Artist-in-Residence: Oswaldo Maciá

Detail image of Maciá's installation in the Dee Ann McIntyre in Memory of Scotty McIntyre Artist Studio at New Mexico Museum of Art Vladem Contemporary. Photo by Christian Waguespack.

In Residence: September 23, 2023 – March 31, 2024

Dee Ann McIntyre in Memory of Scotty McIntyre Artist Studio and Ashlyn Perry Studio Terrace

The first recipient of the artist-in-residence at the Vladem Contemporary, Oswaldo Maciá was born in the Caribbean city of Cartagena de Indias, Colombia. He lives and works in London and Santa Fe. In 1982, he moved to Bogotá to study advertising at Jorge Tadeo Lozano University and left after five semesters to become a fulltime artist. Maciá taught fine art at Jorge Tadeo Lozano University from 1985 to 1989, when he moved to Barcelona and studied mural painting at Llotja School of Fine Art. In 1990, he moved to London, where he continues to run a studio. He earned a BA in sculpture in 1993 at Guildhall University and an MFA at Goldsmiths College, University of London in 1994.

As part of his residency, Maciá created the sound sculpture, El Cruce, located on the Ashlyn Perry Studio Terrace of Vladem Contemporary.

Oswaldo Maciá’s El Cruce
September 20, 2023–September 22, 2024
Ashlyn Perry Studio Terrace

Oswaldo Maciá’s sound sculpture, El Cruce, explores the nature of movement and transgression. The title can be translated in English as “the cross” or “the crossing.” The words in both languages are derived from the Latin crux, which refers to the instrument of torture on which people were executed. Movement is fundamental to life and without it there would be stagnation. Yet, something happens when the line traced by our movement crosses another. Moving through life, we can cross paths with others. We can cross the line. Still, at other times, we can arrive at a crossroads. Maciá’s sculpture engages with the generative nature of these junctures—the points where lines meet. His sketchbooks explore the intersection of colors as a visual analog to the meeting of sounds in El Cruce.

Visitors encounter El Cruce as an acousmatic wall of sound, meaning that visitors cannot determine the source of the sound. Organized in an octagonal composition, each of the eight audio channels engage in a crosscutting dialogue of migratory winds, bats, and insects. The composition also includes a performance by Iban Sanz and Lorentxo Dolara of the txalaparta, a Basque percussion instrument.  The wind recordings were captured in the deserts of New Mexico and the American Southwest. The calls of bats and insects were captured throughout the Americas. Sounds from the Santa Fe Railyard punctuate the piece and reminds us of the city’s history as a waypoint on journeys across the Southwest.

The artist-in-residence program is generously supported by a grant from the Frederick Hammersley Fund for the Arts at the Albuquerque Community Foundation.