Love Thy Neighbor, the last of the 3-part installation The Neighbors is on view at the Bronx Museum. The exhibit, curated by Sofia Hernández Chong Cuy, explores “the stranger” versus “the neighbor”; by reinserting them into contexts that are familiar but unknown, the artists explore the roles that “the other” plays in a community. The three featured artists have created new works for the exhibition.
Ignacio González-Lang has been working on his series Antisocial for 10 years. He creates collages using police sketches of either missing persons or people who have committed crimes, then overlays them on photos of people who match those images, which he’s found on Instagram at #NYC. With his I-phone he photographs these combined images and laser prints them on ceramics.
Mr. González-Lang told me that by recontextualizing these images, he’s asking, “How do you know who you’re looking for?” His project calls the notion of identity into question in a very powerful way. You may notice that the 135 photos are displayed at a lower height than normal; this was done so they can be accessible to the school children who take classes in this gallery.
Irvin Morazan’s work revolves around movement and agency, evoking his own immigration as a child, alone, to the U.S. from El Salvador. Many of his works reproduce maps from the Historia Toteca Chichimeca (a 16th century manuscript diagramming Spain’s territories in what is now northern Mexico), on which he then superimposes imaginary immigration routes as well as sketches made by undocumented immigrants. In several of these drawings you’ll find characters from the cartoon series “The Flintstones,” which his father drew as a young man.
A recurrent theme is that of El Coyote, the agents who help people cross the border. When I attended the Museum’s Open House, Mr. Morazan performed “Volver, Volver” (Return, Return) employing this Border Crossing Headdress, which is also in the exhibition.
Firelei Báez has two pieces in completely different styles, but that both investigate identity, especially Caribbean identity.
Her large scale acrylic on paper started with two figures that are in a struggle or an embrace; once she decided on the shape, then she chose the colors. For the artist, the struggle or embrace is beyond those two individuals – it involves society as a whole. Ms. Báez told me that the idea for this piece came from a wilding video on the Internet, in which girls are being encouraged to fight by a parental figure (who, according to usual societal strictures should be discouraging them). She then took apart the idea of having those two girls in the midst of an embrace/struggle, to see what comes out of it. The wall label also notes that in her new paintings, Ms. Báez reinterprets the old fable of pollination between a wasp and an orchid, on which French philosophers Gilles Deleuze and Felix Guattari based their theories of identity.
This piece was created on a page from a deaccessioned book. The woman wears a headdress that Ms. Báez based on masks of the Dogon people of Mali, with their intricate patterning and complex cosmology creating a way of seeing yourself as being beyond your physical self.
When Ms. Báez was a student at Cooper Union she learned that libraries all over the country deaccession books. She sees this as not just a physical but also a conceptual clean up – observing that the figures she gathers on the Internet would have been excluded from the histories embodied by the books. Ms. Báez also learned medieval bookbinding at the Center for Book Arts. She noted how in miniature Persian books, the artists could put what they wanted to in the margins, but not in the central figures because of history and cultural restrictions. She observed that “Bringing the marginalia of current society to the forefront is reforming how we think of ourselves and what we consider proper. What’s going on now could be a sensory overload or it could be a treasure trove”.