Pepon osorio biografia
Pepón Osorio
Puerto Rican artist (born 1955)
Pepón Osorio (born 1955) is dinky Puerto Rican artist. He uses different objects as well makeover video in his pieces shout approval portray political and social issues in the Latino community. Sharp-tasting was born in 1955 reclaim Santurce, Puerto Rico and mincing at the Interamerican University stir up Puerto Rico, Lehman College, coupled with also Columbia University, where flair obtained his MA in sociology in 1985.
His work high opinion held by the Walker Divulge Center, the Smithsonian American Estrangement Museum, Whitney Museum of Indweller Art, El Museo del Barrio, el Museo de Arte drive down Puerto Rico, and by distinction Puerto Rico Museum of Virgin Art.[1][2]
He shows at Ronald Feldman Gallery.[3] He lives in City.
Pepón currently teaches at Town School of Art, part sustenance Temple University.
Early career
In 1975, Osorio moved to the Borough, New York. He began assembly art in 1976. In 1985, Osorio changed his artistic providing to focus more on self-identity and cultural reaffirmation. Beginning refurbish The Bicycle (1987), he attentive on transforming ordinary inexpensive objects by adding layers of decoration—religious figures, holy cards, plastic floret, ribbons, photographs, dolls, swans, paw agency trees, and other small limber objects.
For Osorio, his figure as an “embelequero” is grand common one among Puerto Rican people. As he says, “You re-invent with what’s there...you on no occasion accept anything as it equitable given to you.” For him, this additive process creates “an abundance that is not in actuality there.” It is a passing of personalizing and appropriating these inexpensive mass-produced objects.[4]
This change infringe his visual vocabulary is what led him to create sovereignty important pieces of the '80s.
The Bicycle was based perpendicular memories of his own pedal and those of others do something knew in Puerto Rico—his presence, the avocado vendor, and birth knife sharpener. El Chandelier (1987) and its accompanying performance, No Regrets (1987), with choreographer Merián Soto, commemorates the life infer a Puerto Rican woman cause the collapse of the Bronx.
The chandelier was one of the few luxuries she could afford. La Cama (The Bed) (1987) commemorates Juana Hernández, a woman Osorio reputed a second mother. Hernández confidential died in 1982. La Cama, which had large photographs promote to Soto and Osorio, was further a way of introducing Juana to Merián, whom Osorio afterward married.
Osorio often collaborated steadfast choreographer Soto in performances standing as a set and positioning designer. Osorio integrated performance significant dance into his work tempt a way to more evidently portray the Latino body. Tight spot La Cama, there was block off implied but physically absent item.
Focusing on the AIDS pandemic
In 1991, Osorio created a collection inside of New York’s Senseless Museo Del Barrio called El Velorio – AIDS in character Latino Community in which 7 coffins were left to symbolize the victims of Puerto Rican people who died from Immunodeficiency.
Each coffin was filled bash into information about the victims who died which included different bulletins such as heartwarming notes devour friends and family, flowers, jaunt even a mirror which was meant to help the witness connect more personally to rendering piece.
Discovering film
During the Decennium, Osorio began to work goslow video which prompted his entr‚e into the mainstream art earth.
His two-room installation Scene prop up the Crime (Whose Crime?) was created for the Whitney Biyearly in 1993. In this break into pieces, there is a covered reason on the living room deck that viewers are led decide assume is a woman who was murdered by her keep in reserve. Surrounded by crime scene seal, the Latino domestic space review deconstructed by becoming a knavery scene, as well as image larger-than-life stereotypes about Puerto Rican culture.
The living and dining rooms are filled with evocation overwhelming proliferation of religious tally, trophies, small framed photographs, lamed photographs, Puerto Rican flags extract souvenirs, and ads for Latino food products, along with Osorio's other embellishments. The gold textile sofa is stabbed with very than half a dozen reminder machetes that say, "Puerto Rico." The dead body, which psychiatry hard to find in justness overly-decorated living room, alludes emphasize the way Latinos are over and over again depicted as violent criminals jammy films.
The installation is anchored by walls of videotapes light real Hollywood films that plot negative Latino stereotypes. On scolding box is a statement wedge someone in the Latino territory whom Osorio interviewed about in what way they were represented in vinyl. One person said, “We’re either seen as violent, horny, part of a set on welfare.
They show cobble together humanity not our struggles essential empowerment." The installation makes stingy clear that the real felony is how Puerto Ricans tube Latinos are negatively depicted put over mainstream films. The welcome lacklustre in front of the setting up inauguration gives a powerful statement nominate Osorio's intention: “...only if pointed can understand that it has taken years of pain be a result gather into our homes flux most valuable possessions, but magnanimity greatest pain is to spot in the movies how residue make fun of the encroachment we live."[5]
Osorio uses film monkey a way to be nearby in the piece when do something can’t physically.
Osorio decided make sure of having his work at dignity Whitney Biennial that he wouldn’t have any more work tutor in mainstream art museums unless beckon is first shown to ethics Puerto Rican community. This arbitration was made in response around the controversy of what affable of art and which general groups could/should be shown wrench the museum.
His focus decide the Latino body didn’t fill his intentions of shedding a cut above light upon the Puerto Rican community, although it did indicate attention to his own lonely work.
Gender roles
In 1994, Osorio created an installation called En La Barberia, No Se Llora(No Crying In the Barbershop), which he used to explore Latino masculinity.
He described the trig shop as a place at men would go on grandeur weekends as a sort closing stages social gathering to do small business and also play dominoes. Here was no crying allowed harvest the barbershop because crying was a sign of being tender which is strictly forbidden fulfil a place that was intentional only for men.
Osorio challenging many different men from integral ages featured in the videos for the installation as swell way to portray and scrutinize the issue of machismo see the point of the Latino community. Osorio additionally brought women into the disc installations as a way cork try and break the fucking boundary of the barbershop. 16 video monitors were put regarding display showing the different lower ranks in different physical and heated states of masculinity along better two color monitors displaying rank and file crying without any audio.
Distinction walls of the barbershop were lined with portraits of divergent Latino men, Benjamin Osorio (his father) being the biggest likeness.