LANDMARKS

 

 This is my master thesis for the Institute for Art in Context of the University of the Arts Berlin. It is the first academic work that introduced the epistemic connections between racial profiling in the printed media and racially motivated crime in Germany.


This is my master thesis for the Institute for Art in Context of the University of the Arts Berlin. It is the first academic work that introduced the epistemic connections between racial profiling in the printed media and racist motivated crime in Germany. It was published in 2006 by derbraunemob: http://derbraunemob.org/shared/download/Lockward_Master_Thesis.pdf

 

 

 

My essay in this award-winning catalogue was commissioned by the curator, Beate Eckstein. This was the first time that my work was translated into German. I also met for the first time three of the four participating artists (Tanja Ostojic, Emeka Udemba and Edgard Endress) with whom until today I share an intense collaborative mood. With Marcos Lora Read, a Dominican artist, I had already worked together before. I also introduced for the first time an exhibition at an opening in Germany, it was a wonderful and uplifting experience. Ifa Galerie, Bonn / Stuttgart, 2003

My essay in this award-winning catalogue was commissioned by the curator, Beate Eckstein. This was the first time that my work was translated into German. I also met for the first time three of the four participating artists (Tanja Ostojic, Emeka Udemba and Edgard Endress) with whom until today I share an intense collaborative mood. With Marcos Lora Read, a Dominican artist, I had already worked together before. I also introduced for the first time an exhibition at an opening in Germany, it was a wonderful and uplifting experience.
Ifa Galerie, Bonn / Stuttgart, 2003

 

 

Antonio Zaya (R.I.P) commissioned my review on the groundbreaking exhibition "The Short Century. Independence and Liberation Movements in Africa 1945-1994", curated by Okwui Enwezor. It took me six months to read the entire catalogue of the show and write my essay. Antonio honoured it with the cover. What I have learned from this exhibition still informs and expands my approach to the connections between the African continent and the Caribbean. The title of my review is "The Era of Negritude" and it was reproduced last year after a decade by Savvy Journal, in Berlin. Atlántica, Nr. 30, October 2001 Las Palmas de Gran Canaria http://www.savvy-journal.com/savvy_edition1/index.html And here the scanned article with images originally published at Atlántica, Nr. 30, October 2001 http://alannalockward.files.wordpress.com/2013/06/atlantica-era-de-la-negritud.pdf ALL IMAGES COURTESY OF THE ARTISTS AND/OR THE VILLA STUCK MUSEUM

Antonio Zaya (R.I.P) commissioned my review on the groundbreaking exhibition “The Short Century. Independence and Liberation Movements in Africa 1945-1994”, curated by Okwui Enwezor. It took me six months to read the entire catalogue of the show and write my essay. Antonio honoured it with the cover. What I have learned from this exhibition still informs and expands my approach to the connections between the African continent and the Caribbean. The title of my review is “The Era of Negritude” and it was reproduced last year after a decade by Savvy Journal, in Berlin.
Atlántica, Nr. 30, October 2001
Las Palmas de Gran Canaria
http://www.savvy-journal.com/savvy_edition1/index.html
And here the scanned article with images originally published at Atlántica, Nr. 30, October 2001
http://alannalockward.files.wordpress.com/2013/06/atlantica-era-de-la-negritud.pdf
ALL IMAGES COURTESY OF THE ARTISTS AND/OR THE VILLA STUCK MUSEUM

 

 

 

Nicolás Dumit Estévez, La Papa Móvil, 2001
Días Hábiles. Tácticas Celulares para la Nueva Economía Política del Sentido. Primera Muestra Internacional de Performance
III Festival Internacional de Teatro de Santo Domingo
©Art Labour Archives 2012

 

 

La Papa Móvil (2001) distributed this coupon to anyone approaching artist Nicolás Dumit Estévez. People organized themselves and came back three hours later to the Museo de Arte Moderno to redeem their five pounds of potatoes in an astonishingly orderly manner, sometimes bringing the coupons of their neighbors, friends or family members as well.

 

 

 

The route of La Papa Móvil´s (2001) journey was carefully planned by the local police who also provided artist Nicolás Dumit Estévez with protection. It turned out to be an unexpected blessing since the population literally striped the potato vouchers from his hands, sometimes violently. This action/performance was repeated a year later in New York City at the Museo del Barrio, creating an exceptional precedent of crossover in Dominican diasporic performance legacy.

 

 

 

“Fábulas Abiertas” was the first exhibition I curated for a museum
Antonio Zaya (R.I.P) published this text, my first publication in Europe
With: Tony Capellán, Mónica Ferreras, Marcos Lora-Read and Jorge Pineda
Atlántica No. 16, Spring 1997
http://mdc.ulpgc.es/cdm4/item_viewer.php?CISOROOT=/atlantica&CISOPTR=739&CISOBOX=1&REC=4

 

 

 

Jorge Pineda, Untitled 1996
“Fábulas Abiertas” was reviewed by the four most relevant critics active in those days, some of them gave them even four pages of display. However, none of them mentioned my name as curator. Eventually, most of them have caught up with my continuity in this arduous and fun journey: Cheers to them all!
Museo de Art Moderno, Santo Domingo, 1996

 

 

 

“Exodus”, curated by César Trasobares and James Herring, was focused entirely on immigration. This art review was the first one I ever published, interestingly in the US, of all places. After ten years intensively involved with visual artists, I trusted my capacity to comment on their contributions. This show had amazing participants such as: José Bedia, Luis Cruz Azaceta, Edouard Duval Carrié, Alfredo Jaar, Íñigo Manglano Ovalle, Ana Mendieta and Charo Oquet
Ground Level Gallery, Art Center South Florida
Miami, 1994

 

 

 

“Gráfica de Guadalajara” was the first exhibition I ever put together
After some years organizing different happenings at Galería Magritte, owned by Rogelio Flores Manríquez and Paco Barreda, I selected some thirty works on paper, mainly etchings, and brought them to my hometown. It was a sold out show; I had true beginners luck!
The Mexican Embassy financed the modest catalogue and all the artists were really happy to see me back in the city of the purple jacarandas
Thanks for your trust: Carmen Bordes, Javier Campos Cabello, Penélope Downes, Cornelio García, Maximimo Javier, Miguel Ángel López, Gabriel Mariscal, and Benito Zamora.
Centro de Arte Noveau, Santo Domingo, 07.07.1987

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