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Knockdown Center is pleased to present the third rendition of Cura Collected , an exhibition series that centers artists who curate. All three are creators whose involvement in the artistic community has had a generative impact on their local art scenes, and for this occasion each artist has brought in collaborators and community for a series of ongoing, cumulative performances and actions that will take place within an architectural structure inside of the gallery each week. Born out of conversations between the three participating artists, the exhibition focuses on curation as an invested act. Exploring the type of spaces curators create, the show investigates how these spaces can be expanded to include ideals of care, empathy, and nurture. The artists maintain that curation within an artist-to-artist structure fosters a web of nuances that open up more intimate readings and handlings of art objects. By singling out actions and objects Rathod, Diaz, Restrepo, and their invited collaborators spotlight the familiarities that come out of certain social contracts. This collaborative effort considers the tradition of women practicing ritual in support of themselves and each other in healing from trauma and depression, and as a means of survival under systemic barriers and oppression. In the piece, the artist auctions off one piece of work, along with three hours of labor to participating audience members. Each installation will remain on view until the following iteration. Saturday, November 4 In a collaboration between Anjuli Rathod and Karina Puente, a papel picado work by Puente will hang in the interior of the architectural structure anchoring the exhibition. In this immersive collage, Safdie will present various blueprints that serve as proposals for utopian places for equitable social connectivity and freedom of expression. Through graphic abstraction, Safdie creates a space for imagining a self uninhibited by societal constraints and repression. Visitors are welcome to observe in a manner that is mindful of the artists and their processes. This project focuses on an oral history of the Salvadoran civil war, using audio and text recounting personal narratives from Chavarria, Vides and Diaz. About the series The Cura series was originally conceived by Sessa Englund. For each exhibition three invited artists who have a strong curatorial practice work together to create a collaborative show, driven by conversation between the participating artists and their ongoing research. There is no traditional curator organizing the show, instead, the exhibition and essay are developed through this discussion. Cura emerges from the tendency of many artists today using curation not only as a form of organization within their communities, but also as an inseparable part of their artistic practice. The series asks: is the role of the traditional curator necessary, or is a new role emerging from the shifting landscape of artists as organizers of their community? Cura explores these questions by making visible new networks that exist between artists, curators, and their collaborators. Her work has been published in Lumina Journal and Hyperallergic. She also co-founded Selena, an artist-run space in Brooklyn. They work in text, ephemeral sculpture, photography, and whatever is at hand. They co-facilitate home school, a free pop-up art school in Portland, OR. Their practice encompasses: sculpture, design and curating. Their work has been exhibited internationally. Hit enter to search or ESC to close. Close Search. Cura Collected Cura Collected. Press Release. Knockdown Center Flushing Ave. Maspeth, NY site by moonpool. Open toolbar Accessibility Guide.

El Salvador: A nation under hypnosis

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She presided over a shabby bar and eatery in an area known as the Ex Biblioteca — or Ex-Library — a reference to the institution that had occupied the grounds prior to the devastating earthquake of October Many have nothing whatsoever to do with gangs aside from residing in a gang-saturated country. To be sure, mass incarceration is one way to temporarily disappear domestic problems, particularly if you also imprison lawyers who defend people accused of gang ties. And while there is no denying that El Salvador has long been terrorised by gangs, the current obliteration of rights is also definitively terrifying. Over the past several decades, gangs have provided a convenient excuse for all manner of US-backed Salvadoran state repression, including extrajudicial killings by law enforcement personnel. Just the other day in downtown San Salvador, I was accosted by a policeman and threatened with five years in prison for having taken a photograph of an apparently inebriated woman who had just been smacked by a private security guard. As of mid-March, the human rights organisation Cristosal had documented in-custody deaths during the state of emergency although the presumed existence of clandestine graves within detention centres would boost that number even higher. Abuse and torture of detainees is rampant, and Bukele himself delights in conspicuously mocking the very concept of human rights on Twitter, his preferred platform for governance. The week before the one-year anniversary of the state of emergency, I drove out to CECOT with a Salvadoran acquaintance of mine who, as we approached the looming white monstrosity and corresponding military checkpoint, entered into a visible state of panic and swung the car around. Back in San Salvador later on, my acquaintance, a former Bukele devotee, confessed to having suddenly experienced a reckoning with the reality that nothing and no one could stop the Salvadoran authorities from locking him up for life if they wished to do so. And yet the brand of politics hawked by Bukele, a former advertising executive, enjoys dangerously high approval ratings as many Salvadorans have enthusiastically embraced what amounts to a war on themselves. And that is the real emergency. Published On 27 Mar 27 Mar Her family has not heard from her since. Sponsored Content.

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