March 7, 2023
Participated on "Art, Activism and Protest" Women Artist Panel with the Boston University Center on Forced Displacement and the University of Texas Rio Grande Valley.
Participated on "Art, Activism and Protest" Women Artist Panel with the Boston University Center on Forced Displacement and the University of Texas Rio Grande Valley.
Photograph taken by Lilia Cabrera
September 16th, 2022 - February 5th, 2023
"The ELA (Emerging Latinx Artists) exhibition is in its 26th iteration. ELA highlights emerging Latinx artists based in Texas, while also giving emerging curators the chance to curate an original concept and design. This year’s curatorial team consists of Luisa Perez, Mexic-Arte Museum’s Education Associate and Isabel Servantez, Mexic-Arte Museum’s Curator of Exhibitions and Director of Programs.
This year’s exhibition ELA explores the broad concept of transformation. The artists in this exhibition have created artwork representing the life they have been born into or chosen. Some present the changes they have made in their lives, while others present the changes that they have witnessed around them. These artists have transformed themselves to best fit into a world where they can thrive as both artists and individuals.
This is a collection of artists that have not attempted to assimilate within the dominant culture of the United States but have adapted to survive and thrive within it. These artists have adapted to present the mix of their cultural backgrounds and that of the United States, often representing a mix of two or several cultural influences. With each artist, their choices have shown a unique voice commenting on the ever-shifting landscape of the world around them or the world in themselves."
"The ELA (Emerging Latinx Artists) exhibition is in its 26th iteration. ELA highlights emerging Latinx artists based in Texas, while also giving emerging curators the chance to curate an original concept and design. This year’s curatorial team consists of Luisa Perez, Mexic-Arte Museum’s Education Associate and Isabel Servantez, Mexic-Arte Museum’s Curator of Exhibitions and Director of Programs.
This year’s exhibition ELA explores the broad concept of transformation. The artists in this exhibition have created artwork representing the life they have been born into or chosen. Some present the changes they have made in their lives, while others present the changes that they have witnessed around them. These artists have transformed themselves to best fit into a world where they can thrive as both artists and individuals.
This is a collection of artists that have not attempted to assimilate within the dominant culture of the United States but have adapted to survive and thrive within it. These artists have adapted to present the mix of their cultural backgrounds and that of the United States, often representing a mix of two or several cultural influences. With each artist, their choices have shown a unique voice commenting on the ever-shifting landscape of the world around them or the world in themselves."
June 13th - July 16th, 2022
During my residency at Banff Centre for Arts and Creativity in Canada, I created various works following the thematic's residency mission: "Material Transformations invites a collective investigation of the radical potential embedded in organic matter."
During my residency at Banff Centre for Arts and Creativity in Canada, I created various works following the thematic's residency mission: "Material Transformations invites a collective investigation of the radical potential embedded in organic matter."
June 7, 2022
Academic writers invited participating artists to a panel discussion on their NYFA experience at Centro de Artes NYFA Immigrant Artist Mentoring Program exhibition. A catalog release and closing reception followed our conversations.
Academic writers invited participating artists to a panel discussion on their NYFA experience at Centro de Artes NYFA Immigrant Artist Mentoring Program exhibition. A catalog release and closing reception followed our conversations.
March 28, 2022
"Gloria Anzaldúa Nepantla Pop-Up Exhibit" curated by Ruby Garza in conjunction with the “El Retorno Al Valle” Symposium on Gloria E. Anzaldúa & Literary Landmark Unveiling at her alma mater in Edinburg, TX. The exhibit showcase the works of Ruby De La Fuente, Celeste DeLuna Art, Josie Del Castillo, Anel Flores, Michel V. Flores Tavizón, Ruby Garza, Nansi Guevara, Beatriz Guzman Velasquez, Beatriz Montejano aka queenkillahbee, Alexis Ramos, Josue Ramirez aka Rawmirez, Nydia Salinas, & Jessica Denise Villegas.
"Gloria Anzaldúa Nepantla Pop-Up Exhibit" curated by Ruby Garza in conjunction with the “El Retorno Al Valle” Symposium on Gloria E. Anzaldúa & Literary Landmark Unveiling at her alma mater in Edinburg, TX. The exhibit showcase the works of Ruby De La Fuente, Celeste DeLuna Art, Josie Del Castillo, Anel Flores, Michel V. Flores Tavizón, Ruby Garza, Nansi Guevara, Beatriz Guzman Velasquez, Beatriz Montejano aka queenkillahbee, Alexis Ramos, Josue Ramirez aka Rawmirez, Nydia Salinas, & Jessica Denise Villegas.
January 26 - July 3rd, 2022
For NYFA Immigrant Artist Mentoring Program exhibition, I exhibit works forming part of “un gran silencio puede interrupir esta tristeza” to speak about the cumulative grieving in my community for the recurring destabilization of our welfare. It has been the deaths due to Covid-19, the femicides occurring after the lock downs, the deaths of immigrants crossing, displacement of homes and removal of the native ecology.
For NYFA Immigrant Artist Mentoring Program exhibition, I exhibit works forming part of “un gran silencio puede interrupir esta tristeza” to speak about the cumulative grieving in my community for the recurring destabilization of our welfare. It has been the deaths due to Covid-19, the femicides occurring after the lock downs, the deaths of immigrants crossing, displacement of homes and removal of the native ecology.
| announcing___immigrant_artist_mentoring_program_exhibition_–_round_2_-_nyfa.pdf |
January 15, 2022
For this conference, I am presenting ideation and practice on food sovereignty and artistic autonomy taking place at Juana Simona. As stated by the conference's mission the event is "to address food insecurity and climate change. The conference's goal is to raise awareness of those goals and demonstrate simple solutions that can be implemented right now to ensure that future generations are able to lead happy and healthy lives."
For this conference, I am presenting ideation and practice on food sovereignty and artistic autonomy taking place at Juana Simona. As stated by the conference's mission the event is "to address food insecurity and climate change. The conference's goal is to raise awareness of those goals and demonstrate simple solutions that can be implemented right now to ensure that future generations are able to lead happy and healthy lives."
September 18, 2021
Forming part of DocX Archive Lab Fellowship for 2021-2022. As mentioned by the cohort's vision, "The DocX Archive Lab, How Are We Known: Reimagining, Repurposing, and Rewriting the Archive, was born of these questions: How will we be remembered, how do we want to be remembered, and who will remember us? Once we wrest the power to author our own stories, who will we speak to? As Toni Morrison wrote in Beloved, 'Freeing yourself was one thing. Claiming ownership of that freed self was another.'
The lab will be a space for BIPOC artists to invest deeply in their art practices, and to be in communion with these questions, as well as imagine non-extractive practices of our own; interrogate what it means to listen and hear community, and ourselves; weigh our embodied and situated knowledge; and trouble matters of address and agency. "
Forming part of DocX Archive Lab Fellowship for 2021-2022. As mentioned by the cohort's vision, "The DocX Archive Lab, How Are We Known: Reimagining, Repurposing, and Rewriting the Archive, was born of these questions: How will we be remembered, how do we want to be remembered, and who will remember us? Once we wrest the power to author our own stories, who will we speak to? As Toni Morrison wrote in Beloved, 'Freeing yourself was one thing. Claiming ownership of that freed self was another.'
The lab will be a space for BIPOC artists to invest deeply in their art practices, and to be in communion with these questions, as well as imagine non-extractive practices of our own; interrogate what it means to listen and hear community, and ourselves; weigh our embodied and situated knowledge; and trouble matters of address and agency. "
October 2, 2021
My planning and knowledge for Juana Simona as a project space will be shared during the National Latinx Summit hosted by the National Association of Latino Arts and Culture. We will discuss sustainable practices for studio artists and artistic autonomy.
My planning and knowledge for Juana Simona as a project space will be shared during the National Latinx Summit hosted by the National Association of Latino Arts and Culture. We will discuss sustainable practices for studio artists and artistic autonomy.
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July 26, 2021
At the end of July, I completed Banff Centre for Arts and Creativity Thematic Residency. The residency helped me explored my series titled "retazos" and "purity". These two bodies of work use remnant plastic material such as synthetic fabric and thrifted plastic beads. As placed forward by our faculty: "This residency explores how we might reconfigure our relations to plastic, seeing it as a material of potential connection, of resilience, of queer productivity without denying its immediate and devastating environmental consequences."
At the end of July, I completed Banff Centre for Arts and Creativity Thematic Residency. The residency helped me explored my series titled "retazos" and "purity". These two bodies of work use remnant plastic material such as synthetic fabric and thrifted plastic beads. As placed forward by our faculty: "This residency explores how we might reconfigure our relations to plastic, seeing it as a material of potential connection, of resilience, of queer productivity without denying its immediate and devastating environmental consequences."
June 21, 2021
"The National Association of Latino Arts and Cultures (NALAC) announces the artists, cultural workers, and arts administrators participating in the 21st edition of the NALAC Leadership Institute (NLI)...The 2021 edition of the NALAC Leadership Institute is supported by the Doris Duke Charitable Foundation, Ford Foundation, Southwest Airlines, National Endowment for the Arts, Andrew W. Mellon Foundation and Texas Commission on the Arts."
"The National Association of Latino Arts and Cultures (NALAC) announces the artists, cultural workers, and arts administrators participating in the 21st edition of the NALAC Leadership Institute (NLI)...The 2021 edition of the NALAC Leadership Institute is supported by the Doris Duke Charitable Foundation, Ford Foundation, Southwest Airlines, National Endowment for the Arts, Andrew W. Mellon Foundation and Texas Commission on the Arts."
| meet_the_2021_nalac_leadership_institute_fellows.pdf |
October 16, 2020
Lori Waxman's review of my work "presente" published in Newcity Art for her project 60 wrd/min art critic project. I stay with her words: "At the Sal del Rey, a local salt lake, an alphabet of mesquite branches and fresh sage form “presente.” Who is present? Only those whose existence has been threatened need to make such declarations. The blood-red waters beneath her words concur."
Lori Waxman's review of my work "presente" published in Newcity Art for her project 60 wrd/min art critic project. I stay with her words: "At the Sal del Rey, a local salt lake, an alphabet of mesquite branches and fresh sage form “presente.” Who is present? Only those whose existence has been threatened need to make such declarations. The blood-red waters beneath her words concur."
| 60wrd_min_covid_edition__stephanie_mei_huang_lexa_walsh_dan_nelson_beatriz_guzman_velasquez_kt_duffy_and_maría_luisa_sanín_peña___newcity_art.pdf |
October 6, 2020
"presente (sal del rey)" reviewed by Lori Waxman in her 60wrd/min art critic project. Some of her words on "presented": "At the Sal del Rey, a local salt lake, an alphabet of mesquite branches and fresh sage form “presente.” Who is present? Only those whose existence has been threatened need to make such declarations. The blood-red waters beneath her words concur."
"presente (sal del rey)" reviewed by Lori Waxman in her 60wrd/min art critic project. Some of her words on "presented": "At the Sal del Rey, a local salt lake, an alphabet of mesquite branches and fresh sage form “presente.” Who is present? Only those whose existence has been threatened need to make such declarations. The blood-red waters beneath her words concur."
| 60_wrd_min_art_critic_-_beatriz_guzman_velasquez.pdf |
May 20 - June20, 2020
Participating in ART-IN-PLACE with "hoy hay mas muertos que vivos" window installation for Terrain Exhibitions and CNL Projects. The exhibition invites artist to exhibit an original work of art to be displayed outside their home or from their window visible to the public. This collective action provides artists and community members in Chicagoland neighborhoods (and beyond) with a sense of hope and connectivity through an experience of public art.
| art-in-place_initiative_invites_artists_to_display_exhibits_outside_homes_–_nbc_chicago.pdf |
| art-in-place__a_project_to_connect_inspire_and_bring_hope_while_we_are_disconnected_-_chicago_gallery_news.pdf |
| art_in_place_—_the_quarantine_times.pdf |
October 18 - November 9, 2019
Community Workshop at Carlotta K. Petrina Cultural Center
"canta que estoy llorando" [sing that I am crying] at Carlotta K. Petrina Cultural Arts Center.
Community Workshop at Carlotta K. Petrina Cultural Center
"canta que estoy llorando" [sing that I am crying] at Carlotta K. Petrina Cultural Arts Center.
October 2, 2019
"presente" forms part of "From One Borderland to Another: El Valle Stands with El Paso" platica organized by the University of Texas Rio Grande Valley Center for Mexican American Studies.
"presente" forms part of "From One Borderland to Another: El Valle Stands with El Paso" platica organized by the University of Texas Rio Grande Valley Center for Mexican American Studies.
August 17, 2019
"Building Bridges of Solidarity" for Encuentro en la Frontera at Carlotta K. Petrina Cultural Arts Center.
"Building Bridges of Solidarity" for Encuentro en la Frontera at Carlotta K. Petrina Cultural Arts Center.
June 23rd- July 7th, 2019
Artist-In-Residence | Lazuli Residency | Corinth, Vermont
Artist-In-Residence | Lazuli Residency | Corinth, Vermont
Lazuli Residency is magical.
Being not much of a believer of places of good, I surprise myself when that word comes out of my mouth when I describe the two weeks I spent as Artist-In-Residence at Lazuli Residency. I answered to their call for POC, women artists and stalked them on Instagram for weeks trying to understand what was Vermont and Lazuli Residency.
I have the tendency to over research places. At times, I have memorized how to navigate streets from memory before I go to a place thanks to google street. This tendency stems from my weekly crossings of the border bridge between Mexico and Texas. My mother and I would cross-over to visit my father and brother. At that time, immigration policy changes had separated our family and for two years we managed to stay in touch with each other in this way.
So, the anxiety is real when I enter new spaces. More so, when I travel to a place where my brown skin stands out vividly in the crowd. For my trip to Vermont, I went through streets, stores, hotels, the city's history, police reports; I went through it all. Many times my over compensation to feel safe has been viewed by others as too much, an oversight of the real dangers faced by women of color when traveling to white spaces. It is truly magical when someone gets it because they have experienced it. Kenya Lazuli is a woman of color and artist working in Corinth, Vermont with the idea of inviting artist of color to experience the beautiful landscape that often times is only accessible to white people. Her, along with her family, Seth and Satie, have build the infrastructure of a place where artists come together during the summer to feel present.
And, it did not stop there. The magic kept happening when I got a crash course of sustainability, a topic of research I had just started back in Texas. I ate vegetarian meals and learned how to maintain a home by thinking about my own daily consumption and how it affects the earth. I worked on their lake, forest, fields and streams thinking about my own connection to place. Conversations around the table included topics of race, gender and sustainability. Such topics had been covered and heavily discussed in graduate school, but at Lazuli Residency it was not theory, but practice. In times when institutions incorporate these much necessary conversations, we need more of practice of concrete actions and examples.
When I think of my time at Lazuli, my mind keeps going to Sarah Shulman on how institutions have absorbed the radical ideas of change through public and institutional programing only to homogenize them to their agenda. When trying to figure out the endless list of residencies, the possibilities are astonishing, but few manage to create what Lazuli Residency has done—a community practicing ideas of change.
Being not much of a believer of places of good, I surprise myself when that word comes out of my mouth when I describe the two weeks I spent as Artist-In-Residence at Lazuli Residency. I answered to their call for POC, women artists and stalked them on Instagram for weeks trying to understand what was Vermont and Lazuli Residency.
I have the tendency to over research places. At times, I have memorized how to navigate streets from memory before I go to a place thanks to google street. This tendency stems from my weekly crossings of the border bridge between Mexico and Texas. My mother and I would cross-over to visit my father and brother. At that time, immigration policy changes had separated our family and for two years we managed to stay in touch with each other in this way.
So, the anxiety is real when I enter new spaces. More so, when I travel to a place where my brown skin stands out vividly in the crowd. For my trip to Vermont, I went through streets, stores, hotels, the city's history, police reports; I went through it all. Many times my over compensation to feel safe has been viewed by others as too much, an oversight of the real dangers faced by women of color when traveling to white spaces. It is truly magical when someone gets it because they have experienced it. Kenya Lazuli is a woman of color and artist working in Corinth, Vermont with the idea of inviting artist of color to experience the beautiful landscape that often times is only accessible to white people. Her, along with her family, Seth and Satie, have build the infrastructure of a place where artists come together during the summer to feel present.
And, it did not stop there. The magic kept happening when I got a crash course of sustainability, a topic of research I had just started back in Texas. I ate vegetarian meals and learned how to maintain a home by thinking about my own daily consumption and how it affects the earth. I worked on their lake, forest, fields and streams thinking about my own connection to place. Conversations around the table included topics of race, gender and sustainability. Such topics had been covered and heavily discussed in graduate school, but at Lazuli Residency it was not theory, but practice. In times when institutions incorporate these much necessary conversations, we need more of practice of concrete actions and examples.
When I think of my time at Lazuli, my mind keeps going to Sarah Shulman on how institutions have absorbed the radical ideas of change through public and institutional programing only to homogenize them to their agenda. When trying to figure out the endless list of residencies, the possibilities are astonishing, but few manage to create what Lazuli Residency has done—a community practicing ideas of change.
January 17, 2019
New York Foundation for the Arts Immigrant Artist Program: San Antonio 2019
http://current.nyfa.org/post/182089935938/announcing-meet-the-newest-immigrant-artist?fbclid=IwAR0ugNgKlAp8WKKuHdjgKYHKy3cPJovxDBqKq7v7Hd9hyb9jsKtIJV-ZE-U
New York Foundation for the Arts Immigrant Artist Program: San Antonio 2019
http://current.nyfa.org/post/182089935938/announcing-meet-the-newest-immigrant-artist?fbclid=IwAR0ugNgKlAp8WKKuHdjgKYHKy3cPJovxDBqKq7v7Hd9hyb9jsKtIJV-ZE-U
| announcing___meet_the_newest_immigrant_artist..._nyfa.org_-_nyfa_current.pdf |
November 22, 2018
ArtSlant
Beatriz Guzman Velasquez Answers 5 Questions, Under the Radar weekly series, ArtSlant.
https://www.artslant.com/ams/articles/show/50116-beatriz-guzman-velasquez-answers-5-questions
ArtSlant
Beatriz Guzman Velasquez Answers 5 Questions, Under the Radar weekly series, ArtSlant.
https://www.artslant.com/ams/articles/show/50116-beatriz-guzman-velasquez-answers-5-questions
| beatriz_guzman_velasquez_answers_5_questions___artslant.pdf |
June 29 - August 4, 2018
CHANGING ROOM group exhibition at 65GRAND in Chicago, IL.
Gallery hours: Thursday 6 - 9PM, Friday & Saturday 12 - 6PM
3252 W North Ave Chicago IL 60647 | info@65grand.com | (312) 719-4325 | www.65grand.com
Gallery hours: Thursday 6 - 9PM, Friday & Saturday 12 - 6PM
3252 W North Ave Chicago IL 60647 | info@65grand.com | (312) 719-4325 | www.65grand.com
