January 2011
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ArtGuide - Museum
Los Angeles - January
About LAND
Los Angeles Nomadic Division (LAND) is a non-profit art organization founded in 2009 by LAND Director/Curator Shamim M. Momin, former contemporary curator at the Whitney Museum of American Art, and board member Christine Y. Kim, Associate Curator of Contemporary Art at the Los Angeles County Museum of Art (LACMA).
LAND is a public art initiative committed to curating site- and situation-specific contemporary art projects, in Los Angeles and beyond. LAND supports dynamic and unconventional artistic practices using a tripartite approach:
- Commissioning public projects of site- and situation-specific works with national and international contemporary artists
- Collaborating with a variety of institutions and organizations, such as universities, museums, and theaters as well as other types of spaces, industries, and entities
- Offering additional programs such as performances, workshops, residencies, discussions, and publications
LAND is an ongoing endeavor with three primary types of annual programming: LAND 1.0 projects are large-scale, multi-artist, multi-site exhibitions and single-site group exhibitions, LAND 2.0 projects feature a new commission by a single mid-career or established artist, and LAND 3.0 projects feature new work by lesser known or emerging artists.
Los Angeles Nomadic Division (LAND) is a non-profit art organization founded in 2009 by LAND Director/Curator Shamim M. Momin, former contemporary curator at the Whitney Museum of American Art, and board member Christine Y. Kim, Associate Curator of Contemporary Art at the Los Angeles County Museum of Art (LACMA).
LAND is a public art initiative committed to curating site- and situation-specific contemporary art projects, in Los Angeles and beyond. LAND supports dynamic and unconventional artistic practices using a tripartite approach:
- Commissioning public projects of site- and situation-specific works with national and international contemporary artists
- Collaborating with a variety of institutions and organizations, such as universities, museums, and theaters as well as other types of spaces, industries, and entities
- Offering additional programs such as performances, workshops, residencies, discussions, and publications
LAND is an ongoing endeavor with three primary types of annual programming: LAND 1.0 projects are large-scale, multi-artist, multi-site exhibitions and single-site group exhibitions, LAND 2.0 projects feature a new commission by a single mid-career or established artist, and LAND 3.0 projects feature new work by lesser known or emerging artists.
New commission by Mexican artist Teresa Margolles
Los Angeles Nomadic Division (LAND), in collaboration with the Los Angeles County Museum of Art (LACMA)
until April
Los Angeles Nomadic Division (LAND), in collaboration with the Los Angeles County Museum of Art (LACMA)
until April
ON OCTOBER 28th, Los Angeles Nomadic Division (LAND), in collaboration with the Los Angeles County Museum of Art (LACMA), presents a new commission by Mexican artist Teresa Margolles.
Often using violence, death, and the structures of power that surround them as her subject for exploration, Mexican artist Teresa Margolles will exhibit a new work that examines the effects of ongoing conflict on contemporary culture. Untitled (2010) features a series of six custom-made concrete benches to be exhibited near the north piazza of the BP Grand Plaza at LACMA. The cement used to construct these benches has been mixed with a liquid that was used to clean corpses in an autopsy room in Mexico - four gruesome fatalities, all products of drug- and gang-related violence. These functional benches, intended for use by the museum audience, take the form of an abstracted human body lying prone on the ground, thus reflecting their content onto the visitors.
Margolles has used this format previously, presenting a set of six benches at Jardin Botánico Culicán, a Botanical Garden in Culiacán, Mexico. However, while the form is identical, the ideas that infuse this work function as the flipside of those the artist addressed in the preceding group, which were intended to provide spaces of tranquility, monuments to the dead where spectators might find peace in the tragedies. The new works at LACMA, on the other hand, function instead as what the artist describes as "perfect embodiments of the spirit of evil," asking those that might engage with them to feel the overwhelming energy of aggression that produced the infused material. This work is not merely for shock or political gesture, however, as the elegant, minimal aesthetic of the work, their placement (per the artist's request) in a beautiful, outdoor space, and their use value as a place of rest and contemplation for a passing viewer, additionally suggest the possibility for brutality and poetry to coexist.
Teresa Margolles was born in Culiacán, Mexico where she studied art, communication sciences, and received a diploma in forensic medicine from the Servicio Médico Forense. Her practice involves the development of social and conceptual artistic strategies on the basis of the use of bodily substances and images of corpses. Margolles's work, despite its controversial character, has increasingly been exhibited in different venues around the world, including the Liverpool Biennial (2006), the Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany (2007), La Colección Jumex, Mexico (2007), and Kunsthalle Krems, Austria (2008). She was the official representative of Mexico at the 53rd International Art Exhibition, la Biennale di Venezia (2009).
This exhibition courtesy of the artist and Jardin Botánico Culiacán & CIAC.
Often using violence, death, and the structures of power that surround them as her subject for exploration, Mexican artist Teresa Margolles will exhibit a new work that examines the effects of ongoing conflict on contemporary culture. Untitled (2010) features a series of six custom-made concrete benches to be exhibited near the north piazza of the BP Grand Plaza at LACMA. The cement used to construct these benches has been mixed with a liquid that was used to clean corpses in an autopsy room in Mexico - four gruesome fatalities, all products of drug- and gang-related violence. These functional benches, intended for use by the museum audience, take the form of an abstracted human body lying prone on the ground, thus reflecting their content onto the visitors.
Margolles has used this format previously, presenting a set of six benches at Jardin Botánico Culicán, a Botanical Garden in Culiacán, Mexico. However, while the form is identical, the ideas that infuse this work function as the flipside of those the artist addressed in the preceding group, which were intended to provide spaces of tranquility, monuments to the dead where spectators might find peace in the tragedies. The new works at LACMA, on the other hand, function instead as what the artist describes as "perfect embodiments of the spirit of evil," asking those that might engage with them to feel the overwhelming energy of aggression that produced the infused material. This work is not merely for shock or political gesture, however, as the elegant, minimal aesthetic of the work, their placement (per the artist's request) in a beautiful, outdoor space, and their use value as a place of rest and contemplation for a passing viewer, additionally suggest the possibility for brutality and poetry to coexist.
Teresa Margolles was born in Culiacán, Mexico where she studied art, communication sciences, and received a diploma in forensic medicine from the Servicio Médico Forense. Her practice involves the development of social and conceptual artistic strategies on the basis of the use of bodily substances and images of corpses. Margolles's work, despite its controversial character, has increasingly been exhibited in different venues around the world, including the Liverpool Biennial (2006), the Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany (2007), La Colección Jumex, Mexico (2007), and Kunsthalle Krems, Austria (2008). She was the official representative of Mexico at the 53rd International Art Exhibition, la Biennale di Venezia (2009).
This exhibition courtesy of the artist and Jardin Botánico Culiacán & CIAC.
Teresa Margolles, Untitled, 2010.
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