INDEPENDENT CURATORS INTERNATIONAL
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Recipient of the 2019 CPPC Travel Award for Central American and the Caribbean

Posted on March 27, 2019

Image: Alberto Galvan


The Colección Patricia Phelps de Cisneros (CPPC) and Independent Curators International (ICI) announce Pablo José Ramirez as the recipient of the 2019 CPPC Travel Award for Central America and the Caribbean.

Pablo José Ramirez (b.1982 Xela, Guatemala) has been selected as the sixth recipient of the CPPC Travel Award for Central America and the Caribbean. The award supports a contemporary art curator based anywhere in the world to travel to regions in Central America and the Caribbean to conduct research related to art and cultural activities, generating new collaborations with artists, curators, museums, and cultural centers within regional networks.

Starting this Spring, Pablo José Ramirez will travel to Saint Vincent and the Grenadines, Roatán Island in Honduras, Belize, and Livingston Island in Guatemala to learn about the history and culture of Garifuna. Ramirez’s investigative proposal exists in three parts: The construction of what is understood as ethnicity and race from the history of the Garifuna people and their visual and performative culture, the relationship between colonialism, creation and resilience, and the study of movement in which the nomadism between the Caribbean and Central America allowed certain encounters between Mesoamerican indigenous cultures and Hispanic mestizo cultures in the region.

Pablo José Ramirez’s proposal was selected between 76 applications from 32 different countries. The selection was made by a jury of professionals that includes: Mónica Espinel (Independent Curator and Writer, New York), Karen Grimson (Curatorial Assistant for the Department of Drawings and Prints at The Museum of Modern Art, New York), Julián Sánchez González (PhD student in Art History at Columbia University). In their selection, the jury considered the immediate and the long-term benefits and impact of each proposal for the places, institutions and artists visited, as well as projects that favor new understandings and readings of the artistic production of the region.

In selecting his research proposal the jury chair, Mónica Espinel stated: “Pablo José Ramirez presented a compelling proposal that seeks to reenact the voyages that led to the creation of mixed ancestry Garifuna enclaves in the Caribbean and Central America, including trips to St. Vincent and the Grenadines, Belize, Guatemala, and Honduras. We believe Ramirez’s desire to research the historical conditions and nomadism that led to the development of the Garifuna’s material culture and performance will bring much-needed attention to ethnic and racial considerations that resulted in the formation of present-day and traditional Garifuna culture.”

Pablo José Ramírez is a curator, art writer and cultural theorist. He holds an MA in Contemporary Art Theory from Goldsmiths, University of London. He has published extensively and has been member of different curatorial advisory boards and juries for institutions such as Gasworks, The Visible Award, MADC, TEOR/ética, Colección Patricia Phelps de Cisneros among others. Ramirez is the former Artistic Director at Ciudad de la Imaginación (Quezaltenango, Guatemala, 2010-2014). Following that, he has been working internationally as independent curator and researcher. Currently Ramirez is working on a project for Tate Modern related to sound and community, to be commissioned by Tate Exchange for 2019- 2020. In 2015 he co-curated with Cecilia Fajardo-Hill, Anabella Acevedo and Rosina Cazali the 19th Bienal de Arte Paiz (Guatemala City, Guatemala) and is the Co-founder and Artistic Director of the curatorial experimental journal Infrasonica, to be launched in 2019.


Jury Bios:

Mónica Espinel: (b. Bogota, Colombia) is an independent curator and writer based in New York. She is the editor of Carmen Herrera’s catalogue raisonné, in progress. Selected curatorial projects include Black Milk: Theories on Suicide, Marvelli (2004), Then & Now: Abstraction in Latin American Art, Deutsche Bank (2010), Memory Leaks, Creon (2010), Rituals of Chaos, Bronx Museum of the Arts (2012), The Skin I Live In, Curatorial Lab, SP-Arte (2013) and Hybrid Topographies - Encounters from Latin America, Deutsche Bank (2018). She holds a B.S. in Psychology from Florida International University, Miami and an M.A. in Art History from Hunter College, New York. She participated in seminars such as ICI’s Curating Context, Instituto Inhotim; 13th Istanbul Biennial, Mom Am I a Barbarian, Istanbul; and the Gwangju Biennale International Curator Course, Gwangju, Korea. Her writing has been featured in artist catalogues and ArtNexus, Arte al Dia, Flash Art and Artforum.com.

Karen Grimson is a Curatorial Assistant in the Department of Drawings and Prints at The Museum of Modern Art, where she works primarily on exhibitions and acquisition proposals of art from Latin America overseen by Inés Katzenstein. After completing her Art History degree at the University of Buenos Aires (UBA, Argentina), Karen joined MoMA’s Department of Drawings in 2011, and has since been involved in organizing the following exhibitions: Alina Szapocznikow: Sculpture Undone, 1955-1972; Mike Kelley; Joaquín Torres- García: The Arcadian Modern; and Tarsila do Amaral: Inventing Modern Art in Brazil. She currently manages the Latin American and Caribbean Fund, a committee devoted to supporting cross-departmental acquisitions of art from the region, and is working on the forthcoming exhibition Sur moderno: Journeys of Abstraction—The Patricia Phelps de Cisneros Gift.

Julián Sánchez González is a Ph.D. Student in Art History at Columbia University. He holds an M.A. in Art History from NYU’s Institute of Fine Arts, and a double B.A. in History and Political Science from the Universidad de los Andes in Bogotá. His broader academic interests investigate the relationship between self-taught and trained art in the development of Global Modernisms during the second half of the twentieth century as well as the Black Atlantic Diaspora. His current research project analyzes the influence of alternative spiritual practices in art production from 1970s Latin America and the Caribbean. Previously, Mr. Sánchez worked with the Museos de Arte y Numismática del Banco de la República in Bogotá and the Art Museum of the Americas – Organization of American States in Washington, D.C. His writing has been published by the Museum of Modern Art (MoMA), the Patricia Phelps de Cisneros Collection, Oxford Art Online, and the Universidad Jorge Tadeo Lozano in Bogotá. His work has been generously supported by the Fulbright Program, the Ministerio de Cultura de Colombia, and the Fundación COLFUTURO



ABOUT THE COLECCIÓN PATRICIA PHELPS DE CISNEROS
The Colección Patricia Phelps de Cisneros (CPPC) was founded in the 1970s by Patricia Phelps de Cisneros and Gustavo A. Cisneros and is one of the core cultural and educational initiatives of the Fundacíon Cisneros. Based in New York City and Caracas, the CPPC’s mission is to promote scholarship and enhance appreciation of the diversity, sophistication, and range of art from Latin America. The CPPC achieves these goals through the preservation, presentation, and study of the material culture of the Ibero-American world - ranging from the ethnographic to the contemporary. The CPPC’s activities include exhibitions, public programs, publications, grants for scholarly research and artistic production. The CPPC’s website (http://www.coleccioncisneros.org) offers a platform for debate concerning the contributions of Latin America to the world of art and culture.


CPPC


La Colección Patricia Phelps de Cisneros (CPPC) y Independent Curators International (ICI) anuncian a Pablo José Ramírez como ganador de la Beca CPPC para viajes de investigación en Centroamérica y el Caribe.

Pablo José Ramírez (b.1982 Xela, Guatemala) ha sido seleccionado como el acreedor de la sexta Beca CPPC para viajes de investigación curatorial en Centroamérica y el Caribe. La beca apoya a un/a curador/a de arte contemporáneo residiendo en cualquier parte del mundo para viajar a regiones de Centroamérica y el Caribe y realizar investigaciones relacionadas con el arte y las actividades culturales, generando nuevas colaboraciones con artistas, curadores, museos y centros culturales dentro en la región.

A partir de esta primavera, Pablo José Ramírez viajará a San Vicente y las Granadinas, a la isla de Roatán en Honduras, a Belice y a la isla de Livingston en Guatemala para investigar sobre la historia y la cultura de Garifuna. La propuesta de investigación de Ramírez se divide en tres partes: la construcción de lo que se entiende como etnicidad y raza a partir de la historia del pueblo garífuna y su cultura visual y performativa, la relación entre colonialismo, creación y resiliencia, y el estudio del movimiento, en el que el nomadismo entre el Caribe y Centroamérica permitió el encuentro entre las culturas indígenas mesoamericanas y las culturas mestizas hispánicas en la región.

La propuesta de Pablo José Ramírez fue seleccionada entre 76 solicitudes de 32 países. La selección fue hecha por un jurado de profesionales que incluyó a Mónica Espinel (curadora independiente y escritora, Nueva York), Karen Grimson (Asistente curatorial del Departamento de Dibujos y Grabados del Museo de Arte Moderno de Nueva York) y Julián Sánchez González (Estudiante de doctorado en Historia del Arte en la Universidad de Columbia). En su selección, el jurado consideró los beneficios y el impacto inmediatos y a largo plazo que cada propuesta traería a los lugares, instituciones y artistas visitados, así como proyectos que favorezcan nuevos entendimientos y lecturas de la producción artística de la región.

Al seleccionar su propuesta de investigación, la presidenta del jurado, Mónica Espinel, declaró: “Pablo José Ramírez presentó una propuesta convincente que busca recrear los viajes que llevaron a la creación de enclaves garífuna de ascendencia mixta en el Caribe y América Central, incluidos los viajes a San Vicente y las Granadinas, Belice, Guatemala y Honduras. Creemos que el deseo de Ramírez de investigar las condiciones históricas y el nomadismo que condujeron al desarrollo de la cultura material y el desempeño de los garífunas llamará la atención a las consideraciones étnicas y raciales que dieron lugar a la formación de la cultura garífuna actual y tradicional”.

Pablo José Ramírez es curador, escritor de arte y teórico cultural. Tiene una maestría en Teoría del Arte Contemporáneo por Goldsmiths, University of London. Ha publicado numerosos artículos y ha sido miembro de diferentes consejos curatoriales y jurados de instituciones como Gasworks, The Visible Award, MADC, TEOR/ética, la Colección Patricia Phelps de Cisneros, entre otros. Ramírez es el exdirector artístico de Ciudad de la Imaginación (Quezaltenango, Guatemala, 2010-2014). En años recientes ha trabajado internacionalmente como curador e investigador independiente. Actualmente, Ramírez está trabajando en un proyecto para Tate Modern relacionado con el sonido y la comunidad, que será comisionado por Tate Exchange para realizarse en 2019-2020. En 2015 co-curó con Cecilia Fajardo-Hill, Anabella Acevedo y Rosina Cazali, en la 19 Bienal de Arte Paiz (Ciudad de Guatemala, Guatemala) y es cofundador y director artístico de la revista experimental curatorial Infrasonica, que se lanzará en 2019.

SOBRE LA COLECCIÓN PATRICIA PHELPS DE CISNEROS
La Colección Patricia Phelps de Cisneros (CPPC) fue fundada en la década de 1970 por Patricia Phelps de Cisneros y Gustavo A. Cisneros y es una de las principales iniciativas culturales y educativas de la Fundación Cisneros. Su hija, Adriana Cisneros de Griffin, es la presidenta de la Fundación Cisneros, y Gabriel Pérez-Barreiro es el director y curador jefe de la CPPC. Con sede en Caracas y Nueva York, la misión de la CPPC es promover una mayor apreciación de la diversidad, sofisticación y variedad del arte de América Latina, así como el estudio del arte latinoamericano. La CPPC alcanza estos objetivos a través de la preservación, presentación y estudio de la cultura material de Iberoamérica, desde lo etnográfico hasta lo contemporáneo. Las actividades de la CPPC incluyen exposiciones, programas públicos, publicaciones, becas para la investigación académica y la producción artística. El sitio web de la colección (www.coleccioncisneros.org) fue creado para ofrecer una plataforma de debate sobre las contribuciones de América Latina al mundo del arte y la cultura.

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