Pasado Mañana Beatriz Cortez and Rafa Esparza
January 20—March 3, 2018
Reception: Saturday, January 20, 5–8PM
Multiplicity of time and space recurs throughout Cortez’s practice, which navigates the simultaneity of immigrant experience as a truly critical nexus, with its differing and often competing versions of modernity, urbanity, technology, and culture. For Cortez, the spaceship provides what time machines and fortune tellers have elsewhere: a protective clairvoyance through which to chart and better understand what could otherwise become an intractable state of cognitive dissonance. The development of formal and spatial practices adequate to the experience of simultaneity grounds the exhibition. Esparza mounts a complex intervention in the gallery’s architecture, partially replacing, partially reinforcing its white walls and wooden floors with adobe—a material process deeply imbued with its own time and history. Both content and context, this reconstructive gesture constitutes a tableau of historical and personal meaning, an act of radical affirmation, and a platform for expansive engagement. For these adobe walls, Esparza has invited six queer artists (Fabián Guerrero, Sebastián Hernández, María Maea, Rubén Rodríguez, Gabriela Ruiz, and Brenzy Solorzano) of the next generation to show work alongside portraits he has painted of them, engaging in an artistic dialogue with these artists who exist in the present, but tell of the future.
Water lilies grow there. The system engineered for their cultivation in the gallery complicates this "future perfect," introducing a circular idea of time that includes preserving ancient knowledge in generosity toward futures not yet imagined, despite the colonial obstacles that must be overcome for this gift to survive. The Mayan king Pakal wore water lilies in his headdress—symbolizing the rivers, streams, and waterfalls that would run in his kingdom, but also its technological advances in the field of agriculture. The labor of cultivating nature, so instrumental for the Maya in working the earth to build monumental precincts of spiritual depth and aesthetic pleasure, continues to underlie the immigrant experience. Immigrant gardeners, all over Los Angeles, put into practice different forms of ancient and contemporary knowledge and labor. As in their previous collaboration, “Nomad 13,” Cortez and Esparza are also gardeners here. Their combined labor nurtures these flowers—brimming with aspirations, ancient history, and commercial and aesthetic value—to thrive in circumstances of their choosing.
Rafa Esparza (b. 1981, Los Angeles) is a multidisciplinary artist who was born, raised, and is currently living in Los Angeles. Woven into Esparza's bodies of work are his interests in history, personal narratives, and kinship. He is inspired by his own relationship to colonization and the disrupted genealogies that come forth as a result. Using live performance as his main form of inquiry, Esparza employs site-specificity, materiality, memory, and (non)documentation as primary tools to interrogate and critique ideologies, power structures, and binaries that problematize the "survival" process of historicized narratives and the environments wherein people are left to navigate and socialize. Esparza has performed in a variety of spaces including AIDS Project Los Angeles, Highways Performance Space, REDCAT, Human Resources, SOMArts, Vincent Price Art Museum, LACE, and various public sites throughout Los Angeles. He is a recipient of a 2014 California Community Foundation Fellowship for Visual Artists, a 2014 Art Matters Grant, and a 2015 Rema Hort Mann Foundation Emerging Artist Grant. Esparza participated in the 2017 Whitney Biennial as well as “Made in L.A. 2016: a, the, though, only” at the Hammer Museum. His exhibition “Tierra. Sangre. Oro.” at Ballroom Marfa, which includes collaborative contributions with Carmen Argote, Nao Bustamante, Beatriz Cortez, Timo Fahler, Eamon Ore-Giron, and Star Montana, is on view until March 18, 2018.