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DTSTART;TZID=America/Indiana/Indianapolis:20221007T080000
DTEND;TZID=America/Indiana/Indianapolis:20221128T170000
DTSTAMP:20260611T192015
CREATED:20220713T184511Z
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UID:10104-1665129600-1669654800@www.bigcar.org
SUMMARY:MIGUEL CASCO: Send Nudes
DESCRIPTION:The solo exhibit in partnership with Arte Mexicano en Indiana features a collection of watercolor and gouache portraits as an invitation to be collectively vulnerable\, to create and archive that speaks of intimacy and eroticism.\nFrom an open call to the public in 2018 to date\, Casco has invited people to share their nudes with him. He then transferred them to painting\, “to see through the eyes of the person who sends them and portray the intimacy they share\,” says Casco.\n\nMIGUEL CASCO\n(Puebla\, 1991)\nVisual artist\, cultural manager and museographer. He holds a degree in Plastic Arts and a master’s degree in Informa- tion Design from Universidad de las Américas Puebla. The technological-digital influence and media connectivity\, as entities that promote shared intimacy\, are thematic axes of his current production. His work has been exhibited in Mexico\, United States and Germany. Since 2019 he is deputy director of the Museum of the Foreign Affairs\, in Mexico City; in 2017 he founded Atelier Mesones and\, in 2020\, lagalerí_a\, independent projects focused on the teaching\, reflection and dissemination of visual arts.\n\nMIGUEL CASCO\n(Puebla\, 1991)\nArtista visual\, gestor cultural y museógrafo. Es licenciado en Artes Plásticas y maestro en Diseño de Información por la Universidad de las Américas Puebla. La influencia tecnológica-digital y la conectividad mediática\, como entes que propician una intimidad compartida\, son ejes temáticos de su producción actual. Su obra ha sido expuesta en México\, Estados Unidos y Alemania. Desde 2019 es subdirector del Museo de la Cancillería\, en la Ciudad de México; en 2017 fundó Atelier Mesones y\, en 2020\, lagalerí_a\, proyectos independientes enfocados a la enseñanza\, la reflexión y la difusión de las artes visuales.\n\nMade possible by The Andy Warhol Foundation for the Visual Arts\n\nMaría José González Camarena on MIGUEL CASCO: Send Nudes\n“Love yourself\, care for yourself\, be vulnerable”\n“Every pussy is pretty.”\n—Anonymous\nOne other thing we’ve been allowed to do recently is send nudes. I say «allowed to» because the access to the technology needed is more attainable. Before\, there were sculptures\, paintings\, daguerreotypes and other representations\, but there wasn’t always a way to send them too far or share them. And really there were many purposes for those pieces besides the erotization of the body.\nI don’t know how often you talk about this. Or if you take nudes\, but I think it’s always relevant to talk about the space we inhabit\, how we inhabit it\, what we do there o who we invite into it: like in every other practice or interaction we have\, with someone else or with ourselves\, where we show a part of us that we «save» for a certain conversation.\nFor starters\, it’s an act of recognition: why do we do it? I think it could go way past having a recipient in mind\, there are people who in a burst of narcissism or recognition fill their camera roll with surprises\, because it’s always interesting to find ourselves posing or doing gestures that had gone unnoticed before. Just like I think of masturbation as one of the greatest ways of self-discovery\, nudes can also be a conversation to have with oneself. More «free the nipple»\, and what I heard César Galicia say (in Coger rico y amar bonito\, vaguely translated as Fuck well and love nicely)\, it’s absurd to think that a nipple says more about us than\, for example\, a picture of our thumbprint on social media during the elections.\nI don’t think there’s a formula or a technique for sending nudes\, but there are some things we should be aware of when we do it:\n1. If you don’t block your phone\, I don’t know what fantasyland you’re living in\, but I suggest you always do it. Nowadays\, even beyond nudes\, we might have a lot of information we wouldn’t want someone else to have access to.\n2. When talking about nudes it’s generally recommended to not show your face\, but more than that\, I suggest you use encrypted apps that don’t allow screenshots. A simple Google search should give you plenty of options. Edward Snowden recommends Signal.\n3. Consent: this is essential. No one wants to receive unsolicited content. Related to that\, it’s also important that you learn to read between the lines and be pertinent. Just like with humor\, a big part of the message depends on good timing. And if there’s consent\, you decide how much you want to show and how much you want to pull the rubberband.\n4. Every part of the body can be eroticized: don’t limit yourselves to the parts that have been canonically considered so\, and going back to self-discovery\, discover yourself. The age of hellenic figures is over–or we ended it–and maybe a knee\, a chin or a mole can have more connotations than a close-up of genitalia.\n5. Just like no one likes to receive unsolicited content\, it’s also important that you stay alert or be careful when it comes to nudes. One day we can be head over heels for a person and a few hours or weeks later we want nothing to do with them. It’s important to (always always always) remember that the problem is not that you shared a nude\, but that the other person might have an erratic\, non-empathic or even cruel reaction or behavior. We are human and there’s nothing better than being vulnerable together\, and sadly\, not everyone understands that code.\n6. I don’t think anyone wants to end up in court for sharing a nude\, but remember that 29 out of the 32 states in the country (Mexico) have recognized the Olimpia Law. Also\, nothing would be more just than lighting a candle for everyone who’s fought against harassment and extortion through the release of content and the punishment for the inappropriate use of the material. Thank you\, infinite thank yous.\nSend nudes it’s an invitation to be collectively vulnerable\, that is to say\, let’s get naked together to create an archive that talks about intimacy and erotism. To start that conversation which\, even though it should have been open and on everyone’s mouth for years now\, can’t always be approached. Refusing to talk about our erotic sides and desire\, because of prejudice or taboos\, seems to me as absurd as thinking that talking about money is in «bad taste». The most valuable thing they can have is our silence\, so let’s normalize the body and nudity from a place of emotional responsibility.\n—María José González Camarena\nTexto de sala por María José González Camarena\nQuiérete\, cuídate\, vulnérate\nTodas las puchitas son bonitas.\n—Anónime\nOtra cosa que se nos permite de un tiempo a acá\, es enviar nudes. Digo que «se nos permite» porque ahora el acceso a esa tecnología está más a la mano. Antes había esculturas\, pinturas\, daguerrotipos y otras representaciones\, pero no siempre había forma de enviarlas muy lejos ni de compartirlas. Y en realidad los propósitos de esas piezas eran muchos\, además de la erotización del cuerpo.\nNo sé qué tanto hables de esto. O si te tomas nudes\, pero creo que siempre es relevante hablar del lugar que habitamos\, cómo lo habitamos\, qué hacemos ahí o a quién invitamos: como en cualquier otra práctica o interacción que tenemos\, con alguien más o con une misme\, donde dejamos ver alguna parte de nosotres que se «reserva» para cierta conversación.\nPara empezar\, es un acto de reconocimiento: ¿para qué lo hacemos? Puedo pensar que más allá de tener en mente a un destinatario\, hay personas que en un derroche de narcisismo o reconocimiento llenan el carrete de sorpresas\, porque siempre es interesante descubrirse haciendo posturas o gestos que hasta antes habían pasado inadvertidos. Así como creo que la masturbación es una de las formas más grandes de autoconocimiento\, las nudes también se pueden convertir en otro tipo de conversación que tener con une misme. Más «free the nipple»\, y como escuché decir a César Galicia (en Coger rico y amar bonito)\, es absurdo pensar que un pezón revela más de nosotres que\, por ejemplo\, una foto en redes sociales de nuestra huella dactilar con motivo de las elecciones.\nNo creo que haya una fórmula o técnica para enviar nudes\, pero hay algunas cosas de las que es bueno estar consciente al hacerlo:\n1. Si no usas algún método de bloqueo para tu celular\, no sé en qué mundo fantástico vives\, pero te sugiero que siempre tengas uno. Hoy en día\, más allá de nudes\, podemos tener bastante información a la que no quisiéramos que cualquier persona tuviera acceso.\n2. Al hablar de nudes por lo general se recomienda que no salga tu rostro\, pero más que eso\, te sugiero que utilices aplicaciones cifradas y que no permitan el uso de capturas de pantalla. Una simple búsqueda en Google te dará muchas opciones. Edward Snowned recomienda Signal.\n3. El consentimiento: esto es imprescindible. Nadie quiere recibir contenido no solicitado. En relación\, también es importante que sepas leer entre líneas y ser oportune. Al igual que con el humor\, gran parte del éxito del mensaje reside en tener buen tiempo. Y mientras haya consentimiento\, tú decides qué tanto quieres revelar o qué tanto quieres estirar la liga.\n4. Toda la cuerpa puede ser erotizada: no te limites a las partes que canónicamente se han considerado así\, y volviendo al autoconocimiento\, descúbrete. Ya terminó esa época de figuras helénicas —o la terminamos— y quizá una rodilla\, un mentón o un lunar pueden tener más connotaciones que genitales en primer plano.\n5. Así como a nadie nos gusta recibir contenido no solicitado\, también es importante que «pares las antenas» o que seas cautelose cuando se trate de nudes. Un día podemos estar de cabeza por una persona y a las pocas horas o semanas no querer volver a saber de ella. Aquí es importante (siempre siempre siempre) recordar que el problema no es que hayas compartido una nude\, sino que la otra persona puede tener una reacción o comportamiento errático\, poco empático y hasta cruel. Somos humanos y no hay nada mejor que vulnerarse con reciprocidad\, y tristemente\, no todo mundo entiende ese código.\n6. Creo que nadie quisiera terminar en un juicio por haber compartido una nude\, pero recuerda que en 29 de los 32 estados del país la Ley Olimpia ya entró en rigor. También\, no habría nada más justo que hacerles veladoras a todas esas personas que han luchado en contra del acoso o la extorsión mediante la divulgación de contenido y por la sanción del uso inapropiado de este material. Gracias\, infinitas gracias.\nSend nudes nos invita a vulnerarnos colectivamente\, o sea\, a encuerarnos juntes para crear un archivo que hable de intimidad y erotismo. Para provocar esa conversación que\, aunque debería estar abierta y en boca de todes desde hace años\, no siempre se puede abordar. Negarnos a hablar de nuestro yo erótico y del deseo\, por prejuicios o tabúes\, me parece igual de absurdo que pensar que hablar de dinero es de «mal gusto». Lo más valioso que pueden tener es nuestro silencio\, así que normalicemos la cuerpa y la denudez desde la responsabilidad afectiva.\nMaría José González Camarena\nSan Antonio\, 2020
URL:https://www.bigcar.org/event/miguel-casco-send-nudes/
LOCATION:IN
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DTSTART;TZID=America/Indiana/Indianapolis:20221007T180000
DTEND;TZID=America/Indiana/Indianapolis:20221030T150000
DTSTAMP:20260611T192015
CREATED:20220920T150649Z
LAST-MODIFIED:20220920T150709Z
UID:10396-1665165600-1667142000@www.bigcar.org
SUMMARY:Justin Cooper: Yard Work
DESCRIPTION:Geometric plant studies from Cruft street \nThis series of paintings started when I relocated from Fountain Square to the Garfield Park neighborhood to be part of Big Car’s Artist and Public Life Residency. It was the first time in my adult life where I was living on a property with a yard — a place where I could plant whatever I wanted. I remember my grandparents always having gardens and working in the yard with them. My folks were also avid gardeners. \nI was excited to connect with them on some level through gardening\, our shared interest in plants. In the first spring of moving into the new place\, I bought assorted flower bulbs and some perennials. Then I started digging in the yard and planting. My mom had been working on flower beds in her own yard for years. She had a wide array of flowers that she separated and gave me to transplant.  \nThen the pandemic started. The plants I put in the ground started growing and flowering. I began to study and sketch them\, translating the color and proportions of the plants into geometric forms and patterns. Between working outdoors with plants and wood burning designs of the plants into wooden panels on the porch\, I found a connection to my new neighborhood. I found solace from all the dark uncertainties of the times. I learned to focus on the positives and to appreciate the beauty of the things that surround me.  \nWith a few exceptions from my neighbors’ or parents’ gardens\, most of the pieces I made for Yard Work were directly influenced by the plants in my yard.   \n\nAbout Cooper \nI’m an Indianapolis native who has worked as an artist here for over 20 years. I spent most of that time as a studio artist. Central to my artistic evolution has been independently developing my artistic voice while forming relationships with artists I connected with while maintaining studios at the Murphy Art Center\, Wheeler Arts Community\, and as an artist in Big Car’s Artist and Public Life Residency program. \nIn the studio\, I concentrate on creating multiple series that will eventually go together and be displayed as cohesive bodies of work. I’ve always enjoyed learning new mediums and techniques to incorporate into pieces in hopes of expanding my visual language. In recent years I have had an increased interest in larger scale mural projects and public art. Experimenting with the scale and design of an image while being thoughtful of how the piece will be viewed from different distances has been intriguing to me. The consideration of placement and the context of the image as it relates to its surrounding environment has been an interesting challenge. \nMy artwork is deeply Influenced by observations of nature and my love of art history and architecture. Presenting a reflection of the relationship between humans and nature has been fundamental in my creative process. I’m fascinated by geometric formations\, patterns and underlying structural arrangements found in nature.  \nMy work over the last few years has revolved around the interpretation of nature and organic forms through a lens of geometric abstraction. By employing the use of isometric geometry in the imagery\, there are moments where an object can be viewed as concave or convex. I have used this to allude that there are multiple ways of seeing the subject.  \nMy most recent work has concentrated on depicting geometric interpretations of plants and flowers that have been growing in my yard and neighborhood in Garfield Park. Exploring structural elements of the plants while also documenting my time\, and location in Indianapolis. Referencing the flowers and wildlife living in my area has become important to my work\, to promote the appreciation of the beauty and individuality of the living things that surround us.  \nI used this approach in recent public art projects including The High Art Billboard project and Vinyl Storefront project with the Indy Arts council\, as well as working with Southeast Neighborhood Development and IndyGo on an art installation on one of the Red Line platforms in Garfield Park.
URL:https://www.bigcar.org/event/justin-cooper-yard-work/
LOCATION:Contemporary Art Museum of Indianapolis (CAMi)\, 1125 Cruft St.\, Indianapolis\, IN\, 46203\, United States
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DTSTART;TZID=America/Indiana/Indianapolis:20221007T180000
DTEND;TZID=America/Indiana/Indianapolis:20221120T150000
DTSTAMP:20260611T192015
CREATED:20220920T151922Z
LAST-MODIFIED:20221102T210332Z
UID:10401-1665165600-1668956400@www.bigcar.org
SUMMARY:Adrian Bless: Mortuary Madness
DESCRIPTION:Adrian Bless is the alternative hiphop artist and visual artist based in Indianapolis\, Indiana. With the clashing melodies and harmonies to accentuate his lyricism the 31 year old is bringing unique sounds and visuals to the Midwest.\n\nThe exhibit will feature original works of Bless’s visual art. He will also perform live. Works will be available for purchase. Curated by Wildstyle Paschall\n\nBorn and raised in the Crosstown section of Indianapolis he has showcased his ability to freestyle in numerous cyphers but also creates thought provoking songs with a creative twist. He has released 15 hiphop projects in the last 9 years. He has performed all over the world including 2018 performances in Hong Kong\, San Diego\, St. Louis\, South Dakota\, Minnesota in addition to regularly performing all over Central Indiana.\nHe has headlined Oranje Indy\, The Virginia Avenue Music Festival\, and been featured on the main stage of Chreece at the HiFi. He has been featured in NUVO Magazine\, The Indy Star\, WFYI\, and countless other media outlets.
URL:https://www.bigcar.org/event/adrian-bless-mortuary-madness/
LOCATION:Listen Hear\,  2620 Shelby St\, \, Indianapolis\, IN\, 46203\, United States
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