Gaeb Viewer Ohne Installation Artists

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Image courtesy of Lissa Corona

Lissa Corona and Marina Grize are exhausted.

The two artists just finished curating an exhibition in Tijuana, which has been up for six weeks and they are now a few days away from showing their own work at the Southwestern College Art Gallery (900 Otay Lakes Road).

“We are constantly hungry and tired,” says Corona, letting out a big laugh.

“But also very fulfilled,” Grize quickly adds.

They’ve just spent the morning editing some of the work that will be on display for the three-woman exhibition, Spiele ohne Grenzen/Juegos sin Fronteras/Games without Frontiers. Each artist is displaying work that combines ideas with conflicting words, text and physical action.

The exhibit opened last week and runs through Tuesday, April 23, with an artist reception on Saturday, April 6 from 1 to 3 p.m.

Gaeb Viewer Ohne Installation Artists Free

Corona and Marina have been long-time friends and colleagues since their time at the San Diego Art Institute (SDAI) where Corona was formerly the education director and interim executive director. Grize served as the creative director. They both point out that even before they became friends, they loved each other’s work. Corona adds that she admired Grize’s ability to create emotionally resonant work in addition to everything else she did professionally.

After their time at the contemporary art institution, they began to work together on installation work. These collaborations included the illuminated “Rest Easy” piece at Liberty Station, as well as a similar piece in Escondido entitled “Take me with you/Llévame Contigo.” In the process, they found that their creative pairing came organically since they shared similar influences and ideas.

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Image courtesy of Marina Grize

“I think we kind of felt similarly about each other’s individual practices,” Corona says, referring to the use of text in both of their work.

Both artists are independent curators, have full-time jobs and constantly work on their individual artwork, so coming up with work that’s “worthy of an exhibition” is challenging, but Corona says it’s an exciting challenge.

“It’s been a lot of fun and it’s nice to have a space to experiment with,” says Corona. “To have our individual practice in conversation with each other, and then with another artist, is something different for us and it’s exciting.”

The Austria-born artist Doris Boris Berman is the third artist in the exhibition. The work in the exhibit spans 20 years and is the first time her work has been exhibited since her death in 2015. Exhibition Coordinator Perry Vasquez, who was a friend and admirer of Berman’s work, says her art focused on pushing boundaries and exploring political realities. Her work on display includes her most widely known “FotoAktion” series, which includes paintings and photo prints. It was a project that allowed participants to be in full control of their self-representation by allowing them to take their own photo.

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Photo courtesy of Perry Vasquez

Vasquez says that some of Berman’s work, like the body paintings, were shocking because they accentuated nudity and genitalia. But creating those kinds of reactions to her work was exactly what excited her the most.

“If she wasn’t pushing across those kinds of borders, it was boring for her. She had to be pushing those buttons all the time,” Vasquez says.

Despite the three-pronged, multi-language title, the idea behind the exhibition is not so much thematic as it was simply to share Berman’s art with younger contemporary artists who compliment her work. Both Corona and Grize find it touching that Vasquez approached them to be a part of this project considering just how personal it is to him. And while it was a challenge to not be able to collaborate with Berman, Corona says it was enjoyable to take a step back and really deconstruct the ideas she might have been attempting to address.

“I think that’s what we all do as viewers, so when it comes to making something in response, you have to be pretty focused on which aspect of the work that you’re going to address or respond to,” Corona says.

On the day we meet, the walls in the gallery are mostly empty with the exception of some of Berman’s work.

“There’s a playfulness to her work that is paired with this kind of wit,” Corona says. “There’s this drawing attention to humanity and community and I think both of those things really resonate with us as subject matters in our work.”

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Corona’s work consists of performative video that examines pop culture, society and media by drawing juxtapositions in videos with text or the actual performances.

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Photo by Carlitos Galvan

She shows me two looped black-and-white videos of her children when they were about four years old. Corona explains that she wanted to choose phrases that would seem menacing or commanding coming from a small child so as to address the viewer directly.

“They are both kind of weird, mildly creepy, assertive and, yet, I think darkly funny short looping videos,” Corona says.

Grize, a published poet, created work specifically in response to Berman’s work for the exhibition. Her work focuses on language-based conceptual art that explores the paradoxes of everyday life. She says she was particularly inspired by elements of Berman’s work, like the body prints and “FotoAktion,” because of the way participants were taking ownership of their own portraits.

Although they worked on their pieces individually Grize says, in a way, they “curated each other’s work” for Spiele ohne Grenzen/Juegos sin Fronteras/Games without Frontiers. In the end, it’s representative of the collaborative experience they have with each other.

“What I find really valuable about our professional relationship is that we both really believe in constructive criticism and feedback and pushing each other to make better work and to be better with each presentation of the work,” Corona says.

Corona says she’s excited about how viewers will connect to various pieces in the exhibition because, at the end of the day, it’s about bringing awareness to the intricacies of things that people might not pay attention to in their everyday life.

“I think that’s what I enjoy about our work,” says Corona. “Individually and collaboratively, we’re taking a moment to appreciate the stuff that’s often overlooked.”