Sueños que me alcanzan al despertar
Kiván Quiñones Beltrán
Souvenir 154
20 de febrero - 8 de marzo del 2025


Las figuras que habitan la obra de Kiván Quiñones Beltrán podrían transmutarse en muchos personajes: una presencia ancestral, una referencia a la pintura haitiana o una encarnación del tan elusivo duende de Federico García Lorca, asomándose a la posesión. Sus seres transitan entre estados liminales, entre medios como la pintura y la instalación. El espacio de la galería se centra en la cama deshecha y vivida, la cual es a su vez un portal entre el sueño y la vigilia, el inconsciente y el consciente. Es también el locus del principio y del fin de la vida y de los estados de conciencia.

En su práctica, Quiñones explora referentes de tradiciones ritualísticas afrocaribeñas y sincréticas, como lo son el vudú, los nkisi del Congo, títeres Sogo Bò de Mali y prácticas de adivinación del África Central. Las tres instalaciones reconcilian estas ancestralidades con los lenguajes formales de la contemporaneidad, esto es en homenaje a The End of the 20th Century (1984) de Joseph Beuys y My Bed (1998) de Tracey Emin. Estos seres van en peregrinación por el espacio y por el tiempo moderno. Altar, trono y archivo: el artista crea un contexto desde donde reformular la mirada contemporánea, canalizando las corrientes que vinculan a nuestro archipiélago con otras temporalidades y tradiciones espirituales y estéticas.
Aquí y ahora, el Caribe es un portal al futuro.
-Texto por Laura Rivera Ayala

Kiván Quiñones Beltrán
“Paisaje al despertar I”
Gouache and acrylic on cotton
8” x 10”
2025

NADIE EN CASA (2023)
Sofía del Mar Collins

Nadie en casa reúne la alquimia simbólica que se cocina entre el interior de un apartamento y el paisaje que busco sentir fuera del mismo. A través de juegos de capas y luz, revelo relaciones latentes entre varias superficies como papeles, telas, y plásticos de segunda mano que se entrecruzan vía varias líneas de trabajo. Dibujos, pinturas colgantes, y esculturas suaves a base de materiales encontrados son algunos de los distintos contactos hacia el entorno que habito y me habita.

English 
Gaining artistic prominence in the 19th century, the genre of landscape painting established a set of pictorial conventions that continue to define relationships to land. Vast, encompassing, and panoramic perspectives of territory, the landscapes paintings we think of as emblematic of the genre are both sublime and surveilled. Both expansive beyond the scope of human comprehension  and representable within limited parameters. Historically, the genre of landscape painting historically has been used as an occidental affirmation of a singular human vantage point over the vastness of all the elements that comprise a territory while not accounting for the living relationships that sustain it. There is no such thing as a landscape. What we think of as a landscape is a set of aesthetic conventions.

Interlacing the human, celestial, and terrenal, Enrique Rivera Principe’s work centers a connection to the astros that recognizes the body as receptor and recycler. The body is also landscape; an ecosystem that registers that which goes beyond its parameters. Here is a relationship between the human and more than human not rooted in dominance but in submersion, in a humble diminutiveness that balances itself with the knowledge that it is also composed of cosmic matter.

Titled “Jurutungo” the name of Enrique Rivera Principe’s solo show for Souvenir 154 draws its name from a sector in Real Anon, Ponce where the artist was raised the works in the exhibit consider the landscape as physical space, memory, emotional state, and dream.

Aquí siempre hay más sol
Cristina Córdova

“La luz de la isla es emocional:

entrega todo.

Y de ese lugar donde te multiplicaste para lanzarte a mundos de escarcha

De allí te llega un mensaje,

latiendo sin promesas,

“aquí siempre hay mas sol”

-Cristina Córdova

Cristina Córdova is a contemporary artist and sculpting instructor whose work is collected around the world. Native to Puerto Rico, Córdova completed her BA at the University of Puerto Rico, and received her MFA from the New York State College of Ceramics at Alfred University. She is featured in the permanent collection of the Smithsonian American Art Museum; the Everson Museum, the Mint Museum of Craft + Design; the Museum of Contemporary Art of Puerto Rico; the Museum of Art of Puerto Rico; Ponce Art Museum; and the Mobile Art Museum, among others. She is the recipient of numerous grants and awards, including NC Arts Council Fellowship Grant, a Virginia Groot Foundation Recognition Grant, several International Association of Art Critics of Puerto Rico awards, the prestigious United States Artist Fellowship award, and the National Sculpture Society Herbert Adams Memorial Award in 2023. In 2022 Córdova published Mastering Sculpture: The Figure In Clay by Quarto Group. Her work is widely published in all major ceramics and arts media, including the cover of Ceramics Monthly, and was featured by Craft in America, on PBS, in their episode on Identity.

Cristina has taught and demonstrated around the world. Her residencies, workshops, and classes include Harvard University, the University of California, the University of Nebraska, the University of Georgia, the University of North Carolina School of the Arts, Ceramistas de Reñaca in Chile, the Australian National University in Canberra, Gaya Ceramics in Bali, Penland School of Crafts (NC), Haystack Mountain School (ME), Santa Fe Clay (NM), Odyssey Center for Ceramics (NC), and Anderson Ranch (CO), among others.