SOIL Gallery

Quota.

 

Featuring the works of: Anissa Amalia, manuel arturo abreu, Natalie Ball, Isa Benn, Sabella D’Souza, Jueqian Fang, bart fitzgerald, Christopher Paul Jordan, mario lemafa, Rafia Santana, Asia Tail, Chuck Taylor, Gee Wesley, Ellen (Jing) Xu

Curators: Satpreet Kahlon, Mel Carter, Anisa Jackson

Start             7.6.17
End               7.30.17
Reception    7.6.17, Thursday, 6-8 pm
Curator/artist talk: 7.23.17, Sunday, 2-3 pm

Quota. is a group show that asks artists of varying mediums, from varying places, at varying points in their careers, to respond to the same question: What kind of work would artists make if they felt none of the external and internal pressures that they normally face?

What results is a show that explores ideas of quotas – both unofficial and official – and how they limit and inhibit the kinds of works that different artists are expected to make.

Although it is admittedly impossible to remove all pressures from an artist as they create work, by creating an environment that intends to be as open as possible, Quota. encourages open dialogue, artistic exploration, and happily invites the possibility for failure.


Join us on 7/23 at 2pm for a conversation with manuel arturo abreu about feel$, an imaginary app for automatically redistributing funds from a social aggressor to the aggressed. Writer Minh Nguyen will direct the conversation.

manuel arturo abreu (b. 1991, Santo Domingo) is a poet and artist from the Bronx. Currently living and working in a garage in southeast Portland, they received their BA in Linguistics from Reed College in 2014. They have shown with PNCA (Portland), Institute of New Connotative Action (Seattle), AA|LA Gallery (LA), As It Stands (LA), Compliance Division (Portland), et al. They have published with Rhizome, the New Inquiry, Open Space, AQNB, Berfrois, Poor Claudia, et al. They are the author of List of Consonants (Bottlecap Press, 2015) and transtrender (Quimérica Books, 2016). They co-run home school, a free pop-up art school in Portland.

 

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