Past Exhibitions
Browse the chronological list of past exhibitions at the 老司机福利网 Museum of Contemporary Art (MOCRA), or search for a specific exhibition. Click 鈥淰iew鈥 for more information about an exhibition. If you need further information about an exhibition, please contact us.
Rito, Espejo y Ojo / Ritual, Mirror and Eye: Photography by Luis Gonz谩lez-Palma, Maria Magdalena Campos-Pons, and Pablo Soria
March 28, 2004 to June 13, 2004
MOCRA is pleased to present the work of three significant Latin American artists to St. Louis audiences. While their personal and artistic backgrounds vary, all three artists share a common interest in creating multimedia works that extend the traditional bounds of each medium. These particular works employ the human figure as the central visual motif: iconic portraits, shadowed bodies, and loving meditations on family members. There are also thematic similarities: geographic dislocation, the intermingling of cultures and religions, and a sometimes palpable awareness of the past asserting or insinuating itself in the present.
Luis Gonzalez Palma was born in 1957 in Guatemala City and still lives there today. A self-taught photographer, he studied architecture and cinematography at the Universidad de San Carlos de Guatemala. He has exhibited widely throughout North and South America, Europe and Asia. Gonzalez Palma's work is included in various significant collections such as the Art Institute of Chicago, the Centro de Arte Re铆na Sof铆a in Madrid, the Los Angeles County Museum of Art, and the Fogg Museum at Harvard University. His best-known work depicts the indigenous and mestizo populations of his home country, often in a staged fashion evoking mythological and cultural characters. In his most familiar images, he paints over the photographs to achieve a sepia quality but leaves the whites of the subjects' eyes unpainted, to startling effect.
Born and raised in Cuba, Maria Magdalena Campos-Pons studied in Havana at the National School of Art and the Superior Institute of Art (ISA), later training at the Massachusetts College of Art in Boston. She has lived and worked in Boston since 1991 and has shown extensively in the United States, Canada and abroad. Her work is in important public and private collections, including the National Museum of Fine Arts in Havana and the Museum of Fine Arts, Boston. Campos-Pons was one of the artists in the United States representation at the 1997 Johannesburg Biennale, and showed in the 2001 Venice Biennale. Campos-Pons works in a variety of media, including photography, painting, and performance video. Recurring themes in her work include maintaining ties with the people and land from which she comes, the special character and role of women's discourse in society, and the nature of family communication.
Pablo Soria was born in Argentina in 1964 and received his BFA from the School of Fine Arts, National University of Tucum谩n, in 1989. He went on to study in Buenos Aires from 1989 to 1991 on a fellowship from the Fondo Nacional de las Artes for Painting. His works are represented in major private and public collections, including the Museo de Arte Moderno, Buenos Aires; the Philip Morris Collection, New York; and the Museum of Fine Art, Houston. Soria has participated in solo and group exhibitions throughout Latin America, the United States, and Europe. Of his series of self-portraits, he writes, "I place myself as the actor of my memories 鈥 It's an autobiographical vision of time, shaded by the obsession with the memory of the country left behind, love, childhood, death and loss." Soria's nostalgia is a powerful lens for his imagery. He lives and works in Miami, Florida.
MOCRA thanks , Chicago, for kind assistance in organizing this exhibition.
above:
Installation view of Rito, Espejo y Ojo / Ritual, Mirror and Eye at MOCRA, 2004. Photo by Jeffrey Vaughn.
Watch Maria Magdalena Campos-Pons: The Kristen Peterson Lecture
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Exhibition |
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Bernard Maisner: The Hourglass and the Spiral |
Georges Rouault: Miserere et Guerre |
Erika Diettes: Sudarios |
Regina DeLuise: Vast Bhutan 鈥 Images from the Phenomenal World |
Calligraphic Art of Salma Arastu |
Thresholds: MOCRA at 20 - Part Two, The Second Decade |
Rebecca Niederlander: Axis Mundi |
Jordan Eagles: BLOOD / SPIRIT |
Thresholds: MOCRA at 20 - Part One, The First Decade |
Archie Granot: The Papercut Haggadah |
A Tribute to Frederick J. Brown |
Patrick Graham: Thirty Years 鈥 The Silence Becomes the Painting |
Adrian Kellard: The Learned Art of Compassion |
Good Friday: The Suffering Christ in Contemporary Art |
James Rosen: The Artist and the Capable Observer |
MOCRA at Fifteen: Good Friday |
Michael Byron: Cosmic Tears |
Miao Xiaochun: The Last Judgment in Cyberspace |
MOCRA at Fifteen: Pursuit of the Spirit |
Oskar Fischinger: Movement and Spirit |
The Celluloid Bible: Marketing Films Inspired by Scripture |
Arshile Gorky: The Early Years 鈥 Drawings and Paintings, 1927鈥1937 |
Andy Warhol: Silver Clouds |
Junko Chodos: The Breath of Consciousness |
DoDo Jin Ming: Land and Sea |
Rito, Espejo y Ojo / Ritual, Mirror and Eye: Photography by Luis Gonz谩lez-Palma, Maria Magdalena Campos-Pons, and Pablo Soria |
Radiant Forms in Contemporary Sacred Architecture: Richard Meier and Steven Holl |
Daniel Ramirez: Twenty Contemplations on the Infant Jesus, an Homage to Oliver Messiaen |
Avoda: Objects of the Spirit 鈥 Ceremonial Art by Tobi Kahn |
Tony Hooker: The Greater Good 鈥 An Artist's Contemporary View of the Tuskegee Syphilis Study |
Andy Warhol: Silver Clouds, an encore presentation |
Andy Warhol's Silver Clouds: A Fortieth Anniversary Celebration |
Lewis deSoto: Paranirvana |
Robert Farber: A Retrospective, 1985鈥1995 |
Bernard Maisner: Entrance to the Scriptorium |
Tobi Kahn: Metamorphoses |
MOCRA: The First Five Years |
Steven Heilmer: Pietre Sante | Holy Stones |
Utopia Body Paint Collection and Australian Aboriginal Art from St. Louis Collections |
Manfred Stumpf: Enter Jerusalem |
Frederick J. Brown: The Life of Christ Altarpiece |
Edward Boccia: Eye of the Painter |
Consecrations Revisited |
Keith Haring: Altarpiece 鈥 The Life of Christ |
Ian Friend: The Edge of Belief 鈥 paintings, sculpture, and works on paper, 1980鈥1994 |
Eleanor Dickinson: A Retrospective |
Post-Minimalism and the Spiritual: Four Chicago Artists |
Consecrations: The Spiritual in Art in the Time of AIDS |
Sanctuaries: Recovering the Holy in Contemporary Art, Part One |
Body and Soul: The Alvin Ailey American Dance Theater |
Transformations: Highlights from the MOCRA Collection |
Georges Rouault: Miserere et Guerre |
Georges Rouault: Miserere et Guerre |
Georges Rouault: Miserere et Guerre |
Georges Rouault: Miserere et Guerre |
Visible Conservation |
Highlights from the MOCRA Collection |
Highlights from the MOCRA Collection |
Highlights from the MOCRA Collection: The Romero Cross |
Highlights from the MOCRA Collection |
Highlights from the MOCRA Collection |
Highlights from the MOCRA Collection |
Highlights from the MOCRA Collection |
Highlights from the MOCRA Collection |
Highlights from the MOCRA Collection |
Highlights from the MOCRA Collection |
Sanctuaries: Recovering the Holy in Contemporary Art, Part Two 鈥 Three Major Installations |
Beyond Words: Three Contemporary Artists and the Manuscript Tradition |
MOCRA: 25 |
Gary Logan: Elements |
Gratitude |
Surface to Source |
Quiet Isn't Always Peace |
Tom Kiefer: Pertenencias / Belongings |
Double Vision: Art from Jesuit University Collections |
Lesley Dill: Dream World of the Forest |
Jordan Eagles: VIRAL\VALUE |
This Road Is the Heart Opening: Selections from the MOCRA Collection |
Vicente Telles and Brandon Maldonado: Cuentos Nuevomexicanos |
Open Hands: Crafting the Spiritual |
Selections from the MOCRA Collection |