Angora 1 vs Angora 2: When Scenesters get Distracted

April 12-26 2008

Expectations were running high for this year's installment of Angora. But unlike last years' collective aggressiveness and disregard for the market, this new edition proved that the innocence got lost along the way. 

What happened?

Consensus had it that the best installation of show was a product of chance, not art, as exemplified by the retro poster cooled off by industrial fans. 


March 30-April 1, 2007

Angora was designed to attract the masses during Circa Art Fair '07. It was also a promotional vehicle for the city of Caguas to claim its stronghold in the Puerto Rican art scene. Included in the exhibition were 28 young artists, mostly undergrads from the University of Puerto Rico and the Escuela de Artes Plásticas in Old San Juan, working collaboratively for 24 hours.

The abandoned industrial warehouse is property of Caguas-born collector José Castrodad

Angora's innocence was like a mosquito lamp attracting all kinds of predators and pseudo dealers  looking for a quick fix. The black and white mural is by Cristopher Rivera. It reads: "You can believe in the best art and the worst art."

                                                                        the binoculars...

                                                          Who knows what this was
                                                 Joe Torres' mysterious place of worship.

         Interactive playground: Video projection , sound, deck, rope, and a bouncing platform.

       (Artist Patricia Alvarez (left), curator Erika Pastoriza, and local poet Jomi).

Michelle Fiedler, Director of Galería 356, multimedia artist Myritza Castillo, and artist Christopher Rivera

                                                        Omar Torres and Arnaldo Roman
                                                               Scenesters hard at work.

                                                                          Artist Natalia Martínez

                                     Painting by Sebastian Vallejo, and sculptures by Ramón Beltran.

                                             Postal service installation by unidentified artist.

                                           Luis Navarro's interminable phone wiring.

Norma Vila sculpture of ant mound, photographs, and feathered ceiling, seems to speak of the working class and governmental bureaucracy. 

                                             Interactive piece by Frances Gallardo.

The view from inside Frances Gallardo's installation (photo courtesy of Mariel Alvárez). Visitors were asked to write anonymous messages to be dropped inside the urn. A funny take on the Patriot Act.

                        Omar Torres' CV looms over visitors as the ultimate sign of identity. 

                Broken swing