EVENTS
Guillermo Galindo’s artistic work blurs the conventional limits that define both music and the art of music composition itself. His artwork is seen in Border Cantos: Sight & Sound Explorations from the Mexican-American Border, on view at Crystal Bridges through April 24. The exhibition includes sculptural instruments built from immigrants’ personal belongings found at the Mexican-American border. Circular Calls/Resonant Shadows is a new composition for ensemble using these instruments.The ensemble includes Galindo on string, percussion, and wind instruments; Paula Cekola on percussion and wind instruments; Joel Davel on percussion; and Tom Dambly on wind and percussion instruments. Galindo’s compositions have been performed and shown at major festivals, concert halls, and art exhibits throughout the United States, Latin America, Europe, and Asia. Artinfusion Members are invited to an exclusive artinfusion Insight with the artist from 6 to 7 p.m.
Sponsored by Paul M. Angell Family Foundation, Demara Titzer, and JTH Productions.
$10 ($8 for Members)- register online or with Guest Services.
Border Cantos: Sight & Sound Explorations from the Mexican-American Border
Richard Misrach | Guillermo Galindo
February 18 – April 24, 2017
Migration has an impact on both people and landscape. Border Cantos, a unique collaborationbetween American photographer Richard Misrach and Mexican composer Guillermo Galindo, harnesses the power of art to explore, share, and humanize the complex issues surrounding the borderlands between the United States and Mexico. The artists created works of photography, sculpture, and sound that document and transform artifacts from the border. Misrach’s large-scale photographs, along with inventory-like grids of smaller photographs, highlight issues surrounding immigration and how they have affected regions and people. Responding to these photographs, Galindo fashioned sound-generating sculptures from items Misrach collected from the border, such as water bottles, Border Patrol “drag tires,” spent shotgun shells, ladders, and sections of the border wall itself. The sounds they produce give voices to people through the personal belongings they have left behind.
College students are invited to attend an in-gallery performance by Guillermo Galindo, one of the two featured artists in the newly opened Border Cantos exhibition. Experience Galindo’s exploration of the difficult physical and emotional realities of the Mexican-American border through sound and then stay after the performance for an in-depth look at the art.
FREE to all area college students. Special thanks to the College Ambassador Program.
https://www.eventbrite.com/e/oakland-book-festival-opening-gala-tickets-34582386850?aff=eac2
Guillermo Galindo and Lisa Sangita Moscow post-Indian electroacoustic duo
Summer Solstice Annual Music Event
Chapel of Chimes, Garden of Memory
DOn’t miss the last rendition of Richard Misrach/Guillermo Galindo Border Cantos Exhibit
Performance of Guillermo Galindo’s composition Sonic Borders.
Exhibition Walk Through with Guillermo Galindo and Richard Misrach
Artist and experimental composer Guillermo Galindo recently created several innovative works at Magnolia Editions for Pacific Standard Time: LA/LA, this year’s Getty-funded exhibition series devoted to Latino and Latin American art. Galindo’s new works will debut as part of an exhibition at the Huntington Library, Art Collections, and Botanical Gardens, exploring “how the depiction of Latin American nature contributed to art and science from the late 1400s to the mid-1800s,” and opening on Sept. 16, 2017. Galindo explains that these works will serve as a commentary and counterpart to the Huntington’s concurrent “Visual Voyages: Images of Latin American Nature from Columbus to Darwin” exhibit.
(http://www.huntington.org/WebAssets/Templates/exhibitiondetail.aspx?id=21610)
Each work in Galindo’s Human Nature: Sonic Botany series consists of a combination of printed aluminum and plexiglas panels, materials chosen for their austere, laboratory-like properties: Galindo notes that the plexiglas suggests the clear plastic slides used to view samples under a microscope. In the two largest works, a layer of translucent plexiglas is printed with manipulated images of microscopic insects or bacteria (and in one case, a secret message in Braille); beneath this layer, a sheet of aluminum is printed with patterns derived from cactus plants. The artist likens this visual strategy to the troubling tendency of corporations to combine plant, insect, and bacterial genomes, creating new species resistant to weather or disease. The paired layers of these works create a shifting, kaleidoscopic sense of movement and visual complexity; each piece appears to change, as if metamorphosing, as the viewer passes by.
The smaller works in the series employ Galindo’s signature graphic ‘scores,’ building on a tradition established by composers such as Sylvano Bussotti, Earl Brown, Cornelius Cardew and John Cage, all of whom blurred the lines between music and visual art. For Galindo, a musical score can be defined as “a set of symbols written on a piece of paper or any other readable surface, to be translated into sound events to be reproduced in real time.” The horizontal landscape format of these works also suggests pre-Columbian codices. One panel features a Braille tribute to environmentalist Ignacio Chapela, who discovered genetic pollution and corporate interference in species of Mexican maize.
Galindo says that these works evoke “mutant jungles,” a comment on the colonization of the microscopic world by corporations. Just as the Spanish colonized the New World, he explains, assigning names to the “new” species they encountered, so do today’s corporate powers use patents to assert their dominance over a world of flora and fauna that is hidden from the naked eye. As the invisible becomes the domain of science – a turn Galindo links to the Greek concepts of mythos and logos, or the overtaking of religious or mythic concepts by reason and science – these works ask us to consider the ways in which contemporary corporations have taken advantage of this shift to manipulate and colonize the territory of the unseen.
-Nick StoneArtist and experimental composer Guillermo Galindo recently created several innovative works at Magnolia Editions for Pacific Standard Time: LA/LA, this year’s Getty-funded exhibition series devoted to Latino and Latin American art. Galindo’s new works will debut as part of an exhibition at the Huntington Library, Art Collections, and Botanical Gardens, exploring “how the depiction of Latin American nature contributed to art and science from the late 1400s to the mid-1800s,” and opening on Sept. 16, 2017. Galindo explains that these works will serve as a commentary and counterpart to the Huntington’s concurrent “Visual Voyages: Images of Latin American Nature from Columbus to Darwin” exhibit.
(http://www.huntington.org/WebAssets/Templates/exhibitiondetail.aspx?id=21610)
Each work in Galindo’s Human Nature: Sonic Botany series consists of a combination of printed aluminum and plexiglas panels, materials chosen for their austere, laboratory-like properties: Galindo notes that the plexiglas suggests the clear plastic slides used to view samples under a microscope. In the two largest works, a layer of translucent plexiglas is printed with manipulated images of microscopic insects or bacteria (and in one case, a secret message in Braille); beneath this layer, a sheet of aluminum is printed with patterns derived from cactus plants. The artist likens this visual strategy to the troubling tendency of corporations to combine plant, insect, and bacterial genomes, creating new species resistant to weather or disease. The paired layers of these works create a shifting, kaleidoscopic sense of movement and visual complexity; each piece appears to change, as if metamorphosing, as the viewer passes by.
The smaller works in the series employ Galindo’s signature graphic ‘scores,’ building on a tradition established by composers such as Sylvano Bussotti, Earl Brown, Cornelius Cardew and John Cage, all of whom blurred the lines between music and visual art. For Galindo, a musical score can be defined as “a set of symbols written on a piece of paper or any other readable surface, to be translated into sound events to be reproduced in real time.” The horizontal landscape format of these works also suggests pre-Columbian codices. One panel features a Braille tribute to environmentalist Ignacio Chapela, who discovered genetic pollution and corporate interference in species of Mexican maize.
Galindo says that these works evoke “mutant jungles,” a comment on the colonization of the microscopic world by corporations. Just as the Spanish colonized the New World, he explains, assigning names to the “new” species they encountered, so do today’s corporate powers use patents to assert their dominance over a world of flora and fauna that is hidden from the naked eye. As the invisible becomes the domain of science – a turn Galindo links to the Greek concepts of mythos and logos, or the overtaking of religious or mythic concepts by reason and science – these works ask us to consider the ways in which contemporary corporations have taken advantage of this shift to manipulate and colonize the territory of the unseen.
-Nick Stone
Sept 16, 2017 – Jan 08, 2018
Virginia Steele Scott Galleries of American Art
The Huntington Library, Art Collections, and Botanical Gardens
1151 Oxford Road
San Marino, CA 91108
Artist and experimental composer Guillermo Galindo recently created several innovative works at Magnolia Editions for Pacific Standard Time: LA/LA, this year’s Getty-funded exhibition series devoted to Latino and Latin American art. Galindo’s new works will debut as part of an exhibition at the Huntington Library, Art Collections, and Botanical Gardens, exploring “how the depiction of Latin American nature contributed to art and science from the late 1400s to the mid-1800s,” and opening on Sept. 16, 2017. Galindo explains that these works will serve as a commentary and counterpart to the Huntington’s concurrent “Visual Voyages: Images of Latin American Nature from Columbus to Darwin” exhibit.
(http://www.huntington.org/WebAssets/Templates/exhibitiondetail.aspx?id=21610)
Each work in Galindo’s Human Nature: Sonic Botany series consists of a combination of printed aluminum and plexiglas panels, materials chosen for their austere, laboratory-like properties: Galindo notes that the plexiglas suggests the clear plastic slides used to view samples under a microscope. In the two largest works, a layer of translucent plexiglas is printed with manipulated images of microscopic insects or bacteria (and in one case, a secret message in Braille); beneath this layer, a sheet of aluminum is printed with patterns derived from cactus plants. The artist likens this visual strategy to the troubling tendency of corporations to combine plant, insect, and bacterial genomes, creating new species resistant to weather or disease. The paired layers of these works create a shifting, kaleidoscopic sense of movement and visual complexity; each piece appears to change, as if metamorphosing, as the viewer passes by.
The smaller works in the series employ Galindo’s signature graphic ‘scores,’ building on a tradition established by composers such as Sylvano Bussotti, Earl Brown, Cornelius Cardew and John Cage, all of whom blurred the lines between music and visual art. For Galindo, a musical score can be defined as “a set of symbols written on a piece of paper or any other readable surface, to be translated into sound events to be reproduced in real time.” The horizontal landscape format of these works also suggests pre-Columbian codices. One panel features a Braille tribute to environmentalist Ignacio Chapela, who discovered genetic pollution and corporate interference in species of Mexican maize.
Galindo says that these works evoke “mutant jungles,” a comment on the colonization of the microscopic world by corporations. Just as the Spanish colonized the New World, he explains, assigning names to the “new” species they encountered, so do today’s corporate powers use patents to assert their dominance over a world of flora and fauna that is hidden from the naked eye. As the invisible becomes the domain of science – a turn Galindo links to the Greek concepts of mythos and logos, or the overtaking of religious or mythic concepts by reason and science – these works ask us to consider the ways in which contemporary corporations have taken advantage of this shift to manipulate and colonize the territory of the unseen.
-Nick Stonex