Visual Arts Program
 

Saturday, November 10, 2007 — Saturday, December 15, 2007

Co-sponsored/co-presented by:
a Hallwalls Artist in Residence Project (HARP)

Julio César Morales

The Year of the Diamond Dogs

Presented at:
Hallwalls

Julio César Morales - <em>The Year of the Diamond Dogs</em>
Julio César Morales - <em>The Year of the Diamond Dogs</em>
Julio César Morales - <em>The Year of the Diamond Dogs</em>
Julio César Morales - <em>The Year of the Diamond Dogs</em>

The Year of The Diamond Dogs is a sonic and visual landscape that evokes the dystopian future explored by Orwell's novel and Bowie's music. In Morales' work, peril, expectation, desire and disillusion create a field of tension. Working from a Latino perspective, Morales uses mutated sound samples of Diamond Dogs, language, typography, and idiosyncratic symbols from the Latin American urban landscape—such as the broken bottles that are often found embedded in the concrete atop walls to protect and define property boundaries—to create a dangerous topography that evokes issues of immigration, alienation, dystopia and surveillance.

The project includes multi-channel video, sculpture and sound with original music by Los Cremators and additional audio of the artist's aunt singing obscure Mexican songs. Morales utilizes digital media in the broadest sense—as a printed mural, recorded sound, LED signs, video etc. His artistic practice can be described as employing the DJ's method of remixing as a means to analyze the politics of culture.


Some publications related to this event:
November and December, 2007 - 2007

 
 
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IN THE GALLERY
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Inspired by Jungian psychology and mythology, Ashley Smith's process is an alchemical cauldron where personal narratives about womanhood, motherhood, research about art, stories, and myths of the wild woman archetype who represents the instinctive nature of woman are boiled together and transmuted to create abstract sculptural forms and installations that sprout from the wall and grow from the ground.
 

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Rohlfs' work springboards from a clean surface appearance and concise formal gestures into a hybridized set of works that make the artist seem part minimalist, part colorist, part humorist. Rohlfs' sculptural gestures are so adroitly specific and contained that each element—a field of color, a drooping form, a slab of shelving—takes on more imminent and emphatic articulation ...