through gathering and research. Her solo exhibitions include Birdie, GoldRush Fine Art, Skowhegan, ME (2012); Anaranja, Forever & Today, New York, NY (2012); and The Fool and The Fishes, Heliopolis, Brooklyn, NY (2011). Her group exhibitions include Drawing for Sculpture TSA, Brooklyn, NY (2016), October 18, 1977, Klemens Gasser & Tanja Grunert, New York, NY (2013), Porcher, Helper, Brooklyn, NY (2013), Can’t Stop Rock Lobster, Shoot The Lobster, NY (2012), and Queens International, Three Points Make a Triangle, Queens Museum of Art, Queens, NY (2012). Her residencies and awards include the LMCC, Process Space, New York, NY (2016), The Summer Art Residency, SOMA, Mexico City, Mexico (2011) and the Jacob K. Javits Fellowship (2007). Salinas received a B.F.A. from the School of the Art Institute of Chicago and an M.F.A. from Hunter College, New York, N.Y.

Bios of public event participants

Silvia Benedetti is a co-founder of Docomomo Venezuela (2010). She holds an MA in Art History from Hunter College.


Lisa Blackmore is a Postdoctoral Researcher in Latin American Cultural Studies at the University of Zurich. Her work explores the project of mid-twentieth century modernity and its contemporary legacies, with particular emphasis on the intersections of autocratic statecraft and spatial and visual technologies, and the ways that ruination and violence are remediated through text, photography, film and contemporary art. Lisa lived in Caracas for nearly a decade, where she conducted her doctoral research and worked as a university lecturer, curator and translator. Her monograph Spectacular Modernity: Dictatorship, Space and Visuality in Venezuela (1948-1958) is forthcoming from the University of Pittsburgh Press. She is Chair of the Visual Culture Section of the Latin American Studies Association.


Moira Fradinger PhD is Associate Professor in the department of Comparative Literature at Yale University. She is the author of Binding Violence: Literary Visions of Political Origins (Stanford UP, 2010) and has written articles on Latin American film and literature, and on the reception of classical tragedy in Latin America. She has won several teaching awards; the latest one was the Sarai Ribicoff Award for the Encouragement of Teaching at the Yale College (2012).


She has taught courses on topics such as Radical Films from Latin America; Latin American and Caribbean Intellectual history (19th and 20th centuries); Latin American and World literature; Psychoanalytic theories of the subject; Freud and Science; Lacan and the Post-Freudians; Gender theories and their politics; Introduction to Narrative; Feminist Film makers.


Luis Ospina (1949 Cali, Colombia) and Carlos Mayolo (1945 Cali, Colombia- 2007 Bogotá, Colombia), have collaborated in many films including Oiga Vea (1972), Calí de Película (1973) and Agarrando Pueblo / Vampires of Poverty (1978), among others.