Preparations for Fernando began in the summer of 2011 with the artists and I embarking on a two-day orientation in Stamford that included: tours of the Avon Theatre and NBC studios; discussions about Stamford’s downtown revitalization and historic architecture; and meetings with civic leaders. During the visit, when any of us mentioned contemporary art, inevitably, someone would say, “Have you met Fernando?” referring to Fernando Luis Alvarez, a local gallerist. This phenomenon and other observations contributed to the exhibition’s formation, with Baga, Geronimas, Lynnerup, and I exploring and researching Stamford’s communities, organizations, and infrastructures as their projects unfolded. Intentionally unpredictable, Fernando’s structure was designed to promote surprises and flux, fostering situations that welcome improvisation and experimentation.
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