PAUSE: Practice & Exchange
william cordova smoke signals: viviendo pa’ la ciudad
Oct 27, 2012–Feb 17, 2013
William Cordova works in installation, performance, sculpture, film, photography, and drawing. He focuses on architecture and landscapes, and reconstructs, reconsiders, and reconnects past events to reveal their relevancy in today’s social climate. Creating ephemeral monuments, Cordova sees the visual arts as a platform for discussing our common experiences, needs, and struggles.
scaffolds are only rarely independent structures: conversation on the temporal landscape (Guest Lecture)Nov 1, 2012 5:00pm – 7:00pm
Large Conference RoomFREE with gallery admission
Presentation by Claude Marks, director of The Freedom Archives, on a selection of recordings from the archive based around social activism.
scaffolds are only rarely independent structures: conversation on the temporal landscape (Screening)Nov 3, 2012 1:00pm – 4:00pm
FREE with gallery admission
A double feature of Drylongso (1998), a film by Cauleen Smith, with the director in attendance, and Para construir una casa (1972) by Nicolás Guillén Landrián, which is followed by a talk on the film by Miami-based architect Ernesto Orozan.
William Cordova lives and works in Miami and New York. He graduated with a BFA from The School of the Art Institute of Chicago in 1996 and went on to earn an MFA from Yale University in 2004. From 1988 to 1994, he studied Medicine and Psychology at Miami Dade Community College. Cordova has held residencies at The Studio Museum in Harlem, New York; The Museum of Fine Arts, Houston; Headlands Center for the Arts, Sausalito; Artpace, San Antonio; and Skowhegan School of Painting and Sculpture, Madison, Maine; among others. He has exhibited in the US, Latin America, Europe, and Asia. His work is in such public collections as the Whitney Museum of American Art, New York; Solomon R. Guggenheim Museum, New York; Harvard University, Cambridge, Massachusetts; Yale Art Gallery, New Haven; Museo de Arte de Lima, Peru; Ellipse Foundation, Cascais, Portugal; Museum of Contemporary Art, Miami; and La Casa de las Americas, Havana, Cuba; among others. Cordova was included in Greater New York at MoMA PS1. In 2011 he was awarded the Joan Mitchell Foundation Grant, and was invited for his first solo museum exhibition in Europe, yawar mallku (royalty, abduction & exile), at La Conservera, Murcia, Spain. He will begin a fellowship at the American Academy in Berlin in Spring 2013.
“In one case, the out of field designates that which exists elsewhere, to one side or around; in the other case, the out of field testifies to a more disturbing presence, one which cannot even be said to exist, but rather to insist or subsist, a more radical elsewhere, outside homogeneous space and time.”
“Nothing stays permanent.”
smoke signals: viviendo pa’ la ciudad is a project that focuses on the concept of the lens as a portal, frame, window, an entry point that one can look through to unlock narratives beyond the limits of a two-dimensional plane — one informed, constructed, and activated by our own personal experiences. The mobility/immobility of the two-dimensional lens, frame, portal is expressed in its state as a static object on the one hand and in its rousing penetration of the fabric of our own consciousness with implied narratives on the other hand. We as spectators enter these portals, seeking landscapes all the time except that we often enter into them through the comfort and familiarity of our own lens, our own doorway, thus negating any possibility of new discovery or views. These known experiences can be altered by permitting ourselves to slow down the way we interpret the landscape...slowing down our visual sensors in order to comprehend the parallels between familiar and distant moments/memories, in many cases forgotten or displaced...juxtaposing known images, sounds, and situations with foreign ones that slowly create a paradox between the unfamiliar and familiar...constructing, threading, and overlapping multiple narratives fused together to propose alternative perspectives. Gaining these perspectives can allow for a reconsideration of the known physical and psychological terrain. Social change only happens when we change our outlook.
“We should distinguish the properties of particulars, and gather by induction what pertains to the eye when visions take place and what is found in the manner of sensations.”
YBCA's programs are made possible in part by:
National Endowment for the Arts
Yerba Buena Center for the Arts is grateful to the City of San Francisco for its ongoing support.
YBCA Exhibitions 12-13 is made possible in part by:
Mike Wilkins and Sheila Duignan, Meridee Moore and Kevin King and Members of Yerba Buena Center for the Arts
Free First Tuesdays
Underwritten by Directors Forum Members