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Just Launched: ArquetopiaSUMMER 2017 Special International Program. Apply Now thru Wednesday, November 30, 2016

ArquetopiaSUMMER 2017

SPECIAL 3-IN-1 INTERNATIONAL SUMMER ACADEMIC PROGRAM
INCLUDES NOVOHISPANIC GRAPHIC ARTS TECHNIQUE INSTRUCTION AND
SELF-DIRECTED ART PRODUCTION

Program Session Dates: June 5 to July 17, 2017
Apply Now through Wednesday, November 30 
E-mail Chris at info@arquetopia.org to request complete program info.

 
NEW! Full Program Itinerary and Schedule of Events Posted Below

Arquetopias flagship residency program: ArquetopiaSUMMER 2017 will focus on the relationship between individual art practices and the visual history of violence. How is the discourse of violence institutionalized? How is violence affecting art production systems and influencing art markets? How has violence become an important part of the visual history of Mexico? How is the normalization of violence through aesthetic principles critical to understand intention and representation?
SUMMER2016

 

ArquetopiaSUMMER 2017 Special International Summer Academic Program (with Novohispanic Graphic Arts and Mural Art technique instruction, and self-directed Art Production) is a prestigious 6-week critical program that offers competitive professional opportunities for local and international emerging and mid-career artists, curators, art historians, and students age 23 and over.

This unique program offers critical methodologies to diverse art practices, exploring how violence is constructed through the language of aesthetics. The goal is to provide tools to understand visualities and gestures in art, while identifying institutional trivilization of intention, and representation in visual expression. Through the program, participants will conceptualize their art by engaging their practice in critical discussions. One of the central goals is to contextualize historical and contemporary articulations regarding the language of visual violence. The seminars and tours included in the program will explore the role of aesthetics in the construction of Mexico’s visual history and its categorization in the context of global visual culture. The program will also put into context the role of cultural institutions, such as museums and galleries, in the production of meaning through objects, social relations, and art consumption. Through hands-on workshops in collaboration with the Museum of Art of the Former Convent of Santa Monica, participants will have the opportunity to expand their art practice by exploring the artistic connections between the baroque graphic arts and the Novohispanic mural painting tradition.
   Special Guest Scholars, Artists-in-Residence, and Arquetopia Staff

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ArquetopiaSUMMER 2017 PROGRAM INCLUSIONS
This program includes 27 seminar hours; 9 hours of individual and collective critiques; guided tours and visits to prominent museums in Puebla, independent galleries, and relevant sites. The program also includes a 27-hour hands-on art workshop instructed by a master conservator, exploring the artistic dimensions of the baroque printmaking tradition and Novohispanic mural art techniques. Activities are designed to promote intense creative work and artistic dialogue; therefore, artists are expected to allocate self-directed studio hours as part of their weekly schedule. 

Renowned international art historians, artists, and master restorers facilitate the dialogues, individual and collective critiques, seminars, and workshops. Seminars are conducted in English. Workshop instruction is in Spanish or English. Participants produce work in our partnered studio at one of Mexicos most important art museums, in Puebla’s majestic central historic district.

ArquetopiaSUMMER 2017 SPECIAL GUEST SCHOLARS AND INSTRUCTORS
kpbKIRSTEN BUICK
 
Kirsten Pai Buick, Ph.D. specializes in American art, focusing her research on African-American art, the impact of race and gender on the history of art, representations of the American landscape, and the history of women as patrons and collectors of the arts. She has advanced scholarship of the work of numerous African-American artists through publications including the first book-length examination of the life and career of 19th-century sculptor Mary Edmonia Lewis. Buick is a tenured, full professor at the University of New Mexico, where she has taught for more than 15 years. She earned her bachelor’s degree in art history and Italian literature in 1985 from the University of Chicago. She earned her master’s and doctorate degrees in art history from the University of Michigan. Buick has published extensively on African-American art. Her book Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject was published by Duke University Press, and her second book, In Authenticity: ‘Kara Walker’ and the Eidetics of Racism, is currently in progress. Her published articles include studies on the work of artists including Daniel Coburn, Patrick Nagatani, Joseph Delaney, Aaron Douglas, Horace Pippin, and Kehinde Wiley. Buick has earned numerous academic, professional, and scholarly awards and grants including the Driskell Prize, Smithsonian American Art Museum’s Predoctoral Fellowship, the Charles Gaius Bolin Fellowship at Williams College, CAA Professional Development Fellowship in Art History, Rhoades Foundation Visiting Lectureship, and the UNM University Libraries Faculty Acknowledgement Award.
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ANNETTE RODRÍGUEZ
Annette Rodríguez, Ph.D. received her doctorate in American Studies at Brown University in 2016. In 2015, Rodríguez was presented the 18th annual Catherine Prelinger Award by the Coordinating Council for Women in History for her scholarly and professional contributions to women in history, and for educating young women to pursue careers in the historical profession. In July of 2016, Rodríguez was selected as a winner of the Dixon First Amendment Award for her efforts on behalf of students, faculty and staff in New Mexico higher education. She has previously been selected as a National Graduate Fellow by the Law and Society Association, a Latino Museum Studies Program Fellow at the Smithsonian Institute, the George I. Sanchez Fellow at the Center for Southwest Research, and a Graduate Fellow at the Office of the New Mexico State Historian. Rodríguez has acted as an instructor at Brown University, the University of New Mexico, Northern New Mexico College, and Santa Fe Community College. She concentrates her work on perennial racist violences in the United States as communicating events that construct and reinforce ideologies and hierarchies of race, gender, citizenship, and national belonging.
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FRANCISCO GUEVARA
 
Francisco Guevara is a visual artist and curator specializing in creating projects using contemporary art to promote Development by designing alternative models of social entrepreneurship for human development. He graduated with the degree of University Expert in Management and Planning of Development Cooperation Projects in the Fields of Education, Science and Culture from the Universidad Nacional de Estudios a Distancia (UNED) in Madrid, Spain, in coordination with the Organization of Latin American States for Education, Science and Culture (OEI). He also received his postgraduate degree in Cultural Management and Communication from the Latin American Faculty of Social Sciences (FLACSO) in Buenos Aires, Argentina. He joined the Race, Gender and the Historiographies of Art Seminar at the University of New Mexico in 2009 to incorporate into his curatorial projects a broader understanding of identity in the local and international context. His work and projects emphasize the role of contemporary art practices as a tool for social change. His experience covers international projects including: intangible heritage, public art, exhibits and visual arts education. As an artist he has researched, studied and worked exploring the connection between food, rituals of eating and collective identity. He is Co-Founder and Co-Executive Director of Arquetopia Foundation for Development.
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EMMANUEL ORTEGA
Emmanuel Ortega is a curator and a doctoral candidate in Ibero-American colonial art history at the University of New Mexico. He is an adjunct instructor in the Department of Art and Art History at the University of Nevada Las Vegas. Since 2007, he has investigated images of violence in the Novohispanic context. For his master thesis, Ortega investigated images involving public performances organized by the Novohispanic Inquisition. For his Ph.D. dissertation, Ortega researches visual representations of the New Mexico Pueblo peoples in Novohispanic Franciscan martyr paintings. He has contributed several entries for the Khan Academy website and the Arizona Center for Medieval and Renaissance Studies online bulletin. He has presented his work in the XXXVI Annual Colloquium of Art History organized by the Universidad Autonoma de Mexico, 2012, the College of Art Association and American Studies Association in 2015. Also, in 2015, Ortega partnered with the Museo de Arte Religioso Ex-Convento de Santa Mónica in Puebla, México to curate two art exhibitions based on recently restored paintings from the museum’s permanent collection.
Master Conservator Barbara Lara in Novohispanic Sculpture session with Artists-in-Residence Tiana Mincey (USA) and Zhu Xiaoqing (China)
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ArquetopiaSUMMER 2017 PROGRAM ITINERARY AND SCHEDULE OF EVENTS
Week 1
The first week of the program will serve as an introduction to Arquetopia’s methodologies. We will welcome art historian Dr. Annette Rodríguez, who will teach the first seminar exploring how violence constructs and reinforces ideologies and heirarchies of race, gender, citizenship, and national belonging. This first week will include self-directed art production hours and an introduction to historical and artistic connections between Novohispanic graphic arts and mural painting traditions. In addition, individual art critique sessions will help participants establish overall goals. The first tour of Mapping the City will focus on ritualized violence.
  • Seminar with Annette Rodríguez (9 hours)
  • Self-directed art production time (12 hours, approx.)
  • Introduction to Novohispanic Graphic Arts and mural painting traditions (9 hours)
  • Individual art critique
  • Mapping the City: Ritualized Violence
Week 2
The second week will focus on the diversity of art practices, collective critique, and in the assessment of conceptual needs for each individual project. Furthermore, we will be sourcing out materials for production. For this reason, the time allocated for self-directed art production will be increased during this week, allowing participants an exploration of their themes and projects independently. Art instruction is included in the second week, which will place a particular emphasis on Novohispanic Graphic Arts techniques. Lastly, the second Mapping the City tour will focus on violence through visual culture.
  • Self-directed art production time (18 hours, approx.)
  • Novohispanic Graphic Arts Techniques Workshop (9 hours)
  • Collective art critique
  • Mapping the City: Violence through Visual Culture
Week 3
During the third week, we will introduce participants to the complex mural tradition reflecting an amalgam of art techniques that produced a very rich visual culture. Studio hours will remain the same, allowing artists to continue their production. Art instruction will focus on Novohispanic mural painting techniques, and individual critiques will allow participants to assess their progress. Mapping the City will focus on exploring the Mesoamerican and Novohispanic mural tradition, including Cholula and Casa del Dean.
  • Self-directed art production (18 hours, approx.)
  • Novohispanic Mural Painting Techniques Workshop (9 hours)
  • Individual critique
  • Mapping the City: Exploring the Mural Tradition
Week 4
The fourth week will focus on contemporary art case studies as examples of discourse on violence and its normalization in art. Studio hours will continue the same, while collective critique will serve as feedback for the individual art practices. Mapping the City will focus on Mexico and Pueblas contemporary art scene, including studio visits and an artist talk.
  • Self-directed art production (18 hours, approx.)
  • Collective critique
  • Mapping the City: Contemporary Violence
Week 5
For the fifth week, we will welcome art historian Emmanuel Ortega who will teach a seminar on violence and the stratification of artistic practices. With the main purpose of challenging hierarchies that negatively impact the production of art and art history to this day, the seminar will also focus on the construction of national identity. This seminar also includes guided visits to relevant sites in order to further contextualize colonial art practices. Participants will continue to produce in the studio and have individual critiques. The activities and tours will include baroque architecture and other relevant sites.
  • Seminar with Emmanuel Ortega
  • Self-directed art production (18 hours, approx.)
  • Individual critique
  • Mapping the City: Violence and National Identity
Week 6
For the sixth and final week, we will welcome art historian Dr. Kirsten Buick, who will teach a master class on the aesthetics of violence and the writing of art history. Through a series of case studies, participants will explore how artists, art historians, critics, and the public construct meaning through objects and how we frame, at various times race, gender, sexuality, and class through visual expression. For the final critique, participants will present the results of their residency and collectively review the diverse processes. A farewell dinner for all ArquetopiaSUMMER 2017 participants will be held during this week.
  • Master class with Kirsten Buick
  • Self-directed art production (18 hours, approx.)
  • Final collective critique
  • Farewell dinner
Special Guest Scholars, Artists-in-Residence, Arquetopia staff, and Arquetopia studio spaces

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ArquetopiaSUMMER 2017 SPECIAL VENUE
The Museum of Art of the Former Convent of Santa Monica is one of Mexicos most prominent religious and colonial art museums. Its collections were formed in the 1930s with artwork from the 16th through 17th centuries including some of the greatest artists of the New Spain such as Juan Correa, Miguel Cabrera, Miguel Jerónimo de Zendejas, and Lorenzo Zendejas, among others. The museum also records monastic life in different periods of history, from everyday life to religious rituals.

RESIDENCY LOCATION

Arquetopia Puebla Our spectacular 1939 compound in Pueblas majestic central historic district

RESIDENCY DURATION / TIME PERIOD
Term of 6 weeks. Dates for this program are fixed, from Monday, June 5 to Monday, July 17, 2017.

WHAT THIS RESIDENCY INCLUDES
Staff Support:
  • Each resident meets weekly with our staff for individualized research assistance/resources, project guidance, and critiques
Accommodation and Meals:
  • Furnished, private bedroom
  • Meals and 24-hour access to the kitchen and dining room
  • Wireless Internet
  • Use of Arquetopias residency spaces including 4th-floor lounge and outdoor terraces
  • Shared bathrooms with modern fixtures and showers
  • Housekeeping
Studio Workspace:
  • 24-hour access to large and bright, shared art studio with generous natural light
  • Personal workspace with large table and wall space
  • Some tools provided
  • Equipped darkroom provided for photographers
  • Materials and supplies for the instructional course provided
  • Materials and supplies for additional project production not included but available for purchase locally
RESIDENCY FEE AND APPLICATION DEADLINES
E-mail Chris at info@arquetopia.org

SUMMER2016

Open Call: Self-Directed and Instructional Artist and Writers Residencies Winter/Spring Sessions (January through April) 2017

Now Welcoming Applications for All
Self-Directed and Instructional Residency Programs
Winter/Spring Sessions (January through April) 2017

E-mail Chris at info@arquetopia.org

Our committee processes all residency applications
when they are received vs. after the deadline has passed.

Self-Directed Residencies for Artists,
Art Historians, Writers, and Researchers
Click on each item below for program info. Click here to apply.
ArtDesignProduction2017b copy Ceramics3 copy
Printmaking2017 5 copy Educators2 copy
ArtHistory copy Writers2017 2 copy

Artist Residencies with Master Technique Instruction
Click on each item below for program info. Click here to apply.
NaturalPigments2017 copy Weaving2017 2 copy
Embroidery2016 copy Tapestry2017 copy
GoldLeafProduction2017 3 copy Novohispanic2017 4 copy

Now Welcoming Priority Applications for Day of the Dead 2016 and Winter/Spring 2017 Residencies

P1180849 - Version 2 copy 5For a limited time, we are now welcoming priority applications for Day of the Dead 2016 and Winter/Spring 2017 (and a few other spots in Fall 2016).

New Open Calls and Deadlines

E-mail Chris ASAP at info@arquetopia.org

Act Fast: Apply Now for ARQUETOPIASummer 2016 Special International Summer Academic Program

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Missed the January 31 Deadline?
to request a brief extension.

Scroll Down for Full Program Itinerary and Schedule of Events

Arquetopia’s flagship residency program: ARQUETOPIASummer 2016 will focus on the relationship between the individual art practice and transnational mobility. How do global patterns affect local realities? How is the process of artmaking affected and influenced by encounters with foreign contexts? How is the artist-in-residence experience critical to understand intention and representation?

Special Guest Scholar and Lecturer-in-Residence Kirsten Buick (USA) with program participant in individualized session; Special Guest Scholar and Lecturer-in-Residence Emmanuel Ortega (USA) and program participants
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ARQUETOPIASummer 2016 Special International Summer Academic Program (with self-directed Art Production) is a prestigious 6-week critical program that offers competitive professional opportunities for local and international students, emerging and mid-career artists, curators, and art historians age 23 and over.

This unique program offers critical methodologies to diverse art practices, exploring how artists construct meaning through objects, relations, and actions. The goal is to provide tools to understand methodologies, visualities, and gestures in art while identifying institutional trivialization of intention, and representation in visual expression. Through the program, participants will conceptualize their art by engaging and their art practice in critical discussions with a complex perspective on visual language. The program will also put into context the relevance of Latin America in global art practices as a region that historically has influenced art production and its circulation worldwide. Participants will also have a chance to place their art practice in a historical context, having the opportunity to consult with a conservation museum expert on the technical improvement of their artistic practice and potential relevant conservation challenges.

Artists-in-Residence Yen-Lin Kong (Singapore), Matthew Schlagbaum (USA), Jeffery Herrity (USA), and Ling Chun (Hong Kong)

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ARQUETOPIASummer 2016 PROGRAM INCLUSIONS
This program includes 27 seminar hours; 9 hours of individual and collective critiques; guided tours and visits to prominent museums in Puebla, independent galleries, and relevant sites. The program also includes a professional consultation and conservation assessment of the participants work, and a 3-hour conservation workshop related to the assessment. Activities are designed to promote intense creative work and artistic dialogue; therefore, artists are expected to allocate self-directed studio hours as part of their weekly schedule.

Renowned international art historians, artists, and master restorers facilitate the dialogues, individual and collective critiques, seminars, and workshops. Seminars are conducted in English. Workshop instruction is in English or Spanish. Participants produce work in our partnered studio at one of Mexico’s most important art museums, in Puebla’s majestic central historic district.

ARQUETOPIASummer 2016 SPECIAL GUEST SCHOLARS AND INSTRUCTORS
KPBKIRSTEN BUICK
 
Kirsten Pai Buick, Ph.D. specializes in American art, focusing her research on African-American art, the impact of race and gender on the history of art, representations of the American landscape, and the history of women as patrons and collectors of the arts. She has advanced scholarship of the work of numerous African-American artists through publications including the first book-length examination of the life and career of 19th-century sculptor Mary Edmonia Lewis. Buick is a tenured associate professor at the University of New Mexico, where she has taught for more than 14 years. She earned her bachelor’s degree in art history and Italian literature in 1985 from the University of Chicago. She earned her master’s and doctorate degrees in art history from the University of Michigan. Buick has published extensively on African-American art. Her book Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject was published by Duke University Press, and her second book, In Authenticity: ‘Kara Walker’ and the Eidetics of Racism, is currently in progress. Her published articles include studies on the work of artists including Daniel Coburn, Patrick Nagatani, Joseph Delaney, Aaron Douglas, Horace Pippin, and Kehinde Wiley. Buick has earned numerous academic, professional, and scholarly awards and grants including the Driskell Prize, Smithsonian American Art Museum’s Predoctoral Fellowship, the Charles Gaius Bolin Fellowship at Williams College, CAA Professional Development Fellowship in Art History, Rhoades Foundation Visiting Lectureship, and the UNM University Libraries Faculty Acknowledgement Award.
KC

KENCY CORNEJO
 
Kency Cornejo, Ph.D. is a scholar of modern and contemporary Latin American art history with a specialization in Central America and its diaspora. She obtained her Ph.D. from Duke University and holds an MA from UT Austin and a BA from UCLA. Her research and teaching interests center on the intersection between race, gender and coloniality and the resulting decolonial methodologies, visualities and gestures in art. Topics she explores include creative responses to femicide, immigration, prisons, captivity, transnationalism, gangs, and indigenous rights and epistemologies. She especially theorizes decolonial methodologies as manifested in performance art, conceptual art, installation, and new media in the Americas. Currently, she is working on her first book manuscript based on her dissertation Visual Disobedience: The Geopolitics of Experimental Art in Central America, 1990-Present. She is a recipient of the Fulbright-Hays DDRA and the Ford Dissertation Fellowship, among others, and has presented her work throughout the U.S., Central America, Mexico and Brazil.
 
FJGRFRANCISCO GUEVARA
 
Francisco Guevara is a visual artist and curator specializing in creating projects using contemporary art to promote Development by designing alternative models of social entrepreneurship for human development. He graduated with the degree of University Expert in Management and Planning of Development Cooperation Projects in the Fields of Education, Science and Culture from the Universidad Nacional de Estudios a Distancia (UNED) in Madrid, Spain, in coordination with the Organization of Latin American States for Education, Science and Culture (OEI). He also received his postgraduate degree in Cultural Management and Communication from the Latin American Faculty of Social Sciences (FLACSO) in Buenos Aires, Argentina. He joined the Race, Gender and the Historiographies of Art Seminar at the University of New Mexico in 2009 to incorporate into his curatorial projects a broader understanding of identity in the local and international context. His work and projects emphasize the role of contemporary art practices as a tool for social change. His experience covers international projects including: intangible heritage, public art, exhibits and visual arts education. As an artist he has researched, studied and worked exploring the connection between food, rituals of eating and collective identity. He is Co-Founder and Co-Executive Director of Arquetopia Foundation for Development.
EOEMMANUEL ORTEGA
Emmanuel Ortega is a curator and a doctoral candidate in Ibero-American colonial art history at the University of New Mexico. He is an adjunct instructor in the Department of Art and Art History at the University of Nevada Las Vegas. Since 2007, he has investigated images of violence in the Novohispanic context. For his master thesis, Ortega investigated images involving public performances organized by the Novohispanic Inquisition. For his Ph.D. dissertation, Ortega researches visual representations of the New Mexico Pueblo peoples in Novohispanic Franciscan martyr paintings. He has contributed several entries for the Khan Academy website and the Arizona Center for Medieval and Renaissance Studies online bulletin. He has presented his work in the XXXVI Annual Colloquium of Art History organized by the Universidad Autonoma de Mexico, 2012, the College of Art Association and American Studies Association in 2015. Also, in 2015, Ortega partnered with the Museo de Arte Religioso Ex-Convento de Santa Mónica in Puebla, México to curate two art exhibitions based on recently restored paintings from the museum’s permanent collection. 
ARQUETOPIASummer 2016 PROGRAM ITINERARY AND SCHEDULE OF EVENTS 

Week 1
The first week of the program will serve as an introduction to Arquetopia’s methodologies. We will welcome art historian Dr. Kency Cornejo, who will teach the first seminar exploring how violence, modernity, imperialism, and colonialism resonate with contemporary art practices. This first week will include self-directed art production hours and an introduction to Novohispanic art techniques. In addition, individual art critique sessions will help participants establish overall goals. The first tour of Mapping the City will focus on art and power.
  • Seminar with Kency Cornejo (9 hours)
  • Self-directed art production time (12 hours, approx.)
  • Introduction to Novohispanic Art Techniques (6 hours)
  • Individual art critique
  • Mapping the City: Art and Power
Week 2
The second week will focus on the diversity of art practices, collective critique, and in the assessment of conceptual needs for each individual project. Furthermore, we will be sourcing out materials for production. For this reason, the time allocated for self-directed art production will be increased during this week, thus allowing participants an exploration of their themes and projects independently. Art instruction is included in the second week, which will place a particular emphasis on Novohispanic painting techniques. Lastly, the second Mapping the City tour will focus on material popular culture.
  • Self-directed art production time (18 hours, approx.)
  • Novohispanic Painting Workshop (6 hours)
  • Collective art critique
  • Mapping the City: Popular Material Culture
Week 3
During the third week, we will introduce participants to the local art scene. Studio hours will remain the same, allowing artists to continue their production. Art instruction will focus on Novohispanic sculpture techniques, and individual critiques will allow participants to assess their progress. Mapping the City will focus on Puebla’s contemporary art scene, including studio visits and an artist talk.
  • Self-directed art production (18 hours, approx.)
  • Novohispanic Sculpture Workshop 6 hours
  • Individual critique
  • Mapping the City: The Local Art Scene
Week 4
The fourth week will focus on the importance of native culture in the development of the arts, and how its influence became relevant beyond the Americas. Studio hours will continue the same, while collective critique will serve as feedback for the individual art practices. Mapping the City will include a visit to the Cholula archeological site, relevant museums, and a sampling of Mesoamerican ingredients, recipes and cooking techniques.
  • Self-directed art production (18 hours, approx.)
  • Collective critique
  • Mapping the City: República de Indios
Week 5
For the fifth week, we will welcome art historian Emmanuel Ortega who will teach a seminar on stratification of artistic practices. With the main purpose of challenging hierarchies that negatively impact the production of art and art history to this day, the seminar will also include guided visits to relevant sites in order to further contextualize colonial art practices. Participants will continue to produce in the studio, and have individual critiques. The activities and tours will include baroque architecture and relevant sites.
  • Seminar with Emmanuel Ortega
  • Self-directed art production (18 hours, approx.)
  • Individual critique
  • Mapping the City: Stratification of Art Practices and the Baroque
Week 6
For the sixth and final week, we will welcome art historian Dr. Kirsten Buick, who will teach a seminar on the impact of gender, race and class in the production and writing of art history. Through a series of case studies, participants will explore how artists, art historians, critics, and the public construct meaning through objects and how we frame, at various times race, gender, sexuality, and class through visual expression. For the final critique, participants will present the results of their residency and collectively review the diverse processes. A farewell dinner for all ARQUETOPIASummer 2016 participants will be held during this week.
  • Seminar with Kirsten Buick
  • Self-directed art production (18 hours, approx.)
  • Final collective critique
  • Farewell dinner
ARQUETOPIASummer 2016 SPECIAL VENUE 
Museo de Arte Ex Convento de Santa Mónica is one of Mexico’s most prominent religious and colonial art museums. Its collections were formed in the 1930s with artwork from the 16th through 17th centuries including some of the greatest artists of the New Spain such as Juan Correa, Miguel Cabrera, Miguel Jerónimo de Zendejas, and Lorenzo Zendejas, among others. The museum also records monastic life in different periods of history, from everyday life to religious rituals.

RESIDENCY DURATION / TIME PERIOD
Term of 6 weeks. Dates for this program are fixed, from Monday, June 6 to Monday, July 18, 2016.

RESIDENCY FEE AND INCLUSIONS
Residency Fee: USD $795 per week (USD $4,770 total for the 6 weeks). In addition to the full program above, the residency fee covers accommodation, meals, utilities and housekeeping, weekly meetings with guidance and assistance from our staff, studio space, and some tools. For self-directed residencies, artists bring their own materials and supplies or obtain them locally.
Staff Support:
All Arquetopia residencies include weekly individual meetings with our staff for research assistance, project guidance, and critiques.
Accommodation and Meals:
Furnished, private bedrooms and use of Arquetopia’s residency space including wireless Internet, lounge areas, kitchen, dining room, outdoor terraces, and shared bathrooms with modern fixtures and showers are provided. Meals, open access to the kitchen, and housekeeping are included.
Studio Workspace:
Large and bright, shared art studio is provided with personal workspace, large tables, and some tools. Equipped darkroom provided for photographers. Artists bring their own materials and supplies or obtain them locally.

Questions: E-mail info@arquetopia.org for more information about this phenomenal program.

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Winter Holidays 2015 at Arquetopia in Puebla, Southern Mexico

Especially for everyone who was not able to come visit us in person this season. Winter holidays 2015 at Arquetopia in the central historic district of Puebla, Mexico. Happy New Year to you and yours!xmas1P1130191P1130158 - Version 2P1130304P1130293

Day of the Dead Artist Residencies 2015 – Puebla or Oaxaca, Mexico

dotdELIGIBILITY: emerging and mid-career, national and international artists and designers age 25 and over.
DEADLINE: Apply Now Through Monday, August 24, 2015.

Visit our website at www.arquetopia.org to view both of our spectacular new residency spaces in Puebla and Oaxaca.

E-mail us at info@arquetopia.org for more info or to apply.

Create and participate in southern Mexico’s spectacular Day of the Dead celebrations in the extraordinary multicultural kaleidoscopes of Puebla or Oaxaca. This residency is offered at a term of 5 or 6 weeks, starting on September 28 or October 5, 2015. Self-directed and instructional residencies eligible.

THE DAY OF THE DEAD
As practiced by the indigenous communities of Mexico, el Día de los Muertos (Day of the Dead) commemorates the transitory return to Earth of deceased relatives and loved ones. The festivities take place each year at the end of October to the beginning of November. This period also marks the completion of the annual cycle of cultivation of maize, the country’s predominant food crop. Families facilitate the return of the souls to Earth by laying flower petals, candles and offerings along the path leading from the cemetery to their homes. The deceased’s favorite dishes are prepared and placed around the home shrine and the tomb alongside flowers and typical handicrafts, such as paper cut-outs. Great care is taken with all aspects of the preparations, for it is believed that the dead are capable of bringing prosperity (e.g. an abundant maize harvest) or misfortune (e.g. illness, accidents, financial difficulties) upon their families depending on how satisfactorily the rituals are executed. The dead are divided into several categories according to cause of death, age, sex and, in some cases, profession. A specific day of worship, determined by these categories, is designated for each deceased person. This encounter between the living and the dead affirms the role of the individual within society and contributes to reinforcing the political and social status of Mexico’s indigenous communities. –Inscribed in 2008 on the Representative List of the Intangible Cultural Heritage of Humanity (originally proclaimed by UNESCO in 2003).

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Artist-in-Residence Ingrid Mesquita (Canada)

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Artist-in-Residence and Arquetopia Synergy Award 2015 Recipient Ellen Bepp (USA)

Arquetopia’s Spectacular New Castle in Puebla’s Central Historic District!

Exterior preview of Arquetopia's spectacular new home in the central historic district of Puebla, southern Mexico.

Exterior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

NEW SLIDE SHOW!  A preview of Arquetopia’s spectacular new, permanent home for 2015: a 1939 Colonial Mexican California-style castle in the central historic district of Puebla, Mexico. Currently under an artful revamp, the incredible artist residency will include ten artist bedrooms; spacious, natural-light studios; a natural-light art gallery; a classroom; a printmaking studio; a photography darkroom; a natural pigments lab; an indoor/outdoor dining facility; furnished outdoor terraces; gardens; a library; and a small retail store.

Arquetopia is now accepting applications for all of our Puebla and Oaxaca artist residencies in 2015.  View our main website at www.arquetopia.org for more information, and e-mail us at info@arquetopia.org to apply.

An exterior preview of Arquetopia's beautiful new home.

Exterior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

An exterior preview of Arquetopia's beautiful new home.

Exterior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

An exterior preview of Arquetopia's new home.

Exterior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

An exterior preview of Arquetopia's new home.

Exterior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

Exterior preview of Arquetopia's spectacular new home in the central historic district of Puebla, southern Mexico.

Exterior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

Exterior preview of Arquetopia's spectacular new home in the central historic district of Puebla, southern Mexico.

Exterior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

Exterior preview of Arquetopia's spectacular new home in the central historic district of Puebla, southern Mexico.

Exterior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

Exterior preview of Arquetopia's spectacular new home in the central historic district of Puebla, southern Mexico.

Exterior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

    Interior preview of Arquetopia's spectacular new home in the central historic district of Puebla, southern Mexico.

Interior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

Interior preview of Arquetopia's spectacular new home in the central historic district of Puebla, southern Mexico.

Interior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

Interior preview of Arquetopia's spectacular new home in the central historic district of Puebla, southern Mexico.

Interior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

Interior preview of Arquetopia's spectacular new home in the central historic district of Puebla, southern Mexico.

Interior preview of Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.

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The Puebla Cathedral and other landmarks comprise this downtown view from Arquetopia’s spectacular new home in the central historic district of Puebla, southern Mexico.