Podcast appearances and mentions of beatriz santiago mu

“Lately, I have been considering how to get out of a structure in which I am forced to make sense. So, I've been thinking about the ways in which 20th century Caribbean poetry did a lot of work around nonsense. (…) I guess it's very dadaist in a way: destroying the order around you, clearing a path so that other kinds of relationships between objects, ideas and places can happen.” Beatriz Santiago Muñoz in an interview with Andreas Petrossiants, published in Frieze, No. 248, 2024 This episode was recorded on 6 December, 2024 in the context of the exhibition: Beatriz Santiago Muñoz Elogio al disparate 6.12.2024 – 23.2.2025 Beatriz Santiago Muñoz is a firm believer in the transformative potential of the camera to re-imagine and re-signify the world. At the center of her three films shown at the Secession is, of all things, nonsense. The newly produced works that were shot on 16 mm stock and then transferred to video use free association and formal play to build relationships between sound and image that are not to be grasped by “making” rational sense.  More Beatriz Santiago Muñoz is an artist whose expanded moving image work is entangled with Boalian theater, expanded cinema and feminist practices. She tends to work with non-actors, and incorporates improvisation into her process. Her recent work is on the sensorial unconscious of anti-colonial movements and language experiments. Recent solo exhibitions include: Ottilia at Crac-Alsace, Oriana in PIVO, Sao Paulo, and argos in Brussels. She lives in San Juan, Puerto Rico. Since 2008, Bettina Spörr is a curator at the Secession, where she engages in close collaboration with artists to conceptualise and realise exhibitions that explore the profound impact of contemporary art on society. Throughout her career, she has worked with numerous artists on solo exhibitions and, in 2010, curated the group show where do we go from here? that took up the format of Secession's ‘Young Scene' exhibitions, presenting around 30 upcoming artists from Austria and Central Europe. Secession Podcast: Artists features artists exhibiting at the Secession. The Dorotheum is the exclusive sponsor of the Secession Podcast. Programmed by the board of the Secession.  Jingle: Hui Ye with an excerpt from Combat of dreams for string quartet and audio feed (2016, Christine Lavant Quartett) by Alexander J. Eberhard Audio Editor: Paul Macheck Executive Producer: Bettina Spörr

Ep.215 María Elena Ortiz is curator at the Modern Art Museum of Fort Worth, where she curated Jammie Holmes: Make the Revolution Irresistible (2023) and Surrealism and Us: Caribbean and African Diasporic Artists Since 1940 (2024). Previously she was curator at the Pérez Art Museum Miami (PAMM), where she curated group shows Allied with Power: African and African Diaspora Art from the Jorge M. Pérez Collection, The Other Side of Now: Foresight in Caribbean Art, and solo exhibitions with Firelei Báez, Ulla von Brandenburg, william cordova,Teresita Fernández, José Carlos Martinat, Carlos Motta, and Beatriz Santiago Muñoz. At PAMM she founded the Caribbean Cultural Institute, a curatorial platform dedicated to Caribbean art, and worked to grow the museum's collection, securing works by Simone Leigh, Bisa Butler, Bony Ramirez, and others. In October 2024 Maria co-curated Flow States- La Trienal 2024 at El Museo del Barrio with Rodrigo Moura and Susanna Temkin. Photo Credit: Casey Kelbaugh The Museum of Modern Art Fort Worth https://www.themodern.org/program/maria-elena-ortiz | https://www.themodern.org/exhibition/surrealism-and-us-caribbean-and-african-diasporic-artists-1940 Caribbean Cultural Institute https://cci.pamm.org/en/author/mariaelena/ The Hopper Prize https://hopperprize.org/maria-elena-ortiz/ El Museo del Barrio https://www.elmuseo.org/ ICI https://curatorsintl.org/about/collaborators/6324-mara-elena-ortiz The Brooklyn Rail https://brooklynrail.org/contributor/maria-elena-ortiz/ The Weisman Museum https://wam.umn.edu/maria-elena-ortiz ARTnews https://www.artnews.com/art-news/news/el-museo-del-barrio-la-trienal-2024-artist-list-1234708729/ ArtSpeak https://artspeak.fiu.edu/interviews/maria-elena-ortiz/ Culture Type https://www.culturetype.com/tag/maria-elena-ortiz/ Rizzoli Books https://www.rizzolibookstore.com/author/maria-elena-ortiz

Joseph Michael Sussi, PhD candidate, History of Art and Architecture, and 2023–24 Dissertation Fellow. My dissertation analyzes how contemporary artists Kim Abeles, Karin Bolender, and Beatriz Santiago Muñoz, use bodily sensing to make toxicity legible and to reveal the entanglements between places and pollution. Artists producing multi-sensory work can uniquely step beyond the boundaries that delimit policy formation and scientific research thus allowing for more nuanced and critical investigations of environmental violence. Sensing toxicity with these artists reveals how corporeality and culture are linked through the experience of contaminated geographies.

Una colaboración con Joel Rodriguez Vargas. Pa' la luna es un collage de música, sonidos y conversaciones producto del Taller Vivo de Tony Cruz Pabón en el MAC. Es un viaje espacial sonoro y especulativo que parte de algunas carátulas y canciones de salsa que insisten en llegar al satélite terrestre. Buscar fortuna, montar un bembé o pasar la luna de miel parecen ser algunas de las razones que motivan tal desplazamiento. Pa' la luna fue grabado en la Cabina sideral, una escultura funcional en la sala de exhibiciones, y cuenta con la participación de Beatriz Santiago Muñoz, Marichi Scharrón, Osvaldo Santiago, Ramón Miranda Beltrán, Pablo Guardiola y Tony Cruz Pabón, entre otrxs invitadxs. Audio y edición por Joel Rodríguez Vargas.

The podcast Promise No Promises! opens a new chapter called “Feminisms in the Caribbean”. This series of 4 new episodes arises from personal conversations between curator and writer Sonia Fernández Pan and art practitioners from the Caribbean region. The collaboration is part of the public program of the past exhibition "one month after being known in that island" at the Kulturstiftung Basel H. Geiger with the Caribbean Art Initiative.The changeful history of the colonization of the Caribbean has left deep scars that are still present today. This is best known by artists and cultural practitioners who work in their own way on an identity of its own for the Antilles. The term “Caribbean” here is used primarily in a geographical sense to help overcoming local antagonisms between different political systems, languages and cultures, while allowing artists of all origins to exchange ideas and thus work together on a Caribbean identity. This series of podcasts aims to engage with a plurality of voices from different backgrounds to think with them on the diversity implicit in the notion of identity. The first episode follows a conversation with artist Beatriz Santiago Muñoz. Her projects involve long periods of contact, observation and documentation of the places she chose to work with. Beatriz is aware of the camera as an experiential device and aesthetic instrument that expands the perception of the human eye and psyche, and a carrier and producer of ideology. Various types of gaze converge in it: the male gaze, the white gaze, the military gaze, the human gaze... This is why Beatriz Santiago Muñoz practice means thinking with places, with their differences and particularities, in order not to reproduce the same human and historical logic, for example, like the notion of the exotic, a mindset supported by the tourism industry, constantly reproducing Western colonial imaginaries.Thinking with places, in the plural, is a way of accounting for the diversity of environments. It is also a way of overcoming the misleading binary division between the local and the universal. The material dimension of thinking not only refers to using a body to think, but to practice the thinking through objects. They are invisible agents within the history of thought and at the same time systems of interactions in constant transformation. The enormous production of images of our present makes us think that everything has been represented, that everything is visible. This is not true. What has been over-represented is a partial way of understanding reality, not realities themselves. Therefore, Beatriz proposes the possibility of creating images without spectators or even a cinema without an audience. Working from the margins of representation produces a marginal territory that questions the natural assumption of a center.

The podcast Promise No Promises! opens a new chapter called “Feminisms in the Caribbean”. This series of 4 new episodes arises from personal conversations between curator and writer Sonia Fernández Pan and art practitioners from the Caribbean region. The collaboration is part of the public program of the past exhibition "one month after being known in that island" at the Kulturstiftung Basel H. Geiger with the Caribbean Art Initiative.The changeful history of the colonization of the Caribbean has left deep scars that are still present today. This is best known by artists and cultural practitioners who work in their own way on an identity of its own for the Antilles. The term “Caribbean” here is used primarily in a geographical sense to help overcoming local antagonisms between different political systems, languages and cultures, while allowing artists of all origins to exchange ideas and thus work together on a Caribbean identity. This series of podcasts aims to engage with a plurality of voices from different backgrounds to think with them on the diversity implicit in the notion of identity. The first episode follows a conversation with artist Beatriz Santiago Muñoz. Her projects involve long periods of contact, observation and documentation of the places she chose to work with. Beatriz is aware of the camera as an experiential device and aesthetic instrument that expands the perception of the human eye and psyche, and a carrier and producer of ideology. Various types of gaze converge in it: the male gaze, the white gaze, the military gaze, the human gaze... This is why Beatriz Santiago Muñoz practice means thinking with places, with their differences and particularities, in order not to reproduce the same human and historical logic, for example, like the notion of the exotic, a mindset supported by the tourism industry, constantly reproducing Western colonial imaginaries.Thinking with places, in the plural, is a way of accounting for the diversity of environments. It is also a way of overcoming the misleading binary division between the local and the universal. The material dimension of thinking not only refers to using a body to think, but to practice the thinking through objects. They are invisible agents within the history of thought and at the same time systems of interactions in constant transformation. The enormous production of images of our present makes us think that everything has been represented, that everything is visible. This is not true. What has been over-represented is a partial way of understanding reality, not realities themselves. Therefore, Beatriz proposes the possibility of creating images without spectators or even a cinema without an audience. Working from the margins of representation produces a marginal territory that questions the natural assumption of a center.

Introduction by Amy Rosenblum Martín, Independent Curator and Educator, Guggenheim DIS (est. 2010) is a New York-based collective composed of Lauren Boyle, Solomon Chase, Marco Roso, and David Toro. Its cultural interventions are manifest across a range of media and platforms, from site-specific museum and gallery exhibitions to ongoing online projects. In 2018 the collective transitioned platforms from an online magazine, dismagazine.com, to a video streaming edutainment platform, dis.art, narrowing in on the future of education and entertainment. DIS Magazine (2010-2017); DISimages (2013), DISown (2014), Curators of the 9th Berlin Biennale for Contemporary Art, The Present in Drag (2016); DIS.art (2018–); Exhibited and organized shows at the de Young Museum, San Francisco; La Casa Encendida, Madrid; Plug In Institute of Contemporary Art, Winnipeg; Baltimore Museum of Art; and Project Native Informant, London. DIS has also been included in group exhibitions at MoMA PS1, Museum of Modern Art, and the New Museum all in New York; and Musée d’Art Moderne de la Ville de Paris; ICA Boston; Museum of Contemporary Art Chicago; and Kunsthal Charlottenborg, Copenhagen, among others. The material presented by DIS today is the result of a change in attitude towards the present and aims to meet the demands of contemporary social, political, and economic complexity at eye level. Introducer Amy Rosenblum Martín is a bilingual (English/Spanish) curator of contemporary art, committed to equity and community engagement. Formerly a staff curator at the Pérez Art Museum Miami (when it was MAM) and The Bronx Museum, she has also organized exhibitions, written and/or lectured independently for la Colección Patricia Phelps de Cisneros, MoMA, The Metropolitan, MACBA in Barcelona, the Reina Sofía, and Kunsthaus Bregenz as well as the Sugar Hill Children’s Museum. Her 20 years of interdepartmental museum work include 10 years at the Guggenheim. Rosenblum Martín’s expertise is in Latin America, focusing on transhistorical connections among Buenos Aires, Montevideo, Rio de Janeiro, São Paulo, Caracas, Havana, Miami, and New York. She has worked with Janine Antoni, Lothar Baumgarten, Guy Ben-Ner, Janet Cardiff, Eloísa Cartonera, Consuelo Castañeda, Lygia Clark, Willie Cole, Jeannette Ehlers, Teresita Fernández, Naomi Fisher, Marlon Griffith, Lucio Fontana, Dara Friedman, Luis Gispert, Felix Gonzalez-Torres, Adler Guerrier, Ann Hamilton, Quisqueya Henríquez, Leslie Hewitt, Nadia Huggins, Deborah Jack, Seydou Keita, Gyula Kosice, Matthieu Laurette, Miguel Luciano, Gordon Matta-Clark, Ana Mendieta, Antoni Miralda, Marisa Morán Jahn, Glexis Novoa, Hélio Oiticica, Dennis Oppenheim, Nam June Paik, Manuel Piña, Miguel Angel Ríos, Bert Rodriguez, Marco Roso, Nancy Rubins, George Sánchez-Calderón, Beatriz Santiago Muñoz, Tomás Saraceno, Karin Schneider, Regina Silveira, Lorna Simpson, Valeska Soares, Javier Tellez, Joaquín Torres García, and Fred Wilson, among many other remarkable artists.

Hablamos con la artista productora y cineasta Beatriz Santiago Muñoz sobre sus obras recientes, sus fuentes de inspiración y su enfoque particular en culturas caribeñas post-coloniales.

De la invasión militar a la destrucción natural: ecos de historia de invasión en Puerto Rico en el arte contemporáneo y en la plena. En la primera parte del programa, Lydia Platón conversa con Beatriz Santiago Muñoz y su proyecto de grabaciones en bases militares en desuso y proyecto sobre Vieques titulado Ceiba/Faslane, donde la artista nos explica sobre la relación entre la visualidad y las sonoridades que definieron su exploración sobre la ocupación militar de terreno en Puerto Rico. Entrevistamos además a Tito Matos para discutir la activación de la música popular como respuesta a la invasión natural a la isla del Huracán María. Las y los pleneros llevaron sus panderos en la repartición de comida, artículos de primera necesidad y alivio a músicos que por la situación estarían largo tiempo desempleados. Para encontrar toda la programación de Radio San Juan puede accesar a www.radiosanjuan.org

Bad at Sports Center has a full house for today’s episode with hosts Jesse Malmed, Dana Bassett & the one and only DJ Super Older Brother in the studio with artist Beatriz Santiago Muñoz and Assistant Director of Exhibitions at SAIC Sullivan Galleries, Hannah Barco. Muñoz & Barco walk us through “Safehouse”, the culmination of a two-year project conducted in Puerto Rico and Chicago in partnership with Sullivan Galleries. Muñoz discusses her research into the history of the Puerto Rican Anti-Colonialist Movement, and gives our host some insight into her process and philosophy around the documentary and exploratory style of film and exhibition making. Not to be missed!