PUEBLA, MEXICO: Art & Activism, ARQUETOPIASUMMER 2020 Triple International Academic Residency Program – June/July 2020

Art & Activism: ARQUETOPIASUMMER 2020 Triple International Academic Residency Program June/July 2020 Includes Printmaking Technique Instruction, Site-Specific Intervention, and Self-Directed Art Production  Program Session Dates: 6 weeks, June 1 to July 13, 2020   Now Welcoming Applications through Sunday, December 1, 2019 Apply Now: Spaces are limited. All residency applications are evaluated for selection when […]

Art & Activism: ARQUETOPIASUMMER 2020

Triple International Academic Residency Program June/July 2020

Includes Printmaking Technique Instruction, Site-Specific Intervention, and Self-Directed Art Production 

Program Session Dates: 6 weeks, June 1 to July 13, 2020


Now Welcoming Applications through Sunday, December 1, 2019

Apply Now: Spaces are limited. All residency applications are evaluated for selection when they are received vs. after the deadline has passed.




ART & ACTIVISM: Arquetopia’s flagship residency program, ARQUETOPIASUMMER 2020 will focus on the relationship between art practices, activism, and the visual history of Mexico.


The rise of authoritarian nationalism in the 21st century, through the 2016 elections in the United States and the Brexit in Europe, has affected not only global politics but local realities in every corner of the world. Artists, more than ever, are turning to activism as a response to the complex realities they face. As a result, social issues have taken center stage in visual discourses, and many artists have moved social concerns into galleries and museum settings; however, this does not translate into social change. Knowing the problematic relationship between art and power, how can we take into action without implicating expropriated labor, extinction, and genocide?


The ARQUETOPIASUMMER 2020 Triple International Summer Academic Residency Program is a prestigious 6-week critical program that offers competitive professional opportunities for local and international emerging and mid-career artists, curators, art educators, art historians, and students age 20 and over.



In his essay, “Empty the Museum, Decolonize the Curriculum, Open Theory,” Nicholas Mirzoeff questions the right to appear, and states that “only those qualified can ever enter the space of representation.” How can representation trivialize our intention through visual expression? And how is activism in relation to art able to provide a space for social change? Is it possible to create a space in which those who are present can claim the “right to appear” and the “right to look”?



This unique program will offer critical methodologies for diverse art practices while exploring the problematics and implications when art and activism intersect. Participants will conceptualize their art by engaging their practice in critical discussions and exploring the possibilities and limitations of intention in the process of articulating artistic agency. One of the central goals is to understand how violence is constructed through the language of aesthetics, hierarchies, and categories. The program will also put into context the role of cultural institutions, such as museums and galleries, in the production of meaning through objects, social relations, and art consumption.



The Mexican printmaking tradition has a complicated relation with the development of modern and contemporary art in Mexico, by rendering contentious realities mixed with current events, and political messages. This strong political legacy has not only influenced other forms of art but also set the tone to the tense and contradictory relationship between art and social activism in Mexico; nevertheless, the accessibility and collaborative nature of this art practice allows a dynamic grass-root space where the discussion of social issues is very relevant.



The seminars and tours included in the program will explore the problematics of visual cultural and the possibility of resistance through artistic agency. Through hands-on workshops in collaboration with the Erasto Cortés Printmaking Museum, and the ARPA BUAP School of Fine Arts and Digital Arts, participants will have the opportunity to expand their art practice by exploring printmaking techniques and diverse site-specific interventions.



This program includes 27 seminar hours; 9 hours of individual and collective critiques; guided tours and visits to prominent museums in Puebla, independent galleries, and relevant sites. The program also includes a 27-hour hands-on art workshop instructed by a professional master printer, exploring the artistic dimensions of printmaking techniques and site-specific interventions. Activities are designed to promote intense creative work and artistic dialogue; therefore, artists allocate self-directed studio hours as part of their weekly schedule.  


Renowned international art historians, artists, and master restorers facilitate the dialogues, individual and collective critiques, seminars, and workshops. Seminars are conducted in English. Workshop instruction is in Spanish or English.




Kirsten Pai Puick, Ph.D., specializes in American art, focusing her research on African-American art, the impact of race and gender on the history of art, representations of the American landscape, and the history of women as patrons and collectors of the arts. She has advanced scholarship of the work of numerous African-American artists through publications including the first book-length examination of the life and career of 19th-century sculptor Mary Edmonia Lewis. Buick is a tenured, full professor at the University of New Mexico, where she has taught for more than 15 years. She earned her bachelor degree in art history and Italian literature in 1985 from the University of Chicago. She earned her master and doctorate degrees in art history from the University of Michigan. Buick has published extensively on African-American art. Her book Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject was published by Duke University Press, and her second book, In Authenticity: ‘Kara Walker’ and the Eidetics of Racism, is currently in progress. Her published articles include studies on the work of artists including Daniel Coburn, Patrick Nagatani, Joseph Delaney, Aaron Douglas, Horace Pippin, and Kehinde Wiley. Buick has earned numerous academic, professional, and scholarly awards and grants including the Driskell Prize, Smithsonian American Art Museum’s Predoctoral Fellowship, the Charles Gaius Bolin Fellowship at Williams College, CAA Professional Development Fellowship in Art History, Rhoades Foundation Visiting Lectureship, and the UNM University Libraries Faculty Acknowledgement Award.



Francisco Guevara is a visual artist and curator specializing in creating projects using contemporary art to promote Development by designing alternative models of social entrepreneurship for human development. He graduated with the degree of University Expert in Management and Planning of Development Cooperation Projects in the Fields of Education, Science and Culture from the Universidad Nacional de Estudios a Distancia (UNED) in Madrid, Spain, in coordination with the Organization of Latin American States for Education, Science and Culture (OEI). He also received his postgraduate degree in Cultural Management and Communication from the Latin American Faculty of Social Sciences (FLACSO) in Buenos Aires, Argentina. He joined the Race, Gender and the Historiographies of Art Seminar at the University of New Mexico in 2009 to incorporate into his curatorial projects a broader understanding of identity in the local and international context. His work and projects emphasize the role of contemporary art practices as a tool for social change. His experience covers international projects including: intangible heritage, public art, exhibits and visual arts education. As an artist he has researched, studied and worked exploring the connection between food, rituals of eating and collective identity. He is Co-Founder and Co-Executive Director of Arquetopia Foundation.


KARIM KATTAN (Palestine)

Karim Kattan is a writer who lives between Bethlehem and Paris, where he is completing a Ph.D. in comparative literature. In 2014, he cofounded el-Atlal, an international residency for artists and writers in Jericho, Palestine. He has written among others for The Paris Review, Vice’s i-D, and The Funambulist. His first collection of short stories, Préliminaires pour un verger futur, was published in 2017 by Elyzad, and It was positively reviewed by national and local newspapers, radio and television shows in France and abroad, including Libérationl’Humanité,Radio France International and TV5.



Emmanuel Ortega, Ph.D., is a curator specializing in in Ibero-American colonial art. He is professor of Latin American Colonial Art at the University of Illinois at Chicago and was previously an adjunct instructor in the Department of Art and Art History at the University of Nevada Las Vegas. Since 2007, he has investigated images of violence in the Novohispanic context. For his master thesis, Ortega investigated images involving public performances organized by the Novohispanic Inquisition. For his Ph.D. dissertation at the University of New Mexico, Ortega researched visual representations of the New Mexico Pueblo peoples in Novohispanic Franciscan martyr paintings. He has contributed several entries for the Khan Academy website and the Arizona Center for Medieval and Renaissance Studies online bulletin. He has presented his work in the XXXVI Annual Colloquium of Art History organized by the Universidad Autónoma de Mexico, 2012, the College Art Association and American Studies Association in 2015. Also, in 2015, Ortega partnered with the Museo de Arte Religioso Ex-Convento de Santa Mónica in Puebla, Mexico to curate two art exhibitions based on recently restored paintings from the museum’s permanent collection.



Pablo Miguel Sierra Silva, Ph.D., is a native poblano and graduate of the University of Pennsylvania, Pablo Miguel Sierra Silva earned his PhD in History at UCLA under the direction of Prof. Kevin Terraciano. In 2013, he joined the faculty of the History department at the University of Rochester, where he teaches Latin American and African diaspora history. His first book, Urban Slavery in Colonial Mexico (Cambridge University Press, 2018), is a social and cultural history of slaveholders and the enslaved in the city of Puebla de los Ángeles during the long seventeenth century. The book focuses on how Africans, Asians and their descendants negotiated distinct spaces of coercion and opportunity (convents, textile mills, marketplaces and elite residences) within the Mexican city. His new research project examines Afro-Mexican social networks prior to and in the aftermath of the 1683 pirate attack on the port of Veracruz. By framing the 1683 raid on the port as a diasporic event, his project highlights Mexico’s profound connections to Dutch Curaçao, French Saint Domingue (Haiti) and the English Carolinas. His research has been supported by the National Endowment for the Humanities, the John Carter Brown Library, the University of Rochester Humanities Center and the Fulbright-Hays Program.


Technique Instruction:

  • 27 hours master technique instruction (9 hours per week, for first 3 weeks)

Staff Support:

  • 9 hours of individual and collective critiques
  • Each resident meets weekly with our directorial and curatorial staff for individualized research assistance/resources, project guidance, and critiques
  • Our residencies are process-based; residents are not expected to give talks, exhibitions, or workshops

Accommodation and Meals:

  • Furnished, private bedroom
  • Meals and 24-hour access to kitchen stocked with local and organic food, and large dining room
  • Wireless Internet
  • Use of Arquetopia’s residency spaces including 4th-floor lounge and terraces
  • Shared bathrooms with modern fixtures and showers
  • Housekeeping

Studio Workspace:

  • 24-hour access to large and bright, shared art studio with natural light
  • Personal workspace with large table and wall space
  • Some tools provided
  • On-site darkroom provided for photographers
  • On-site print/graphics studio provided for printmakers
  • Materials and supplies for the instructional course provided
  • Materials and supplies for additional project production not included but available for purchase locally



Session Dates: 6 weeks, June 1 to July 13, 2020.

Program Tuition: USD $770 per week (USD $4770 for the 6 weeks). Deposit of 25% of Residency Tuition due within 1 week of selection notification. Balance due by March 3, 2020 (90 days before residency start date). Partial tuition waiver options; e-mail us.


E-mail us at info@arquetopia.org
Visit the Arquetopia website at www.arquetopia.org
Complete and submit the Arquetopia Artist-in-Residence Online Application Form, following the instructions on the web page. Following selection, applicants are notified immediately via e-mail.


Arquetopia is committed to providing an inclusive and welcoming environment for all members of our diverse local and international community. Arquetopia’s resident artist and staff backgrounds vary in all aspects. As part of Arquetopia’s mission is to promote diversity, Arquetopia actively fights discrimination by offering access to its programs and activities without regard to race, color, gender or gender expression, national origin, age, religion, creed, or sexual orientation.


Arquetopia on the Web: www.arquetopia.org
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Duration of residency

Sessions of 6 weeks


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