Marta S. Weeks Artist in Residence

2024-2025 Marta S. Weeks Artist in Residence

Jorge Acevedo Rivera 

Artista independiente de medios mixtos, nacido en 1970 en Honolulu, Hawái. Vivió sus primeros años en Puerto Rico y cuando niño se mudó a la zona de Boston en Nueva Inglaterra, hasta que recibió educación formal en Bellas Artes. En 1997, regresó a Puerto Rico y estableció residencia en la isla de Culebra, donde se embarcó en un estudio de temas a través del dibujo y la pintura de artefactos en el paisaje. Con un énfasis en temas específicos del lugar, su obra busca inspirar la curiosidad hacia nuestro contexto en el tiempo, el lugar y la trayectoria.

En el año 2000, inició una reflexión continua al pintar de forma anónima un tanque de la Segunda Guerra Mundial en la Playa Flamenco. En 2003, fundó El Estudio de Arte Fango, un estudio interactivo de arte que desde entonces ha funcionado como una instalación multimedia y un punto de encuentro de ideas. Los temas abordados entrelazan la naturaleza, la cultura y la historia en forma de artefactos. Los visitantes, tanto locales como extranjeros, contribuyen con su curiosidad y experiencias al proceso de interpretación.

flamenco-tanque-iii

“Flamenco: Tanque III” / "Flamenco: Tank III"

Sobre Culebra:

Culebra es un municipio de Puerto Rico, situado aproximadamente a 17 millas de la costa este de Puerto Rico. Culebra es un archipiélago compuesto por una isla principal y 23 islas más pequeñas. La isla principal mide 7 millas por 3,5 millas. Culebra fue «descubierta» por los europeos en 1493, y luego se convirtió en refugio de taínos fugitivos y piratas, hasta que los españoles ofrecieron incentivos a los colonos en 1880. 
 
Desde 1901, la Marina estadounidense solicitó la «jurisdicción exclusiva» sobre las islas de Culebra. Los soldados llegaron en 1902, y Culebra se convirtió en lugar de ejercicios militares estadounidenses. En 1903, los EE.UU. establecieron una Reserva Naval, seguida de un santuario de aves en 1909 que se utilizó como pretexto para transferir tierras para uso de la Marina.  Tras años de prácticas de bombardeo entre enero y marzo, el desalojo definitivo del area de Flamenco se produjo en 1937.

En 1939 la isla se convirtió en lugar de prácticas militares en preparación de la intervención estadounidense en la Segunda Guerra Mundial.  Las negociaciones de la Marina estadounidense para la completa despoblación de Culebra y Vieques durante 1958-1964 fueron apodadas «Plan Drácula» debido a la petición de eliminar también los cementerios.  Las movilizaciones populares por la desmilitarización comenzaron en 1968.  Las protestas se intensificaron en 1971, hasta que la Marina estadounidense abandonó la isla para continuar sus ejercicios militares en Vieques en 1975.

(Para más información, véase Tamara Pérez Rodríguez, Movilización social y política contra la presencia de la Marina en Culebra, 1960-1975.  Publicaciones Puertorriqueñas, Inc., 2015).

CALCE 2

La otra parte de esa pieza es el artefacto actual en la playa como Jorge Acevedo Rivera lo mantuvo por 15 años. / The other part of this piece is the actual artifact on the beach as it was kept by Jorge Acevedo Rivera for 15 years.

Jorge Acevedo Rivera is an independent mixed media artist, born in 1970 in Honolulu, Hawaii. He lived his early years in Puerto Rico then moved to the Boston area of New England as a boy until receiving formal education in Fine Arts. In 1997, he returned to Puerto Rico and established residence on the island of Culebra, where he embarked on a study of themes through drawing and painting artifacts on the landscape. With an emphasis on site-specific subjects, the work seeks to inspire curiosity towards our context in time, place and trajectory.

In the year 2000, he began an ongoing reflection by anonymously painting a World War II tank on Flamenco Beach. In 2003, he founded El Estudio de Arte Fango (an interactive art studio) which has since functioned as a multimedia installation and a meeting point of ideas. The themes addressed intertwine nature, culture and history in the form of artifacts. Visitors, both local and foreign, contribute their curiosity and experiences to the interpretation process.

calce 3
La intervención pública independiente logró re-identificar ese espacio y la historia que representa. / The independent public intervention succeeded in re-identifying this space and the history it represents.

  

don-monchin
Don Monchín (Ramón Feliciano Encarnación), el Alcalde de Culebra quien fue victorioso con el imposible de desahuciar la Marina de Guerra más poderosa del mundo./Don Monchín (Ramón Feliciano Encarnación), the Mayor of Culebra who was victorious in the impossible task of evicting the world's most powerful Navy.

About Culebra:

Culebra is a municipality of Puerto Rico, located approximately 17 miles off the east coast of Puerto Rico. Culebra is itself an archipelago composed of a main island and 23 smaller islands. The main island is 7 miles by 3.5miles. Culebra was “discovered” by Europeans in 1493, and then became a refuge for runaway taínos and pirates, until Spaniards offered incentives to settlers in 1880. 

Since 1901, the U.S. Navy requested ‘exclusive jurisdiction’ over the islands of Culebra. Soldiers arrived in 1902, and Culebra became a site for U.S. military exercises. In 1903, the U.S. established a Naval Reservation, followed by a bird sanctuary in 1909 that was used as a pretext to transfer lands for Navy use.  Following years of bombing practices between January and March, the final eviction of the Flamenco village occurred in 1937.

In 1939 the island became a military practice site in preparation for U.S. intervention in World War II.  The U.S. Navy negotiations for the complete depopulation of Culebra and Vieques during 1958-1964 were dubbed “Plan Drácula” due to the request to remove the cemeteries as well.  Popular mobilizations for demilitarization began in 1968.  Protests intensified in 1971, until the U.S. Navy left the island to continue its military exercises in Vieques in 1975. 

(For more information, see Tamara Pérez Rodríguez, Social and political mobilization against the U.S. Navy Presence in Culebra, 1960-1975.  Publicaciones Puertorriqueñas, Inc., 2015.)

Los Héroes de Culebra
Los Héroes de Culebra, presos en Oso Blanco (cárcel federal en PR) por montar una capilla en la Playa Flamenco en 1971 / The heroes of Culebra, prisoners in Oso Blanco (federal prison in PR) for setting up a chapel on Flamenco Beach in 1971

Past Artists in Residence

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  • 2021-2022 | Joiri Minaya

    Virtual Artist in Residence

    2021-2022 | Joiri Minaya

     

    Photo Credit: Joiri Minaya in the studio.  Photo by Joeal Gaal, courtesy of the Red Bull House of Art. 

    Biography

    Joiri Minaya (1990) is a multi-disciplinary artist whose work navigates binaries in search of in-betweenness, investigating the female body within constructions of identity, multi-cultural social spaces and hierarchies. Recent works focus on questioning historic and contemporary representations of black and brown womanhood in relation to an imagined tropical identity from a decolonial stance.

    Born in New York, U.S, she grew up in the Dominican Republic. She graduated from the Escuela Nacional de Artes Visuales of Santo Domingo in the Dominican Republic (2009), the Altos de Chavón School of Design (2011) and Parsons the New School for Design (2013).

    She has participated in residencies like Skowhegan School of Painting and Sculpture, Guttenberg Arts, Smack Mellon, BronxArtSpace, Bronx Museum AIM Program, the NYFA Mentoring Program for Immigrant Artists, Transmedia Lab at MA Scène Nationale, Red Bull House of Art Detroit, Lower East Side Printshop, Art Omi, ISCP and Vermont Studio Center.

    Minaya has exhibited internationally across the Caribbean and the U.S. She is a grantee from Jerome Hill, BRIC’s Colene Art Brown’s Award, NY Artadia, the Nancy Graves Foundation, the Rema Hort Mann Foundation (Emerging Artist Grant), the Joan Mitchell Foundation (Emerging Artist and Painters and Sculptors Grants), Socrates Sculpture Park Emerging Artist Fellowship, the Great prize and the Audience Award XXV Concurso de Arte Eduardo León Jimenes, the Exhibition Prize Centro de la Imagen (D.R.), and the Great Prize of the XXVII Biennial at the Museo de Arte Moderno (D.R). 

     

    Statement of artist about the three pieces of art we chose:

    The paintings La tía y la Santa & Papito belong to a series of paintings and patterns I made in 2011 called El Papaupa de la Matica. It was through these works that I first started to think critically about the role of women and their relation to domesticity, class and religion, and contextualized in a patriarchal society that has a history of colonization and regime. In the domestic environment I grew up in, gender roles were a binary, very defined and differentiated from one another. The female role was more often related to restrictions and to ideas of dependence and resignation. The family portraits and the patterns in the series double as an exploration of archetypes, exploring behaviors repeated throughout society.  


    Based on toile and baroque wallpaper designs, associated with class privilege due to their European lineage, and widely found in colonized territories throughout the Americas, the patterns I was designing at the time acted as elements inside these paintings, or were applied to the background walls. The phrase “papaupa de la matica” comes from popular Dominican culture and it describes a patriarchal man who thinks of himself as an all-deserving leader or authority. The phrase also brings up associations with the dictatorship of Trujillo in the Dominican Republic, who used the palm tree as the symbol of his party.

     

       


    The piece Las locas (2009) is an installation of paintings exploring the Dominican Carnival as one of the few events that provides a relative safety for expressing and presenting visible queerness in public space in the Dominican Republic, and celebrating exuberant, gender-bending and non-normative codes, from the subjects being depicted to the formal qualities of the work (for example in this detail it is the back of the canvas that is painted as opposed to the front). Looking at this piece more than a decade later, it's worth mentioning that the public presentation of the LGBTQI+ community and its perception in the national imaginary has expanded from being "tolerated" under the ambiguity provided by disguises and the spirit of mockery and exaggeration of carnival, to being "out and proud" through the work of activists and events like Pride Parades, Draguéalo, and most recently Marsha Queer, a series of protests against the discriminatory changes made in the Penal Code in 2021, where sexual orientation and gender identity were excluded from being protected from discrimination.

    Contact Information

      

  • 2020-2021 | Nancy Cepero

    Virtual Artist in Residence

    2020-2021 | Nancy Cepero

    Biography in English 

    Nancy Cepero is a Plastic artist born in Havana, Cuba in 1989. She graduated from the National Academy of Fine Arts San Alejandro in 2008. Nancy defines herself as an Afro-queer artist and artivist. She is interested in denouncing and combating discrimination by "creating beauty inspired by dark skin, natural hair and styles that identify us as black and queer people, as well as finding and promoting that dialogue between our bodies, nature and our ancestors." Nancy is currently in Cusco, Peru from where she continues to produce her Afrocentric work.

    Biografía en Español

    Soy una artista plástica nacida en La Habana, Cuba en 1989. Graduada de la Academia Nacional de Bellas Artes San Alejandro en 2008. Me defino como una artista y artivista afro- querer. Me interesa denunciar y combatir las discriminaciones creando belleza inspirada en la piel oscura, el pelo natural y los estilos que nos identifican como gente negra y también queer, así como también encontrar y fomentar ese diálogo entre nuestrxs cuerpos, la naturaleza y nuestrxs ancestrxs. Actualmente me encuentro en Cusco, Perú desde donde sigo produciendo mi trabajo de manera afrocentrada. 

     

    World's Whisper 

    Her work World’s Whisper was chosen as the image for the 2020-2021 Black Lives Matter Across the Globe Lecture Series. 

       

    World’s Whisper - Description in English 

    Title of Work: World’s Whisper 
    Measurements: 1m x 1,10m
    Technique: Acrylic on canvas
    Year: 2019
     
    Artist's commentary on the work:
    This painting represents a black woman warrior, her look calls to the fight that is at the same time the messages that the universe, nature, wilderness, and the world are sending her through these hummingbirds messengers.  There are six birds, not by chance, but because six is the number of Changó, warrior deity symbol of fight in the Rule of Ocha Afro-Cuban religion.  At the same time the hummingbirds are a tribute to Seth, the character from Beloved by Tony Morrison.

     

    Susurro del mundo - Descripción en Español

    Título de la obra: Susurro del mundo
    Medidas: 1m x 1,10m
    Técnica: Acrílico sobre lienzo
    Año: 2019
     
    Comentario de la artista sobre la obra:
    Este cuadrto representa a una mujer negra guerrera, su mirada llama a la lucha que es a su vez el mensaje que le está mandando el universo, la naturaleza, el monte, el mundo a través de estos colibríes mensajeros.  Los pájaros no son seis por casualidad; seis es el número de Changó, deidad guerrera símbolo de lucha en la Regla de Ocha, religión afrocubana. A su vez los colibríes son un homenaje a Seth, personaje de Beloved de Tony Morrison.

     

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