EVENTS

Sep
16
Sat
“Human Nature: Sonic Botany”  Guillermo Galindo’s scores part of the “Visual Voyages: Images of Latin American Nature” @ The Huntington
Sep 16 2017 @ 12:00 pm – Jan 8 2018 @ 1:00 pm

                                                          IMagen

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

Jan
24
Wed
Visiting Artist | Stanford University Class with Anja Ulfeld @ Deptment of Art & Art History
Jan 24 @ 8:30 am – 10:30 am
Jan
27
Sat
Group Exhibition | The U.S. Mexico Border: Place for Imagination & Possibility @ 516 Arts - Albuquerque Museum
Jan 27 – Apr 15 all-day
Group Exhibition | The U.S. Mexico Border: Place for Imagination & Possibility @ 516 Arts - Albuquerque Museum | Albuquerque | New Mexico | United States

516 ARTS, in partnership with the Albuquerque Museum, announces The US-Mexico Border: Place, Imagination, and Possibility co-curated by Dr. Lowery Stokes Sims and Ana Elena Mallet. The group exhibition presents the work of over 40 designers and artists working along the US-Mexico border who are engaging with the intersections of culture that have developed in the region while considering the welfare and wellbeing of migrants and citizens who live there. This exhibition was originated at the Craft & Folk Art Museum in Los Angeles, where it was part of the Getty’s Pacific Standard Time: LA/LA initiative and supported by major grants from the Getty Foundation. The main exhibition in Albuquerque is hosted by 516 ARTS, and has been expanded into a collaboration with an additional exhibition site at the Albuquerque Museum and accompanying interdisciplinary public programs around Albuquerque.

Feb
17
Sat
Solo Museum Exhibition | Along the Border: Guillermo Galindo @ Frances Young Tang Teaching Museum
Feb 17 – Apr 22 all-day
Solo Museum Exhibition | Along the Border: Guillermo Galindo @ Frances Young Tang Teaching Museum | Saratoga Springs | New York | United States

Along the Border presents the work of experimental composer, multimedia artist, and performance artist Guillermo Galindo to explore the economic, political, and social issues around the Mexico-United States border. Since 2009, Galindo has created a series of instruments, or as Galindo calls them, “cybertotemic sonic objects,” that are crafted from discarded objects found at multiple sites along the 2000-mile national divide. On exhibit are works constructed from discarded cans, shoes, bicycle wheels, wood, leather, and more.

The exhibition is curated by Skidmore College Professor Emeritus of Economics Mehmet Odekon and Tang Museum Assistant Director for Curatorial Affairs and Malloy Curator Rachel Seligman with Curatorial Assistant Molly Channon.

Feb
20
Tue
Visiting Artist | SFAI Lecture/Presentation @ San Francisco Art Institute, Osher Lecture Hall
Feb 20 @ 7:00 pm – 9:00 pm
Feb
27
Tue
Visiting Artist | UC Berkeley Class with Professor Ronald Rael @ Department of Art Practice
Feb 27 all-day
Mar
1
Thu
Visiting Artist | Stanford University Mohr Visiting Artist Program @ Department of Art & Art History
Mar 1 – May 31 all-day
Visiting Artist | Stanford University Mohr Visiting Artist Program @ Department of Art & Art History | Stanford | California | United States
Guillermo Galindo
2017-2018
The Stanford University Department of Art & Art History will host Guillermo Galindo during the spring 2018 term as the seventh Mohr Visiting Artist.
The Office of the Vice President for the Arts administers the Mohr Visiting Artist Program which brings acclaimed and emerging artists to campus for a one-term period to teach a credited course and provide a presentation, exhibition or performance for the Stanford community and the public.
Mar
19
Mon
Workshop | Resonance @ Skidmore College
Mar 19 – Mar 23 all-day
Mar
20
Tue
Performance | Sonic Borders II @ Tang Museum, Atrium
Mar 20 @ 6:00 pm – 8:00 pm
Performance | Sonic Borders II @ Tang Museum, Atrium | Saratoga Springs | New York | United States

Presented in conjunction with the exhibition Along the Border, experimental composer, multimedia artist, and performance artist Guillermo Galindo will perform an original composition using instruments he has crafted from discarded objects found at multiple sites along the Mexico-United States border. This event is free and open to the public.

Mar
30
Fri
Performance by Bloodroot | Mojave Sound Presents “Incantations” @ Mojave Sound Art Festival
Mar 30 all-day
Performance by Bloodroot | Mojave Sound Presents "Incantations" @ Mojave Sound Art Festival | California | United States

Mojave Sound presents “Incantations”, a three day sound art festival between Friday, March 30th to Sunday, April 1st in Wonder Valley, CA.  Mojave Sound is founded and curated by Kate Short.

Bloodroot (a collaboration between interdisciplinary artist Amber Stucke and composer/artist Guillermo Galindo) will perform a piece titled “Blind Tanks” on Friday, March 30th at sunset.  More details will follow with maps of all site specific installations and performances located at the Palms Restaurant in Wonder Valley.