At Art Miami New York (14-17 May), the non-profit organisation No Longer Empty, which arranges pop-up exhibitions in disused spaces, will have a themed booth organised by Tam Gryn. The stand, titled The Everywhere Exotic, includes work by artists who identify with multiple cultures. The show “deals with the outstanding impact immigration has on an individual’s nationalist identity”, Gryn says. “Migration has forced contemporary artists to interact with different cultures and this phenomenon has contributed to the most interesting artistic perspectives of our times.”
The No Longer Empty booth presents The Everywhere Exotic, curated by Tam Gryn and Alejandra Esayag. This installation features a selection of recent work by artists based in New York City - including Pablo Jansana, Isidro Blasco, Rachel Libeskind, Aziz + Cucher, and Brian Alfred −and deals with the outstanding impact immigration has on an individual's nationalist identity. This group of artists represents the compelling result of the amalgamation of culture and indetermination of nationalism.
"In the same way, curators who had worked at Venezuelan institutions were dismissed or saw their work severely curtailed, and began taking up posts at foreign institutions. Among the foremost of these are Luis Pérez-Oramas (MoMA, São Paulo Biennial), Julieta González (Tate Modern, Museo Rufino Tamayo), Cecilia Fajardo-Hill (Cisneros Fontanals Art Foundation [CIFO], Miami, Museum of Latin American Art [MOLAA], Long Beach, California), Nydia Gutiérrez (Museo de Antioquia, Medellín, Colombia), Rina Carvajal (Miami Art Museum [MAM], São Paulo Biennial), Jorge Rivas (Los Angeles County Museum of Art [LACMA]), Carlos Palacios (Museo Carrillo Gil, Mexico City), José Luis Blondet (Dia Art Foundation, New York, BCA, LACMA), Isabela Villanueva (Americas Society, New York, São Paulo Biennial), Jesús Fuenmayor (CIFO) or Gabriela Rangel (Americas Society, Museum of Fine Arts, Houston [MFAH]), together with others like Alex Slato (MOLAA), Tam Gryn (Artist’s Pension Trust [APT]) and Axel Stein (Sotheby’s). These specialists have transferred their knowledge of Venezuelan art or their particular perspectives on the country to the museums and cultural institutions of other latitudes. Furthermore, there are independent curators and researchers working internationally, like Celeste Olalquiaga, Mónica Amor, and Juan Ledezma, together with young critics like Alejandra Villasmil (artishock.cl), Lisa Blackmore, Mónica Núñez, and María Virginia Jaua (salonkritick.net)."
The museums of today just continue in this logic.”Tam Gryn (Venezuela, based in New York), Head of the Curatorial Department of the Artist Pension Trust (APT), the changing nature of a “world saturated with information” will affect “institutions who need to take advantage of the fast pace of information to educate people about art. It was only in the 1960s that museums became educational institutions thanks to Pontus Hulten, and now we are ready to take it to the next level with museums and artist participating actively in social media.”