BIOGRAPHY
Yazmany Arboleda (b. 1981) is a Colombian American artist based in New York City. An architect by training, Yazmany activates communities with large scale art projects that seek to build heart-felt connections that lead to meaningful relationships. He believes that art is a verb not a noun. Over the past two decades he has created public art projects with communities in India, Japan, Kenya, Tanzania, Uganda, South Africa, Afghanistan, Spain, Colombia and the United States. He has collaborated with Carnegie Hall, the Yale School of Management, and the United Nations. He is a cofounder co-founder of limeSHIFT, the Future Historical Society, Remember 2019, and the Artist As Citizen Conference. He is the first artist in residence for New York City’s Civic Engagement Commission as well as the Community Arts Network.
BIOGRAFIA
Yazmany Arboleda (n. 1981) es un artista Colombo-Estadounidense radicado en la ciudad de Nueva York. Formado como arquitecto, Yazmany activa comunidades con proyectos de arte a gran escala que buscan construir conexiones sinceras que conduzcan a relaciones significativas. Él cree que el arte es un verbo, no un sustantivo. Durante las últimas dos décadas, ha creado proyectos de arte público con comunidades en la India, Japón, Kenia, Tanzania, Uganda, Sudáfrica, Afganistán, España, Colombia y los Estados Unidos. Ha colaborado con el Carnegie Hall, la Escuela de Administración de Yale y las Naciones Unidas. Es cofundador de limeSHIFT, Future Historical Society, Remember2019 y Artist As Citizen Conference. Es el primer artista residente de La Comisión de Participación Cívica (CEC) de la Ciudad de Nueva York, así como de la Red de Artes Comunitarias.
artist statement
At the heart of my practice is the idea that art is a verb, not a noun. It is something we do, and something we see. I believe that art is a universal language of invention and agency, through which we define and redefine culture, express our shared experience and envision all possibilities.
When I was eleven years old and simplifying fractions in the middle of a school day in Colombia, my father was murdered at a nearby gas station. Four men on motorcycles, armed with machine guns, sprayed bullets into him while he was pumping gas into his tank. Ever since then, when I draw or paint or laugh in the company of others, I feel him with me, and I am eleven again.
It was through art that I had a safe space to experiment and question. It gave me the capacity to understand who I am, a continuously transforming creature, learning every day. So far I haven’t been able to find another word that gives room for this kind of expansiveness. I want others to believe that art is that too – for me, for them, for us.
In dialogue with others I use video, painting, photography, and other media to orchestrate elaborate, alternate realities that challenge certainties and unmask prejudices that lie just outside our collective field of vision.
However, if that’s not the case you are in, chances are you will lose, thus creating levitra uk downtownsault.org a new dilemma.
declaracion del artista
En el corazón de mi practica esta la idea que el arte es un verbo, no un nombre. Es algo que hacemos, y algo que vemos. Creo que el arte es un lenguaje universal de invención y agencia, a través del cual nosotros definimos re-definimos la cultura, expresamos, compartimos y visionamos todas las posibilidades.
Cuando tenía once años de edad, en medio de un dia de escuela en Colombia, mi padre fue asesinado cerca a una estación de gas. Cuatro hombres en motocicletas, con armas de fuego, dispararon contra él mientras ponía gasolina a su tanque. Desde entonces, cuando dibujo, pinto o río en compañía de otros, siempre lo siento conmigo, y regreso a mis once años de edad.
Fue a través del arte que yo encontré un espacio seguro para experimentar y cuestionar. Me dio la capacidad de entender quien soy, una criatura en continua transformación, que cada día aprende más. Hasta el momento no he podido encontrar otra palabra que me de espacio suficiente para este tipo de libertad. Quiero que otros crean que el arte también es eso – para mi, para ellos, para nosotros.
En los diálogos con las personas, empleo herramientas audiovisuales, pinturas, fotografías, y otros medios para articular y elaborar realidades alternas que retan las convicciones y desenmascaran prejuicios que se se encuentran justo en la periferia de nuestro campo visual.
ART AND THE CITY
Yazmany, along with collaborator Nabila Alibhai, co-authored the first chapter of “Art and the City: Worlding the Discussion through a Critical Artscape (Routledge Critical Studies in Urbanism and the City).” Artistic practices have long been disturbing the relationships between art and space. They have challenged the boundaries of performer/spectator, of public/private, introduced intervention and installation, ephemerality and performance, and constantly sought out new modes of distressing expectations about what is construed as art. But when we expand the world in which we look at art, how does this change our understanding of critical artistic practice?
This book presents a global perspective on the relationship between art and the city. International and leading scholars and artists themselves present critical theory and practice of contemporary art as a politicised force. It extends thinking on contemporary arts practices in the urban and political context of protest and social resilience and offers the prism of a ‘critical artscape’ in which to view the urgent interaction of arts and the urban politic. The global appeal of the book is established through the general topic as well as the specific chapters, which are geographically, socially, politically and professionally varied. Contributing authors come from many different institutional and anti-institutional perspectives from across the world.