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SUMMARY:Women Pulling At The Threads Of Social Discourse
DESCRIPTION:This is Not A Doll’s House is the fifth edition of the CAMP Gallery’s annual exhibition series\, Women Pulling at the Threads of Social Discourse. For this year’s exhibition\, The Fiber Artists Miami Association (FAMA) & Guests respond to the theme of Henrik Ibsen’s play Doll’s House and the historical connotations of the outdated stereotype “doll”\, a term historically used to describe compliant yet superficially attractive young women\, perpetuating the objectification of women and their experiences.\n“This year\, we asked artists to explore the ideas of this behavior through the concept of dolls and dollhouses\,” explains Melanie Prapopoulos\, curator of the exhibition. “We aim to shed light on how “the dolls” have always held the capacity of power\, but were reduced to objects under the patriarchal purview”.\nTo create an immersive experience\, artworks will be suspended from the gallery’s ceiling\, stand tall on the floor and cover the gallery walls\, symbolizing the unity and collective power of women. Visitors will navigate this artistic display of feminine strength\, challenging preconceived notions about women’s role in society.
URL:https://artinamericaguide.com/event/women-pulling-at-the-threads-of-social-discourse/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Event
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DTSTART;TZID=America/New_York:20230603T150000
DTEND;TZID=America/New_York:20230603T180000
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SUMMARY:Opening Reception for Mabelin Castellanos: Alone With Her Head
DESCRIPTION:Mabelin Castellanos’ first solo exhibition at The Contemporary Art Modern Project\, Alone With Her Head presents precise\, intricate line work juxtaposed with bright fabrics on bare-bones muslin quirky meditations on fleeting moments that capture the artist’s attention during her time spent people-watching. \n“This exhibition explores complicated topics such as aging as a woman and having to rediscover or redefine what one’s ‘prime’ looks like\, through a minimalist lens. It’s almost a subversion of what processing big\, difficult emotions can look like to others\,” said Maria Gabriela Di GIammarco\, the exhibition’s curator. \nThe exhibition will be open to the public in our Miami gallery beginning June 3 and will run through July 29. The gallery will be hosting an opening reception on Saturday\, June 3\, 2023 from 3–6PM. \n\n\n  \n\n\n\n\n\n\n\n\nABOUT MABELIN CASTELLANOS (b. 1958\, Cuban) \n  \nMabelin Castellanos is a Cuban fiber artist based in Miami. Her delicate interpretations of quotidian life as seen from her window are often made from scrap fabrics\, with both her story as an artist and fiber paintings acting as conduits for agency—namely\, Castellanos’ own. Her practice is marked by self-reflection\, pleasant observations\, and a tender reconstructing of identity and paths to personal development through moments of strife and rebirth. Mabela’s body of work can be interpreted as a series of textile snapshots\, subverting the nature of textile work by treating her sewing machine as an instrument for photography\, while honoring the fleeting beauty in moments most would describe as trivial. \n  \n  \nABOUT THE CONTEMPORARY ART MODERN PROJECT \nThe Contemporary Art Modern Project exists at the intersection of higher thought and aesthetics\, turning the classic gallery model on its head in principle and practice. Founded by Melanie Prapopoulos\, The CAMP’s approach to curation and criticism is equal parts academic and experimental\, resulting in a robust exhibition program that spotlights a range of experiences and media in roster and staff. Coupled with a deep seated aversion to artist exploitation and an insistence on nurturing the relationship between artist\, collector and gallery patron\, The Contemporary Art Modern Project’s reactionary approach is intentional\, designed to disrupt the exploitative norms of the art industry and safeguard the relationship between artistic expression and appreciation. \n  \nTHE CAMP GALLERY MIAMI is located in North Miami at 791 NE 125 St.\, Miami FL 33161. The gallery is open Wednesday–Saturday\, from 11 AM to 5 PM. Private tours can be scheduled by emailing hello@thecampgallery.com or calling (786) 953-8807.
URL:https://artinamericaguide.com/event/opening-reception-for-mabelin-castellanos-alone-with-her-head/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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SUMMARY:Vacancy Within: Khotan Fernandez
DESCRIPTION:The Contemporary Art Modern Project is pleased to announce Vacancy Within\, a solo exhibition featuring new and past works by Miami-based artist Khotan Fernandez. \n  \nThe exhibition explores Khotan’s latest body of work alongside past works never before seen. “The series explores the neon signs of Miami’s motels and incorporates narrative language aspects that evoke a sense of emotion or feeling rather than literal meaning. Additionally\, I hope they create a pause or moment of reflection for the overall visual experience of the painting. The buildings themselves are inspired by art deco architecture\, which I think is a beautiful and often overlooked style in today’s world of modern architecture so absent of curves\,” the artist writes. Vacancy Within thus coincides with NoMi Art Deco Week. \n  \nThe exhibition will be open to the public in our Miami gallery beginning April 21 and will run through May 25. The gallery will be hosting an opening reception on Friday\, April 21\, 2023 from 6–8 PM. \n  \n\n\n\n\n\n\n\n\n\n  \n\n\n\n\nVacancy Within is available for viewing in our North Miami gallery at 791 NE 125th St. from April 21–May 25\, 2023. The CAMP Gallery is open Wednesday–Saturday\, 11 to 5 PM. \n  \nFor more information\, please reach out to hello@thecampgallery.com
URL:https://artinamericaguide.com/event/vacancy-within-khotan-fernandez/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20230217T110000
DTEND;TZID=America/Halifax:20230325T170000
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SUMMARY:Looking At You Looking At Me | A Group Exhibition
DESCRIPTION:The Contemporary Art Modern Project is pleased to present our latest exhibition: Looking at You Looking at Me\, a group exhibition wherein three Miami-based artists from different generations explore the symbiotic relationship between their place in the world and their relationships with themselves. External parties may assume a woman’s attention to her image is in vain\, but the truth is women are often forced to be hyper-aware because of society’s obsession with ideals and standards of what is woman. The above claim is supported in John Berger’s Ways of Seeing\, where he states: “a woman must continually watch herself. She is almost continually accompanied by her own image of herself. Whilst she is walking across a room or whilst she is weeping at the death of her father\, she can scarcely avoid envisaging herself walking or weeping.” Artists Laetitia Adam-Rabel\, Silvana Soriano\, and Analea Adam-Rabel take the concept of the “female gaze” and approach it in different manners; One portrays the gaze through complex subversion of color and form\, another through digitally manipulating images of herself\, and the other fantasizing about the girl she is becoming. \n  \nIn her collages\, Silvana Soriano depicts stories with a technique that can be examined as repurposing or redefining. While she is repurposing paper and textile\, she is also redefining the space. The uniform but organic shapes give these scenes movement\, as if the viewer is able to witness in real time the story or vignette presented. Each presence captures the space and viewer with actual clothing\, whether owned by the artist or a loved one\, using familiar textures to draw one in. The central figure in Across The Board speaks loudest to a woman’s self-perception in a public space. Here\, Soriano portrays the silhouette of a woman’s back\, the reflection of her face and another blurred silhouette standing in front of them. Who is recognizing whom? While bringing the gaze within herself she is not acting in vain but attending to her own image. \n  \nAs an artist working in a variety of media\, from photography and sculpture\, to printmaking and painting\, Laetitia Adam-Rabel is constantly rediscovering herself. Art is often a therapeutic measure to understand her own feelings and let go. Laeti’s If I Were a Fashion Figure is a collection of designs she created herself using her experiences as a former Parsons student and knowledge of the fashion industry. Soon her desire to embody fashion turned from designing to modeling. After some rejection\, it became hard to sit with the image of herself. In IIWAFF 1\, she portrays a version of her bare body holding her own perfectly smooth skin. Tapping into the young woman she once was as the woman she currently is\, Laeti is also sitting with old versions of herself and accepting them. \n  \nMany little girls dream of a version of themselves\, which sometimes begins as a mermaid or princess. Analea has been drawing mermaids since she was one; creativity is second nature to her coming from a family of artists. In a short time\, an abundance of knowledge and creative intuition has been passed on to her. While she watches and learns art from her mother\, she\, without knowing it\, is taking her mother’s pain and turning it into something new and beautiful. Analea’s self portrait shows viewers that at the young age of four\, she is already perceiving herself. She and her expressions mean something and through art she is able to share a version of herself that she imagines. \n  \nWomen are constantly being perceived by others while living in a society where they are told what to wear\, how to feel and even their sexual orientation. Our identities are constantly shape-shifting\, transforming from child to woman\, friend to mother\, all based around how we look to others and what we can do for them rather than ourselves. At the end of the day\, once we strip away all of the -isms\, we go to bed with perceptions of our innerselves; past\, present\, future and all. \n  \nCurated by Chloe Fabien. \n\n\n\n\n\n\n\n\n\n\n\n\nLooking at You Looking at Me is available for viewing in our North Miami gallery at 791 NE 125th St. from February 17–March 725 2023. \n  \nFor more information\, please reach out to hello@thecampgallery.com
URL:https://artinamericaguide.com/event/looking-at-you-looking-at-me-a-group-exhibition/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220909T110000
DTEND;TZID=America/Halifax:20221007T170000
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SUMMARY:Impressions of Jenny Perez
DESCRIPTION:Miami-based artist Jenny Perez‘ debut exhibition with The CAMP Gallery explores her body of work as an inheriting and reinventing many of pillars of the revolutionary artists that came before her. Using her history as a self-taught artist and situating it in the context of both her street artistry and abstract works\, Impressions of Jenny Perez validates her path and trajectory. \nCurated by Mario Andres Rodriguez \n  \n\n\n\n\n\n  \nAbout Jenny Perez: \nJenny Perez is a Caribbean-American painter and visual artist based out of Miami\, Florida. With nearly over a decade of experience\, Perez’s projects span a wide variety. She began her career as an apprentice under internationally-recognized painters inspiring Perez to explore her own voice as an artist. Early into her development she quickly became one of the pioneering artists in the rise of Miami’s street art movement. As a self-taught painter Jenny immersed herself in a disciplined studio practice exploring abstract expressionism with notes of pop art\, eventually mimicking her paintings onto walls. \nShe has been featured in international publications including DISfunction Magazine\, Latina Magazine\,LumiereMagazine and onCuba\, as well as online platforms for her dynamic\, multi-media works. Jenny also dedicates her efforts to giving back to her beloved community by partnering up with several nonprofit organizations in support of initiatives she is most passionate about such as Ronald Macdonald House\, Kristi House\, No Kid Hungry\, Blue Missions and No More Tears to name a few. \n\n\n\n\n  \nImpressions of Jenny Perez is available for viewing in our North Miami gallery at 791 NE 125th St. from September 9–October 7\, 2022. An opening reception for Impressions of Jenny Perez will be held on Friday\, September 16. \nFor more information\, please reach out to hello@thecampgallery.com
URL:https://artinamericaguide.com/event/impressions-of-jenny-perez/2022-09-09/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220715T180000
DTEND;TZID=America/Halifax:20220715T200000
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SUMMARY:Lucia Warck-Meister: Fragmentos Rescatados
DESCRIPTION:In The Contemporary Art Modern Project’s showing of Fragmentos Rescatados\, Lucia Warck-Meister deals with the concept of memory\, be it its relationship with nationhood\, its deprecation in the face of historical revisionism\, and its frailty in part due to the ravages of change and time. Curated by Mario Andres Rodriguez. An opening reception will be hosted in our Miami gallery on July 15 from 6-8 PM \n  \nAmongst the abstract thoughts privy only to mankind\, collective memory is unique in its ability to creep into identity. Countless examples exist: the liturgical stories we use to guide our lives in global religions\, the filtered recounting of nationhood fed to the global youth in elementary schools\, the story of how your mom and dad fell in love and fatefully conceived their children. These memories inform who we are and what we believe about the world around us; because of their centrality in our paradigm of thought\, one would imagine that these memories were durable\, steadfast\, tangible items\, that they are realities of one’s life. Such a status would make life more simplistic and direct. \n\n\n\n\n  \n  \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nAbout Lucia Warck-Meister: \n  \nLucia Warck-Meister is a sculptor and mixed-media artist interested in exploring individual and collective memory and how they build the foundation of our identity. “Who we are is contingent on what we remember\, and how we use those memories to construct new narratives. Through memory\, I explore ideas of identity\, gender\, narrative\, and visibility.” \nWarck-Meister holds an MFA from UNA University of the Arts\, Buenos Aires. Her works have been exhibited at the DUMBO Arts Festival\, New York\, Palm Beach International Biennial\, Florida; Outdoor Sculpture Exhibition Bellevue\, WA\, Museo del Barrio\, New York; New York LatinAmerican Triennial\, NYC; Katonah Museum of Art\, NY; Museum of the Americas\, Washington DC; Griffiss Sculpture Park\, Rome\, NY; Miura Museum of Art\, Matsuyama City\, Japan; Briggens Museum\, Bergen\, Norway\, Deutsche Bank Foundation\, New York; Piedmont Biennial\, Torino\, Italy; National Endowment for the Arts\, Buenos Aires\, Recoleta Cultural Center\, Buenos Aires\, MAT Tigre Art Museum\, Buenos Aires; MUMBAT\, Tandil; Timoteo Navarro Museum\, Tucumán\, Argentina. \n  \n\n\n\n\nFragmentos Rescatados is available for viewing in our North Miami gallery at 791 NE 125th St. from July 15th – August 26th. \n  \nSi desea información en español\, puede enviar un email a hello@thecampgallery.com
URL:https://artinamericaguide.com/event/lucia-warck-meister-fragmentos-rescatados/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220401T110000
DTEND;TZID=America/Halifax:20220430T170000
DTSTAMP:20260813T231205
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SUMMARY:Clara Fialho: Dreamscapes
DESCRIPTION:Clara Fialho’s artistic sensibilities are interpreted as an intimate\, liminal study of emotion\, removed from the constructs of time and space in The Contemporary Art Modern Project’s April exhibition\, Dreamscapes. The result is an expert layering of personal experiences\, color\, and technique\, a collection of contemplative scenes whose energies and meanings are left up to interpretation. Her approach to abstract work is grounded in an intentionality that finds its footing in an intertwining of psychology\, surrealism\, universal symbols\, and her previous portraiture practice\, allowing her to appropriate both the reflexive qualities of instinct with the objective spirit of realism into a reframing of existential sentiments. Dreamscapes explores Fialho’s adaptive realms\, unconfined by time and space\, bringing witnesses to unnamed\, yet defined points of respite\, and occupying spaces between the dichotomies of disorder and form; individual and collective; discipline and fluidity; tension and repose; texture and color; dimension and ephemerality.     \n  \nFialho takes advantage of the space she allots herself\, allowing her compositions to transcend firm interpretations into completely liminal territories. Ethnographers Arnold Van Gennep’s and Victor Turner’s work on the concept of liminality has given society a name for the viscerally ambiguous checkpoints of a life lived\, though it is Turner’s description of liminal experiences in The Ritual Process: Structure and Anti-Structure (1969) as “betwixt and between the positions assigned and arrayed by law\, custom\, convention\, and ceremonial\,” that run concurrent to Fialho’s endeavor. This is best exemplified by Fialho’s deliberate toying with illusions\, or remnants\, even\, of negative space through a recurring use of orb-like forms\, no matter if they’ve been colored in to totality\, overlapped with thick coats of paint\, or left empty to bring forth the raw material underneath\, and mirroring the weight\, or power\, that we allow any one thing. Dreamscapes features the debut of It Was Good to Be Loved\, a ten-year project that can be approached as an archive of the growing pains that accompany our existences\, be they emotional\, spiritual\, or physical. Fialho’s color palette further runs parallel to interrogations of emotion\, a study of emotional potential in both delicate and deep\, almost severe hues\, often on the same piece. This duality\, or multiplicity\, is present throughout her body of work—elegant watercolor pieces are exercises in spontaneity\, and exist neatly alongside large-scale oil paintings\, which are carefully planned ahead in her collection of sketchbooks\, all living catalogues of Fialho’s conceptual instincts. \n  \nDreamscapes embraces the undefined\, coalescing into a brilliant\, sensorial emancipation\, an embodiment of the very essence of abstract art wherein the works ultimately function as vessels for whatever one may need: reflection\, understanding\, or transformation. Nonetheless\, Dreamscapes\, and by extension\, this statement\, whether it is seen from afar or through a magnifying lens\, is offered to the viewer as an invitation to stand right here and experience. \n  \n  \nOpening April 1\, 2022\, Dreamscapes will be on display until April 28\, 2022\, at The CAMP Gallery: 791 NE 125 St\, Miami\, FL 33161. The opening reception will be held on April 1\, 2022\, from 6–8 PM; private viewings and tours can be scheduled by emailing hello@thecampgallery.com  \nStatement by Maria Gabriela Di Giammarco
URL:https://artinamericaguide.com/event/clara-fialho-dreamscapes/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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DTSTART;TZID=America/Halifax:20220203T120000
DTEND;TZID=America/Halifax:20220226T180000
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SUMMARY:Laetitia Adam-Rabel: Origin Not Found
DESCRIPTION:The Contemporary Art Modern Project is pleased to be exhibiting the newest works from Haitian-American artist Laetitia Adam-Rabel in Origin Not Found\, for the month of February. The opening reception will be held in our North Miami gallery on February 4\, from 6–8 PM. \n\n\n\n\nFor Adam-Rabel\, the topics of immigration and assimilation\, environment\, and the palpable need to survive and thrive\, are intertwined with a natural interrogation of culture\, motherhood\, and her Blackness. Expanding on her Faussilization series\, a term invented by the artist to refer to art objects made to resemble historical artifacts\, the exhibition serves as an illustration of the complex moving parts of identity\, and how they coalesce into mothering the next generation in a rapidly-evolving world.
URL:https://artinamericaguide.com/event/laetitia-adam-rabel-origin-not-found/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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DTEND;VALUE=DATE:20220130
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LAST-MODIFIED:20220106T170356Z
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SUMMARY:Shelly McCoy: March on Society
DESCRIPTION:Our January exhibition features recent works by Miami-based sculptor Shelly McCoy\, in our North Miami gallery until January 29\, 2022. Join us for the opening reception on January 7 from 6:00–8:00 PM. \n  \nAs a staunch feminist and sculpture artist entrenched in her concepts of right and wrong and her sharp sense of imagery\, Shelly McCoy has created works that focus on political and social issues her entire career and continues to do so with varying considerations for subtlety and nuance… \n  \n\n\n\n\n“ love America more than any other country in this world\, and\, exactly for this reason\, I insist on the right to criticize her perpetually — James Baldwin
URL:https://artinamericaguide.com/event/shelly-mccoy-march-on-society/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211119
DTEND;VALUE=DATE:20220101
DTSTAMP:20260813T231205
CREATED:20211022T132343Z
LAST-MODIFIED:20211029T185339Z
UID:89509-1637280000-1640995199@artinamericaguide.com
SUMMARY:Bego M. Santiago: Loop Diaries
DESCRIPTION:The Contemporary Art Modern Project presents Galician visual artist Bego M. Santiago’s first solo exhibition in Miami\, which immerses the viewer in Santiago’s video installation series\, Loop Diarios. \n  \nSantiago’s video installation work is characterized by a submerging of the viewer into a liminal plane replete with the vague aura of memory and a longing for something unnamed—and missing. She does this by capitalizing on the feedback loops that exist between the dichotomies of existence\, namely true–false\, reality–dream\, and internal–external\, transforming the banality of everydayness into a playground wherein one can meditate on their nature as a living being.  \n  \nThe surreal and almost voyeuristic descent into the memories of one person prompts the audience to revisit their own humanity by way of contemplation\, bearing witness to a reconstruction of events and experiences present in all humans’ histories whilst simultaneously highlighting the limits of taking memory at face-value. Loop Diarios sees Santiago’s introspection\, or rumination\, on her past and present in the form of repetitive video loops that function as a childhood diary re-written by a present-day adult\, forging an intimate and sincere reflection on the mundane phenomena that constructs the Self: family\, society\, and experience. \n  \nStatement by Maria Gabriela Di Giammarco
URL:https://artinamericaguide.com/event/bego-m-santiago-reconstructing-reality/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210924T080000
DTEND;TZID=America/Halifax:20210924T170000
DTSTAMP:20260813T231205
CREATED:20210927T180441Z
LAST-MODIFIED:20210928T180723Z
UID:88424-1632470400-1632502800@artinamericaguide.com
SUMMARY:64 Women Pulling at the Threads of Social Discourse: FAMA & Guests Quilt
DESCRIPTION:The Contemporary Art Modern Project (CAMP) announces the third edition of Women Pulling at The Threads of Social Discourse\, an annual exhibition that spotlights female voices and experiences through textile and fiber artistry as a means to promote dialogue and community with intention and curiosity.  \n  \n\n\n\n\n\n\n\n\n\n\n\n  \nTextile work\, historically\, is inextricable from the lived experience of women  transnationally\, and is continually relegated to the realm of the “feminine”. Given the  homogeneity within the group of voices given importance by way of centuries of social norms\, it has become increasingly necessary to turn to the feminine experience\, often subjected to the sidelines as a silent observer\, and take notice of the way a simple\, yet authentic shift in perspective enriches our collective reality. \n  \nThe first run of Women Pulling at the Threads of Social Discourse in 2019 featured works from Aurora Molina\, Katika\, Natalia Schonowski\, Nathalie Alfonso\, Paola Moreira\, Laura Marsh\, April Hartley\, and Janna Isbey. Applying Marxist literary criticism to textiles\, Eight Women Pulling at the Threads of Social Discourse presented reflections of  society—its tendencies\, failings\, and structure—as mirrors of the social institutions and practices from which the works evolve. Together\, the works highlighted how notions of class and social structure alienate the individual\, thus stimulating the ever present modern phenomenon of ‘angst’\, and what Sartre referred to as ‘nausea.’   \n  \n2020’s edition of Women Pulling at the Threads of Social Discourse was made possible by a collaboration with Fiber Artists Miami Association (FAMA)\, founded by artists Aurora Molina\, Evelyn Politzer\, and Alina Rodriguez Rojo\, and expanded to include 40 artists of varied racial\, ethnic\, and linguistic backgrounds. 40 Women Pulling at the Thread of Social Discourse saw a celebration of the Women’s Suffrage centennial in an election year\, ultimately unifying fiber art with the complex intersections of femininity\, race and history\, and feminist sociopolitics. Arte al Día wrote that “the marriage of the female artist to the textile medium\, both outwardly and socially expected to be weak\, are in fact\, in the hands of these artists\, affirming that strength lies in durability\, pliability and resolve\,” best embodied by works such as Laetitia Adam-Rabel’s Red\, White\, and Pink: The Colors of Politics\, Alissa Alfonso’s Earth Can’t Vote\, Laura Marsh’s Resistance Isn’t Enough\, and Silvana Soriano’s widely publicized figurative collage\, We (are) The People. \n  \nAfter spending all of 2020 apart from one another amidst grave turmoil\, many are still experiencing an alienation from life as they’ve known it\, seeking to reunite with their communities as well as ideals that we can embrace and be proud of. This year’s edition\, FAMA Quilts\, speaks to the spheres of experience we’re still grappling with as a collective\, both socially and privately\, and weaves the participating artists’ stories into one large quilt. The goal of 2021’s edition of Women Pulling at the Threads of Social Discourse\, is to physically and intellectually unite their stories and\, in many cases\, their answers to what plagues us. A return to textile art inspires us to interrogate our intricacies in the same fashion fibers intertwine to create a well-rounded composite\, cluing us into how society can break free\, and ultimately cure itself\, from distance\, hate\, separatism\, and all the ills come to light that defined 2020.
URL:https://artinamericaguide.com/event/women-pulling-at-the-threads-of-social-discourse-fama-quilts/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210612T160000
DTEND;TZID=America/Halifax:20210612T200000
DTSTAMP:20260813T231205
CREATED:20210526T214950Z
LAST-MODIFIED:20210601T203702Z
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SUMMARY:Opening Reception | Silvia Yapur: El Hilo de la Vida
DESCRIPTION:Join us for the opening of El Hilo de la Vida\, an exhibition featuring intricate textile works by Silvia Yapur.\n\n\n\n\n\n\n\n\nThis month at the gallery\, Silvia Yapur introduces a variety of animal-based portraiture inspired by her own fascination with the animal world. Her Ox-Cows and Tiger series present the viewer with texture-rich embroidered works that romantically personify these creatures and their role in nature. Her work\, raw and striking\, displays her textile mastery and ability to give life to expressive creations with the sole need of a thread. The exhibition\, El Hilo de la Vida speaks of nature itself\, as well as Yapur’s own nature as an artist. \n  \nGentle and physically-capable\, oxen and cows have historically been linked to offerings and sacrifices. Believed to bring forth abundance and prosperity\, they embody the act of self-sacrifice for the well-being of others. Powerful and feared\, the tiger has historically been linked to imbalance of power\, due to its superior strength among creatures. Simultaneously\, these beings personify opposite extremes of the human experience: those who self-sacrifice for others\, and those capable of taking with no need of giving away. All beautiful creatures\, born by the same nature\, yet born with opposing natures\, exemplifying the essence of life itself. \n  \n  \nCurated by Andres J. Mora. \n\n\n\n\n  \n 
URL:https://artinamericaguide.com/event/opening-reception-silvia-yapur-el-hilo-de-la-vida/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210609T120000
DTEND;TZID=America/Halifax:20210730T180000
DTSTAMP:20260813T231205
CREATED:20210526T215012Z
LAST-MODIFIED:20210625T223645Z
UID:81350-1623240000-1627668000@artinamericaguide.com
SUMMARY:Silvia Yapur: El Hilo de la Vida
DESCRIPTION:The CAMP Gallery announces the extension of our June exhibition\, El Hilo de la Vida\, featuring works by Argentinian-born artist Silvia Yapur. Now on view until July 30\, 2021. \n  \nIn ancient Greek mythology\, it was believed that the Moirae sisters were the incarnations of destiny itself. Assigned to ensure that every creature in the world followed their intended natural role\, they controlled the metaphorical “thread of life”—known in Spanish as “hilo de la vida”—of all beings from the moment they were born\, to the day they died. \n\n  \n\n  \n\nEl Hilo de la Vida introduces a variety of animal-based portraiture inspired by Yapur’s own fascination with the animal world. Her Ox-Cows and Tiger series present the viewer with texture-rich embroidered works that romantically personify these creatures and their role in nature. Her work\, raw and striking\, displays her textile mastery and ability to give life to expressive creations with the sole need of a thread. Thus\, El Hilo de la Vida speaks of nature itself\, as well as Yapur’s own nature as an artist. \n\n  \nCurated by Andres J. Mora. \n 
URL:https://artinamericaguide.com/event/silvia-yapur-el-hilo-de-la-vida/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210417T150000
DTEND;TZID=America/Halifax:20210417T200000
DTSTAMP:20260813T231205
CREATED:20210411T212029Z
LAST-MODIFIED:20210411T212029Z
UID:80729-1618671600-1618689600@artinamericaguide.com
SUMMARY:Meet the Artist: Silvana Soriano on “Ipsis Litteris”
DESCRIPTION:Join us on April 17\, 2021at The CAMP Gallery to view our current exhibition\, Ipsis Litteris\, a solo show featuring collages by Miami-based Brasilian visual artist Silvana Soriano. \n\n  \nIpsis Litteris \, translates to “word for word\,” as a play on the pieces’ quite literal portrayal of their meaning. Soriano will be in-house for conversations about her process\, influences\, and celebration of her latest series of vibrant collages that fuse culture\, language\, and medium. \n  \n“It can be said that my work is a record of a precise moment that alludes to the poetry of the mind and the connotations that it takes on the body\,” Soriano states.
URL:https://artinamericaguide.com/event/meet-the-artist-silvana-soriano-on-ipsis-litteris/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/04/IMG_7539-scaled.jpg
ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210407T120000
DTEND;TZID=America/Halifax:20210507T170000
DTSTAMP:20260813T231205
CREATED:20210405T151328Z
LAST-MODIFIED:20210405T151328Z
UID:80662-1617796800-1620406800@artinamericaguide.com
SUMMARY:Silvana Soriano: Ipsis Litteris
DESCRIPTION:The CAMP Gallery is pleased to present Ipsis Litteris\, a new solo exhibition featuring works from collage artist Silvana Soriano. \n  \nSilvana Soriano takes the medium of visual art and transcends language in her representations of idioms\, metaphors\, sayings and stories by presenting them as literal as can be\, playing with the mixtures of cultures and narratives given through words. \n  \n\n\n\n  \nThe exhibition Ipsis Literris\, as Soriano has given name to the series\, translates to “word for word\,” as a play on the pieces’ quite literal portrayal of their meaning. This portrayal carries through in pieces like Wear Another Shoes\, named for the English phrase “to put yourself in someone else’s shoes” displayed in the literal sense via its humorous imagery\, until the realization that even the character is pondering how they feel about the shoes in their show of emotion. The thought that even the character themself debates this gendered contraction between the heels and shoes brings forth yet another layer to the discussion\, from what normally seems as light-hearted a piece as the next. \n  \n\n\n\n  \nBorn and raised in Rio de Janeiro\, Brazil\, Silvana Soriano is a visual artist currently based in Miami\, Florida. Soriano has participated in numerous solo and group exhibitions in Brazil\, Spain\, France\, USA and Cuba since 1984\, including having her work featured at Pinta Miami Art Fair. She has also illustrated several books\, spanning from children’s literature to poetry. Soriano graduated with a BFA in Art History and Art Education from Bennett University. She furthered her studies at the esteemed School of Visual Arts\, in Brazil. Soriano has been an educator for over two decades\, at public schools\, non-profits\, and universities. \n\nCurated by Gabriel Torres.
URL:https://artinamericaguide.com/event/silvana-soriano-ipsis-litteris/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2021/04/Silvana_InviteEDIT2-02.png
ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210407T120000
DTEND;TZID=America/Halifax:20210407T170000
DTSTAMP:20260813T231205
CREATED:20210405T151308Z
LAST-MODIFIED:20210405T151308Z
UID:80664-1617796800-1617814800@artinamericaguide.com
SUMMARY:Opening Reception for Silvana Soriano: Ipsis Litteris
DESCRIPTION:Join us for the opening of Ipsis Litteris\, an exhibition featuring collages by Brasilian artist Silvana Soriano.\n\n\n\n\n\n\n\n\nThis month at the gallery\, Brasilian visual artist Silvana Soriano explores takes the medium of visual art and transcends language in her representations of idioms\, metaphors\, sayings and stories by presenting them as literal as can be\, playing with the mixtures of cultures and narratives given through words. . \n  \nThe exhibition\, which carries the same name as Soriano’s series\, interrogates the boundaries of the cultural and visual qualities of history\, aesthetics\, and humor—because fine art and adventure aren’t mutually exclusive. Ipsis Litteris translates to “word for word\,” as a play on the pieces’ quite literal portrayal of their meaning. \n  \nThis portrayal carries through in pieces like Wear Another Shoes (pictured)\, named for the English phrase “to put yourself in someone else’s shoes” displayed in the literal sense via its humorous imagery\, until the realization that even the character is pondering how they feel about the shoes in their show of emotion. The thought that even the character themselves debates this gendered contraction between the heels and shoes brings forth yet another layer to the discussion\, from what normally seems as light-hearted a piece as the next. \n  \nCurated by Gabriel Torres.
URL:https://artinamericaguide.com/event/opening-reception-for-silvana-soriano-ipsis-litteris/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/png:https://artinamericaguide.com/wp-content/uploads/2021/04/Silvana_InviteEDIT2-02-1.png
ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210306T120000
DTEND;TZID=America/Halifax:20210306T170000
DTSTAMP:20260813T231205
CREATED:20210303T160350Z
LAST-MODIFIED:20210303T160350Z
UID:80266-1615032000-1615050000@artinamericaguide.com
SUMMARY:Opening Reception for Carlos Rancaño: Intimacy and Introversion
DESCRIPTION:Join us for the opening of  Intimacy and Introversion\, an exhibition featuring new works by Carlos Antonio Rancaño. \n  \nIf ever you watch Carlos Antonio Rancaño while he paints\, you will appreciate another layer of interest to his work\, which is the application of paint and his brushstroke. In the early stages of his work\, there appears to be an explosion of application and drips\, which initially liken themselves to the semi-chaotic school of abstraction\, but with each layer\, Rancaño tames that explosion resulting in the private moments caught in all his works. This painterly manner also enhances the idea that these are not traditional figurative pieces\, but the exploration of the private against the public\, and like we all have to—one must go through the challenge and end up clearing out the noise\, the distraction to arrive at a plane of acceptance. \n  \nCarlos Rancaño\, in his solo exhibition at The CAMP Gallery: Intimacy and Introversion offers a narrative of sensual poses\, introspective moments laced with symbols created in 2020 and this year documenting the resilience of both the artist and his subjects. Outwardly the works and the poses often suggest the sensual\, as the majority are nudes\, but that is just the superficial layer to Rancaño’s work—always beneath the many layers also lie the many levels of personality\, the often struggle between the private and the public\, and the trepidation of individuality in a conformist society. \n  \n  \n\n\n\n\n\n\n\n  \n\n\n\n\n  \nCurated by Melanie Prapopoulos. \n 
URL:https://artinamericaguide.com/event/opening-reception-for-carlos-rancano-intimacy-and-introversion/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210303T123000
DTEND;TZID=America/Halifax:20210403T170000
DTSTAMP:20260813T231205
CREATED:20210303T160329Z
LAST-MODIFIED:20210303T160329Z
UID:80264-1614774600-1617469200@artinamericaguide.com
SUMMARY:Carlos Rancaño: Intimacy and Introversion
DESCRIPTION:  \nCarlos Rancaño\, in his solo exhibition at The CAMP Gallery: Intimacy and Introversion offers a narrative of sensual poses\, introspective moments laced with symbols created in 2020 and this year documenting the resilience of both the artist and his subjects. Outwardly the works and the poses often suggest the sensual\, as the majority are nudes\, but that is just the superficial layer to Rancaño’s work—always beneath the many layers also lie the many levels of personality\, the often struggle between the private and the public\, and the trepidation of individuality in a conformist society. \n  \nFigurative art has often been linked to the school of realism with its focus on presenting both the truth and the science of things\, Rancaño adds to this by adding the psychological of the internal. When discussing his works\, it is not unusual to hear the artist say that while painting he is actually able to see a person in a new and different light\, in their elements and how they combine with personality\, to make the individual. This is especially true of the last piece for the exhibition Jack of all Kings (above)\, which is a portrait of the artist’s brother. \n  \nRancaño explains\, “I really enjoyed painting this piece because in the process of creating it I realized that I never really stopped and looked at my brother’s face…” What is also apparent in the piece is the artist’s feelings for and about his subject\, his brother: by crowning him we are able to understand where his brother fits in the hierarchy of the artist’s life\, but also how the artist feels about his brother. \n  \n \n  \n\n\nAdding ‘props’ or symbols\, that one believes evolve and enter into the work as Rancaño stands before his easel\, or will add a further quality to the work and the artist’s interest in personality. Looking at the expression of his subject in Guarded\, one clearly understands that the pensive face before us\, not engaging with us\, is guarded\, which is reinforced by the arms. What is interesting\, though\, is that by adding the boxing gloves\, we understand that not only is she guarded\, but she also has the ability to protect herself\, something the artist has understood and has now empowered her to do. \n  \nIf ever you watch Rancaño while he paints\, you will appreciate another layer of interest to his work\, which is the application of paint and his brushstroke. In the early stages of his work\, there appears to be an explosion of application and drips\, which initially liken themselves to the semi-chaotic school of abstraction\, but with each layer\, Rancaño tames that explosion resulting in the private moments caught in all his works. This painterly manner also enhances the idea that these are not traditional figurative pieces\, but the exploration of the private against the public\, and like we all have to—one must go through the challenge and end up clearing out the noise\, the distraction to arrive at a plane of acceptance. \n\n\n  \nCurated by Melanie Prapopoulos. \n  \n  \n\n\nCarlos Antonio Rancaño was born in Miami\, FL. from Cuban/Panamanian parents. After graduating Cum Laude from MIU with a Bachelors Degree in Graphic Design\, he started his career in Advertising. Even though he was always keen on drawing\, it was the strict rules of design that gave way to his paintings. The free spirit that lives in his work is a direct response to the more simplistic approach of Graphic Design. His work is saturated with bright\, warm colors and sharp\, rigid brush strokes serving as a pedestal to the subjects in his work. Spreading from an array of themes\, like bold portraits of women to African child soldiers\, his work is never well-worn. Carlos Antonio has participated in various exhibitions across South Florida\, as he continues to establish himself as a premier artist. \n\n\n  \n 
URL:https://artinamericaguide.com/event/carlos-rancano-intimacy-and-introversion/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
ATTACH;FMTTYPE=image/jpeg:https://artinamericaguide.com/wp-content/uploads/2021/03/Guarded_2020_Oil_30x40_�5000-1-scaled.jpg
ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210213T160000
DTEND;TZID=America/Halifax:20210213T200000
DTSTAMP:20260813T231205
CREATED:20210210T155928Z
LAST-MODIFIED:20210210T155928Z
UID:80029-1613232000-1613246400@artinamericaguide.com
SUMMARY:Opening Reception for Aurora Molina: The Texture of Grief
DESCRIPTION:Join us for the opening of The Texture of Grief\, an exhibition featuring new works by Aurora Molina.\n\n\n\n\n\nAurora Molina’s body of work is rich—with intention\, color\, and experience. Her pieces exact a sociopolitical criticism that is ingrained in the very threads she uses\, be they physical or intellectual. Her playful color palette and observant soft sculptures are just as traditional as they are ruthless\, defying norms at every corner of life via method and concept. Given the turbulent refreshing deconstruction of “tradition” in the last year\, Molina has adapted in her own\, uncannily timely way\, swapping sewing machines and embroidery for hand weaving\, and in turn putting her vulnerability and humanity on display and asking the same of the audience. \n  \nHer February exhibition at The CAMP Gallery\, The Texture of Grief\, sees the artist moving away from her characteristic figurative style and embracing the abstraction of emotion and time. Collectively\, the works are grounded in tension\, be it visual or spiritual\, embodied by the act of weaving. \n\n  \n  \n\nCurated by Maria Gabriela Di Giammarco.
URL:https://artinamericaguide.com/event/opening-reception-for-aurora-molina-the-texture-of-grief/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210205T120000
DTEND;TZID=America/Halifax:20210307T173000
DTSTAMP:20260813T231205
CREATED:20210201T044904Z
LAST-MODIFIED:20210206T233903Z
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SUMMARY:Aurora Molina: The Texture of Grief
DESCRIPTION:The history of textiles is inextricable from the story of humanity\, a storied and ultimately functional craft that\, with the advent of the Industrial Revolution and feminist fiber art movements of the mid-20th century\, has become emblematic of not just the innovative qualities of the human animal\, but of textile’s innate communicative quality. That is to say\, the fabric of each individual’s life is woven\, sewn\, embroidered\, with cultural markers\, ideas\, and stories\, bleeding into the realms of art\, national identity\, and clothing. Textile work encompasses multitudes of patterns\, colors\, techniques\, and identities across the globe\, a living\, breathing record of centuries of change. The history of textiles\, to a large degree\, is also inextricable from the feminine realm\, transforming over the years into a “domestic” craft through which women could find their place in whichever society they found themselves in. Enter Cuban\, Miami-based fiber artist Aurora Molina. \n  \nBorn in Havana\, Molina emigrated to the United States at 16. The beginning of her relationship with fiber art dates to her childhood\, but it wasn’t until she took an experimental fiber painting class in Miami that she began engaging seriously with textile as an art form. Now\, Molina\, a working artist with an extensive exhibiting history\, teacher\, and founder of Fiber Arts Miami Association (FAMA)\, continues to not simply adapt to\, but fiercely engage with changing times all the while keeping her foot on the pedal of a sewing machine. \n  \nMolina’s body of work is rich—with intention\, color\, and experience. Her pieces exact a sociopolitical criticism that is ingrained in the very threads she uses\, be they physical or intellectual. She has confronted the commodification of beauty and objectification of youth\, intertwining aging with gradual invisibility in the internet age ; she’s sewn together studies of “unfettered individualism” in the contexts of immigration\, family\, politics; she’s created odes to resilience\, redirected culpability\, and reminded audiences that fiber art isn’t simply a place for women to occupy themselves. Fiber art\, in fact\, can communicate jarring criticism and rebellion in the same manner it relates an individual’s identity. Her playful color palette and observant soft sculptures are just as traditional as they are ruthless\, defying norms at every corner of life via method and concept. \n  \n“I think it is extremely important that artists become the commentators of our time… I make political satire with the help of thread. I think it is crucial today when fiber art is playing a new role in art history. Thread is not only being used as embellishment but as a statement; a political consequence of women not longer sitting in circles\, embroidering flowers.” \n  \nGiven the turbulent refreshing deconstruction of “tradition” in the last year\, Molina has adapted in her own\, uncannily timely way\, swapping sewing machines and embroidery for hand weaving\, and in turn putting her vulnerability and humanity on display and asking the same of the audience. Her February exhibition at The CAMP Gallery\, The Texture of Grief\, sees the artist moving away from her characteristic figurative style and embracing the abstraction of emotion and time. Collectively\, the works are grounded in tension\, be it visual or spiritual\, embodied by the act of weaving.  \n  \nWith each movement\, these pieces become sites for transformation. Each fibre moves in tandem with Molina’s essence\, sprouting from inborn tension and anxiety about the past\, memory\, and isolation\, evolving from negativity to a place of resolve; the yarn acts as a stand-in for time\, the act of weaving as a confronting of it. The result is a series that bares witness to an artist’s fears\, intrusive thoughts\, and vulnerabilities\, and sees her triumph. As Molina would put it: “‘Don’t think’\, ‘distract yourself’\, ‘think of something else’—these are feelings and emotions that allow us to converge from a superficial dimension to a deeper emotional process\, allowed by the constant rhythm of weaving two distinct sets of yarns (positive thought and negative thought) interlaced. The weft made of positive and negative thoughts [create] a woven surface where the tension of the weaving becomes its own language\, and you have to learn how to decipher in relationship to your own experience.”  \n  \n  \nStatement by Maria Gabriela Di Giammarco
URL:https://artinamericaguide.com/event/texture-color-lines-and-tension/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210115T160000
DTEND;TZID=America/Halifax:20210115T200000
DTSTAMP:20260813T231205
CREATED:20210113T151916Z
LAST-MODIFIED:20210113T151916Z
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SUMMARY:Opening Reception for Guang-Yu Zhang: On Oriental Reveries
DESCRIPTION:Join us for the opening reception of On Oriental Reveries\, a solo exhibition featuring works by Guang-Yu Zhang. On Oriental Reveries makes of the audience witnesses by way of tunnels and windows of the artist’s creation\, his memories transforming beyond a surreal dreamscape. Guang-Yu Zhang instead brings one to a soothing world\, a thrilling world\, an Elysium where earth and sky intertwine\, where light and darkness are one and the same. \n. \nCurated by Gabriel Torres and Andres J. Mora. \n  \nGuang-Yu Zhang is currently based in Shanghai\, China. In 2012 He received his BFA from Central Saint Martin’s College of Arts and Design\, London. \n  \n“I was living in both the UK and China\, inspired by both Western and Oriental cultures\, history and present. The source content of my works is traditional Oriental culture under the influence of classical Chinese culture as well as Western and European culture. In the works I place together individual elements from different times and backgrounds. To begin with it was purely experimental\, allowing these elements from different cultures to be combined together. Actually\, the background to this behavior reflects the environment in which I and other urban youth of China grew up. “
URL:https://artinamericaguide.com/event/opening-reception-for-guang-yu-zhang-on-oriental-reveries/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20210109T130000
DTEND;TZID=America/Halifax:20210201T170000
DTSTAMP:20260813T231205
CREATED:20210106T173317Z
LAST-MODIFIED:20210106T173317Z
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SUMMARY:Guang-Yu Zhang: On Oriental Reveries
DESCRIPTION:The Contemporary Art Modern Project is pleased to announce our January exhibition\, a solo show featuring works by Shanghai-based visual artist Guang-Yu Zhang.\n\n\n\n\n\n\n\n\nGuang-Yu Zhang brings forth an elysian world ever-filled with mystified fauna and vegetation\, finding inspiration in Western elements and merging it into his own Eastern techniques. The Chinese-born artist honors his roots by emulating the finishing of ink-based art in the portrayal of idealized expressive landscapes\, flipping the script by incorporating the Westerner approach of occupying all available negative space with more saturated elements than is expected of Oriental art. Influenced by the technical teachings of his fine art training in the UK\, he furthers this approach by integrating both painting and photography techniques. \n  \nGuang’s eclectic compositions convey a nostalgia driven by traditional Chinese motifs\, motifs that conflate seamlessly with the artist’s eye for soft although striking color schemes. This choice of color sets him apart from the artistic crowd\, presenting a diffusion of tones that yield sometimes dreamy and other times nightmarish qualities to his work\, creating an immersive paradisiacal-yet-surreal realm that draws those who set eyes on the same. A soothing world\, a thrilling world\, an Elysium where earth and sky intertwine\, where light and darkness are one and the same.
URL:https://artinamericaguide.com/event/guang-yu-zhang-on-oriental-reveries/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20201204T160000
DTEND;TZID=America/Halifax:20201204T200000
DTSTAMP:20260813T231205
CREATED:20201202T181124Z
LAST-MODIFIED:20201202T181124Z
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SUMMARY:Opening Reception for Karla Kantorovich: Reclaiming Poetry
DESCRIPTION:Join us for the opening reception of Reclaiming Poetry\, a solo exhibition featuring works by Karla Kantorovich. Reclaiming Poetry invites audiences to feel and explore the possibility that our existence extends far beyond the physical body and transcends materiality. \nCurated by Rina Gitlin\, independent curator\, art historian\, and exhibition producer. She holds a Master of Liberal Arts in Museum Studies from Harvard University Extension School. \n  \nKarla Kantorovich is a mixed media artist from Mexico based in Miami\, FL. Kantorovich recently completed her Masters in Studio Art from Florida International University (FIU) while actively showcasing her work on multiple international platforms such as the 2017 XI International Biennial of Contemporary art in Florence\, Italy\, and the 2017 MFA National Competition in New York. Some of her more recent exhibitions include the 2019 MFA exhibition at the Frost Art Museum and the International Art Contest in Rome\, Italy. Additionally\, she was awarded the Ratcliffe Incubator Art + Design Fellowship Award in 2018.
URL:https://artinamericaguide.com/event/opening-reception-for-karla-kantorovich-reclaiming-poetry/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Event,Exhibition
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GEO:25.8434605;-80.1895077
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20201204T130000
DTEND;TZID=America/Halifax:20201231T170000
DTSTAMP:20260813T231205
CREATED:20201202T181108Z
LAST-MODIFIED:20201202T181108Z
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SUMMARY:Karla Kantorovich: Reclaiming Poetry
DESCRIPTION:Reclaiming Poetry is Karla Kantorovich’s own way of expressing her spiritual connection to life. Her most recent work draws inspiration from nature; its cycles\, change\, and beauty. Every piece of her work is unique and precious\, creating together a perfect whole. The paper installations in this exhibition are vehicles to unite unlikely elements – old and new\, natural and man-made – to create one cohesive piece representative of unity and our binding humanity. Kantorovich’s handmade paper resembles the trunks of trees\, which are nature’s witnesses of time and history. Paper also reminds us of our own fragility. It changes through time\, even when untouched. It is a symbol of all that is to be written\, reflective of everything that can be\, and suggestive of everything that can become. Much like paper\, reality can be rewritten and reassembled; it is fluid and ever-changing. \nReclaiming Poetry invites audiences to feel and explore the possibility that our existence extends far beyond the physical body and transcends materiality. \n  \nCurated by Rina Gitlin\, independent curator\, art historian\, and exhibition producer. She holds a Master of Liberal Arts in Museum Studies from Harvard University Extension School.
URL:https://artinamericaguide.com/event/karla-kantorovich-reclaiming-poetry/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20201111T130000
DTEND;TZID=America/Halifax:20201128T170000
DTSTAMP:20260813T231205
CREATED:20201111T170002Z
LAST-MODIFIED:20201111T170002Z
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SUMMARY:Feminism South to North
DESCRIPTION:The Contemporary Art Modern Project is pleased to announce the opening of Feminism South to North\, a boutique exhibition featuring textile works by Latin American artists Rosana Machado Rodriguez\, Carolina Weisz\, Federico Casalinuovo\, Gabriela Ferrandez\, Maria Cristina Medina\, Maru Ulivi\, Noca Passos\, Patricia Saporiti\, Sandra Onetti\, Silvina Apfelbaum\, Aurora Molina\, and Vivian Mayo. The exhibition runs from October 10 through October 27 at The CAMP Gallery\, a spinoff of our current exhibition\, 40 Women Pulling at the Threads of Social Discourse. \nTextile work\, especially in Latin American tradition\, has always been a realm of careful construction and deconstruction\, where memory and reflection\, specifically that of feminine experiences and passing them on\, are of the utmost importance. Moreover\, textiles’ purposes are to carry this within patterns\, technique\, color\, and subject— in Latin America\, this extends to political expression. Exploring humanness and the more intricate\, almost socially molecular details of it\, guides Feminism South to North. Taking experience to a profoundly public level\, the realm of social engagement\, is explicitly intentional\, yet implicitly embedded into the very purpose of textile work itself. \nThe works in this exhibition are both entangled within and challenging the gender power dynamics and struggles facing a reckoning in South America\, namely Argentina\, Brasil\, Venezuela\, and Cuba\, from which the featured artists hail. Their works touch upon alarming increases of femicide in the region\, self-emancipation from social and familial expectations\, the intersection of gender and experience and the effects it has on self-esteem and awareness\, and the genesis of postmodern feminist movements demanding justice\, equity\, and consciousness. The essence of this exhibition lies in the power of necessary\, radical action and conversation through the use of textiles\, a widely recognized and long-valued space for political dissent and collective\, cooperative identity. \nSilvina Apfelbaum believes there is a “marked DNA” aspect to textile practice\, one that is malleable and open-ended\, and simultaneously private and incredibly public. Apfelbaum toys with the infinite possibilities she finds in textile work\, making Hacer Visible lo Invisible (Making the Invisible Visible) a narrative piece wherein the complex relationship between the feminine experience and silence is traced through hand embroidery of silk\, satins\, cottons\, and buttons. \nLikewise\, Gabriela Ferrandez\, Maria Cristina Medina\, and Vivian Mayo examine the transformative potential of textile work as it relates to experience in a less intimate sphere. Medina’s Bordando Ilusiones (Embroidering Illusions) explores opposing forces on a macro-level\, integrating the resilience and elasticity of textile as an encounter\, rather than a battle\, asking the viewer to engage rather than confront. Ferrandez\, in a similar way\, aims to engage with balance through the use of collage in Gaia Equilibrando Poderes (Gaia Balancing Powers)\, displaying that even the most disparate of forces\, entities\, and forms are necessary for harmony\, balance\, and wholeness. Mayo employs the history of handfans as a “spokesperson” in Fragilidad y Fortaleza (Fragility and Strength) Historically used by women of higher social classes in the West\, as ritual objects in ancient Incan practices\, and even symbolizing connection with a divine spirit\, her mix of beads and organza on the piece fuses the ideas of “feminine” as both fragile and fierce\, coexisting within a person and enriching one’s experience rather than tormenting. \nRosana Machado Rodriguez asks “What makes me human? What defines me as a person?” Blending photography and embroidery\, two disciplines that seem to oppose one another\, Your Body\, Your Gender interrogates the friction between identity and the external environment\, citing internal desire and social demands as constrictive to the Self. Machado Rodriguez uses this tension to encourage the viewer to find power in vulnerability and take charge of the push and pull of the conditions of consciousness. \nTaking an intimate approach to textile\, Patricia Saporiti intertwines generational knowledge in historical and familial contexts\, paying homage to the generations of Argentine feminists before her and those in her own family\, including her daughter and her niece. Saporiti’s hand-embroidered book speaks to the interconnectedness of community\, especially that of feminine community through embroidery work\, wherein the voice of one is more often speaking for the whole. As such\, Carolina Weisz’ Veo\, Veo\, No Veo (I See\, I See\, I Don’t See) is directing the viewer’s attention to a struggle that functions in tandem with contemporary life\, born out of a desire to “make the invisible\, visible”—women\, Indigenous peoples\, the lower class experience. Weisz’ canvas print is beaded and embroidered\, featuring soft sculptures that evoke ancient Latin American votive figurines\, a piece in which she intends to highlight the joy and gratitude she finds in textile work\, as well as create connections with groups that “are not seen\, and thus not cared for.” \nFor this exhibition\, the artists work with textiles as a tangible expression of experience. In this case\, Federico Casalinuovo is exploring women’s experiences as objects\, property\, and othered in the environments they inhabit from a socioeconomic perspective. His piece\, La sutilidad de lo evidente. O como un vestido de novia puede ser una cadena perpetua\, una condena de muerte y un mecanismo de control (The subtlety of the obvious. Or\, How a wedding dress can be a perpetual chain\, a death sentence\, and a mechanism for control) is a patchwork of materials found on Western-style wedding dresses: lace\, ribbon\, tulle\, embroidery\, satin. He singles out the institution of marriage as a ritualized\, often sanctified\, and oppressive space\, saying “the cloth sheltered them\, caressed them\, protected them\, but it also witnessed the aberration that they still suffer today.” Casalinuovo uses textile techniques to link the histories of domestic hostility and feminine rebellion\, inconspicuous and enduring. His goal is to honor the creativity born out of persistence. \nMaru Ulivi\, by the same token\, sustains that “silence is not an option.” If Casalinuovo’s patchwork veil is only hinting at the muted suffering a woman experiences in her lifetime\, and Silvina Apfelbaum’s embroidered narrative is guiding one through the process of speaking loudly\, Ulivi’s taking it a step further and putting the depths internalized misogyny on display\, as seen in her piece\, Private Property. In this exhibition\, she embroiders images of the body with seams and wounds\, phrases that recall oppression\, both intangible and tangible\, threaded through and highlighting the mechanisms of embodied trauma and righteous defiance. \nAurora Molina presents minimalistic threaded figures of Pro-Protester on raw canvas\, examining the result of this tension: social movements that transcend the individual as well as geography\, more so in an increasingly digital experience that is isolating and uniting in tandem. Molina’s piece reflects the ease with which dissent can become a revolution\, and that which makes space for meaningful change\, and the need for it to come from a collective. \nSandra Onetti’s textile collages\, a quadryptich titled Representantes (Representatives)\, pays tribute to figures and deities of cultures “past”\, celebrating the capability to desire and work for protection and justice\, not just for oneself\, but for others. Her depictions recall the enduring imagery of an empowered woman\, honoring Maat\, Egyptian goddess of Justice; Athena\, Greek goddess of strategy and artisanship; Mama Quilla\, Inca goddess and protector of women\, the Sun\, and the Earth; Justice of Tarot\, who represents fairness. Onetti’s pieces illustrate the longstanding veneration of femininity as divine and powerful\, setting the tone for an exhibition that encompasses how fairness\, compassion\, and justice are inextricable from one’s quality of life. \nWritten by Maria Gabriela Di Giammarco
URL:https://artinamericaguide.com/event/feminism-south-to-north/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20201111
DTEND;VALUE=DATE:20201211
DTSTAMP:20260813T231205
CREATED:20201111T165943Z
LAST-MODIFIED:20201111T165943Z
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SUMMARY:Nature and the Artifice: Other Worlds
DESCRIPTION:The Contemporary Art Modern Project (The CAMP Gallery) is pleased to launch our latest online exhibition: Nature and the Artifice: Other Worlds\, featuring works from: Alice Zilberberg\, Khotan\, Barbara Nati and Nikolina Petolas\, all offer a unique vision of the real and the imagined. Looking at the modern world burdened and blustering under the strains of consumption one is confronted with an almost complete turn around and away from concepts of art and society from the past. Considering notions of both society and art\, in today’s world\, the ideas that serve as our foundation of both what is society and what is art have been altered because of society’s exploitation of both the individual and the natural world – once it was believed\, on the eve of the Industrial Revolution – the behavior of might would bring us forward – but today we have gone so far that there may be no return. The result of such development is the Artifice\, a world structured almost entirely off of invention. Societal development equally engendered our progressive alienation from the natural world and provided the safety and comfort that such alienation afforded. Flash forward through the centuries\, the Enlightenment\, the Industrial Revolution\, the birth of suburbia\, and much of the developed world is now completely removed from the natural world. We live our lives wholly disconnected from the truth of nature. Thomas Hobbes\, for example\, once famously said in his work: Leviathan\, that life without modern society would be “solitary\, poor\, nasty\, brutish\, and short\,” yet look at where we are now\, living in a modern society awash with disease\, living alone and distant with death lurking behind face masks and on door handles\, all the while the streets are blistering with civil unrest. Going ever further back to Plato and his dialogues on mimesis\, which expound on art and beauty as if they were diametrically opposed forces. True beauty\, according to Plato\, is only beholden in the natural world\, where all plants and animals are created perfectly according to their purpose in the wild. Art\, as shown through paintings\, poetry\, or dance\, is a mere imitation of the beauty already beheld in nature. In this sense\, the aesthetics of the Artifice are in and of themselves artificial. As Antoine Danchin argues in his essay on “Nature and the Artifice”\, we romanticize the impetuous\, harsh mistress nature can be because we have forgotten the harsh realities of the natural world. Our Artifice now imposes onto the natural world\, with the decimation of forests\, the mass production of greenhouse gases in our air\, the poisoning of our rivers and oceans. Where does Nature and the Artifice lie in this dichotomy of natural beauty and artificial beauty? Is it somewhere in the middle\, because of the natural inspiration for many of these artists? Has our world and society drifted so far away from Parmenides\, Plato’s and Hiedeggar’s ontological idea of the truth in beauty because nature is endangered that we no longer can find that true beauty? Or does the direct use of natural themes make this series the ultimate elaboration of artistic production within the Artifice? The exhibition\, through the artworks will explore the new ideals of beauty\, showing that the foundations of Western thought cannot be applied to today\, and we are left to seek representations of beauty from worlds both familiar and other. Nature nonetheless remains the uncompassionate force that dictates the health of humanity. Nature and the Artifice hopes to expose the weakness of the Artifice that can at times seem impenetrable. Some of the works are chosen to expose the ways in which nature bleeds into our world whether people are cognizant of its presence or not. Others still also aim to act as a mirror\, reflecting upon ourselves our own distorted image of the world around us. \nAlice Zilberberg uses a technique she calls “photo-painting” where she weaves together photographs of animals and landscapes from terrains all over the world. These images are combined so seamlessly that it creates for an extremely realistic visual effect. In this sense\, Zilberberg’s position within the larger conversation of Nature and the Artifice comes not only from the imagery itself\, but also from the praxis of her work through the unnatural relocation of animals from their native habitats. Khotan’s Enchanted Forest Series gives us a kaleidoscopic view of nature; through his distortions of natural images\, the viewers find themselves looking for other distinct images and trying to make out something other than what the image clearly presents\, for example\, a tree stump. Some of these images call up erotic imagery\, much like Georgia O’Keeffe’s flower motif from much of the first half of the 20th century. Barbra Nati creates easily recognizable scenes (highways\, roadways\, skyscrapers) out of completely incongruent\, natural materials. The resulting juxtaposition not only exposes the lack of natural beauty in present day road development (and life\, in general)\, but also presents an aspirational imagery for what the developed work could look like if it attempted to better integrate natural resources and capabilities. Lastly\, Nikolina Petolas’s art places animals right in the heart of the artifice: within cities\, grandiose properties\, public parks\, and so on. Her use of color and traditional architecture also bolsters the whimsical and celebratory invasion of wild animals into the city. Works such as Forestation also remind the viewer that all cities\, towns\, and developments were once the wild and are in fact engulfed by the wild in any part of the world. Nature and the Artifice is an exploration of two opposing forces: the world humanity currently lives in and the natural world from which humanity originated. The works included in this exhibition celebrate this dichotomy\, by bringing elements of each in a seemingly incongruous fashion. In this sense\, the work of the artists is this series celebrates the beauty of nature while also warning of the consequences we face from continuous alienation from our natural environment. Although these pieces are each reflections of the Artifice\, together they assert the existence and the necessity of a natural ethos. \nWritten and curated by Mario Rodriguez
URL:https://artinamericaguide.com/event/nature-and-the-artifice-other-worlds/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Virtual Events + Viewing Rooms
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20201024T120000
DTEND;TZID=America/Halifax:20201024T180000
DTSTAMP:20260813T231205
CREATED:20201022T175454Z
LAST-MODIFIED:20201022T175454Z
UID:78496-1603540800-1603562400@artinamericaguide.com
SUMMARY:40 Women Pulling at the Threads of Social Discourse: FAMA & Guests — Soft Closing
DESCRIPTION:The Contemporary Art Modern Project (The Camp Gallery) in collaboration with Fiber Artists-Miami Association\, (FAMA) announced their signature art exhibition to commemorate American women winning the vote. Forty Women Pulling at The Threads of Social Discourse – FAMA and Guests is coming to a close and we invite you to join us for a soft closing on October 24\, 2020 from 12–6 pm at 350 NE 75th St Space 109 Miami\, FL 33138. \n40 Women Pulling at the Thread of Social Discourse: FAMA & Guests is a celebration of the Women’s Suffrage centennial in an election year. The textile-centric exhibition explores and unifies fiber art\, the intersections of femininity\, race\,  and history\, and feminist sociopolitics. \nFiber Artists-Miami Association (FAMA) is a collaborative of fiber artists and textile enthusiasts that encourages dialogue and a culture of free expression. Their mission is to advance the fiber medium as a high art through advocacy and education. To facilitate opportunities for artists\, makers\, and innovators of the medium.
URL:https://artinamericaguide.com/event/40-women-pulling-at-the-threads-of-social-discourse-fama-guests-soft-closing/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Event,Exhibition
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ORGANIZER;CN="The Contemporary Art Modern Project":MAILTO:maria@thecampgallery.com
GEO:25.8434605;-80.1895077
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=The CAMP Gallery 791 NE 125 St Miami FL 33161 United States;X-APPLE-RADIUS=500;X-TITLE=791 NE 125 St:geo:-80.1895077,25.8434605
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20201003T180000
DTEND;TZID=America/New_York:20201003T200000
DTSTAMP:20260813T231205
CREATED:20200908T132613Z
LAST-MODIFIED:20200926T154224Z
UID:76621-1601748000-1601755200@artinamericaguide.com
SUMMARY:40 Women Pulling at The Threads of Social Discourse II: F.A.M.A and Guests
DESCRIPTION:The Contemporary Art Modern Project (The Camp Gallery) in collaboration with Fiber Artists-Miami Association\, (FAMA) announces their signature art exhibition to commemorate American women winning the vote. Forty Women Pulling at The Threads of Social Discourse – FAMA and Guests\,  will be held at:  350 NE 75th St Space 109 Miami\, FL 33138. On view from October 1- October 25\, 2020. The opening reception will take place on October 1\, 2020 at 6:00 pm with a live virtual tour.  \nThe fiber artists included:  Abbey Chase-Palgon\, Alina Rodriguez-Rojo\, Alissa Alfonso\, Amy Gelb\, Ana Weiss\, Angela Bolaños\, Aurora Molina\, Carola Bravo\, Colette Mello\, Coralina Rodriguez Meyer?\, Damian Rojo\, Debora Rosental\, Evelyn Politzer\, Jacqueline Roch\, Jeanne Jaffe\, Karla Kantorovich\, Laetitia “Laeti” Adam-Rabel\, Laura Villarreal\, Lauren Dawson\, Liene Bosquê\, Lisu Vega\, Maria Ulivi\, Marlene Kohn\, Mary Ruden\, Michelle McCoy\, Miriam Machado\, Molly McGreevy\, Nancy Billings\, Nancy Mastronardi\, Pip Brant\, Regina Jestrow\, Rosario Salazar\, Roxana Corradino\, Silvana Soriano\, Silvia Castro Yapur\, Sonia Baez Hernandez\, Sostenes Marquez\, Susan Feliciano\, Tom Virgin\, Valeria Montag\, and Yolanda Sanchez. \n  \nThe themed exhibition: Women Pulling at The Threads of Social Discourse\,  revolving around women and their social voices\, was first launched last year exploring how women artists utilizing textiles as their medium subvert the social expectation of crafting\, and instead take this soft medium and lambast it with political and social awareness. More and more\, we see women taking to the streets\, wether mourning or screaming for a government to account for their lost children\, or as they did\, one hundred years ago to insist on social and political equality to be able to cast their own vote. The marriage of the female artist to the textile medium\, both\, outwardly and socially expected to be weak – are in fact\, in the hands of these artists – affirms that strength lies in durability\, pliability and resolve. For this year’s edition of the exhibition\, we are pleased to announce that it will also launch the newly formed FAMA\, a fiber artist organization based in Miami\, Florida.  FAMA\, formed this year\, and during the pandemic\, artists Aurora Molina\, Evelyn Politzer\, and Alina Rodriguez united a group of creatives to organize and present their first exhibition honoring the 2020 Women’s Vote Centennial and create awareness about our duty to vote. We are assembling using mixed media and the fiber arts to ignite positive social change.  The exhibited works will be only flags\, as the flag or banner is used as a metaphor or symbol of solidarity with the women of the suffrage movement in this exhibition. 
URL:https://artinamericaguide.com/event/40-women-pulling-at-the-threads-of-social-discourse-ii-f-a-m-a-and-guests/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="the contemprary art modern project":MAILTO:hello@thecampgallery.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200711T140000
DTEND;TZID=America/Halifax:20200724T170000
DTSTAMP:20260813T231205
CREATED:20200713T142148Z
LAST-MODIFIED:20200713T142148Z
UID:69906-1594476000-1595610000@artinamericaguide.com
SUMMARY:Symbiote: An Exhibition with Khotan and Beatriz Chachamovits
DESCRIPTION:For Immediate Release: Because of the pandemic\, we at The CAMP gallery wanted to find a way to still exhibit and present artists with opportunities to exhibit\, within the confines of social distancing.  We came up with the following – give the gallery to artists to curate and present their own exhibition without the constraints of the gallery itself. We invited Miami based\, but international artists\, Khotan and Beatriz Chachamovits\, two artists who had never met\, but shared an approach to art so close that they unknowingly fed off of one another! \nIncluded in this project was the artists had to meet\, to come up with their curatorial plan\, write their statements and install their work – as they imagined it should be seen.  Below is what Khotan and Beatriz had to say about their work and the exhibition they entitled: Symbiote \nWhen speaking on the exhibition Khotan speculates: “This time has changed us in ways we can’t even see yet\, we will never look at ourselves as a culture in the same way. Even we artists who tend naturally towards solitary endeavors find ourselves with low fuel on interiority. My paintings and drawings\, for the exhibition\, where made in this collective isolation. \nThe works are intimate drawings and paintings that somehow embrace the irrational\, the chaotic\, the unknowable\, the day dreaming and open ended meanings. I want them to have a double aspect running by implementing elements that seem familiar but at the same time strange.  \nInspiration came while doing the works\, most of which are modest in dimensions  combining them with free hand paper or canvas cutouts from abstract scribbles and paintings done with my two year old daughter who celebrates the wealth of potentiality every day. The bold color palette is a celebration of her toys\, cartoons and books. They are also a deep-seated appreciation for artists such as: Matisse\, Paul Klee and Max Ernst. I wanted them to explode with life in the same way my daughter sings made up lyrics with rhythmic body movements. Jumping\, running\, twirling\, skipping. \nThe actual moments of where interacting with my daughter turned in my moments of creation came at a time when all was quiet and I would rework them at night. Constant in my mind were questions like those of Gauguin and “Where do we come from?” “What are we?”  “Where are we going?” These were persistent thoughts.  I found myself\, sometimes purposively using the UFO for its psychic charge symbolism\, thinking about the collective desire for transformation\, the need to compensate dissociations with wholeness. There’s a feeling of alienation in the air now\, the inability to distinguish truth from fiction in a cyber culture strung out on info- overload where context is constantly manipulated. The wrestling of consensus reality\, the valuable contextualization vs open minded skepticism. And above all the lack for us to understand that every entity is interwoven with the rest of the universe. \nIn essence It’s an invitation to wonder\, to grasp what we can from infinitude\, for the joy of discovery to remain fresh amid the hints and suggestions of the brush strokes and shapes.” \nBeatriz\, also in her new found solitude looks back on what stimulates all her art to what it has become\, now\, in this new way we live: \n“As an environmental artist\, my work has been intrinsically tied to scientific studies and research that investigates and highlights the state of the coral reef ecosystem.  \nDue to our recent pandemic situation and the isolation it caused\, my focus as an artist has changed. Instead of emphasizing the vast array of problems corals have been facing\, an imperative need to talk about the importance of being alive\, healthy and happy became urgent. \nThe Coral Pile series is a response to those needs. It is a reflection of the state I crave to be in. To be closer to people. To be hugged by my loved ones. To be touched even by strangers. After ten years without using colors in my practice\, I returned to drawings and paintings that show bright colors and vivid reef landscapes that intensely vibrate. \nMaking these artworks was the only thing that made me bounce back from the negative sentiments produced by isolation. This is the way I found to be productive while quarantined at home and also inducing the feelings I wanted to have. By creating life. Quarantine is and may still be hard for some time\, but times of crisis are always a chance to find another\, better way.” \nWhat we at The CAMP found and learned from these two creatives is that in times such as our present day – what gets one through it is a return to innocence\, not the innocence of not knowing\, but a Blakeian Higher Innocence\, where we are aware of the world\, reality and people\, but still have the ability to embrace the purest of imagination; one full of wonder\, love\, patience and optimism.
URL:https://artinamericaguide.com/event/symbiote-an-exhibition-with-khotan-and-beatriz-chachamovits/
LOCATION:The CAMP Gallery\, 791 NE 125 St\, Miami\, FL\, 33161\, United States
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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END:VEVENT
END:VCALENDAR