Circle Within a Square

1.11.20 - 2.16.20

Bernadette Despujols and Brittney Leeanne Williams

LVL3 presents, Circle Within a Square, a two-person exhibition featuring Bernadette Despujols and Brittney Leeanne Williams. Despujols’ violent, painterly style confronts contemporary mythologies of women while Williams’ transcendent use of deep red nods to generational and embodied feminine roles. 

Williams’ paintings feature black women prominently in the composition, blending foreground and background, landscape and subject. The bodies are bent: their postures suggest a state of rest, a burden carried, lovemaking, being anchored. Williams uses these figures and their positionality to reference her own relationship to family history while at the same time speaking about chronicled female characters such as Naomi and Ruth from the Book of Ruth. 

Despujol’s sculptures and paintings speak about the female body in today’s cultural and social contexts, questioning and embracing notions of objectification and intimacy. Despujol’s compositions depict naked sitting female-bodied figures in their home, on a bed or sitting on a man’s lap; forcing a viewer to question whether the scene depicted is intrusive or empowering. Similarly lonely and internal, Despujol’s interruptions of objects and furniture designed for the body are transfigured to become the body in question.

Bending, sitting, propped on chairs or inside a vast landscape, Despujols and Williams’ figures disrupt space through their dynamic expressions of womanhood.



December 3, 2019 – March 15th, 2020

Carole A. Fewell Gallery and Abraham Gallery, Coral Gables Museum

Miguel Acosta, Paul Amundarain, Uaio Antor, William Barbosa, Rafael Barrios, Alberto Blanco, Muu Blanco, Milton Becerra, Nadia Benatar, Carola Bravo, Starsky Brines, Nahila Campos, Amalia Caputo, Maria Cristina Carbonell, Ivan Castillo, Alberto Cavalieri, Pietro Daprano, Bernadette Depujols, Elsa Este, Nina Dotti, Leslie Gabaldon, Gabriela Gamboa, Juan Henriquez, Corina Hoher,Lili(ana), Andres Manner, Yucef Merhi, Andres Michelena, Mariana Monteagudo, Rolando Peña, Rafael Rangel, Sidia Reyes, Jorge Salas, Ines Silva, Karen Starosta-Gilinski, Patricia Van Dalen, Abigail Varela, Tony Vázquez, Lisu Vega, Tona Vegas, Julia Zurilla.

FOR NOW… brings together key Venezuelan artists who have settled in Miami throughout the last twenty years. From different generations, and working on a great variety of mediums and topics, these creators are part of a complex, ever-growing art scene that has made a huge impact in South Florida.

Some of the works in the show relate to the experience of the Diaspora. They explore topics such as memory, silence, and the complexities of the nation left behind. Another group of pieces pose formal concerns. In them, there is a visible dialogue with the strong Venezuelan tradition of Geometric Abstraction. Yet others are more in tune with broader concerns within the local and the international art scene.


Curated by: Adriana Meneses and Yuneikys Villalonga


per•verse /pɚˈvɜrs/   adj. 

  •  willfully determined or disposed to go

  • counter to what is expected or desired; contrary

  • wayward; cantankerous

  • persistent or obstinate in what is wrong

  • turned away from what is right, good, or proper

Featured Artists:

Graham AndersonJohanna BresnickBernadette DespujolsBrian GalderisiRobert GregsonCrystal HeidenRobert Chase Heishman and Megan SchvaneveldtMeredith JamesKyle KearsonJuliana Cerqueira LeiteEsteban Ramón PérezRobert NarracciJeff OstergrenJessi ReavesChris Ruggiero and Nina Yuen.

Artspace is pleased to present Perverse Furniture, a group exhibition that upsets conventional notions of furniture to explore a range of materially expressive and emotionally intelligent “designs for the body”.  Organized on the 100th Anniversary of the Bauhaus, this exhibition explores how three generations of U.S. based artists grapple with the German school’s legacies and ideological roots.  The artists include: Graham Anderson, Johanna Bresnick, Bernadette Despujols, Brian Galderisi, Bob Gregson, Crystal Heiden, Robert Chase Heishman and Megan Schvaneveldt, Meredith James, Kyle Kearson, Juliana Cerqueira Leite, Esteban Ramón Pérez, Robert Narracci, Jeff Ostergren, Jessi Reaves, Chris Ruggiero and Nina Yuen. 

The practices on display share Bauhaus’s core concern to understand humankind’s place among machines.  But rather than strive for the possibility of a perfect marriage between art, technology and industry, they interrogate the ways that objects serve our physical and psychological needs. Looking broadly at overlaps in art, architecture and design today, the works are aesthetically antithetical to the iconic objects of Bauhaus design.1  In their quests to humanize design, they are inefficient, weepy, oddball, excessive, loud, legible, performative, humorous, participatory, kitsch, impenetrable, impractical, non-functional, overbearing, multicentered, uneven, empathetic, multivalent, and sometimes so perverse as to be nearly alive.   

Artspace’s galleries at 50 Orange Street are especially fitting for this show, as they formerly housed Chamberlain’s Furniture, a Civil-War Era storefront and furniture factory.  Even from the outside, viewers can glimpse at the surprises within.  Unpredictable elements bubble up from under the carpets and upholstery in works by Ramón Pérez, Ostergren, Cerqueira Leite, and Reaves, whose broken tools for “living-with” resist the psychological ill-effects of past utopias, and celebrate bodies at rest and in motion. 4  Industrial thrones, cagey mega complexes, obtrusive paneling, and wooly underbellies in works by Kearson, James, Anderson and Despujols, defy our perspectives, turning the tables on power structures of functional design.  Aspirational assemblages by Galderisi, Heiden, Bresnick, and Chase Heishman and Schvaneveldt are fraught with tension, absurdity and laughter, signaling that there is hope. 

As the 100th Anniversary of Bauhaus is celebrated by major institutions around the world, this exhibition seeks to recognize how the school’s design principles, utopian philosophies and promise of new beginnings have played out at the scale of the city, specifically in New Haven. 2  From the 1930’s to the 1970’s, New Haven became a laboratory for well-known Bauhaüslers in exile, who occupied teaching positions at Yale and nearby Harvard, as well as schools further afield in Chicago, the woods of North Carolina and California.3  Their architectural contributions command attention: among them, the Marcel Breuer building, curiously perched on 1-95, the Paul Rudolph parking lot, which serves Bowtie Cinemas and businesses on Temple Street, and “The Whale” hockey rink built by Eero Saarinen.  These urban interventions rejected America’s Beaux Arts tradition practiced in the field and taught in universities.  Less obvious are some of the building’s origin stories, filling in bulldozed and reorganized sections of the city under Mayor Richard C. Lee’s aggressive urban renewal campaign of the 1950s and 1960s, often times with little to no community buy-in.

At the core of the exhibition, a specially curated zone explores the mixed reception and nuanced effects of Bauhaus-inspired modernist design in New Haven from the 1950s to today.  One section, curated from materials in the Photo Archives and Manuscripts at the New Haven Museum by historian Jason Bischoff-Wurstle, accounts for some of the bizarre spatial mysteries we encounter throughout the city. This section also tells lesser-known stories of early city planning and the implementation by the unique confluence of public and private entities in the remarkable years after World War II. Another section, organized by Robert Gregson, addresses alluring encounters with the hidden glass prisms of residential Connecticut modernism. A third section looks to Yale University’s foundation course on “The Chair” as an example of how American students of architecture are still taught lessons in direct material engagement, scalability and authorship via the Bauhaus tradition of “learning by doing”.

In 1911, the French philosopher Henri Bergson wrote, “We shall see that the human intellect feels at home among inanimate objects, more especially among solids, where our action finds its fulcrum and our industry its tools; that our concepts have been formed on the model of solids; that our logic is, pre-eminently, the logic of solids.”6  For Bergson, our comfort with inanimate objects leads to a dense web of making discovery after discovery, a process which makes it impossible to determine where one discovery ends and the next begins, or where the animate ends and the inanimate begins. Here, human and object are fully enmeshed. 

This exhibition is co-curated by Artspace Curator/Gallery Director, Sarah Fritchey, and New Haven based architect/artist, Aude Jomini.  It was made possible by the generous support of The Andy Warhol Foundation of the Arts, New Haven Museum, Yale University School of Architecture, and Friends of Artspace.

Supported at its Ends—Hanging by its Weight - LAZO

Loiosaida, NYC 

Jan 29, 2019 

A line that loops around itself holds things in place—pull its ends and it opens into a line again. Geographies are inscribed with lines, imagined and physical, that shift naturally and from human intervention. How do we create ties across continents?

In geometry and physics, a catenary is the natural curve created by gravity acting on a rope or chain when suspended from its ends. Does an egg cupped between two hands hold the same strength as a bridge?

A rope can be knotted and tied, gestures of gathering and interweaving. Ancient Andean cultures developed the Quipu, a system of knotted strings used to keep records, communicate information, and represent traditional stories and poetry.

Perhaps it is through these elemental forms that we can continue to navigate distance.

Supported at its Ends—Hanging by its Weight is the first exhibition for LAZO (in Spanish: ‘link, tie, or knot), a platform and resource for contemporary artists of Latin American and Caribbean descent. The show, organized by Claudia Cortínez and Alva Mooses, brings together fourteen artists based in NYC and throughout the Americas and is part of a series of events to be hosted in the coming months at The Loisaida Center.


Nov 16th - Dec 14th, 2018
Featuring NARS Fall residency artists
William Miller (USA) | Charlotte Lagro (Netherlands) | Bernadette Despujols (Venezuela) | Leah Hewson(Ireland) | Shihori Yamamoto (Japan) | Rhonda Weppler (Canada) | Erin Gleason (USA) | Claudia Cortinez (USA) | Linda Loh (Australia) | Elizabeth Moran (USA) | Jemila MacEwan (USA) | Jean-Pierre Mot (Canada) | Miranda Blennerhassett (UK)  Frédérique Ulman-Gagné (Canada) | Sanié Bokhari (Pakistan) | Valérie Hallier (France)


NARS is pleased to present Sixteen Memos for the Next Millennium, an exhibition featuring the works of our 2018 Season IV artists-in-residence. The exhibition takes its title from Italo Calvino’s ‘Six Memos for the Next Millennium,’ a series of Charles Eliot Norton Poetry Lectures he was invited to give at Harvard University over the course of the academic year between 1985-1986 regarding the literary values he identified as being of most importance for the coming millennium. He had intended to deliver eight lectures in total, but at the time of his departure to Massachusetts, he had written only five of them, which are teeming with references to stories of folklore, mythology, philosophical thought, etc. The sixth, his wife Esther Calvino revealed in the forward of the book, was planned to refer to Herman Melville’s story of ‘Bartleby,’ the scrivener who ‘preferred not to.’

Calvino denoted the values as follows: Lightness, Quickness, Exactitude, Visibility, Multiplicit

And the 6th was intended to be ‘Consistency.’ The exhibition as an adaptation of Calvino’s poetic values refers to any type of poetic communication, whether in the sense of the literary, the musical, and more specifically in this case, the visual. These values resonate across the multi-disciplinary practices, mediums, and concepts in which the Season IV artists in residence at NARS have engaged with as part of their creative processes as we transition into the new year, and toward the end of their residencies.

2018 Florida Biennial 

September 14 - October 21, 2018

The 2018 Florida Biennial features 68 works by 30 artists who were selected by juror Sarah Fritchey from entries submitted to the Art and Culture Center/Hollywood. The exhibition opened on Friday, Sept. 14 with the announcement of awards for the Juror’s Pick, Edison Peñafiel, and Honorable Mention, Lisa Rockford. 

This ninth edition of the Center’s Juried Biennial received applications from 291 artists living in 85 cities throughout Florida. In all, juror Sarah Fritchey reviewed 2,050 works from artists working in any media. The 2018 Florida Biennial focuses on exploring multicultural identities, discussing ecological issues, and imagining a robust cultural climate for Florida within the global economy.


Maria Barbist Aurora Molina, Julie Davidow Desireé Moore, Elaine Defibaugh Sharon Norwood, Bernadette Despujols Jee Park, Rigoberto Diaz Edison Peñafiel 

Michael Dillow Lisa Rockford, Nicole Doran Donna Ruff, Santiago Echeverry Maricel Ruiz, Rosa Garmendia Troy Simmons, Lorna Galloway Jonathan Stein, Lisa Haque Bethany Taylor, Alex Ibsen Star Trauth, Elite Kedan Amber Tutwiler, Kandy Lopez Jill Weisberg, Cynthia Mason Almaz Wilson

IK Projects

Solo Show - 2018

Lima, Peru  


FREE! interrupts and activates public spaces in the shopping center based on three core principles: FREE! Public, FREE! Play, and FREE! View.  Each sector addresses notions of healing, empathy and connectivity; to inspire, reflect and encourage participation from the public.

FREE! is a convergence, a message, a uniquely immersive experience.
Miami-based cultural producer Anthony Spinello, founder of gallery and creative house Spinello Projects, conceptualized FREE! with investigations into nominal concepts of race, gender, nationality, sexuality, and religion through experiential and participatory installations, video and performance. Borders and divisions, both physical and ideological, are explored by these artists. Lines are endlessly drawn, redrawn, erased and replaced in an effort to create deep rifts in our society and culture - and yet lines may also be wires, threads, streams and scars which can activate, bind, and bring us together. FREE! reimagines the traditional art fair model by providing free access to the public and space to create site-specific interventions in a commercial, non-traditional venue. Nothing is bought or sold, in opposition to object-driven consumerism.

Participating artists: Troy Abbott, Nathalie Alfonso, Elysa D. Batista, Cassils, Patty Chang, Franky Cruz, Rev. Houston R. Cypress, Francisco De La Torre, Cara Despain, Bernadette Despujols, Giannina Dwin, Genevieve Gaignard, Guillermo Leon Gomez, Micol Hebron, Amanda Keeley, Sinisa Kukec, Taja Lindley, Justin H. Long, Carlos Martiel, Wangechi Mutu, Tameka J. Norris, Michelle Lisa Polissaint, Cheryl Pope, Michele Pred, Emanuel Ribas, Norberto Rodriguez, Emilio Rojas, Stefan Roloff, Misael Soto, Naama Tsabar, Antonia Wright, Octavia Yearwood, and Slim 007. 



Bakehouse Art Complex – Swenson Gallery 2018


To coincide with the recent feminist uproar, we see femininity and feminism are reshaping themselves through the gaze of society, consumerism and marketing.  .  Nevertheless, we are still constantly faced with of mutilation, alienation and rejection in relation to our own bodies, which brings many different readings on how women perceive themselves.
Throughout history, women have had a complex relationship with their bodies and the notion of self that keeps on mutating into different realms.


For Still Lives, Amalia Caputo, Bernadette Despujols and Tamara Despujols, suggest a selection of works that would be connecting through different strategies, ideas of how we distance, merge or reject our SELF from our BEING. The fact that mostly we find in our body a self that does not seem to match what we imagine it should be or vice-versa. We will present works that on the one side speak about the notions of hedonism, adoration, alienation, transformation and negation.



Recent work by Jose Figueroa and Bernadette Despujols

PRO FOUNDATION is an artist run space and art platform space 265 Weirfield st, NY, 11221 Brooklyn

Profound Studio is proud to present DUO, a survey of recent work by Jose Figueroa and Bernadette Despujols. Fueled by depicting the intimate and the every-day, these artists have established an art practice that pushes conventional media. Figueroa explores personal history through autobiographical paintings that make observations a camera cannot capture; providing inside to the artist’s inner life and thought process. His chronological archive becomes the backbone of a multimedia practice rooted in an attempt to map his impressions as a self-exiled global citizen. Despujols’ artistic practice is highly expansive, and she incorporates media including painting, sculpture, video and installation. Her current work questions historical allusions, myths and references regarding the perception of women and sex in contemporary life. Join us June 7th for a night celebrating the practice of these Venezuelan artists living under Trump’s America, and immerse in their reflections and anxieties regarding our current times.

O, Miami Poetry Festival 2018

O, Miami builds community through literature, produce a poetry festival, a publishing imprint, a poets-in-schools residency, and other programs that democratize access to literature and re-think the role of the literary arts in American society.

Project by Bernadette Despujols

We can fight with weapons, we can fight with strength, we can fight with words. "Fight me with Words" is an interactive poetic pillow fight. A pillow fight is a mock physical conflict using pillows as weapon. In this case each pillow has a word or phrase. Participants are invited to fight and create their own messages or find the pillow with the word or phrase that better represents them for this fight. The idea is to turn words into objects for direct contact, materializing the spoken word in weapons for combat.


Cerquone Projects

Solo Exhibit, Caracas 20118 

Curator  Lorena González Inneco

Bernadette Despujols

El arte como compromiso frente al “gran teatro del mundo”


(…) la escritura normadora forma individuos vigilantes y vigilados. La mirada del juez, del maestro, padre y médicos se disemina en múltiples otras miradas que controlan continuamente la más leve transgresión de los límites públicos, privados e íntimos. Por ello se cuidarán las formas, las apariencias, la contención de las emociones, el contacto de los cuerpos, las retóricas del buen decir, porque el ojo del otro recuerda permanentemente fronteras que sólo son imaginarias. 

Beatriz González Stephan


En su ensayo “Economías fundacionales. Diseño del cuerpo ciudadano”, Beatriz González Stephan explica que las nuevas estrategias civilizatorias de los entes hegemónicos contemporáneos, están relacionadas con toda una gramática formativa e instructiva elaborada con la finalidad de establecer la norma y obtener el control sobre los destinos y el movimiento de las vidas de los ciudadanos. Al respecto apunta que el ejercicio del poder en las sociedades actuales se logra a través de la proliferación de una serie de instituciones (talleres, escuelas correccionales, hospicios, manicomios, cárceles) y de prácticas discursivas como constituciones, registros, censos, mapas, gramáticas, diccionarios, manuales de urbanidad y tratados de higiene; un conjunto de “tecnologías especializadas” e instituciones del orden público que coercionan, controlan, sujetan y regulan con docilidad el movimiento de los cuerpos para hacer de ellos subjetividades domesticadas, neutralizando al mismo tiempo el peligro significativo de los agentes descentrados. 

La obra de la artista venezolana Bernadette Despujols es un campo dinámico de re-significación que se inserta dentro de estas consideraciones. Arquitecto y artista de amplia trayectoria, las investigaciones de esta creadora han estado profundamente enraizadas con la revisión constante de los campos de valoración del sujeto contemporáneo en sus relaciones con las legitimaciones del otro: referencias, estereotipos, deseos, cuerpos, historias, modas y mitos que respiran y subsisten en un mundo tan mediáticamente integrado como absolutamente polarizado. Para Despujols forman una matriz central de deliberación todas aquellas variables que parecen estallar livianamente a través de la desestabilización constante que insertan las formas comerciales de aproximación del mundo global. Con un expresionismo casi onírico la artista excava en este espectro efímero y volátil, esfera sombría donde lo público y lo privado exoneran sus responsabilidades frente al surgimiento de paradójicas diferenciaciones que estimulan ese quórums en apariencia anónimo que ahora decide entre el bien y el mal, la vida y la muerte, lo bello y lo feo, lo exitoso y lo deplorable, lo permitido y lo ilegal. 

Para ahondar en este núcleo de inestabilidades la obra de Despujols se arroja con desenfado sobre la pesquisa y mixtura de múltiples códigos. En el aspecto formal, recurre a técnicas y materiales diversos con los cuales configura propuestas visuales de una gran fuerza escénica: pequeños dibujos que conviven junto a poemas impresos, pinturas de gran formato que desbordan en rasgos narrativos, notables instalaciones e inusitadas esculturas que perforan el espacio con sus indescriptibles volúmenes. En todas estas escenas formales la obra irrumpe como una ambientación sobre los símbolos tradicionales de la cultura y altera los rasgos ancestrales de la memoria para devenir hacia los linderos de una figurada irracionalidad. A través del enlace de elementos dispersos o absurdos, abre la posibilidad infinita de un choque poético, una construcción que alejada de la representación lineal de la realidad se detiene y se toma el tiempo de esculpir sus zonas ocultas y revelarse en un impronunciable caudal, despertando en el espectador las resonancias de un trasfondo significativo —a un tiempo develado y oculto— que anima la vitalidad de nuestros temores, deseos y miedos más antiguos. En este paso, la creadora asume el riesgo y también se apuesta como individuo crítico ante el entorno que nos rodea. En un intento por analizar la compleja existencia del sujeto social a través de la imagen y la palabra, revela y resguarda la proliferación de nuestros sentidos y la reinversión de los nuevos protocolos logocéntricos que hacen vida en este ambiguo escenario de la iconográfica turba contemporánea. 

El término logocéntrico en el estudio de González, escrito a mediados de la década de los noventa, remite a un mecanismo centralista regido por el logos —gramático e institucional— del campo hegemónico que controla el devenir de la sociedad, el cual refracta y extiende su poder hacia los órdenes periféricos, marginando y excluyendo a los grupos e individuos que disienten física, estructural o psíquicamente del logos dictado por el orden establecido. 

Casi veinte años después nos encontramos en un entorno donde ese “gran teatro del mundo” al que hace referencia la investigadora, ha extendido sus líneas de ejercicio y legitimación no sólo a través de textos y texturas estatales dominantes que imparten, estructuran, rigen, controlan, reparten y organizan entre sí campos de identidad nacional, territorialidades públicas, zonas privadas o canales de comunicación, sino también mediante las prolíficas y dramáticas visualidades que empantanan hoy la inabarcable sociedad global del espectáculo. ¿Quiénes somos en este abismo sin norte, en esta irradiación de sentidos, en esta verdades y ficciones asentadas por los likes de una sombría mayoría? 

En cada una de las piezas de Bernadette Despujols parecen levantarse constantemente muchas de estas inquietudes. Su obra es un compromiso que ha firmado con la vida y el arte de su tiempo, un contrato vital que en su profundidad también abarca la responsabilidad asumida frente a la mirada del espectador.

Lorena González Inneco


NEW WORK - BAC, 2018

Audrey Love Gallery, Bakehouse Art Complex, 561 NW 32nd St., Miami, FL 33132

Curated by Justin H Long.

The Newest NEW, the Hottest HOT, the Freshest FRESH has always been sought after; the need to evolve is a necessity. Art has followed the same path, without constant evolution work becomes stale and irrelevant quickly. NEW WORK - BAC is a survey of work from the last year from the Bakehouse’s newest residents. These 20 artists work across all media and proudly produce their art within the walls of BAC’s immense facility. 

A true hands-on sense of materiality is present with all producing their own work, owning the craft as well as the concepts behind each project. Departures from traditional methods of sculpture are evident with the presence of sex dolls, buttons, packing materials, polygons and eyeballs made from porcelain. Painting is interpreted through sensed portraits and imagined landscapes exploring feelings and forgotten spaces.  Swimming pools, the Ocean and vacant urban settings pour through the photographs, inspired by living in Miami.  All work was made this year or last, guaranteeing the freshest fresh and newest new BAC has to offer.

Artists include: Amanda Bradley, Gianna Riccardi, Scott Brennan, Maritza Caneca, Bernadette Despujols, Augusto Esquivel, Gabriela Garcia, Nicole Maynard-Sahar, Sean Mick, Aurora Molina, Isabela Muci, Myung Nam An, Rolando Peña, Sandra Ramos, Mary Ellen Scherl, Lauren Shapiro, Alejandra Suarez, Tonya Vegas, Clara Toro and Pedro Wazzan. 



January 5 – February 4, 2018
Opening Reception: Sunday, January 7, 5:30 - 7:30 PM

Curated by Barbara Zucker


Adrienne Jenkins, Alexander Bernon, Amy Cannestra, Amy Finkbeiner, Anne Ferrer, Audrey Anastasi, Bernadette Despujols, Cali Kurlan, Catherine Hall & Meg Lipke, Charlotte Woolf, Christophe Lima, Coco Hall, Cristin Millet, Cynthia Winika, d’Anne de Simone, Dani Sigler, Danielle Siegelbaum, Deborah Wasserman, Devra Fox, Divine Williams, Dottie Attie, Elaine Angelopoulos, Elke Solomon, Ellen Jong, Eugenia Pigassiou, Gina Randazzo, Grace Burney, Greta Young, Heather Saunders & Cassandra, Heather Weathers, Ilona Granet, Indira Cesarine, Irene Gennaro, Jane Zweibel, Jessica Nissen, Julia Kim Smith, Julia Buck, Justine Walker, Karen Meersohn, Kathy Grove, Katrina Majkut, Lannie Hart, Leslie Fry, Leslie Tucker, Megan Pickering, Marie Tomanova, Martha Edelheit, Martha Fleming-Ives, Maureen Connor, Mira Schor, Nadine Faraj, Nancy Hellebrand, Nancy Lasar, Nina Meledandri, Parastoo Ahoon, Pat Lasch, Perri Nerri, Rachel Lindsay, Rachel Portesi, Robin Adsit, Robin Jordan, Robin Tewes, Rosemary Meza-DesPlas, Ruth Owens, Sabra Moore, Sooyeon Yun, Susan Carr, Valerie Hallier, Virginia Carey, Yael Ben-Zion.

A.I.R. gallery is proud to present its 5th edition of CURRENTS an exhibition in which artists respond to the theme of ABORTION. In this turbulent moment in history, abortion remains a signifier of women’s ownership over their bodies, being as urgent a subject as any of the issues that now consume us.

The exhibition includes depictions of choice, loss, and anger; works of fecundity, disease, shame, and pain; images of helplessness and images of power. There are pieces that reach into the past to demonstrate ways in which women used abortifacients as well as work that is pro life and religious. All these proposition are united in the space of the gallery under the premise of listening.


“Fábulas de Sangre y Rojo” 2017

artista Bernadette Despujols con la producción de Cerquone Projects y texto de Amalia Caputo.

Bernadette Despujols

There is a good principle

that created order, light and man

And a bad principle that

created chaos, darkness

and woman.


Culpa, placer y otros asuntos incómodos.

Las obras recientes de la artista y arquitecto venezolana Bernadette Despujols examinan, desde una variedad de perspectivas, muchas prácticas culturales profundamente arraigadas asociadas a los intentos por definir la feminidad contemporánea. En este sentido, la búsqueda de una respuesta a la pregunta de cómo una mujer, por la virtud de ser una mujer, despierta incomodidad en otros, parece ser uno de los postulados centrales explorados en su cuerpo de trabajo. Discurriendo de la culpa a la vergüenza, del sexo a la soledad, de la inocencia a la complicidad, Despujols expone la feminidad y el concepto de lo femenino como algo a ser comprendido no solo por mujeres, sino también por personas de todos los géneros.

La totalidad de las obra de Bernadette Despujols refiere al cuerpo y a su lugar en los constructos sociales y culturales específicos a las mujeres, y habla a la opinión de las mujeres sobre sí mismas, por sí mismas, en conjunto con la visión de los hombres y de la sociedad en general. A través de su arte, Bernadette sugiere asociaciones mentales que transitan por pensamientos íntimos sobre sexualidad e historias personales burlándose de las convenciones sociales dominantes, todo orientado a cuestionar cómo nosotras, las mujeres, somos percibidas por otros y cómo nos identificamos a nosotras mismas..

Para Culpa, placeres y otros asuntos incómodos, Despujols emplea una amplia gama de estrategias formales, incluyendo un conjunto de pinturas de pequeño formato, varias esculturas de concreto, una fotografía y dos instalaciones que, juntas, reflejan cómo nuestro mundo gira abiertamente, pero al mismo tiempo secretamente, en torno al sexo. Su obra abarca matices y sutilezas que giran en torno a la percepción cultural de las mujeres sobre sí mismas: viajes de culpa, expectativas sociales, deseo sexual, así como conexiones y pensamientos corporales íntimos. También explora la percepción de que la feminidad, de alguna manera, siempre está conectada con algún tipo de culpa y dibuja una delgada línea entre el humor sardónico y la abyección pura.




Art and Culture Center/Hollywood

1650 Harrison Street, Hollywood, FL 33020

Nov. 10, 2017 - Jan. 7, 2018

Curated by Laura Marsh


Curated by Laura Marsh
As explorations in emotional survival, Mottos contextualizes the work of artists who challenge social binaries and offer alternative insights about age, gender, race, and identity politics. Intended to raise social awareness and challenge pre-existing stereotypes, the exhibition offers viewers the agency to embrace one’s own body and social mission. Intended to be viewed as an immersive installation, the viewer is in the dark to process poetic gestures, fluid forms, and powerful images. The included works approach social topics with compassion, tact, and considerate cultural messages. 

Ari Seth Cohen a photographer, blogger, and author who captures aging subjects as sources of inspiration and admiration. Cohen gracefully fights ageism with color and charisma in his well known blog and documentary, Advanced Style. Bernadette Despujols makes emotive sculptures that address layers of femininity, and sexual and social constructs. GeoVanna Gonzalez’s, I Think We’re Moving Too Fast, explores the body as a poetic space that is equally intellectual and sexual. Dana and Ruth Kleinman’sMirror Mirror is a formal triptych that references the Evil Queen in Snow White, questioning historical relationships between women and social issues that are neither black nor white. Questioning the role of repetition and memorization in dictatorships, Aurora Molina imbues her tactile sculptures with arresting messages to criticise the act of brainwashing. The piece salutes the viewer when their motion is detected, triggering the sound loop representing Cuban children singing, “Seremos como el Che.” Michelle Murphy explores cosmic and scientific imagery as part of her history working for NASA and as metaphors for being an artist, parent, and organizer. Her photography explores the relationship between engineered beauty, consumption, and rebellion of socially accepted ideals. Curated together, the Mottos installation addresses body positive perspectives on age, race, and gender.


  • Facebook Social Icon
  • Instagram Social Icon