JUAN DUQUE
Stays in ㅣ 2014
Emailㅣ juan@betweencorners.eu
Homepage | www.betweencorners.eu
SELECTED SOLO EXHIBITIONS
2012 - ‘Con los ojoscerrados’ curated by OscarRoldan at Proyecto ALBO – MAMM – Medellin – CO
2012 - 'Nada merece el privilegio de quedarse' – Madrid – ES proyectorampa.net
2012 - ‘Con los ojoscerrados’ curated by OscarRoldan at Proyecto ALBO – MAMM – Medellin – CO
2012 - 'Nada merece el privilegio de quedarse' – Madrid – ES proyectorampa.net
2011 - 'MEDIATION' at Platform3, Munich – DE platform3.de
2011 - 'BACKSIDE' at Bains::Connective, Brussels – BE bains.be
2011 - SALON2060, Antwerpen - BE salon2060.blogspot.com
2010 - 'Fuego Fatuo' at I.P.S. Ruimte, Gent - BE ips-ruimte.be2010 - 'Evasion' at Homesession, Barcelona - ES homesession.org
SELECTED COLLECTIVE EXHIBITIONS
2013 - Group exhibition at Galeria Del Infinito Arte – Buenos Aires AR delinfinitoarte.com.ar
2013 - ‘Perpetual Travellers’– Berlin DE curated by Pieter Vermeulen savvy-contemporary.com
2013 - Re-phrasing Memory - group exhibition at ACF - NL rephrasing-memory.com
SELECTED COLLECTIVE EXHIBITIONS
2013 - Group exhibition at Galeria Del Infinito Arte – Buenos Aires AR delinfinitoarte.com.ar
2013 - ‘Perpetual Travellers’– Berlin DE curated by Pieter Vermeulen savvy-contemporary.com
2013 - Re-phrasing Memory - group exhibition at ACF - NL rephrasing-memory.com
2013 - What's On' at Gyeonggi Creation Centre SK gyeonggicreationcenter.org
2013 - ‘TurismoEfimero’, Galeria Anomalia – Mexico D.F. MX galeriaanomalia.com
2013 - ‘TurismoEfimero’, Galeria Anomalia – Mexico D.F. MX galeriaanomalia.com
2013 - Beyond the Dutch Mountains Video Festival - Heerlen NL greylightprojects.org
2012 - ' FOLD' at CIAP AktueleKunst - Hasselt BE ciap.be2012 - 'Positioning Osmotic Impulses' at Neukolln Berlin DE <s></s>
2012 - ' FOLD' at CIAP AktueleKunst - Hasselt BE ciap.be2012 - 'Positioning Osmotic Impulses' at Neukolln Berlin DE <s></s>
2012 - 'Once upon a time in the future' at Galerie METRO Berlin DE metro-berlin.net
2011 - ‘temporary view’ –KulturSteiermark at Rondo Studio, Graz AT
2011 - ‘Nomadic Settlers - Settled Nomads’, Bethanien Berlin DE settlednomads.wordpress.com
2011 - Ithaka 19 – Leuven BE ithaka19.wordpress.com
2011 - 'Tussenruimte' at Roger Raveel Museum BE rogerraveelmuseum.be
2010 - 'No Soul For Sale' Tate Modern Gallery London UK nosoulforsale.com
invitedby 'Casa tres Patios' Medellin COL casatrespatios.org
EDUCATION & RESEARCH
2013 guest lecturer at Luca-Arts School of Architecture - Brussels - BE
2010-2011 Master of Research in Arts and Design, Sint Lucas Antwerpen – BE
2010-2011 Master of Research in Arts and Design, Sint Lucas Antwerpen – BE
2006-2008 TRANSMEDIA’ postgraduate program in Arts Media and Design.
HogeschoolSint Lukas - Brussels - BE
2005-2006 International Master of ‘Human Settlements’, KatholiekeUniversiteit Leuven-BE
2004 Painting course at ‘Central Saint Martins College of Arts’ - London – UK
1992-1998 Degree as Architect, Universidad Nacional de Colombia - Medellin – CO
RESIDENCIES
2014 - Geumcheon – Seoul Art Space – Seoul – KR geumcheon.blogspot.com
2014 - Hangar – Barcelona – ES hangar.org
2013 - Gyeonggi Creation Centre – Gyeonggi – KR gyeonggicreationcenter.org2013 - URRA Residencias de Arte - Buenos Aires – AR urraurra.com.ar
2014 - Hangar – Barcelona – ES hangar.org
2013 - Gyeonggi Creation Centre – Gyeonggi – KR gyeonggicreationcenter.org2013 - URRA Residencias de Arte - Buenos Aires – AR urraurra.com.ar
2013 - GlogauAIR – Berlin – DE glogauair.net
2013 - Halka Projects Istanbul – TR halkaartproject.net
2013 - R.A.T Residencias Artisticas porintercambio – Mexico DF - MX r-a-t.com.mx
2012 - GlogauAIR – Berlin – DE glogauair.net
2012 - ProyectoRampa – Madrid – ES proyectorampa.net
2011 - Platform3 – Munich – DE platform3.de
2011 - Bains::Connective – Brussels – BE bains.be
2011 - 'RONDO/Marienmuhle Studio' - Graz – AT kulturservice.steiermark.at
2011 - 'RONDO/Marienmuhle Studio' - Graz – AT kulturservice.steiermark.at
2011 - FLACC : Work place for Visual artist, Genk – BE flacc.info
2010 -Homesession Barcelona – ES homesession.org
AWARDS & GRANTS
2014 - Grant ‘Ontwikkelingsgerichtebeurs’ (value 8000 euro) kunstenenerfgoed.be2013 - Grant 'RVT' received for residency Glogau + exhibition ‘Perpetual Travellers’ (value 1000 euro)
2013 - Grant 'Internationaalwerkverblijf' for Halk Projects Istanbul (value 3000 euro)
2013 - Grant ‘Ontwikkelingsgerichtebeurs’ (value 8000 euro) kunstenenerfgoed.be2012 - Grant 'Internationaalwerkverblijf' for AIR GlogauAIR (value 3000 euro)
2012 - Selected for SWAP program Art at the periphery of European cities
2012 - Grant 'RVT' received for exhibition 'Positioning Osmotic Impulses' (value 500 euro)
2014 - Grant ‘Ontwikkelingsgerichtebeurs’ (value 8000 euro) kunstenenerfgoed.be2013 - Grant 'RVT' received for residency Glogau + exhibition ‘Perpetual Travellers’ (value 1000 euro)
2013 - Grant 'Internationaalwerkverblijf' for Halk Projects Istanbul (value 3000 euro)
2013 - Grant ‘Ontwikkelingsgerichtebeurs’ (value 8000 euro) kunstenenerfgoed.be2012 - Grant 'Internationaalwerkverblijf' for AIR GlogauAIR (value 3000 euro)
2012 - Selected for SWAP program Art at the periphery of European cities
2012 - Grant 'RVT' received for exhibition 'Positioning Osmotic Impulses' (value 500 euro)
2011 - Grant 'RVT' received for exhibition 'Nomadic Settlers, Settled Nomads' (value 300 euro)
2010 - Selected for 'Artist's Village' – October 2010 SintNiklaas – BE
2006 - Cum Laude Degree, Master ‘Human Settlements‘, KatholiekeUniversiteit Leuven, BE
2005 - Scholarship by academic merit 2005, VLIR, VlaamseInteruniversitaireRaad, Leuven - BE
TEXTS
2013 Vervoort, Stefan, ‘Paraphernalia, The Stanza of Photography’, in WimWauman, Paraphernalia, Roma Publications
2012 - Quintero Restrepo, Monica, ‘La luzes la quecierra los ojos’, El Colombiano, Nov. 12
2012 - Fernandez-Pello, Carlos, ‘El disfraz de los lugaresolvidados’ in ‘Nada merece el privilegio de quedarse. Un proyecto de Juan Duque’, printed by Otormatica, Madrid ES, May 2012
2012 - Monje, Quino, ‘Desplazamiento (poraproximacion)’ in ‘Nada merece el privilegio de quedarse. Un proyecto de Juan Duque’, printed by Otormatica, Madrid ES, May 2012
2012 - Holsbeek, Dan “Herinnering en Transformatie – De benadering van het landschap” in Jaarboek FLACC 2011, pp. 77-85, Graphic Design RoosjeKlap, Ed. 750 ex.
2012 - Utzerath, Emily, “Talking with Artists // KunstlerimGesprach: Juan Duque“, in the frame of AIR PLATFORM3 – DE published on www.mucbook.de
2013 Vervoort, Stefan, ‘Paraphernalia, The Stanza of Photography’, in WimWauman, Paraphernalia, Roma Publications
2012 - Quintero Restrepo, Monica, ‘La luzes la quecierra los ojos’, El Colombiano, Nov. 12
2012 - Fernandez-Pello, Carlos, ‘El disfraz de los lugaresolvidados’ in ‘Nada merece el privilegio de quedarse. Un proyecto de Juan Duque’, printed by Otormatica, Madrid ES, May 2012
2012 - Monje, Quino, ‘Desplazamiento (poraproximacion)’ in ‘Nada merece el privilegio de quedarse. Un proyecto de Juan Duque’, printed by Otormatica, Madrid ES, May 2012
2012 - Holsbeek, Dan “Herinnering en Transformatie – De benadering van het landschap” in Jaarboek FLACC 2011, pp. 77-85, Graphic Design RoosjeKlap, Ed. 750 ex.
2012 - Utzerath, Emily, “Talking with Artists // KunstlerimGesprach: Juan Duque“, in the frame of AIR PLATFORM3 – DE published on www.mucbook.de
Gravity is very important hereʼ- at Gyeonggi Creation Center
South Korea.
Sublimation C-print on industrial textile, 250 X 170 cm. The original image has been taken at Museo Nacional de Antropologia Mexico DF 2013.
Two similar air-dry clay objects: in-situ action, taking 100kg of air-dry clay split in 50kg each. I have simultaneously created two objects with just my hands, molding, pressing and working the clay against the surface of the floor at the exhibition space, Juan Duque 2014.
'Gravity is very important here ʼ - at Gyeonggi Creation Center
South Korea.
Two similar air - dry clay objects: in-situ action, taking 100kg of air-dry clay split in 50kg each. Juan Duque 2014.
‘The Daemon of Comparisons’ at URRA Artist Residency – Buenos Aires – AR,
General view of site-specific installation, textiles, fabrics and chicken wire with different dimensions rolled in-situ, 40 kg of clay molded in situ with a concrete finish, split in two with a copper wire, sticks joined with industrial tape leaning against the wall, Juan Duque 2013.
Perpetual travellers at SAVVY Contemporary Berlin, group exhibition curated by Pieter Vermeulen.
‘Adjacencies and differences’60kg red and black clay, 30kg each object molded in – situ directly on the ground, Berlin, Juan Duque 2013.
‘OIKOS’ at GLOGAUAIR – Kreuzberg Berlin DE
General view of site – specific installation, mixed media: textiles, white clay molded in-situ, found objects, metallic structure of umbrella, an orange, B/W photo printed on paper, Juan Duque 2013
‘Horizonte de Ocupacion’, Site - specific installation presented at R.A.T.
ResidenciasartisticaporIntercambioMexicoD.F.
General view of site‐specific installation, several textiles and fabrics acquired at the local market, worked in‐situ with chlorine and spray paint (variable dimensions).
‘MEXICA-BERLINA’, large color print on pvc coated polyester 173 x 130 cm. Juan Duque - 2013.
’How things hold together’ at installation presented at GLOGAUAIR - Kreuzberg Berlin – DE.
Object made in situ, 60 banana peels together’ is part of a site specific installation I have made of 60 banana peels, the bananas were consume during the two month artist-in-residency period, Juan Duque 2012.
‘A big what if’ Site specific installation presented at GLOGAUAIR – Kreuzberg Berlin – DE.
The result of a two months artist-in-residency period. Stack of furniture with objects found in the residency room, B/W print on satin textile, 1970’s amber glass vase acquired on a local second hand market, Juan Duque 2012.
‘Nada merece el privilegio de quedarse’at Exhibition after a two-month residency at ProyectoRampa – Madrid ES.
4 kg of baked bread (left overs from artist food during the time of the residency) torn apart and rejoined with water into the shape of a ball, molded and pressed against the floor of the exhibition place,
Juan Duque – 2012.
‘Nada merece el privilegio de quedarse’at Exhibition after a two-month residency at ProyectoRampa – Madrid ES.
General view of site-specific installation, Textiles worked with bleach (60 cm x different lengths) joined with Velcro, found metal cage, second hand metal chair, two chromated metal bars, metal chains, worked shopping buggy, found umbrella structure, 4 kg of baked bread torn apart and rejoined with water, Juan Duque 2012.
Brushing the city against the Grain
Paula Lopez Zambrano
In the exhibition, ‘Brushing the city against the Grain’, Juan Duque makes an analysis of cultural and ideological dimensions in the East-West relationship; pointing out the influence of the West both in his personal experience being a Colombian artist who lives in Europe (a nomadic artist), and in the cultural context of Korea (after a three-month residency in the city of Geumcheon-gu). The exhibition, curated by Jin Y. Hwang, includes photography, sculpture, installation and video. It addresses post-colonial ideas and points out the complex relationship of contemporary art in connection to geography and time.
In ‘White Lucent’, a work that refers to the whitening mass culture trend in Korea, the artist alludes to the persistence of Western thoughts, patterns, ideas and values that dominate the society. It includes a photograph of an old Korean white mask used for dance and theatre (which is wood-carved and used to be yellow but nowadays presents a white painted veil), placed beside a photograph of an ancient pre-Columbian mask with Asian features (which he saw at the Museo de Antropología in a past residency in Mexico City). The wall is divided in two: white and yellow, East and West. He points out the intercultural dimension in Korea, reflecting on the assimilation of the West, which do not only depend on reproducing cultural patterns, but in changing the physical appearance, colour and features of the body.
Marc Auge’s notion of non-place, the concept of hyper-modernity and their locales in nodes of transport and transit, can be witnessed in ‘Horizons of difference’. Duque makes an observation about contemporary life in cities: the speed, rapid movement and displacement of people by means of technology and transport. He makes an observation of transitory spaces by including a video, which captures people running during rush hour at Seoul Central Station: a metaphor of the Korean society’s desire for competitiveness, improvement, efficiency and productivity after the war; where the notion of free time is veiled. It includes still photographs, and it follows a rhythm, making these movements and events appear slower. Time is suspended. We realise that these spaces of mobility are invisible: we do not acknowledge them as we walk through; we instead focus on the destination. Similarly, in ‘White Lucent’, we don’t see the photographs: we instead see the representation of the masks through the photographs. The medium of photography in ‘White Lucent’ is invisible, as are the places of transition represented in the video ‘Horizons of difference’. And here, from London, reappearing as an image of an image on my computer screen.
In the center of the gallery Duque placed two large site-specific sculptures of terracotta entitled ‘Similar, not similar to something, but just similar’. Contrary to the fleeting mobility rendered in the digitally produced photographs and video, these static objects focus on the physicality of their own existence and the property of their material, somehow aware of their own time and space. Terracotta is one of the most ancient techniques in the production of ceramics and sculpture and while it lasts a long time… nothing last forever. These pieces age; they have a lifespan, they slowly erode, disintegrate, and break.
As a conclusion, we can say that Duque points out the hybrid cultural traditions that exist in Korea through a set of time-based conditions, post-colonial diaspora and material juxtapositions. He presents us with his own personal experience in a global swap, a re-contextualization of expected societal values. Following some ideas by Homi K. Bhabha, the artist points out a colonial ambivalence; some differences and adaptations of traditions or ways-of-being, where colonial subjects/objects are displaced between worlds and between time, but in some cases are also suspended.
