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Link New York Times por William Zimmer ART; One Show Ponders a Cause and the Other Reviews a Heritage - New York Times

CROSSING BORDERS - The Wheel of Fortune (American Dream), returns to NYC after 24 years

The Wheel of Fortune (American Dream), on display as part of the exhibition, Ida y Vuelta: Experiencias de la migración en el arte puertorriqueño contemporáneo at the Hunter College East Harlem Gallery. La rueda de la fortuna was part of Hernández solo exhibition at the New Museum, Illegal Games (1999).

"Risk, anticipation, luck, walking on a tightrope, riddles and the fortuitous; these are the elements of life that are translated into the practice of games, in the act of rolling the dice and turning the wheel of fortune "- Anaida Hernández

Fragment of the essay  catalogue exhibition Ida y Vuelta (2018) by Laura Bravo, curator 

La ruleta de la fortuna: el sueño americano, 

1998 - 1999 

This game warns us, through the table in which we are invited to bet, that the desires of prosperity, freedom, fame, pleasure or success, also imply the risk of encountering a thorny outcome. This is the drama experienced by thousands of Puerto Ricans who, driven by the recession and the desire for a more promising future, left the island and faced problems of discrimination and even worse precariousness.

The risk and emotion of the game are star resources of this piece, where the public is invited to participate with the purpose of experiencing the sensation of venturing to reach an idealized life in a foreign space. The mythical dream of the protagonist country is recognizable through symbols such as the crown of the Statue of Liberty, the Capitol or the flag. Although the migration from Puerto Rico to the United States does not imply the crossing of a political border, the geographical transfer entails another type of difficulties.

Like a coin that is thrown into the air, this dream also has two faces, and to each glorified version of the emigrants' hopes, there is the hidden possibility of unpredictable misfortune that may befall them.

Anaida Hernández, Artist talk at Hunter College East Harlem Gallery , NYC

Wheel of Fortune (American Dream), 1999 by Anaida Hernández. Mixed-media interactive installation. Wood, acrylic paint, steel, fabric. Variable dimentions; wheel: f d (1.4m). table top: 6 x2 f x 2 1n (1.8m x 60 x x cm.) View at the Taller Puertorriqueṅo, Filadelfia, USA. 

Link: https://centropr.hunter.cuny.edu/event/ida-y-vuelta-anaida-hernandez-artists-talk

LOCATION: The Silberman School of Social Work

COST: Free

April 1  1:00 pm – 2:30 pm 

Join Anaida Hernández as she explores her work, La rueda de la fortuna – el sueño americano (1999), on display as part of the exhibition, Ida y Vuelta: Experiencias de la migración en el arte puertorriqueño contemporáneo at the Hunter College East Harlem Gallery. La rueda de la fortuna was part of Hernández solo exhibition at the New Museum, Illegal Games (1999).

The exhibit, whose name translates to Arrivals and Departures: Migration Experiences in Contemporary Puerto Rican Art, is curated by Laura Bravo and features 19 Puerto Rican artists whose works respond to the experience of many Puerto Ricans living abroad. It is on view at Hunter College East Harlem Gallery through September 30th.

This event is part of the CENTRO 50th Anniversary Celebration! Join us all of 2023 in celebrating 50 years of CENTRO’s work to strengthen, diversify, and reimagine the field of Puerto Rican Studies.

Support our 50th Anniversary here!

This Artist Talk is organation by professor Magdalena Sagardía as part of the Latino Popular Culture - HyField course from the Department of Latin American and Latino Studies at Lehman College, CUNY.

RSVP Here!

ED

CENTRO Announces Ida y Vuelta: Experiencias de la migración en el arte puertorriqueño contemporáneo at Hunter East Harlem Gallery this Spring

The exhibit will be on view from March 30, 2023 to September 30, 2023

Link: https://centropr.hunter.cuny.edu/news/centro-announces-ida-y-vuelta-experiencias-de-la-migracion-en-el-arte-puertorriqueno-contemporaneo-at-hunter-college-east-harlem-gallery-this-spring/

(New York, NY – March 14, 2023) The Center for Puerto Rican Studies (CENTRO) in partnership with Hunter East Harlem Gallery, has announced the opening of the exhibition, Ida y Vuelta: Experiencias de la migración en el arte puertorriqueño contemporáneo (Arrivals and Departures: Migration Experiences in Contemporary Puerto Rican Art), from March 30th, 2023 through September 30th. The exhibition, a major show featuring 19 artists whose works respond to the processes, causes, and consequences of traveling and living away from their place of origin, will mark the first time in ten years that CENTRO will be partnering with the Hunter East Harlem Gallery, neighbor to the CENTRO Library & Archives, as part of their 50th Anniversary celebrations.

“It is imperative that CENTRO continue to bring attention to our collective stories and examine our migration processes not just from analyzing data but also from an artistic perspective.” expressed Ángel Antonio Ruiz-Laboy, Director of Arts & Culture at CENTRO. “The opportunity to collaborate with Hunter College Art Galleries after so many years allows CENTRO to impact Hunter students and faculty and to ignite new conversations about Puerto Rico’s colonial relationship with the US.” he continued. 

Curated by Dr. Laura Bravo, the exhibition first opened in February 2017 at the History, Anthropology and Art Museum, University of Puerto Rico, Río Piedras Campus. The show suffered a temporary closure after the strike of Hurricane Maria in September 2017, reopening in December that year and inspiring timely conversations about the humanitarian consequences of this tragic event. 

Artist Statement

ANAIDA HERNÁNDEZ

 Anaida Hernandez is a contemporary multimedia artist. Born and raised in Puerto Rico,                

Anaida's work is characterized by addressing human rights issues: femicide, migration, environment, identity and coloniality. Anaida Hernández's research-based practice investigates the intersections of history, material culture and politics through a wide range of media that include painting, sculpture, printmaking, installations and documentaries, among others. Anaida is considered by art critics as one of the pioneers in addressing the issue of violence against women  in contemporary Caribbean and Latin American art. ¹ Until death do us part, 1994, is a memorial installation, an icon of Hernández's work where the artist reminds us of the femicides in Puerto Rico, when Law 54 on Domestic Violence was signed in 1989. 

Anaida considers herself a builder and painter attracted by archaeology, mythology, dreams and symbols. The textures of Anaida's paintings exemplify the inventive technique found in her work. Hernández experiments with multiple materials to perfect her artistic creation techniques with unique results. These provide the basis for her to cover her canvases with a plaster that Hernández calls Concretexturas and with which she "empañeta" his canvases and creates light and resistant surfaces. This plaster is composed of multiple materials such as cement, sand, lime, marble powder, mineral and natural pigments, brick powder and fiberglass. 

Anaida Hernández challenges and seeks to break the limits of art, translating her experience and sensations through a variety of processes. Hernández is influenced by the Situationists and the art of ancient cultures. And in the creative process she uses fundamental concepts such as Chance, Drift and  Fortuitous Encounters which she calls  Anaida 's  ADEF (Azar Deriva Encuentro Fortuito)  .  

Hernández democratizes art with her pieces by looking for new approaches and tactics to break with the social and institutional divisions that separate art from everyday life. As an important component and strategy, Anaida invites the public to participate in a physical interaction with the work through the artistic activity of the game 2.

Anaida considers her work as Affective Conceptual Art, conceptual in idea and affective in image.

Anaida Hernández lives and works in San Juan, Puerto Rico. She is currently working on a series of large-scale paintings and pictorial sculptures. In this series, Anaida considers nature and the landscape as a code to decipher the riddles of identity, power and colonialism that provoke a subtle but powerful visualization of the ecological crisis of the neocolonial landscape .

1  Quiñones Otal, Emilia (2015 ) , "Transversality between patriarchal violence and colonial violence inthe arts of Puerto Rico". Journal of the Puerto Rican Institute (111):162-169.p. 167.

2  Anaida Hernandez: Illegal games/Illegal games

Documental José R. Alicea, grabador/ papelero, pajarero - Dirección Anaida Hernández

Estreno en el Teatro Raúl Julía en el Museo de Arte de Puerto Rico, San Juan, PR.

Titulo: José R. Alicea, grabador, papelero, pajarero

Productora Ejecutiva: Teresa Tió

Dirección y producción: Anaida Hernández

Tiempo: 23 minutos de duración

Fecha:  Estreno el 6 de agosto de 2021

Lugar: Teatro Raúl Juliá, Museo de Arte de Puerto Rico, San Juan, Puerto Rico

Una producción de Rumbo Cultural 

José R. Alicea, grabador, papelero, pajarero, es un documental sobre la vida y obra del artista grabador puertorriqueño, José R. Alicea.

Enlace: Periódico El Vocero

https://www.elvocero.com/escenario/cine/documental-recoge-vida-y-obra-de-jos-r-

alicea/article_7bde4f8c-fa19-11eb-b6d0-7b1dc3e386cb.html

Por Jorge Rodriguez, Periódico El Vocero

Ese fascinante juego del vuelo de las aves, la política, la mujer, las costumbres del barrio Bélgica de

Ponce que plasma su visión plástica en grabados y las relaciones que recrea con la poesía y la literatura, podrán gozarse en la proyección del documental José R. Alicéa, grabador, papelero, pajarero, dirigido por la artista plástica Anaida Hernández y producido por la curadora y crítica de arte Teresa Tió Fernández.

Ese fascinante juego del vuelo de las aves, la política, la mujer, las costumbres del barrio Bélgica de Ponce, donde se desarrolló al son de plenas y bombas callejeras, así como su manera de crear el papel en el que plasma su visión plástica en grabados y las relaciones que recrea con la poesía y la literatura, podrán gozarse en la proyección del documental José R. Alicéa, grabador, papelero, pajarero y producido por la artista plástica Anaida Hernández y en la producción general por la curadora y crítica de arte Teresa Tió Fernández. El proyecto surge después de la presentación del libro antológico de su obra José R. Alicéa, grabador, papelero, pajarero, con la participación de Flavia Marichal Lugo, directora del Museo de Historia, Antropología, y Arte (MHAA) de la Universidad de Puerto Rico en Río Piedras. Con 23 minutos de duración, en el rodaje, que discurrió entre Ponce, Río Piedras, Carolina, Cabo Rojo, el Museo de Las Américas y el MHAA, participaron además Brenda Hopkins Miranda en la música original y Dominique Riofrío en la edición, “Nuestro país apenas conoce el arte de nuestros creadores plásticos. Divulgar la obra gráfica del arte de José Alicéa, representativo de la mejor tradición del grabado en Puerto Rico y América, es abrir las puertas a un mundo de imaginación y creatividad. El artista se convierte en narrador de su historia personal, que extiende al colectivo su experiencia vital. El documental tiene como propósito ilustrar el proceso creativo del artista, la búsqueda de imágenes significativas, las técnicas gráficas desarrolladas por él, la fabricación de papel, el papel fundido, entre otras”, expresó por su parte, la productora Anaida Hernández.

Taller de Pintura Experimental

Taller de Pintura Experimental

Clases de pintura experimental liderada por la artista en multimedios, Anaida Hernández. 

A falta pan, galleta. Exposición Grupo TaPiEx. Sin taller ni prensa para imprimir Improvisación con impresiones monotipos con frutas, vegetales durante la pandemia

Exposición de pintura del grupo de artistas mujeres Las TaPiEx

Museo y librería La Casa del Libro les invita a la apertura, en modalidad presencial de la exposición.

“A falta de pan, galleta”, el miércoles 30 de junio, a las 7:00 de la noche en la sede del museo biblioteca, en la Calle del Santo Cristo 255 en el Viejo San Juan. 

La exposición destaca el trabajo de un grupo de mujeres artistas que durante el encierro pandémico se reunieron vía digital desde distintos países, guiadas por la experimentada artista plástica y profesora Anaida Hernández. Debido a la falta de acceso a materiales tradicionales de grabado, sin taller ni prensa para imprimir, improvisaron con los ingredientes disponibles en sus cocinas creando así monotipos con frutas y vegetales como la zanahoria, el brócoli, la papa, gelatina y glicerina que fueron seguidos de impresos con materiales obtenidos de la naturaleza o reciclados. Así surgió la iniciativa “art print sin prensa” que las llevó a descubrir y expresar, a través del grabado, sus talentos y creatividad. A medida que los materiales de arte se hacían accesibles incorporaron yeso, linóleo y madera. 

Experimental painting - Las Tapie - with women group art classes at Printmaking Center

1st SESSION 2020 of 8 classes, 
starting on Friday, January 24, 2020

Note: CANCEL NEXT SESSIONS TO JUNE

Every Friday
Hours: 1-5 pm
Place: Printmaking Center and Art Book - Old Carnegie Library, Puerta de Tierra, San Juan, Puerto Rico
Artist and professor: Anaida Hernández
Telephone: 718-810-3999
E-mail: anaidahernandez@gmail

Price: $300.00

Women show Las Tapie, Review by Jorge Rodriguez, El Vocero newspaper, september, 2019

Las TaPiE Group Show with Anaida Hernandez, Capitol of Puerto Rico - TALLER DE PINTURA EXPERIMENTAL , September 2020

·  
         Exposición del Taller de Pintura Experimental - Grupo Las Tapie

Capitolio de Puerto Rico, septiembre 2019.

NEW YORK TIMES by William Zimmer - Lehman College Art Gallery, Bronx, NY

ART; One Show Ponders a Cause and the Other Reviews a Heritage

By WILLIAM ZIMMER

Published: April 19, 1998

THE Lehman College Art Gallery is divided into neat halves, and for the current exhibition the separation is specifically useful. Each half contains an elaborate installation, which is markedly different in temperament and rhythm from the other. ''Till Death Do Us Part'' by Anaida Hernandez is fraught with urgency, while ''A Town Portrait'' by Maria Magdalena Campos-Pons is a remembrance of things past.

Ms. Hernandez, who is from Puerto Rico, was moved to make her work by threatened changes to a 1990 law in her country, which made domestic violence a crime. In an interview with the gallery director, Susan Hoeltzel, Ms. Hernandez said many politicians had been accused under the law. With the help of a journalist who gained access to police records, Ms. Hernandez found the names, ages and dates of death of 100 women killed by their husbands between 1990 and 1993. These facts are handwritten in a florid script at the base of the installation.

The main part of the work is a large grid with basically a horizontal orientation. It is composed of shallow boxes standing upright, which are modeled after those ubiquitous boxes containing flowers or other mementoes from mourners in cemeteries in San Juan where burial is above ground. But Ms. Hernandez has instead painted on the bottom of each black box brightly colored imagery that addresses the fragmentation caused by domestic violence.

One saying declares that sometimes a public sacrifice is necessary. The families of some victims were reluctant to have a case made public, but Ms. Hernandez, who showed the work first in a public building in San Juan, felt that such a blatant illustration was the only way to preserve the domestic violence law.

Art created to serve a political cause often emphasizes rhetoric over any quality that can emotionally affect the viewer. Ms. Hernandez makes sure her installation has a subtle and lasting impact by making her symbols and their execution lively enough to keep the viewer's eye moving around the work to let the artist's intentions sink in. She seems to have a playful bent, which leavens her harsh messages: an ancillary piece, ''Crucigrama,'' is an outsize crossword puzzle having roughly the same format as the major work. The letters in the squares, each made by hand and having an original twist, form intersecting Spanish words that refer to domestic violence. In a glass case is a large book of stories, which Ms. Hernandez illustrated. The stories are about relationships between the sexes and are sometimes bawdy. It is reassuring to discover that this artist on a mission can see beyond the wreckage.

MOSAIC AND PAINTING PROJECTS by Anaida Hernández

Artist: Anaida Hernández
Nombre obra: Flotando

Year: 2006 Dimensions: 6 x 9 feet Medium: Glass mosaic Byzantine style. Project commissioned by Ms. Mayra López Mulero. Made in the bottom of the pool and another in a garden wall. Handmade in the artist's studio in NYC.

Artist: Anaida Hernández

Nombre obra: Corazón mujer

Year: 2006 Dimensions: 5x4 feet Medium: Acrylic painting / linen

CADA 7 DÍAS OTRA MUJER ES ASESINADA

EXPOSICIÓN DE PINTURAS - GRUPO Las TaPiE

En el Capitolio, San Juan, Puerto Rico
Las TaPiE, grupo de mujeres 
Organizado por Sylvia Villafañe, Galería Petrus

Las Tapie: Celene Cestero, Carmen Balsa, Marianela Sorasio, Marie-Noelle Ces, Sandra Levy, Naydie Bragan, Viviana Santiago y Nisa Alcín

Reseña en el periódico el Vocero de Puerto Rico por Jorge Rodriguez, septiembre 2019  

Taller de Pintura Experimental con Anaida Hernández El miércoles, 18 de septiembre de 2019, a las 5:00 p. m., en la Sala Tous Soto del Capitolio de Puerto Rico se presentará una muestra colectiva diferente: Las TaPie. 

Se trata del trabajo de ocho mujeres talentosas y profesionales destacadas en diversos campos, quienes se han unido para expresar a través de la pintura su talento y creatividad. La mayoría de ellas son residentes de Guaynabo, Puerto Rico.

Bajo el nombre de Las TaPiE, el grupo está compuesto por Celene Cestero, Viviana Santiago, Marianela Sorasio, Nisa Alcín, Carmen Balsa, Naydie Bragan, Marie-Noelle Ces y Sandra Levy, quienes lideradas por la reconocida artista contemporánea y profesora Anaida Hernández, unieron sus deseos de explorar desde diferentes perspectivas, su amor por el arte bajo el nombre de Las TaPiE (sigla del Taller de Pintura Experimental).

PETICIONES, 1997 - 2019 en el Museo MUSA, RUM, Mayagúez y en el Capitolio de Puerto Rico

Instalación interactiva de 100 esculturas-pinturas, que se adapta en su forma según los espacios en que la habita desde el 1997.

En el museo MUSA, Universidad de Puerto Rico, Recinto de Mayagüez, Puerto Rico.
Desde el 12 de septiembre de 2019. Selección de 60 de 100 esculturas-pinturas;  en el contexto de la exposición Legado y contemporaneidad: La herencia artística del RUM que conmemora 50 años del Departamento de Humanidades.

Enlace:
https://www.uprm.edu/portada/2019/10/04/ellegadoartisticodelrum/

http://puertoricoposts.com/educacion/exhiben-el-legado-artistico-de-egresados-del-recinto-universitario-de-mayaguez-en-musa/

Vista en el museo MUSA, Recinto Universitario de Mayagüez, UPR, Puerto Rico, 2019. En el piso, acrílico pintado sobre madera, tierra, cinta adhesiva, espejos y otros objetos. 9 pies de diámetro.

En el Capitolio de Puerto Rico

Desde el 18 de septiembre de 2019. Selección de 32 de 100 esculturas-pinturas, en el contexto de la exposición Grupo de mujeres Las TaPiE, Taller de Pintura Experimental con Anaida Hernández

Vista en la galería Soto, Capitolio de Puerto Rico, 2019. En pared, 32 imágenes de palomas, acrílico y dorado sobre madera. 7 pies de diámetro.

Explora nociones sobre la imaginación y la realidad. 
Imagina y pide tus deseos que serán cumplidos

Según investigaciones neurocientíficas el cerebro no diferencia entre lo que ve y lo que imagina porque las mismas redes neuronales están implicadas; para el cerebro es tan real lo que ve como lo que imagina y siente. En Peticiones, imagina tu realidad, se invita al espectador a imaginar un deseo, escribirlo en un papel y colocarlo entre los dedos de las esculturas. Estos deseos se convertirán en realidad partiendo de la premisa, que todos somos creadores de nuestra propia realidad. Todo lo que vemos a nuestro alrededor alguna vez fue imaginado.

Advertencia: 

Cuidado con lo que imagines y escribas porque lo que pidas, será materializado

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