ANGORA : When Scenesters Triumph part 1
March 30-April 1, 2007
Caguas
Angora was an ad hoc event 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 Puertorican art scene over the capital city of San Juan. Included in the exhibition were 28 young artists in all disciplines, mostly undergrads from the University of Puerto Rico and the School of Fine Arts, working collaboratively, sharing space, materials and sometimes invading peers artworks and installations. No list of works was available which adds to the element of surprise, sense of community and reluctance to address the art market as savior during the circus that was Circa. Keep in mind the exhibition was meant to have a living cycle of 24 hours and my limited photos won't do the experience justice. In all Angora was a monumental enterprise that defined the coming of age of a generation of young artist-The Scenesters. It also redefined the idea of alternative spaces for a new generation of viewers and art professionals accustomed to too may rules in mainstream galleries. But above all it broke the mold from Michy Marxuach high brow relational aesthetics school of thought were inclusive ideas and exotic utopias were favored over action and craft. In other words, everyone not involved with the art world was welcome at Angora.
To enter the site visitors had to cross the dark parking lot of an abandoned warehouse/office space property of generous collector José Castrodad. A crane stands as a pedestal for a large projection of Omar Torres resume.
Angora's innocence and energy was like a mosquito lamp attracting all kinds of predators and pseudo dealers always looking for a quick fix. Somehow artists managed to diss the pretentiousness of the corrupt, in the island of corruption, by focusing mainly on the collective and the immediate response to the work, like a an open critique. Addressing honesty in art making, behind the crowds in this picture, is a black and white sripe of misspelled text by Cristopher Rivera. It reads: "You can believe in arts' best and its worst."
Visitors could easily get lost in the shady motel like maze of the site stumbling occasionally with dark hidden rooms fitted with sound pieces, a bathroom full of balloons, and individual installations. In one of the rooms was one of the best pieces in the show; an office painted in shades of gray and textured cement adhesive that served as a showroom for camouflaged office attire by promising young artist Isabel Ramírez. The artist, whose work usually deals with issues of genre and body politics, edited to perfection the space making it almost impossible for viewers to identify what was the art, an addition, an intervention or left over material. The power suits, hanging over the stucco wall like archeological artifacts, felt like optimist signifiers of corporate equality for women.
Close to this idea in 1972 artists Miriam Schapiro and Judy Chicago, together with a group of students from CalArts, transformed an abandoned Hollywood house into a feminist installation piece known as Womanhouse that was meant to raise consciousness of gender stereotypes and attitudes towards women.
A painted corner over carpet in the shape of a diamond and dots.
To view the work of Joe Torres visitors climb a makeshift cinder block staircase to an attic where binoculars are needed to to peek at the work.
the binoculars...
Who knows what this was.
Once on top the payoff was mysterious, seductive and secretive, like peeking at the place of workship of a commune or sect. On the opposite wall a large poster of what seems to be a deity or large spinx.
Interactive playground with proyection of a cascade, sound, deck, rope and a bouncing platform contrasted nicely with Joe Torres gloomy vision of religion.
swinging!
Galería 356 's Michelle Fiedler, multimedia artist Myritza Castillo, and Oriental Bank prize winner Cristopher Rivera back in the day. 
Cool painting of dead people, mutants, I -pods and record players by Gerardo Cloquell reminds me of the artwork of the classic Killing Technology record by Prog Metal band Voivod.
Pattern, displacement and recontextualization of the workspace were recurrent themes. Here Patricia Alvarez 3m scotch blue painters tape drawing and blinds traces the untold story of movement and placement of office appliances.
One of the many views and works in Angora.
Pattern, displacement and recontextualization of the workspace were recurrent themes. Here Patricia Alvarez 3m scotch blue painters tape drawing and blinds traces the untold story of movement and placement of office appliances.
One of the many views and works in Angora. 
Omar Torres and Arnaldo Roman
In the posmo tradition Angora included a dance floor. Here Scenesters hard at work.
Natalia Martínez
Painting by Sebastian Vallejo and sculptures by Ramón Beltran.
Postal service installation by unidentified artist.
Luis Navarro makes a pattern out of interminable phone wiring.
The source.
José Navarro, the brother of cable guy Luis Navarro, impressive wall drawing with industrial hoses.
detail
crowd at Angora offices
Norma Vila sculpture of ant mound, photographs and feathered ceiling speak of the working class and governmental bureaucracy. 
The view from inside Frances Gallardo installation (photo courtesy of Mariel Alvárez). Visitors were supposed to write, anonymously and in private, messages to be dropped inside the urn. A funny take on the Patriot Act.
When a broken swing became the object of desire that's when we knew The Scenesters had succeeded big time. 
