259:“He wants us to slow ourselves below a blur, so that we might again see people appear in our blind spots. He wants us to question lost relations, to listen into the emptiness, to consider the unsung circuits of influence and ideas that have made our survival possible, to become enamored once again of the sights and sounds of our path-making, and of the mystery of our continuing. He wants us to think about the sovereignty of communities, a process that moves in its own time. Cordova had reached his thirties by the time his work began attracting critical attention. But he came to the art world the way he approaches his art—purposefully, methodically, attuned to his own cadence and tempo.”
230:"William Cordova does not simply give up, but diligently or perhaps doggedly, uses fund materials to offer a conceptual map to global relations that has no natural beginning or end, no fixed borders, no national allegiances. He offers a micro-economy of signs that invites us to reflect on the macro-economies of history. His method is not strictly speaking a Foucauldian genealogy, but it shares a similar commitment to finding these uncommon histories, connections, and intersections frequently overlooked in the dominant discourse of government and school text books.”
253:“In trying to navigate a complex, interconnected web of meaning, these open-ended works connect these particular histories to the personal histories of each viewer. The introductory text to the exhibition suggests that such a conceptual practice “may ultimately lead to social change, which only happens when we change our perspective.” While small and seemingly open-ended, Cordova’s exhibition provides a platform for social change, one that is more capable than other, more traditional curatorial models.”
247:“William Cordova, who comes to us by the way of the Incas, Jimi Hendrix and Miami Bass and, for oppositional sake, MTV and Yale, too, now operates in this Harlem game as cultural manufacturer of multiple self-possessed signposts (sic), less ethnographic or geographic than steatopygic. Phat yes, like dub sound system speakers, but fully cognizant of the pluripotential pregnancy of the pause button, too. The pause for the cause that allows one to stop time and affirm”
227:"William Cordova’s practice threads forward and back through time, tethering seemingly disparate relations to one another, and analyzing the echoes of history through the devices of their transmission. His work speaks to 'excluded discourses, silenced radicalisms, and insurgent practices' and with this, suggests relationships between these past moments and our own, given that what circulates in public knowledge is always already an unfinished portrait of a culture."
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250:“The act of reclaiming in Cordova's work is not about holding onto an old way, but of apprehending the lessons of the relationships that interacted and produced these objects. This apprehension leads to appreciation, an increase in the value of what is at hand. It is in this process of making familiar and sitting-with that social change is possible and Cordova's attempts at sparking those conversations is to be lauded.”
233:“Cordova has been preoccupied with issues of transformation and interpretation since his youth, owing partly to his own transitions between countries, economies, and languages. Having recently moved from Lima to Miami, the six-year-old found comfort in the sight of what he thought were familiar Peruvian
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William
Cordova is a storyteller—a recuperator of ancestral memories. The artist invites us to question how we might revisit belief systems that vanished eons ago. Themes that animate his installations, objects, and collages are intoned in the material dimensions of his work, along with undulating
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at La
Conservera, Murcia, Spain and also awarded the Joan Mitchell Foundation Grant. Cordova was included in Prospect.3 New Orleans Biennial in 2014 and the 12th Havana Biennial in 2015 at Casa de Africa, Havana, Cuba. In 2016 included: SITE Santa Fe Biennial, New Mexico,
150:, 2010 Museum of Modern Art/PS1 Greater New York exhibition, an overview presentation of contemporary artists whose contributions to the arts have had a significant influence in society. In 2011, Cordova was invited for his first one person museum exhibition in Europe,
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Cordova is current co-Lead organizer along with artist Rick Lowe, of the
Greenwood Art Project in Tulsa, Oklahoma inviting Tulsans to creatively respond to the 1921 Greenwood Centennial. In 2021 he exhibited at Storage Art Gallery curated by
244:“Much of Cordova’s work induces similarly uncanny interpretive spirals, abetted not by arbitrary Surrealist juxtapositions but the all-too-common strangeness of our own detritus and the too-often repressed histories they conceal.”
114:, Artpace, Skowhegan School of Painting & Sculpture, Lower Manhattan Cultural Council among others. He has exhibited in the US, Latin America, Europe and Asia. His work is in the public collection at the
256:“This sense of duality or even multiplicity of reading is a critical component of Cordova’s work, which he frequently creates by using puns and double meanings in both his titles and images.
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In 2019, he founded the AIM Biennial in South
Florida. A statewide site specific outdoor expo as a response to the COVID pandemic and to bring attention to Floridas environmental crisis.
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Cordova has been co-curator of the Prizm Art Fair, along with founding
Director, Mikhaile Solomon, focused on African Diaspora Art, taking place during Art Basel Miami since 2017.
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1366:. Cordova, William, 1971-, Rhode, Robin., Schoonmaker, Trevor., Nasher Museum of Art at Duke University. Durham, N.C.: Nasher Museum of Art at Duke University.
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in 2004. He graduated from Miami
Central High School in 1988 and studied Visual Art at Miami Dade Community College (North Campus) from 1991 to 1994.
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209:“I wanted to prod practitioners to be more resourceful, more improvisational, to not let them forget that they are creative problem solvers,”
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titles that refer to sound, occult secrets, warriors, ghosts, ancient architectures, folkloric music, textiles, and the landscape of Peru.
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Gonzales, Jennifer (2012). "William
Cordova: inescapable echoes / William Cordoba smoke signals: viviendo pa' la ciudad".
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241:(2004–05) dominates the gallery with some two hundred old speakers stacked to suggest a pre-Columbian monolith.”
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1417:. Ortiz, MarĂa Elena,, Chang, Jeff,, Hewitt, Leslie, 1977-, Hopkins, Candice,, PĂ©rez Art Museum Miami. Miami.
1191:. Ortiz, MarĂa Elena,, Chang, Jeff,, Hewitt, Leslie, 1977-, Hopkins, Candice,, PĂ©rez Art Museum Miami. Miami.
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62:(born 1969) is a contemporary cultural practitioner and interdisciplinary artist currently residing between
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buscame en el torbellino: but also time itself, Saltworks
Gallery, Atlanta, Georgia
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975:"William Cordova Named The Recipient of the 2017 Florida Prize In Contemporary Art"
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drums scattered on the streets, but which were in fact discarded speaker boxes.
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Whitney Museum of
American Art and the 13th Havana Biennial, Havana, Cuba 2019.
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San Juan
Triennial, Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico
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smoke signals: viviendo pa’ la ciudad, Yerba Buena Center for the Arts, SF, CA
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yawar malku, (royalty, abduction & exile) La Conservera, Murcia, Spain
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on the lower frequencies I speak 4U, Sikkema Jenkins & Co. New York, NY
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Pop Politics, Activism at 33rpm, Centro de Arte Dox de Mayo, Madrid, Spain
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More Than Bilingual, Fleming Museum, University of Vermont, Burlington, VA
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Yale University, School of Art Institute Chicago, Miami Central High School
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yawar mallku: temporal landscapes, Sikkema Jenkins & Co, New York, NY
1047:"Pacha, Llaqta, Wasichay: Indigenous Space, Modern Architecture, New Art"
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Halleluhwah! Hommage a CAN, Kunstlerhaus Bethanien GmbH, Berlin, Germany
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ankaylli: spatial and ideological terrane, Marfa Contemporary, Marfa, TX
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Arte al pas:Colecao de MALI, Pinacoteca de Sao Paolo, Sao Paolo, Brazil
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now’s the time: alchemy of southern narratives, PAMM Museum, Miami, FL
219:. Cordova was the recipient of the 2021 Guggenheim Fellowship Award.
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Illinois State University, IL and his first career survey exhibition, n
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Drylongso (Pichqa Suyo) PS.1 Contemporary Art Center, Long Island, NY
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The Southern Center for Contemporary Arts (SECCA), Winston-Salem, NC
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Rituals of Regard and Recollection, Macalester College, St. Paul, MN
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this one’s 4U (pa’ nosotros), Boston Center for the Arts, Boston, MA
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ceiba: reconsidering ephemeral spaces, Davidson College, Davison, NC
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Pachacuti (stand up next to a mountain) Arndt & Partner, Zurich
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The Record, Nasher Museum, Duke University, Durham, North Carolina
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It is What it Is. Or is it? Contemporary Museum of Art Houston, TX
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ceiba: ephemeral landscapes, MDC Museum of Art + Design, Miami, FL
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Street level : Mark Bradford, William Cordova and Robin Rhode
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in Havana, Cuba among others. Cordova was represented in the 2008
1307:"Cord Diva Mic Check One: Scratch: Artist-in-Residence catalogue"
927:"Southern Accent: Seeking the American South in Contemporary Art"
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Levanta el telon, Galeria Moises Perez de Albeniz, Madrid, Spain
268:, the New York-based art historian and critic Jan Avgikos writes
1023:"william cordova now's the time: narratives of southern alchemy"
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Greater New York, PS.1 Contemporary Art Center, Long Island, NY
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Hook, Line and Sinker: Contemporary Drawings, Nevada Museum, NV
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903:"Eye on the Americas: SITE Santa Fe's new biennial exhibition"
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yawar mallku: metaphysics of time and space, 80M2, Lima, Peru
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chaka: ideological terraine, 80M2 Livia Benavides, Lima, Peru
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A Very Anxious Feeling, Taumban Museum of Art, West Virginia
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Pacha, Llaqta, Wasichay, Whitney Museum of American Art, NY
1145:"Art Basel Miami Beach Was Canceled, but the Show Goes On"
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All Power to the People, Oakland Museum of California, CA
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Street Level, Nasher Museum, Duke University, Durham, NC
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Prospect.3 Biennial, Dillard University, New Orleans, LA
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revisiting radicalism: Espacio Aglutinador, Havana, Cuba
193:. The artists were included in the contemporary art show
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Monarchs, Bemis Center for Contemporary Arts, Omaha, NE
853:"New Orleans' Prospect 3 Biennial Releases Artist List"
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smoke signals: sculpting in time, Sikkema Jenkins. NY
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Knights Foundation Grant, Prospect.3 New Orleans, LA
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untitled (chincanas), LA><ART, Los Angeles, CA
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Now's the time : narratives of southern alchemy
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Now's the time : narratives of southern alchemy
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Guna S. Mudheim Visual Arts Fellow, Berlin, Germany
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Utopia Station, 50th Venice Biennale, Venice, Italy
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Yerba Buena Center for the Arts Exhibition Brochure
703:Yale Graduate Skowhegan Scholarship, New Haven, CT
651:Michael Richards Artist Grant, LMCC, New York, NY
594:Scratch, The Studio Museum in Harlem, New York, NY
403:laberintos, Sikkema Jenkins & Co. New York, NY
173:, Perez Art Museum; Miami, FL. Group shows include
98:William Cordova has been an artist in residence at
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535:The Storytellers, Stenerson Museum, Oslo, Norway
533:Now’s the Time, Guggenheim Museum, New York, NY
239:The hulking Badussy (or Machu Picchu after dark)
649:Florida Prize in Contemporary Art, Orlando, FL
577:Whitney Biannual, Whitney Museum, New York, NY
420:P’alante, Arndt & Partner, Berlin, Germany
497:Site Santa Fe Biennial, Santa Fe, New Mexico
1542:School of the Art Institute of Chicago alumni
711:South Florida Cultural Consortium, Miami, FL
676:Joan Mitchell Foundation Grant, New York, NY
171:ow’s the time: narratives of southern alchemy
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1394:: CS1 maint: multiple names: authors list (
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494:Southern Accent, Nasher Museum, Durham, NC
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627:Guggenheim Fellowship Award, New York, NY
582:Neo-HooDoo, Menil Collection, Houston, TX
183:In 2018, he was featured in an episode of
152:yawar mallku: royalty, abductions y exiles
86:in 1996 and later received an M.F.A. from
84:The School of the Art Institute of Chicago
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780:"MoMA PS1: Exhibitions: Greater New York"
579:Prague Triennial, Prague, Czech Republic
506:MetaModern, Museum of Art, Champaign, IL
804:"Montalvo Arts Center | William Cordova"
692:Rema Hort Mann Foundation, New York, NY
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1326:"Absence as Catalyst for Social Change"
931:Nasher Museum of Art at Duke University
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694:New York Community Trust, New York, NY
82:William Cordova received a B.F.A. from
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829:"Artist Programs » Artist Grants"
1324:Boshears, Paul (September 28, 2011).
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640:Joan Mitchell Foundation Grant, NY
462:13th Havana Biennial, Havana, Cuba
164:kuntur: transmissions & portals
480:Florida Prize, Orlando Museum, FL
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1164:"Colby Chamberlain on "Storage_""
1470:"Jan Avgikos on William Cordova"
1413:Cordova, William, 1971- (2018).
1345:"Reconsidering Ephemeral Spaces"
1343:Granger, Bryan (June 11, 2014).
1187:Cordova, William, 1971- (2018).
684:Art Matters Grant, New York, NY
637:Art Matters Award, New York, NY
314:, Illinois State University, IL
262:In a 2020 exhibition review for
1362:Bradford, Mark, 1961- (2007).
116:Whitney Museum of American Art
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1532:American contemporary artists
1143:Sokol, Brett (Nov 27, 2020).
1120:"Nick Stillman on Prospect.3"
635:Oolite Arts Award, Miami, FL
112:Headlands Center for the Arts
827:Foundation, Joan Mitchell.
223:Work and critical reception
110:in Houston’s CORE program,
66:, Peru; North Miami Beach,
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833:joanmitchellfoundation.org
1547:Yale School of Art alumni
312:kuntur: sacred geometries
162:Solo exhibitions include
44:Pueblo Libre (Lima), Peru
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1497:Sikkema Jenkins & Co
1075:www.sikkemajenkinsco.com
1003:www.sikkemajenkinsco.com
955:www.sikkemajenkinsco.com
882:www.sikkemajenkinsco.com
175:Pacha, Llaqta, Wasichay,
16:Interdisciplinary artist
1282:"2008 WHITNEY BIENNIAL"
1258:"2008 WHITNEY BIENNIAL"
756:"2008 WHITNEY BIENNIAL"
732:"2008 WHITNEY BIENNIAL"
144:La Casa de las Americas
1330:New American Paintings
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140:PĂ©rez Art Museum Miami
138:, Ellipse Foundation,
901:Abatemarco, Michael.
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136:Museo de Arte de Lima
1502:Livia Benavides 80M2
1162:Chamberlain, Colby.
907:Santa Fe New Mexican
191:Kerry James Marshall
106:in Berlin, Germany,
1305:Tate, Greg (2005).
1149:The New York Times
128:Harvard University
108:Museum of Fine Art
1311:The Studio Museum
1095:"William Cordova"
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265:Artforum magazine
189:alongside artist
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120:Guggenheim Museum
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