2005. ARTISTS / INTERVENTIONS / LINKS
Compañía de Caracas Espacio Móvil www.angelabonadies.comwww.maggynavarro.com
Colectivo Tercerunquinto www.tercerunquinto.org
Fernando Baena Familias encontradashttp://www.fernandobaena.com/
Henry Eric Hernández García Zona vigilada
José Dávila Mirador Nómada
María Alos + Nicolás Dumit El museo peatonal www.longwoodarts.org/artists/nicolas www.idensitat.org/dumit/dumitcalaf.html
Óscar Lloveras Sin títulohttp://oscarlloveras.com/
Raimond Chaves El río, las cosas que pasan www.puiqui.com www.lascosasquepasan.net Rebekka Reich + Anne Lorenz Taxi Madrid www.rebekkareich.dewww.annelorenz.ch www.taximadrid.com Simon Greenan + Christopher Sperandio Soy Madrid www.kartoonkings.com www.soymadrid.com
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2005. TV2 / Metrópolis (Madrid Abierto)
Video report about the Madrid Abierto´s 2005 Edition made and broadcast by Metropolis on TV2
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2005. María Alos + Nicolás Dumit. MUSEO PEATONAL ( didactic text and cassette)
The Passer-by Museum uses a didactic text and cassette to inform the potential donators of its philosophy and how it offers its services.
The Passerby MuseumThe Passerby Museum is an itinerant institution dedicated to presenting temporary exhibitions in different locations throughout the city. The museum draws its collection from donations from people like you, those who visit, work or live where it is in operation at any given time. The Passerby Museum serves as a physical marker, recording the presence of its collaborators in the neighborhood.
The museum is currently accepting donations for this site. We therefore encourage you to contribute to this in-progress exhibition with an object of your own. Anonymity of the donor will be preserved upon request. For inquiries and assistance, please see one of the members of our curatorial department. All of the objects donated will become the property of The Passerby Museum.
We thank you for your interest.
******
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2005. Nicolas Dumit Estevez + Linda Mary Montano. HOPE, 2011
HOPE, 2011A three-day performanceLinda Mary Montano and Nicolas Dumit Estevez made themselves available for three days as walking billboards on which individuals and groups from different Bronx neighborhoods wrote their hopes]
Photos: Alex Villaluz© 2011 Montano/Estevez
.................................................................................................................................................................................................................................................................................................Nicolas Dumit EstevezBRONX HOPES: FROM RIVERDALE TO HUNTS POINT
Linda Mary Montano has the gift of purging art of any of the unnecessary frills that might prevent it from overlapping with life. She strips her ideas to the bare bone, while my tendency is the opposite. Nonetheless, given our unique visions and particular approaches to art and life, several months ago we both found ways to agree to spend three days in my hometown, the Bronx, inviting people in the borough to share their hopes with us. Our day one of the performance: Riverdale. I am hesitant to travel from Longwood in the south, South Bronx to a fancy community closer to Manhattan than to my neighborhood. However, I feel responsible for faithfully following our pre-planned performance schedule. Linda and I ride with a taxi driver who does not have a clear picture of our exact destination. Riverdale seems so far removed from Longwood. In Riverdale, you have the impression of things being almost perfect, so there is not a single candy wrapper on the sidewalks. We spend an hour in this part of the Bronx in conversation with a thoughtful host who brings Arabs and Jews together for breaking bread. Linda and I leave the place with two brown bags containing falafels and with several hopes written on our backs. On the number 1 train we meet a group of teenagers and a handful of adults who inscribe their hopes on our clothes. At the Hub, a few blocks before reaching home, we encounter a passerby named Boobie. She writes on both of our hoodies. I vividly remember the woman in a wheelchair, not too far from where we meet Bobbie, who asks Linda to spell for her: “I hope to get my kids back.” In St. Mary’s Park, Linda and I unpack our falafels and eat them as we talk about hope.
Our day two of the performance: Riverdale: West Farms Road and the Grand Concourse. Linda speaks with a group of students at an intermediate school about the subject of our quest: hope. The class is half-asleep, but eventually the children interject our questions with answers. A sick boy, who is comforted by a young teacher, regains his health surprisingly quickly. He smiles and joins the discussion. Children think twice before writing on our clothes, but soon enough they overcome their hesitation, as the adults in the room invite them to venture into art-life, to live a moment artfully, to break rules. On the other hand, while extremely polite, the staff at the school looks at the twins in white, Linda and I, with suspicion. Linda’s orange wig disrupts their monotonous, clerical routine. Art flirts with productivity. Later that same day, seniors at a building not too far from the Zoo wait for us in a small room. As a result of some miscommunication, they expect us to give them t-shirts on which they can paint. Instead, they meet a middle-aged man and a woman of their own age who initiate a conversation on hope. The dialogue becomes heated as some of the seniors voice their thoughts about the lack of jobs for young people and the government’s interests in building jails instead of improving the economy. I promise one of them that I will spread the word about her request to get free tickets for the group to attend a play at a Bronx theater. I translate for six seniors called Las Comadres, the Godmothers. They write their hopes on our clothing in Spanish. Traveling from the seniors place in West Farms to Longwood, we watch a rowdy group of teens spill out onto the street outside the McDonald’s at the Prospect subway stop. We exit the scene swiftly. The police patrol the corner.
Our last visit that evening is to a Muslim Center on the Grand Concourse. Angelika Rinnhofer, one of my former students at the Transart Institute comes from upstate New York to watch the performance. Shoes off. Linda and I climb up the stairs to meet some of the members. Some of the hopes they write match those written by many others, like “peace,” or address common needs in the borough: “Keep the Bronx Clean and Safe.” I ask myself whether these should be a hope or a right. We live in one of the wealthiest cities in the world, the Bronx included. The chanting on the lower floor counteracts the weight we carry on our clothes: so many hopes.
Our day three of the performance: Hunts Point. A Community Development Corporation called The Point offers us a place where we are able to engage people at a women’s health festival. What a blissful ending. Linda and I meet inspiring teens, graffiti artists and a friendly chef. We eat arroz con gandules and drink lemonade. We step outdoors where a man in a van stops to write his hope on my sleeve. Linda gets several tags on her legs before leaving the scene, and the Bronx, for good. I cross the Bruckner full of hopes spelled on my legs, arms and hoodie. One of my shoes reads “courage.” The performance ends, yet people’s hopes outlive our three-day action. Linda, I hope that you come back to the Bronx. Thank your for your mentorship and for three unforgettable days where art and life met.
Nicolás Dumit
.................................................................................................................................................................................................................................................................................................Linda Mary MontanoWRITING HOPE IN THE BRONX What a great opportunity! A chance to be a transgressive twin again, this time not with a rope but with HOPE, binding me invisibly and happily to Nicolas Dumit Estevez for 3 days, 3 hours a day in his Bronx.
About 6 months ago, Nicolas invited me to help him celebrate his incorporation into Bronxdom and I suggested we perform a "HOPE/PIECE/PEACE". This is not the time or place to suggest the 563,000 reasons why hope is our most valuable personal, political, social commodity so I defer to conceptual art reasons to explain why my first idea referenced recycled plastic bags.... I said to Nicolas, "Let's stand on the streets, 3 hours a day, for 3 days and let folks write their hopes on plastic bags with markers. Then we hang the bags in the gallery." It seemed like a good concept coming from an ex-nun who had sworn herself to poverty and simplicity, right?
We agreed and then a few months later he contacted me, we talked and he said, "Do you want to scan the HOPES written on bags and show the scans instead of plastic bags?" Nicolas's sweet voice can convince me of anything and I let go of the simple, green, bag endurance and we agreed. Scan the bags. It seemed like an aesthetic and good fix and raised the level of plastic to fine art, even though it did involve technology, paper and a larger time commitment. And then a few months later we talked and Nicolas raised the bar! "Let's let them write their hopes on us," he said. "We can wear white clothes!!!!" So in the tradition of our art mentors: Manzoni, Klein, Yoko Ono, Shirin Neshat and a litany of others; in the tradition of the cave painting ritual of signage as symbol, we ventured into Bronx-land and endured while wearing our white art suits. And as walking, talking, transgressing, living sculptures we invited elders, African Muslims, 12 year old school children, folks on the streets, subways, taxis and buses to STOP! DREAM! SHARE LIFE AND HOPE outside the traumas of the daily news and our individual unimaginably complex everyday dramas. Nicolas, we play good art/life together,
TO ALL WHO ATTEND THE OPENING /OR READ THIS STATEMENT: I am attending the opening invisibly and I invite you to collaborate with me by: WHISPERING YOUR HOPE TO THE AIR.
Linda Mary Montano
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2005. Nicolás Dumit. BORN AGAIN, 2011
BORN AGAIN, 2011A Lebanese-Dominican Dominican York is born again as a Bronxite, 2011Bronx-wide social sculpture and public ceremony
Born Again is a Bronx-wide participatory, social sculpture dealing with the perceptions and misperceptions that attempt to define the Bronx’s identity at home and abroad.Emphasis is given to the South Bronx, the place I call home. In Born Again, I invite Bronx residents to use me as the canvas on which they can symbolically and physically construct, deconstruct and/or re-construct their own ideas of a Bronxite: whatever this means to them.
Eight artists were commissioned to develop interactive projects with specific communities in the South Bronx in mind, ranging from teenagers groups to senior citizens centers.
My Baptism with the Water of the Bronx River
On April 6th, 2011, I invited William Aguado and Susan Fleminger to baptize me as a Bronxite with the water of the Bronx River. The Ceremony was officiated by Martha Wilson. Flower girls Aisha Rose Howie and Aida Celeste García Howie.
This baptism was a rite of passage that marked my transition from Lebanese-Dominican to Dominican York (a Dominican who had settled permanently in New York City) and my birth/rebirth as a Bronxite.
Born Again: A Lebanese-Dominican Dominican York is born again as a Bronxite, was conceived by Nicolas Dumit Estevez for Longwood Art Gallery/ Bronx Council on the Arts and presented with collaborating organizations, including Bronx River Alliance, El Museo del Barrio, Banana Kelly High School, Lehman College Art Gallery, two programs from Phipps Community Development Corporation: Drew Gardens and La Casa de Felicidad, and THE POINT CDC, among others.
.................................................................................................................................................................................................................................................................................................BORN AGAIN, 2011A Lebanese-Dominican Dominican York is born again as a Bronxite, 2011Bronx-wide social sculpture and public ceremony
Photos: Alex Villaluz© 2011 Nicolas Dumit Estevez
Baptismal procession: William Aguado, padrino and Susan Fleminger, madrina. Ceremony officiated by Martha Wilson. Flower girls Aisha Rose Howie and Aida Celeste García Howie
Nicolas’ Baptism as a Bronxite
Baptism. Left to right: Susan Fleminger, madrina; Nicolas Dumit Estevez and William Aguado, padrino
Martha Wilson, presiding, undressing Nicolas
Reception
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2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, CLAREMONT, CALIFORNA, 2008
.........................................................................................................................................................................................................................................................EXHIBITION, CLAREMONT MUSEUM OF ART
.........................................................................................................................................................................................................................................................INTERVENTION
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2005. María Alos + Nicolás Dumit. MUSEO PEATONAL, EL ZÓCALO, PUEBLA, MÉXICO, 2006
EL ZÓCALO, PUEBLA, MÉXICO, 2006Documental intervention in Puebla as a part of Plataforma Puebla
.........................................................................................................................................................................................................................................................EXHIBITION
.........................................................................................................................................................................................................................................................INTERVENTION
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2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (technical data)
DESCRIPTION OF THE ASSEMBLY SYSTEM AND TECHNICAL REQUIREMENTS
The Pedestrian Museum requires a showcase type of space with access to the street, located in a busy public or commercial area. The showcases’ size could be flexible (preferably the size of a shop window) for part of our philosophy is to adjust to any given space and integrate it in an already existent context. The showcases’ interior will be structured as a “white box”, emulating the typical white gallery.
In the external part of the showcase a logo will be installed, with the museum’s philosophy, made in adherent vinyl, easily removable. The audio (with the same text) will be amplified towards the exterior through two computer horns connected to a CD player, located inside the space. For security reasons, these horns will be removed during the closing hours.
PRODUCTION AND ASSEMBLY
Numbered donation sheets (2000 sheets)1000 plastic baggies (ziplock) sandwich size1000 cork studs1000 small labels for laser printingCD PlayerHornsVinyl posters2 UniformsDry cleaner’s for uniformsPaint and other materialsElectric wiresWork assistantsInstallationSpecific space
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2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (location)
Pº de Recoletos, uneven sidewalk, Telefónica´s shop, near Colon square
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2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (theoretical data)
PHILOSOPHY OF A NOMAD ORGANIZATION
The Pedestrian Museum is an itinerant institution dedicated to present temporary exhibitions in different areas of New York City and in other urban environments in and out of USA. The museum’s collection comes from the donations that visitors, workers or neighbours give.
FORMAT
Interactive intervention/installation located in the urban environment:
This institution works like an intervention/installation of a specific type that uses busy pedestrian areas; ideally, spaces in buildings that have access to the street, located in public and/or commercial areas of the city. The institution’s interest is to preserve the presence of pedestrians in a specific location due to a collection that is formed once the donators provide the most varied of personal objects, souvenirs and relics. The museum itself materializes together with the objective of the project, during the assembly of the received articles. The donation process is free of charge and the objects are collected, classified, packed and then exhibited. The transactions take place in the street where the museum is installed, taking advantage of the constant flux of people that go from one place to another. This institution’s staff is made up of artists themselves, that are presented to the public (wearing dark blue suits and white shirts) pretending to be curators, guardians of the museum, museologists and installers. In this way, the working hierarchy in cultural organizations is examined.
AUDIO/TEXT TRANSCRIPTION
“The Pedestrian Museum is an itinerant institution dedicated to present temporary exhibitions in different areas of New York City and in other urban environments in and out of USA. The museum’s collection comes from the donations that visitors, workers or neighbours give. The Pedestrian Museum is a physical expression that reflects, through donations, the spirit of the place in which it is located.
The museum is currently accepting donations for this space. Therefore, we invite you to jointly support us, providing an object owned by you. If you wish to remain anonymous as donator, please ask so at the moment of the contribution. For any further information please contact the staff. Every object, from that moment on, will belong to the Pedestrian Museum. Thank you for your cooperation”.
OPEN ROUTE TO THE PEDESTRIAN MUSEUM
In 2001 the Pedestrian Museum opens its doors to the busy 42nd street of New York, in the heart of Times Square, invited by the Chashama organization. That same year, the institution is transferred for three months to the zero zone, where the World Trade Centre used to be, as a part of Looking In, an exhibition organized by the Lower Manhattan Cultural Council. In early 2004, with the support of the Longwood Art Gallery and the Bronx Council of the Arts, the Pedestrian Museum establishes itself in the Bronx district. Currently the institution is transferring to Mexico City. Invited by MUCA Rome, the Pedestrian Museum will install itself in the University Campus (UNAM) for a month.
We hope to have the opportunity of continuing with our itinerary in other cities, including Madrid, with Madrid Abierto, taking advantage of the flux of visitors that go to ARCO 2005.
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2005. María Alos + Nicolás Dumit. MUSEO PEATONAL (published text)
The Passer-by Museum is a travelling institution which organises temporary exhibitions in built up urban areas. The museum´s collection comprises objects donated by those who visit it, or by people who work or live in the area in which the museum is set up at any particular time.
The aim of the institution is to preserve the physical presence of the pedestrians in a certain location through a collection which constantly comes together and grows as the donators bring a personal belonging to add to it. The museum, as such, materialises into a museum during the assembly of the acquired objects. It is free to donate objects, and the donated articles are collected, listed on an inventory, packed and then put on exhibition. These transactions (donations) take place on the street where the museum is situated, thus taking advantage of the constant traffic of pedestrians who are going from one part of the city to another. The personnel of this institution is made up of artists who present themselves to the public, dressed in navy blue suits and white shirts, acting out the rôles of curators, museum guards, museologists and technicians. Thus, the actual labour hierarchy of cultural organisations is on show.
To highlight its institutional image, The Passer-by Museum uses a didactic text and cassette to inform the potential donators of its philosophy and how it offers its services.
THE MUSEUM´S MISSION
“The Passer-by Museum is a travelling institution which organises temporary exhibitions in different areas of a city. The museum´s collections come from donations from people just like you, those who visit it, work or live near the museum´s location at a particular time. Through the donations collected, The Passer-by Museum is the physical expression of the spirit of the district it´s located in. The museum is currently accepting donations for this space. This is why we ask you to join our effort and contribute by donating any personal object you own. If you prefer to remain anonymous in your donation, please state this when giving your contribution. For any further information, please don´t hesitate to contact the institution´s personnel. All objects donated to the Passer-by Museum shall become the full property of the same. Thank you for your cooperation”.
HISTORY OF THE PASSER-BY MUSEUM
The Passer-by Museum, founded in 2002, opened its doors on 42nd Street in New York in the heart of Times Square. That same year, the institution moved to the zone of the disappeared World Trade Center for three months as a part of “Looking In”, an exhibition organised by the Lower Manhattan Cultural Council. In early 2004, with the backing of the Longwood Art Gallery and the Bronx Council of the Arts, it set up in the Bronx for two months. During August and September 2004, The Passer-by Museum/El Museo Peatonal, moved to Mexico City where it set up in various different locations of the UNAM University Campus(Universidad Nacional Autónoma de México), sponsored by the UNAM Visual Arts Department and the MUCA Rome.
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2005. María Alos + Nicolás Dumit (Cv)
MARÍA ALÓSCAMBRIDGE, MASSACHUSETTS, USA, 1973LIVES AND WORKS IN MÉXICO D.F
NICOLÁS DUMIT ESTEVEZ SANTIAGO DE LOS TREINTA CABALLEROS, REPÚBLICA DOMINICANA, 1967LIVES AND WORKS IN NEW YORK WWW.IDENSITAT.NET
WORK EXPOSED IN MADRID ABIERTO: EL MUSEO PEATONAL
MARÍA ALÓSEDUCATION2000· MFA, Art Photography. Art Media Studies Department, Universidad de Siracusa, Nueva York.
1998· Public Art and Urban Identities. Instituto Americano de Fotografía. Tisch School of the Arts. Universidad de Nueva York.
1995· Computer Graphics. Diploma Program. Unidad de Posgrado de la Escuela de Diseño del Instituto Nacional de Bellas Artes, Ciudad de Méjico.
1994· Fotografía. Escuela Activa de Fotografía , Ciudad de Méjico.
1993· Fotografía. Escuela de Artes Visuales. Nueva York.
SOLO EXHIBITIONS2004· Incognito: D.F. Collection. nm projects . Galería Nina Menocal, Ciudad de Méjico· The Passerby Museum . Proyecto de arte público en UNAM. Ciudad de Méjico· FYI: The Passerby Museum . Window Project. La Lunchonette, Nueva York
2001· Incognito . Artists Space. Nueva York
2000· Come Play . Spark Gallery. Syracuse, Nueva York
1999· In Bloom . Gallery 120. Syracuse, Nueva York· Open . Gallery 120. Syracuse, Nueva York
1998· Alter Ego y Ot ros Cuerpos . Centro Médico Nacional Siglo XXI. Fotoseptiembre 98', Ciudad de Méjico· The Giantess. Gallery 120. Syracuse, Nueva York
1997· El Ojo . Gallery 120. Syracuse, Nueva York
GROUP EXHIBITIONS 2004· El Secreto esta en la masa . Cold Creations, Barcelona· El Museo Peatonal e Indagaciones sobre la Colección MUCA CU . MUCA Roma, Ciudad de Méjico· ASAP . Daimler Chrysler Building. Bordermates, Ciudad de Méjico· Resistencia III SITAC . Teatro de los Insurgentes, Ciudad de Méjico· Rehearsed . Longwood Arts Gallery, Bronx, Nueva York· Collect/Recollect . ObjectNotFound Project Room. San Pedro, Nuevo Leon, Méjico· Sunday Anxieties . Local Project, Nueva York
2003· MHN.02 Modificaciones . Museo de Historia Natural, Ciudad de Méjico.· La participación fue suspendida se desinstaló la obra tres horas antes de la inauguración. Ver documentación en www.origina.com.mx/mhn· GO! Liquidación Total, Madrid· Sexta Bienal de Video y Nuevos Medios, Santiago, Chile· PrettyThingsPretty . Canzine Festival Programme, Toronto· The Trespassers . Lyonswier Gallery, Nueva York· Crossings : Artistic and Curatorial Practice. CAA 2003 Conference, Hilton Hotel, Nueva York· Vertical Video . The Folsom Library Gallery, Rensselaer Polytechnic Institute, Troy, Nueva York· Egeszsegedre . BPM Performance Space. Nueva York· The Love a Commuter Project 2003 . Performance en estación de metro. El Museo del Barrio, Nueva York
· Windows @ 42nd Street . Performance. Chashama, Nueva York
· Circles and Squares . Jaraf Video @45 Below, Bleeker Theater, Nueva York
2000· 2000 Everson Biennial . Everson Museum of Art, Syracuse, Nueva York· Master of Fine Arts Exhibition . Joe and Emily Lowe Gallery, Syracuse University, Nueva York· The Fruit Show . Gallery 120, Syracuse, Nueva York· Re-opening Show . Spark gallery, Syracuse, Nueva York· Second Year Graduates Exhibition. Coyne Gallery, Syracuse University, Nueva York· Women Art & Change . Wescott Community Center, Syracuse, Nueva York· Media Blitz . Joe and Emily Lowe Gallery, Syracuse University, Nueva York· Show-Show. Good Earth Café, Syracuse, Nueva York
1998· Summer Show . Joe and Emily Lowe Gallery, Syracuse University, Nueva York· National Graduate Seminar. Gulf & Western Gallery. Tisch School of the Arts, New York University
1997· Art Photography Graduate Exhibition . Shaffer Art Building, Syracuse University, Nueva York
GRANTS AND AWARDS2002· Beca Proyecto Independiente. Artists Space.
2001· Premio ‘Best of Show' de eMotion Pictures: An Exhibition of Orthopaedics in Art. American Academy of Orthopedic Surgeons.
2000· Programa ‘Artists in the Marketplace'. The Bronx Museum of the Arts.
1999–00· Beca 3er curso. Universidad de Siracusa.· Beca de verano. Universidad de Siracusa.· Beca Investigación/Proyecto Creativo. Universidad de Siracusa.
1998· American Photography Institute-National Graduate Seminar Fellowship. Tisch School of the Arts, New York University· Syracuse University Teaching Assistantship and Scholarship
1997· Syracuse University Scholarship
BIBLIOGRAPHY· Perea, Barbara. ‘ASAP'. Arte Contexto, Madrid· Mallet, Ana Elena. ‘nmprojects: María Alós'. DF Magazine nº27. Ciudad de Méjico· Oriard, Andres. ‘El Museo peatonal'. Exit Express, Madrid· Mayer, Mónica. ‘El Museo Peatonal'. El Universal newspaper, Ciudad de Méjico· Camil, Pia. ‘El Museo Peatonal'. Chilango Magazine, Ciudad de Méjico· Pacho. “Museo Peatonal.” Ruidos de la Calle in the Culture Section. Reforma newspaper. Ciudad de Méjico· López, Pancho. “Notas desde El Museo Peatonal”. La Crónica newspaper. Ciudad de Méjico Leñero, Isabel. “Artes Visuales—MUCA Roma.” Proceso Magazine. Ciudad de Méjico· Ceballos, Miguel Angel. “Museo Peatonal”. Culture Section. El Universal newspaper. Ciudad de Méjico· Núñez, Erika. “Crean museo de peatones”. Culture Section. Milenio newspaper. Ciudad de Méjico· Blanco, Sergio R. “Toman ‘arte' de la calle”. Culture Section. Reforma newspaper. Ciudad de Méjico· Terrazas, Kyzza. “El guiño como memorándum. Acercamientos a la obra de María Alos” . Revista Origina. Número Agosto. Ciudad de Méjico.· Cotter, Holland. Art in Review. The New York Times, Nueva York· Schmelz, Itala. ‘Acciones Propicias'. Arte Al Día News Mex. Ciudad de Méjico· Villasmil, Alejandra. ‘ Exposiciones de arte en el Bronx exploran la identidad Latina'. El Híspano Newspaper, Nueva York· Terrazas, Kyzza. ‘MHN: Recorrido Evaluativo; María Alós'. Catalog. Publicado por Origina. Ciudad de Méjico
2003· Hernandez, Edgar Alejandro. ‘Denuncia Artista Censura de su Obra'. Reforma, Ciudad de Méjico· Cotter, Holland. ‘The S Files'. Art in Review. The New York Times, Nueva York· Helguera, Pablo. NYC Reviews. Art Nexus Magazine.· Giovanotti, Micaela. ‘The S Files'. Tema Celeste No. 95
2002· Cullen, Deborah and Noorthoorn, Victoria. ‘The (S) Files'. Catalogue. El Museo del Barrio, Nueva York· ‘El Museo Peatonal Reabre en Enero'. El Caribe Newspaper. Santo Domingo· Baptista, Greyza. ‘Bienal de Arte Joven en el Museo del Barrio'. Hoy Newspaper, Nueva York· ‘El Museo del Barrio's Biennal' . El Caribe Newspaper. Santo Domingo· Kalita, S. Mitra. ‘ With Touch of Color, Artists Help revive Downtown Block'. Newsday .· ‘180: Maria Alos' Image Registry Intervention'. Lab 71: International Art Content. Issue 2. www.lab71.org, Nueva York· Pictures of You Exhibition. El Norte Newspaper. Monterrey, México.· Hernandez, Sofia. ‘Pictures of You'. Catálogo. The Americas Society. Nueva York· Laster, Paul. ‘b.kyn 2.0, an online journal of the arts'. www.bkyn.com· ‘AIM 21'. Catálogo. The Bronx Museum of the Arts. Bronx, Nueva York· "Bleu&Blanc" Magazine. p. 96, number VIII. Fall issue. Ciudad de Méjico
2000· Mellor, Carl. ‘Offbeat Art. Everson Biennial's focus on unconventional pieces should entice audiences'. Syracuse New Times.· Friday, Matthew. ‘The Everson Biennial 2000, Postmodern Sublime'. Nueva York Art Guide.
PUBLICATED ARTICLES· Analysis on Panel Discussion. ‘The role of the Audience': Esther Shalev-Gerz, Leslie King Hammond y Krzysztof Wodiczko.· Analysis on Panel Discussion. ‘New Strategies: Education of Public Artists': Judy Baca, Amalia Mesa-Bains y Susan Lacy.· Synopsis on Miwon Kwon's lecture: ‘Public Art and Urban Identities'. · ‘Eighth National Graduate Seminar Proceedings Journal: Public Strategies, Public Art and Public Spaces' . Publicado por American Photography Institute. Tisch School of the Arts, Nueva York University. Nueva York
2003· ‘Morality and the Maker: Conscience as a consideration when creating contemporary art'. Mesa redonda moderada por Amy Goldrich en Mixed Greens, Nueva York· ‘Visiting Artist. A Contemporary Cadavre Exquis'. Conferencia en SHiNE y Rush Philantropic Arts Foundation, Nueva York
2002· Mesa redonda para Set in Motion. Apex Art. Nueva York· Conferencia en The Americas Society for children para el proyecto B.R.A.C.E. (Bronx Region Access to Culture and English), Nueva York· Conferencia en Thomas Erben Gallery, presentada por Louky Keijsers
2001· Conferencia en Artists Space, presentada por Barbara Hunt· ‘On Point: AIM21': conferencia en The Bronx Museum of the Arts, moderada por Edwin Ramoran
WORKS IN COLLECTIONS· Miriam and Ira D. Wallach Division of Art· Prints and Photographs· The Nueva York Public Library· Astor· Lenox and Tilden Foundations, Nueva York· The Everson Museum of Art, Syracuse· The New Museum of Contemporary Art, Nueva York
NICOLÁS DUMIT ESTEVEZEDUCATION2000· Master en Bellas Artes. Tyler School of Art, Temple University, Philadelphia
1996· Licenciatura en Artes cum laude (Studio Art), The City College of the City University of New York
SOLO EXHIBITIONS
2004· The Passerby Museum . Universidad Autónoma de Mexico (UNAM), Ciudad de Méjico. H ostos Community College, Longwood Art Project/The Bronx Council on the Arts, Bronx, Nueva York.
2001· Cavum Gloriosum . Dixon Place, Nueva York
GROUP EXHIBITIONS 2004· Good Enough to Eat . Performance presentada en Rita McBride's Arena at Sculpture Center, Long Island City· S.O.S (Straight Off the Street): Moment , en colaboración con Mel Chin. Longwood Art Gallery/Project Room, Hostos Community College, Bronx, Nueva York.· A.S.A.P. Daimler Chrysler Building, Ciudad de Méjico· Re:source . Performance, Art In General, Nueva York· Cabaret del Barrio . Heckster Theatre, Museo del Barrio, Nueva York· CultureFest: Amigo Express , intervención presentada en LMCC's booth, Nueva York· Freedom Salon, en colaboración con Mel Chin . Deitch Projects, Nueva York.· The Passerby Museum . Museo de Ciencias y Arte (MUCA/Roma), Ciudad de Méjico· No Lo Llames Performance/Don't Call It Performance . Museo del Barrio, Nueva York· Jamaica Flux . Jamaica Center for Arts and Lea rning, Queens, Nueva York· EA50 . Here Arts Center, Nueva York· Super Salon . Samson Projects, Boston· e-Bay-Buy or Sell or Buy . Pace Digital Galley, Pace University, Nueva York
2003· Immigration and Expectations. Paul Robeson Gallery, Rutgers University, Newark, Nueva Jersey· Insert . Cuchifritos, Nueva York· In Practice . The Sculpture Center, Long Island City, Nueva York.· Recuento de mis 15 . Bronx River Art Center, Bronx, Nueva York· CultureFest: Not For Sale , intervención presentada en LMCC's booth, Nueva York· The Caribbean Abroad . Newark Museum, Newark, Nueva Jersey· Recession 2003, $99 Show , Cynthia Broan Gallery, Nueva York· Orden Del Día . Museo de Arte Moderno, República Dominicana· Espacios a la Experimentación II, Museo de Arte y Diseño Contemporáneo, Costa Rica · Video-Performance, Remote Lounge, Nueva York
2002· White Box Annual Benefit Auction. White Box Gallery, Nueva York· Trienal del Tile Cerámico, Museo de Arte Moderno, Santo Domingo· Press . Southwest School of Arts and Crafts, San Antonio, Texas· One Fine Day . Block Gallery, Sydney· The S-Files . Museo del Barrio, Nueva York· Looking In . Lower Manhattan Cultural Council, Nueva York· Live from Downtown/Live Performance . Downtown Community Television (DCTV), Nueva York· Hot Festival . Dixon Place, Nueva York· The Love a Commuter Project 2002. Estaciones de metro 149th Street y Grand Concourse, Bronx, Nueva York· Cultural Collaborations: Observations in Time and Space . Henry Street Settlent/Abrons Art Center, Nueva York· PerfoPuerto/Festival Lationoamericano de Arte de Performance, Valparaiso, Chile
2001· Peppermint . Smack Mellon Gallery, Brooklyn, Nueva York· Mini Prints Portfolio . Lower East Side Printshop, Nueva York· IV Caribbean Bienal. Museo de Arte Moderno, Santo Domingo· Días Hábiles . Museo del Hombre Dominicano, Santo Domingo· Spunky . Exit Art, Nueva York· AIM 21 . The Bronx Mu seum of the Arts, Bronx, Nueva York· Crossing the Line . The Queens Museum of Art, Queens, Nueva York· Lecture Lounge Vol. I and II. P.S1/The Clocktower Gallery, Nueva York· Recuerdos de Mis 15 . P.S.1/The Clocktower Gallery, Nueva York· The Land Columbus Loved Best . Dixon Place, Nueva York· The Love a Commuter Project 1999 . Times Square Subway Station, Nueva York
2000· Super Merengue . Dixon Place, Nueva York· Donors' Performance Night . Dixon Place, Nueva York· B.U.M.F. Expo . Jersey City Art Tour 2000, Nueva Jersey· Avant-Garde-Arama-Thon . P.S.122 Performance Space, Nueva York
1999· The Y2K Solutions, Maryland Institute College of Art, Baltimore, Maryland and Mason Gross School of the Arts Gallery, Rutgers University, New Brunswick, Nueva Jersey
1995· AccessZone 02, The Bronx Museum of the Arts, Bronx, NY
GRANTS AND AWARDS1997–02· Franklin Furnace Fund para Performance Art, Nueva York
2004· Programa de estudio de Lower Manhattan Cultural Council, New York· Beca Puffin Foundation, Nueva Jersey· Longwood Arts Project Cyber Residency, Longwood Arts Project/The Bronx Council on the Arts, Bronx, Nueva York
2003–06· Lambent Fellowship in the Arts, Tides Foundation, Nueva York
2003· Beca residencia de Artist Alliance Inc.'s Lower East Side Rotating· Artists Alliance INC, Nueva York
2002· Beca proyecto independiente, Artists Space, Nueva York· Artist in Residence Fellowship, The Vermont Studio Center, Johnson· 2001–02 · The National Studio Program, P.S.1/MoMA, Long Island City, Nueva York · Proyecto de colaboración cultural internacional, Snug Harbor, Trace· Foundation y Henry Street Settlement/Abrons Art Center, Nueva York· Special Editions Fellowship, The Lower East Side Printshop, Nueva York· Artist in the Marketplace, The Bronx Museum of the Arts, Bronx, Nueva York· 1998–00 · Future Faculty Fellowship, Tyler School of Art, Temple University, Philadelphia, PA
1997· Programa de residencia, Henry Street Settlement/Abrons Arts Center, Nueva York· Rita Margrath Scholarship, Potters for Peace, Managua, Nicaragua· Albert P. D'Andrea Award for Excellence in Art & Scholarship, The City College of the City University of New York
1995· Connors Award, The City College of the City University of New York
PRESENTATIONS2004· Hartwick College, Oneonta, Nueva York· Queens Council on the Arts, Queens, Nueva York· La Esmeralda, Mexico City· Here Arts Center, Nueva York· Educational Alliance, Nueva York· Pace University, Nueva York · Sculpture Center, Nueva York· Longwood Art Gallery, Bronx, Nueva York
2003· Rutgers University, Newark NJ· Aljira A Center for Contemporary Art, Newark, NJ
2002· Johnson State College, Johnson, Vermont
2001· The Bronx Museum of the Arts, Bronx, Nueva York· Instituto de Arte y Cultura (ICA), Santiago, República Dominicana· Museo de Arte Moderno, República Dominicana· Universidad Tecnológica de Santiago, Santiago, República Dominicana
PUBLICATED ARTICLES AND BIBLIOGRAPHY (selection)· ‘Code Red', Tart, Canada 2004· ‘Fefita al Oleo', Listín Diario, República Dominicana 2000· ‘A Fuetazo Limpio', El Listín Diario, República Dominicana 2000· ‘San Expedito se Muda a Manhattan', El Listín Diario, República Dominicana 2000· ‘Open Wounds', Ceramics Technical, Australia 1999· ‘Wedging Politics: Traveling the Nicaraguan Pottery Road', The Studio Potter, 1999· ‘Post-Sandino, Pre-Columbian Pottery', Ceramics Technical, Australia 1999· ‘The Matriarchal Hand', Contact, Canada 1998· Mayer, Mónica, ‘El Museo Peatonal', Visual Arts Section, El Universal, Ciudad de Méjico 2004· Camil, Pia, ‘El Museo Peatonal'. Chilango. Ciudad de Méjico 2004· Pacho, ‘Museo Peatonal'. Ruidos de la Calle, La Reforma, Ciudad de Méjico 2004· López, Pancho. ‘Notas desde El Museo Peatonal', La Crónica, Ciudad de Méjico 2004· Leñero, Isabel. ‘Artes Visuales—MUCA Roma', Proceso, Ciudad de Méjico 2004· Ceballos, Miguel Angel. ‘Museo Peatonal', El Universal, Méjico 2004· Núñez, Erika, ‘Crean museo de peatones', El Milenio, Ciudad de Méjico 2004· Blanco, Sergio R. ‘Toman ‘arte' de la calle', La Reforma, Ciudad de Méjico 2004· Mandell, Meredith, ‘Artist Cooks Up Hot Performance', The Bronx Beat 2004· Vega, María, ‘Las Travesuras Artísticas de Dumit Estévez', El Diario 2004· Cotter, Holand, ‘Art in Review', The New York Times 2004· Gennocchio, Benjamin, ‘Images of Tropical Lands, Issues of Caribbean Identities', The New York Times 2003· Martínez, Arturo, ‘Caribbean artists show their visions of America',· The Star Ledger 2003· Walter, Robinson, Artnet 2003· Amado, María del Carmen, ‘Nueva Bienal en el Museo de El Barrio', Hoy 2002· Vega, María, ‘Abre Bienal del Museo del Barrio', El Diario 2002· ‘The S-Files', El Museo del Barrio, Nueva York 2002· ‘Latin American Biennial In New York', Artnet News 2002· ‘El Museo Peatonal Reabre en Enero', El Caribe, Santo Domingo, República Dominicana 2002· Baptísta, Greyza, ‘Bienal de Arte Joven en el Museo del Barrio', Hoy,· Nueva York 2002· Mitra , Kalita S. ‘With Touch of Color, Artists Help Revive Downtown Block', Newsday, Nueva York 2002· Laster, Paul ‘bkyn 2.0, An Online Journal of the Arts', wwww.bkyn.com· P.S.1/MoMA National and International Studio Program, Nueva York 2002· Available in Large Print, The Lower East Side Printshop, Nueva York 2002· Zayas, Antonio, ‘The 4th Caribbean Bienial in Santo Domingo', Artnexus no.44/volume 2· Martínez, Labares, Vivian, ‘Viaje al centro de La Quisqueya: festival de Santo Domingo', Conjunto: Revista de Teatro Latinoamericano # 123, Habana, Cuba 2001· Decena, Noris, ‘Arte por Doquier', El Listín Diario, República Dominicana 2001· ‘El Museo del Hombre Exhíbe Días Hábiles', El Listín Diario, República Dominicana 2001· ‘AIM 21, The Bronx Museum of the Arts', Bronx, Nueva York 2001· Medína, Grisbel, ‘La Fundación Guaguarey Busca Unidad de los Artesanos del Higüerito', El Listín Diario, República Dominicana 2000· Medína, Grisbel, ‘Dumit Estévez', El Listín Diario, República Dominicana 2000
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