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03.11 – 02.12.2017

SMU Pollock Gallery
3140 Dyer, Dallas, TX 75205

Curated by/Curado por: 
Sofía Bastidas & Guillermo León Gómez

Port to Port and The Pollock Gallery present WIDE OPEN, a research exhibition exploring modern global infrastructures that shape our contemporary geological and material landscape, consisting of works by Marcos Agudelo, Ursula Biemann, More&More Unlimited (an Illogistics Company™) (Marina Zurkow, Sarah Rothberg, and Surya Mattu), Rebecca Moss, Armin Mühsam, Liam Young, and Tamir Zadok. The exhibition is accompanied by a catalog with essays by Heather Davis, Peter Fend, Laray Polk, and a foreword by curators Sofia Bastidas and Guillermo León Gómez.

Since the late 19th century, Dallas has envisioned itself as a center for economic trade. The Port of Dallas, a planned (but never realized) inland port with a fluvial network stretching from Dallas to Houston via the Trinity River, would bring Dallas to the forefront. This has been an ongoing topic of conversation for the past 125 years. As a massive engineering and dredging project that has rerouted the river around Dallas’ city center, the vision of the Port of Dallas overlooked any harmful effects on communities or ecosystems in its path. With the project’s eventual failure from a lack of political and economic support came the scarring of a landscape. WIDE OPEN explores the historic precedents of global trade established in the past centuries that have formed the present political, economic, and geological landscape of Dallas. The exhibition will consist of a multi-media installation with works by international artists in conversation with historical documents from SMU DeGolyer Library Archives on the late 1800 and 1900’s Port of Dallas project, which in the planning left a transformed and diverted Trinity River.

The exhibition is co-curated by Pollock Gallery curator Sofia Bastidas and New York-based urbanist Guillermo Leon Gomez as part of their ongoing curatorial initiative Port to Port, a project interested in how urban zones are globally networked through processes of economic investment and trade, facilitated and accelerated by telecommunications and finance. Symptomatic of the neoliberal urges of global capitalism, these processes lead to the creation of homogeneous forms of infrastructure and design. WIDE OPEN surveys these issues in multiple scales - from macro to meso - depicted through varied mediums in the exhibition. Selected works explicitly and implicitly illustrate material and geological transformation by economic, political, and physiological forces representative of the current capitalist planetary urbanization paradigm.

The Pollock Gallery and SUNSCREEN The Power Station (3816 Commerce St, Dallas) will partner to screen "The Forgotten Space," a documentary essay by Allan Sekula and Noel Burch on Saturday, November 4th at 7pm.

Curatorial Assistant: Ashlyn Lee, 19' SMU MFA 


D Magazine | "Water Be Damned, Dallas Wanted To Become A Port City" by Lyndsay Knecht

Downwinders at Risk | "An Underdog’s Thanksgiving"

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Marcos Agudelo is an architect and urban planner based in Managua, Nicaragua. Agudelo received the 1st Prize of the VI Bienal Centroamericana de Arte Contemporáneo; the Prize of the 2nd Exhibit of Emerging Artists of Central America, MADC and obtained the Honorable Mention at the VI and VII Biennial of Visual Arts Fundación Ortiz - Gurdián, in 2007 and 2009. He has exhibited at Codice Gallery in Managua in 2010 and 2009. He was part of the Latin American Pavilion at Arsenal during the 55th edition of the Venice Biennale; the 11th Havana Biennial; the biennial The "S" Files, of El Museo del Barrio in New York the First International Triennial of the Caribbean in the Dominican Republic, in 2010; the VI and VII Central American Biennial of Contemporary Art; and the V, VI, VII, IX and X Nicaraguan Biennial of Visual Arts, Fundación Ortiz Gurdián; and the 2nd and 3rd Central American Exhibition of Emerging Art, Museum of Contemporary Art and Design, San José. He has been published in magazines EXIT express, Code and ArtNexus.  

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Ursula Biemann is an artist, writer, and video essayist based in Zurich, Switzerland. Her artistic practice is strongly research oriented and involves fieldwork in remote locations where she investigates climate change and the ecologies of oil, ice, forest and water. She works the findings into multi-layered videos interweaving vast cinematic landscapes with documentary footage, SF poetry and academic findings to narrate a changing planetary reality. Recent fieldwork has taken her to Amazonia and the Arctic region where she investigated for her video works Deep Weather (2013), Forest Law (2014), Subatlantic (2015) and Biosemiotic Borneo (2016). Biemann is publisher of several books, including Geography and the Politics of Mobility; The Maghreb Connection, and Mission Reports. Her video installations are exhibited worldwide in museums and the International Art Biennials of Liverpool, Sharjah, Shanghai, Mexico City, Jakarta, Thessaloniki, Sao Paulo, Istanbul, and Venice. She is part of the collaborative art project and media platform World of Matter. Biemann has a BFA from the School of Visual Arts and attended the Whitney Independent Study Program in New York (1988). She received a doctor honoris causa in Humanities by the Swedish University Umea and the Prix Meret Oppenheim, the Swiss Grand Award for Art.

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More&More Unlimited (an Illogistics™ Company) is an artist collective which engages with the mismatch between the complexities of Globalization and individuals’ capacity to think globally. Its founding members (Surya Mattu, Sarah Rothberg, and Marina Zurkow) came together in 2015 to produce a set of data-driven artworks for Zurkow's solo show at bitforms gallery. The show, called MORE&MORE (the invisible oceans) was a socioeconomic, post-natural foray into the infrastructure of global trade: a systemic means to a never-ending end of economic growth. Using the Harmonized System Tariff Code- an international categorization system used to represent all globally traded commodities- More&More playfully depicts the dizzying expanse of commodities, focussing explicitly on the Pangea of capital that such a system creates, and the expense of its endeavors.

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Rebecca Moss recently completed her MA at the Royal College of Art, London. In 2017, she was shortlisted for the Future Generation Art Prize, which opened in Kiev and then to a collateral show during the Venice Biennale. She recently took part in the 23 Days at Sea container ship residency, run by Access Gallery, Vancouver. Selected group shows include Test Space, Spike Island (2015), The Tomorrow People, Elevator Gallery (2014) and a film screening at Flat Time House, Peckham (2013). In 2013, she was awarded a Leverhulme Scholarship for a summer school residency and exhibition at Wysing Arts Centre, Cambridge. Moss constructs scenarios where she places her body in a landscape to perform, and documents and edits this with video. She is interested in the politics of anti-monumental gestures, and references slapstick comedy to undermine heroic figures. This often takes the nature of a hapless stunt, game or intervention. She is interested in how a fallible, open subject could suggest a resistant position against powerful systems.

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Armin Mühsam graduated from the University of Applied Sciences in Munich, Germany (1994) and from Montana State University in Bozeman, USA (1997). Since 2000, he has been teaching at Northwest Missouri State University, in Maryville, MO, where he is currently Professor of Painting. Armin Mühsam has had over 45 solo shows in the United States and Europe and has also been included in numerous group exhibitions on both sides of the Atlantic. In 2014 he received a Pollock-Krasner Foundation grant. He is represented by Ambacher Contemporary in Munich, Germany, and Haw Contemporary, in Kansas City, MO, USA.

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Liam Young is an architect who operates in the spaces between design, fiction and futures. He is founder of the urban futures think tank Tomorrow’s Thoughts Today, a group whose work explores the possibilities of fantastic, perverse and imaginary urbanisms. With TTT he has consulted and conducted workshops on speculation, emerging technologies and future forecasting for firms including Arup- Drivers for Change, Phillips Technologies, BBC, the film industry and various arts and science organisations. Liam runs the ‘Unknown Fields Division’, an award winning nomadic workshop that travels on annual expeditions to the ends of the earth to investigate unreal and forgotten landscapes, alien terrains and industrial ecologies and coordinates events and exhibitions including the multimedia series ‘Thrilling Wonder Stories: Speculative Futures for an Alternate Present’, and was the curator of the 2013 Lisbon Architecture Triennale.

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Tamir Zadok was born in Holon in 1979, he lives and works in Tel Aviv. Zadok graduated from the Photography Department at Hamidrasha, Beit Berl College (2007), and studied at the MFA program at the Film and Television department of Tel Aviv University. His work has been exhibited in solo and group exhibitions in Israel and abroad, in such places as Artisterium, Tiblisi (2010); European House of Photography, Paris (2012); Martin Grupious Bau, Berlin (2015); HIAP, Helsinki (2017); Petach Tikva Museum of Art (2008, 2010); Haifa Museum of Art (2011); Rosenfeld Gallery, Tel Aviv (2010, 2014), and more. He teaches video, photography and interdisciplinary art in various academies. Prizes and grants he received include: The Israel Museum Gerard Levi Photography Prize (2016), Artis Project Development Grant (2016), and Israel Ministry of Culture Prize for Young Artists (2010). Artistic residencies to date: Cité Internationale des Art, Paris (2012), Maquis Projects, Izmir (2015), and Artport, Tel Aviv (2015-16). At the moment (2017) he has a solo exhibition- Art Undercover, at the Tel Aviv Museum of Art.