Port Perak Venice, with AOC F58 Galleria Bruno Lisi presents Mestizo Dispossessed, curated by Camilla Boemio, a satellite exhibition in Roma by artists Ismael de Anda III and Eugene Ahn, this seminal program is part of Pera + Flora + Fauna: The Story of Indigenousness and the Ownership of History, an official Collateral Event of 59th International Art Exhibition La Biennale di Venezia.
Mestizo Dispossessed is an installation utilizing digital technology, investigating notions of territorialization/ re-territorialization/ de-territorialization, which intersects imagery from the U.S./Mexico Gateway where Ismael de Anda III was raised, incorporating augmented reality features and aerial imagery of de Anda’s ancestral family farm on the banks of the Rio Grande/ Rio Bravo River on the hinge of the U.S./ Mexico Gateway, organized by interactive media artist Eugene Ahn.
Mestizo Dispossessed, incorporates elements of de Anda & Ahn's on-going project Revolutions Generators, where a re-imagined layered digital silhouette of the brutal metal turnstiles are transformed into antennae-like, satellite-esque, levitating forms, that are symbolically, forcefully yanked out of the ground, removed as barriers and released into the air as freely spinning entities.
The installation features a collection of twenty-five digital collages printed on aluminum, mixing a collection of lands that de Anda and Ahn have visited and imagine.
The individual aluminum prints are hung on a grid to produce a larger collective design, revealing a puzzled together image of the metallic pronged, cramped, spinning, turnstiles used at U.S./Mexico points of entry to herd/usher people across imposed boundary lines.
These "Revolutions Generators" forms are visible throughout the digital collage and as hanging sculptural silhouettes that can be captured with cell phones activating augmented reality features where elements of the Brito family farm and animated Revolutions Generators can be virtually superimposed throughout the exhibition, the gallery's immediately surrounding areas of Roma's Piazza del Popolo, other areas of Roma, and extending outward to wherever the viewer may travel or inhabit. The augmented reality feature may be available for a limited time after the end of the exhibition to signify the shifting, transitory, ephemeral, delineations of marking, territorializing, re-territorializing, de-territorializing, possessing, dispossessing features of lands and spaces.
Using emerging technologies and media, Mestizo Dispossessed utilizes the Brito family farm as a lens for the shifting history of the encounters between the indigenous and settling groups of the region, as well as the shifting of geological territory by the influences of nature.
Another area of the exhibition features a lenticular diptych of Revolutions Generators forms interacting with imagery depicting the use of machines in armed struggle. The lenticular artwork invites participants/ visitors to engage in an active dispossession of the work by taking away parts of a twin lenticular divided image as an act of removal and transfer of ownership. The lenticular artwork also releases a virtual reality scene of recently ravaged areas of the Ukraine where the battle against colonization by Russia is being waged.
Ismael de Anda III born in El Paso, Texas, works and lives in Los Angeles. Using mutant practices, including digital photo-collage, drawing, painting, sculpture, installation, and interactive, site-specific projects, Ismael de Anda III’s work is inspired by his pluralistic upbringing on the U.S./Mexico Gateway and now living in Los Angeles. He has exhibited his work internationally including AOC F58 Galleria Bruno Lisi, Rome, La Estacíon Arte Contemporáneo, Chihuahua, Mexico, Supermarket 2022 Art Fair in Stockholm, and in the U.S. including the Torrance Art Museum, Lux Art Institute, and Durden and Ray. Recently de Anda has participated in several online virtual and drive-thru exhibitions. Lectures of his work include the 2020 International Textile and Apparel Conference, and as a visiting artist for CalArts and Los Angeles City College in 2021. De Anda is the recipient of a California Community Foundation Fellowship for Visual Artists. Often de Anda’s works are site-specific, inspired by the communities in which they are created, using locally sourced materials.
Eugene Ahn – lives and works in Los Angeles. Eugene Ahn explores the intersections of material and virtual by creating systems and experiences that question modes of perceiving, thinking, and being. His work is interactive, immersive, and personal, with an interdisciplinary approach that attempts to understand and critique norms from a holistic position. Leveraging logic, math, story, and myth, Ahn seeks to re-engineer the encounter with the visual, the textual, architecture, object, Internet, and the very notion of idea. For more than two decades as an information architect and web developer, Ahn has created content management solutions for arts and education, supported music album marketing campaigns for the record industry, and built software managing global supply chain production in the apparel manufacturing industry. He has created web-based technology to deliver publishing and collaboration tools by and for youth and for the global diaspora of the exploited and victimized, including HIV/AIDS orphans and war survivors.
Together de Anda and Ahn have collaborated on projects Revolutions Generator for the Visual and Media Arts Gallery at Los Angeles City College; Revolutions Generator Evolutions for the exhibition Betwixt and/or Between at the Angels Gate Cultural Center Gallery, San Pedro, California; and Revolutions Generator Re-evolutions for the event High Beams 5 held on the rooftop for Los Angeles’ downtown historic Bendix building.
Camilla Boemio is an art writer and curator who has curated projects around the world, from Los Angeles to Odessa, Ukraine. She is a member of AICA (International Association of Arts Critics). She is co-associate curator at Pera + Flora + Fauna. The Story of Indigenousness and Ownership of History, an official Collateral Event at 59th International Art Exhibition: La Biennale di Venezia (2022). In 2016, she was the curator of Diminished Capacity the first Nigerian Pavilion at the 15th International Architecture Exhibition La Biennale di Venezia; and in 2013 she was the co-associate curator of Portable Nation. Disappearance as work in Progress Approaches to Ecological Romanticism, the Maldives Pavilion at 55th International Art Exhibition La Biennale di Venezia. In 2018, she took part in the VVM at Tate Liverpool.
Virginia Padovani, Pera + Flora + Fauna IUAV internship student.
The "PARVUS AGER" farm with the singular Latin name "SMALL CULTIVATED FIELD" actually has an extension of 54 hectares, located on the outskirts of Rome in the heart of Parco Appia Antica, an area already cultivated with vines by the peoples pre-Roman, strongly imbued with history, art and tradition.
PARVUS AGER is a family business run with love and passion by the Lulli family, four generations of winemakers, firmly convinced that good wine, just like art, solicits the soul!