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Esperanza CortesThe De-Memorialized2019
2019
$18,750
£14,168.76
€16,361.44
CA$26,200.29
A$29,071.43
CHF 15,228.24
MX$356,493.83
NOK 193,698
SEK 182,842.65
DKK 122,017.50
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About the Item
Medium: clay sculpture, glass beads, metal beads, chains, crystal, silver leaf, metal
Esperanza Cortés is a Colombian born multidisciplinary artist based in New York City. Cortés has been exhibited nationally in galleries and museums including The Neuberger Museum of Art, Bronx Museum of Art, Queens Museum, El Museo Del Barrio, MoMA PS1, Socrates Sculpture Park, The Mexi-Arte Museum, The Cleveland Art Museum and CSU Galleries at Cleveland University. In the fall of 2019 Cortés will have solo exhibitions at Smack Mellon Gallery and Thomas Hunter Project Space.
Internationally, Cortes has also exhibited in Germany, Hungary, Slovakia, Poland, Japan, Mexico, Colombia, Dominican Republic, Spain and Greece. Most recently at the Thessaloniki Center of Contemporary Art, Thessaloniki, Greece.
Cortés recent grants, awards and fellowships include the 2018 Guggenheim Fellowship, the 2018 BRIC Media Arts Fellowship, the 2017 Lower Manhattan Cultural Council - Creative Engagement Grant, the 2014 Joan Mitchell Foundation - Painters & Sculptors Grant, the 2013 U.S. DEPARTMENT OF STATE: Art in Embassies Program, and the 2013 Puffin Foundation – Project Grant.
Esperanza’s residencies include the following: 2019 McColl Center for Art + Innovation Residency, 2018 Museum of Arts and Design - Artist Studios Residency, 2017 BRIC Workspace Program, 2017 Caldera Residency Program, 2016 Joan Mitchell Center Residency, 2016 Sculpture Space Residency, 2015 Webb School of Knoxville, 2010 The Fountainhead Residency, 2011 Bielska BWA Gallery, Poland, 2009 Altos de Chavon, Dominican Republic. Early residencies include the Brooklyn Children’s Museum and the Bronx Museum of Art.
Cortés’s work is in private and public collections including the American Embassy in Monterey, Mexico.
- Creator:
- Creation Year:2019
- Dimensions:Height: 30 in (76.2 cm)Width: 20 in (50.8 cm)Depth: 10 in (25.4 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New Orleans, LA
- Reference Number:1stDibs: LU10526622372
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The artist says of her work...
Arrested Symphony is an exhibition incorporating sculptures, reliefs, drawings and hanging works that explore the theme of injustice that is at the roots of the predatory gem and mineral excavation industry. While at a residency in Knoxville, Tennessee, I discovered that Oakridge was only 30 miles away. Oakridge played a key role in the development of the Atom Bomb and the Manhattan Project. I began an exploration and comparison of Uranium and Emeralds. These minerals look very much alike, beautiful but dangerous on their effect on civil conflict. Colombia my birthplace, has the finest Emeralds in the world. The mining of Emeralds was an important element in the continued colonization of the region. Emeralds have helped to fund the more than 60-year conflict which has taken over 450,000 lives and displaced about 5.7 million people. Uranium has brought destruction to a level which altered the future of warfare. The developments made during the Manhattan Project led to the death of about 700,000 people and its effects are still felt around the world. I use Colombia as an example, however this situation is repeating itself in many parts of the world. Sierra Leone, Liberia, the Republic of Congo, the Central African Republic and the Democratic Republic of Congo are all involved in brutal civil conflicts fueled by Blood Diamonds. This project will make visual the human cost extracted with these minerals, once exposed to the light of day they can never be unearthed.
My practice is an ongoing object-based exploration through which I create artworks which are organic and improvisational constructions that are infused with hope and renewal. The hand-crafted artworks are poetically and intricately crafted, creating an intimate repository for the individual and collective memory and implement the human body as a symbol and expression of nature, vulnerability and power. The work encourages viewers to reconsider social and historical narratives especially when dealing with the aftermath of Colonialism and raises critical questions about the politics of erasure and exclusion.
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