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David Castillo Gallery  \;is proud to announce \;Amerika\, with new work by represented\, national\, and international artists. Kafka's unfinished first novel\, published posthumously as \;Amerika\, documents an imminent\, alien journey toward the vast abstraction of landscape. \ ;Amerika\, presents an intercorporeality of liminal territories id entifying more with Shangri-La than turn-of-the-century power. The artists in \;Amerika \;coagulate around textile and conceptual scu lpture\, photography\, painting\, installation and performance to interroga te discursive practices that undertake the body that \;is formed- objectified- abstracted. Whether the body at stake constitutes a materi al engagement with Art History or an ecosophy of subjectivities\, social re lations\, environments\, symbolic codes\, rhythms\, and aesthetic patterns\ , \;Amerika \;presents a poetics of non-arrival- an insist ence upon the performativity of plurality rather than its ontology.

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The glow of red\, white and blue from Rafael Ferrer's \;Artforhum \;neon\, rendered in the typeface of the magazine to which the wordplay refers\, creates a new visual language around established culture. Such unincorporated territory is also occupied by Xaviera Simmons\, who complicates the placidity of landscape with portra its utilizing a lexicon of iconic album covers. The result is personal-- fa miliar and radical-- a parade of reminders or refuted expectations in conve rsation with Christian Marclay's triptych \;Untitled (from the seri es "Fourth of July"). The Fourth of July parade recorded in Marclay's photographs presents an American landscape of bodies in motion or perpetual (re)translation. Jillian Mayer's video is of the nude artist strolling dow n a beach\, pursued and gradually covered by computer cursors. The familiar digital arrows point to becoming-subject and becoming-object\, charged wit h Art Historical and pop cultural attitudes toward the female body. \;& nbsp\;

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The intricate textile sculptures of Sanford Biggers\, Nick C ave\, Pepe Mar\, and Shinique Smith affect organismic dreamscapes and irrup t the habit of\, as Maurizio Lazzarato writes\, partitioning assemblages in to subjects and objects. Biggers' \;Haute Mess \;(2014) an d Cave's \;Soundsuit(2013) are critically necessary\, for thei r chaotic relation between antique quilt fragments and spray paint-- tradit ional patterns and the human figure-- refusing the subject-object dichotomy . Smith's suspended coagulations of color and texture and Mar's phantasmago ric "shirts" -- on the macro and micro scales\, are in the space between ma teriality and anthropocentrism.

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What once may have been regarded as Kafkaesque are now critical tenants of the A nthropocene\, the epoch in which autonomous human identity is no longer pri vileged and the degree of human impact on the environment widely acknowledg ed. It is a time for photographic technology to reproduce infidel identitie s\, as in the works of Luis Gispert\, Francie Bishop Good and Robert Melee. It is time for the medium specificity of painting to destabilize the centr al figure\, as in the work of Paul DeMuro\, Eric N. Mack\, Melvin Martinez\ , Bjarne Melgaard\, Fabian Pena\, Philipp Schwalb\, Wendy White\, and David Wojnarowicz. \;Amerika \;imagines a journey toward the An thropocene\, from the sculptures of Huma Bhabha to the performances of Kate Gilmore\, Susan Lee-Chun and the TM Sisters or the collages of Adler Guerr ier\, Lyle Ashton Harris\, and Quisqueya Henriquez. \; \;

DTEND:20141115 DTSTAMP:20140919T175646 DTSTART:20140926 GEO:25.7902946;-80.1323063 LOCATION:David Castillo\,420 Lincoln Road \nMiami Beach\, Florida 33139 SEQUENCE:0 SUMMARY:Amerika\, Rafael Ferrer\, David Wojnarowicz\, Christian Marclay\, X aviera Simmons\, Jillian Mayer\, Luis Gispert\, Francie Bishop Good\, Rober t Melee\, Paul DeMuro\, Eric N. Mack\, Melvin Martinez\, Bjarne Melgaard\, Fabian Peña\, Philipp Schwalb\, Wendy White\, Huma Bhabha\, Adler Guerrier\ , Lyle Ashton Harris\, Quisqueya Henriquez\, Hanford Biggers\, Nick Cave\, Kate Gilmore\, Susan Lee-Chun\, Pepe Mar\, Shinique Smith\, TM Sisters UID:356377 END:VEVENT BEGIN:VEVENT DTEND:20140926T230000 DTSTAMP:20140919T175646 DTSTART:20140926T180000 GEO:25.7902946;-80.1323063 LOCATION:David Castillo\,420 Lincoln Road \nMiami Beach\, Florida 33139 SEQUENCE:0 SUMMARY:Amerika\, Lyle Ashton Harris\, Huma Bhabha\, Hanford Biggers\, Nick Cave\, Paul DeMuro\, Rafael Ferrer\, Kate Gilmore\, Luis Gispert\, Francie Bishop Good\, Adler Guerrier\, Quisqueya Henriquez\, Susan Lee-Chun\, Eric N. Mack\, Pepe Mar\, Christian Marclay\, Melvin Martinez\, Jillian Mayer\, Robert Melee\, Bjarne Melgaard\, Fabian Peña\, Philipp Schwalb\, Xaviera S immons\, TM Sisters\, Shinique Smith\, Wendy White\, David Wojnarowicz UID:356378 END:VEVENT BEGIN:VEVENT DESCRIPTION:

An Artist who wishes to introd uce himself to a new context draws a map. He places the pieces in such a wa y so that we can understand the new fragments in the landscape of those tha t preceded them\, establishing a mental cartography where to hear one&rsquo \;s questions in reverse. This exhibition\, the first of Amadeo Azar at the Alejandra von Hartz Gallery\, is in the spirit of a retrospective in the s ense of steering our sight both backwards and forwards so as to perceive th e totality of his ideas.

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What does an Artist do when he creates a work? He formulates a plan. In this case to take the technique to the extre me so that it collapses. To become an expert in the tradition of the pictor ial ingredient&mdash\;this time the watercolor&mdash\;in order to betray th at capacity until it all but disappears.

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This could possibly be the mechanism by which Azar proposes the experie nce of sentiments\, from something concrete to generate an emotion. To perc eive something like a reflection\, not the thing in and of itself\, but its supernatural side and the disenchantment. To push paint and place it in a vacuum is almost a strategy to expose the deception of the vanguards\, ther eby restoring the sense of that ideal. He makes it explicit through repetit ion until it becomes tacit while creating a script from which to read his m etaphysical doubts.

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In \;Pati ence is a Mine Field\, Amadeo Azar proposes an itinerary through his p assions in order to demolish the theoretical building of his own ideas. Whe re in one space we see monumental constructions transposed on paper documen ting the human desire for perfection\, and in the adjoining space we find t he ruins of that purpose on a dissection table. Thereby offering us relief from such a distressing servitude.

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He gel claimed that history advances on the wrong side\, but it advances. Amad eo Azar believes that the Latin American vanguard has a different\, more co nfused meaning. Here\, it appears that the future slows down\, but it is in that very different function where it obtains an identity. Perhaps the onl y objective to pursue is to ignore everything in order to construct one&rsq uo\;s own reality and continue advancing.

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Amadeo Azar is interested in the visual languages of modernism inasmuc h as they embody utopian sets of beliefs and views of the world and its fut ure. He has focused on architectural and avant-garde movements of the first half of the XX Century exploring how they related to and had influence on political and social movements in Latin America\, and the way that utopian moment was disarticulated as it encountered local circumstances and fell in to dystopia.

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Some specific references which have entered his work include a project for the city of Buenos Aires presented by Le Corbusier to the government of Peron in the 1940&rsquo\;s\ ; the urban developments and architectural trends during mid-Century in Arg entina (such as the buildings by Ingeniero Salamone)\; the MADÍ\; and Concreto-Invenció\;n &mdash\;avant-garde movement native to Argentin a&mdash\; that focused on abstraction as well as on progressive politics (L ozza\, Maldonado\, Iommi\, and others)\; never-built projects by Russian Co nstructivists architects such as Konstantin Melnikov or Iacov Chernikov\; t he style of architecture used for pavilions at world fairs and monuments wh ich represent a certain collective view a nation has of itself.

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Amadeo Azar was born in Mar del Plata in 1972 an d is currently residing in Buenos Aires. He graduated from M. Malharro Scho ol of Visual Arts and continued his studies taking part in scholarships spo nsored by Fundació\;n Antorchas. In the last ten years\, he has parti cipated in numerous individual and collective exhibitions both in private g alleries as well as institutional spaces in Argentina\, Brazil\, Spain\, Co sta Rica\, Panama\, Ecuador and the United States. These include Open sessi on Program of Drawing Center (New York)\, Museo de Arte Moderno (MAMBA\, Bu enos Aires)\, Museo Antropologico y de Arte Contemporá\;neo (MAAC\, E cuador)\, Premio Fundació\;n Itaú\;\, Premio Fundació\;n Andreani\, and an individual exhibition at the Cá\;diz Provincial Cou ncil\, Spain.

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Azar&rsquo\;s work is t o be found in important private and institutional collections in the United States\, Europe and several Latin-American countries.

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He lives and works in Buenos Aires\, Argentina.

DTEND:20141114 DTSTAMP:20140919T175646 DTSTART:20140911 GEO:25.8021714;-80.1910295 LOCATION:Alejandra Von Hartz Gallery\,2630 NW 2nd Avenue \nMiami\, 33137 SEQUENCE:0 SUMMARY:Patience is a Mine Field\, Amadeo Azar UID:356376 END:VEVENT END:VCALENDAR