File - Image Factory

The Image Factory Art Foundation is a contemporary
art institution dedicated to the promotion, exhibition
and documentation of Belizean art. Established in 1995,
thefoundationisanot-for-profitorganizationthatcollaborates
withlocalandinternationalartistsandinstitutionstofoster
greaterparticipationandproductionprimarilyinthevisualarts.
During
the last five years of the
20th century and the first five of the
21st,asmallartspaceonNorthFrontStreetin
BelizeCityemergedasastaginggroundformultiple
nationalandinternationalartprojects.Atthisjuncture,
ten years on, we at the Image Factory Art Foundation
see ourselvesaspartofafragmentedcontemporaryartworld.
Onthisoccasionweconfidently declare that in Belize there are
stillideasanddreamsworthpursuinginthearts.Thiscatalogue
is a capsule. It holds a few images and words that map the first
10yearsofanot-for-profitartfoundation.Itattemptstobesexy
and thrill. It tries to be smart and clever. It aspires to be modern
and bold. It wants affection and appreciation for a time well
spent. It is a product of pride. It is a statement of stamina,
dedication and focus. It is random but reasonable. It
is mild in arrogance but grateful. It is putting the
last ten years to rest so we can get on with
other things, pursuits, pains and
pleasures: art is for the
spirit!
Yasser Musa
director
ImageFactoryArtFoundation
santiago cal landings/1st 2004
la cuartería cross-o-ver 2004
la cuartería cross-o-ver 2004
On average 400-600 students come to the
exhibits. It has become tradition that shows
open at 7 pm on Friday nights with much
pre-publicity from the media and the
cultural supplement, INtransit,
in The Belize Times.
richard holder we 2003
santiago cal milk clouds 2001
It seemed contradictory
that while we pursued a
rigorous timetable of
international shows from
Barcelona to Caracas,
we were in the most
remote villages of Belize
attempting to bring greater
access to the market for artists
and artisans. This duality has
become policy at the Factory,
as one road tells the world who
we are, and the other keeps
the soil fertile at home.
We went to rural communities and townships
and engaged teachers trying to institute the
teaching of basic visual arts in the Primary
School system. Parallel to that, we started the
Art For the People mobile exhibit involving
70 artists in 1999 that was an introduction of
sorts to people outside the Factory space.
Prior to 1995 there was little material
available on the visual arts. So it became
our priority with INtransit
and FactoryBOOKS (the publishing arm
of the foundation) to ensure that our
programs and activities would be
documented.
sean paul taegar face 1998
IMAGE FACTORY INT (PAG 12) 21.59 X 27.94 ARTURO
The pursuit of opening the Belize Center for
Art Education and Cultural Understanding in
May 2002 was to ensure that Belize had an
experimental space geared to foster new ideas and
experiences concerning contemporary life. It is to
be another space from where a next generation of
artists will emerge.
IMAGE FACTORY INT (PAG 14) 21.59 X 27.94 ARTURO
jeremy spooner latta pichaz 2005
Each exhibit has its own spirit. Working with artists and
other institutions leading up to opening night has always
been a ride of rigorous ideas and deadline panic.
After each exhibit, we tried to see how
we could avoid the chaos and confusion
of installing a show, but we are convinced now
that it is a necessary process
of working with artists.
michael gordon zero nova arte do belize 2002
yasmin hage tamarindpopesoccerbulletwood 2004
yasmin hage tamarindpopesoccerbulletwood 2004
IMAGE FACTORY INT (PAG 16) 21.59 X 27.94 ARTURO
IMAGE FACTORY INT (PAG 17) 21.59 X 27.94 ARTURO
sarah estephan latta pichaz 2005
Whether it is the history of fires or hurricanes, the
Maya of Moho, or the history of photography in
Belize, it has always been our intention
to bring another segment of the society
into the Factory, in part, to make
our case to them for supporting
the visual arts.
richard holder landings/1st 2004
la cuarteria cross-o-ver 2004
sean gibson zero nuevo arte de belice 2002
richard holder landings/1st 2004
IMAGE FACTORY INT (PAG 20) 21.59 X 27.94 ARTURO
IMAGE FACTORY INT (PAG 21) 21.59 X 27.94 ARTURO
ZERO new belizean art became a brand.
It was the platform for our emerging
contemporary artists. It was our foot in the
international door, a peak into
a world unknown to us.
santiago cal new dose 2003
IMAGE FACTORY INT (PAG 22) 21.59 X 27.94 ARTURO
IMAGE FACTORY INT (PAG 23) 21.59 X 27.94 ARTURO
Landings, a contemporary celebration of
art from Belize, the Caribbean, Central
America and Mexico is an even more
ambitious branding effort. It is the boldest
manifestation of art politics and identity
peddling on the global stage.
IMAGE FACTORY INT (PAG 24) 21.59 X 27.94 ARTURO
e-conversation
Yasser Musa and Jules Vasquez
from July 7 to August 11Yasser Musa and
Jules Vasquez went on a back and forth
viathewebandconductedaconversation
on the 10 years of the Image Factory
Birth of the Factory
richard holder muse 2002
YasserMusa:Gilvanowasajuniorcollege
studentofMrs.MichelePerdomo.Heand
Sergio Hoare were best friends. The first
painting I saw of Gilvano was of a Jaguar
he was painting for his sister. I had just
started working at SJC, having returned
from LSU in July 2004. At the end of my
firstyearteachingwestartedtheFactory
upstairs of 91 North Front Street with
the show The Young Realists - Gilvano
Swasey and Sergio Hoare. The months
before I remember we were going to
Anthony McCoy O’Ferral’s home often.
a public and art cognoscenti that cared
only enough to dismiss the factory crew
as too cute for its own good and too
talent-less to earn remark or rebuke. But
- without putting too fine a point on it - it
had a sense of being I think what you
calledaneutronmoment,withnohistorical
precedentorontogenicreferent;therewas
no reason for this space to exist.  Other
thanthevainimaginationofa24year-old
enfantterriblewhowassurethathecould
bebothMaryBooneandBasquiat,witha
knowing wink to Warhol.
JulesVasquez: I was there for that young
realistsshowtocoveritforthenews. And
I remember that the space (then on the
secondfloor)hadthesenseofbeingasort
of cathedral in the sand.  Just going on
guts,dubiousinstinctandraw“witeman”
energy,youandTonysetupthisspacethat
wethoughtwascompletelyglamorousand
aestheticallyonparwithanycontemporary
artspaceinNYC. (Iguessifwehadknown
betterwewouldhavenotdoneanything,
so don’t curse us for our ignorance.)  But
while it was glam, it also had the sense
ofbeingsomewhatesoteric,maybeeven
cabalistic,apublicspace,but,whatPrince
might call“a private joy,”the joy of pulling
off  - with (what we felt was) impossible
cool - this droll, almost cheeky, prank on
The Factory and the world Part 1
YM:SometimearoundFeb.1994Imetwith
JoanDuraninNewOrleans.Ihadtofinish
my thesis, which was on him. He had set
upameetingwithLewThomasthecurator
of the Contemporary Art Museum (CAC)
inNewOrleans.Thomaswasabookartist
from the 1970’s, a small man who didn’t
take kindly to Duran’s aggressive brow
beatingapproach.ButLewlikedtheidea
ofhavingacontemporaryshowfromBelize
and he engaged us. That was the first
showoutsideBelize,whichopenedin....as
Minus5.Wetookournewwiveswithusup
totheopeningandstayedwithourfriends
theCastillo’s.Itwasanincrediblefewdays
of setting up the show, drinking endless
coffeeandtryingtofigureouttheworkings
oftheCAC.Duranhadhisownshowgoing
on the second floor. He put me and his
son Ivan on the first, as the father, the son
andholyghost.Theopeningwentwellwith
several streets in the warehouse district
closedtotrafficandothergalleriesopening
shows at the same time.
We checked the Times Picayune to see if
theycoveredtheshow,andwereexcited
they had something.
JV: My recollection of that event is far
less magical.  I remember Duran as a
prowling,manicbeast,possiblyatextbook
case of adult ADHD (attention deficit
hyperactivitydisorder)withalltherestraint
andtactofahyenawithalivinglamb’sleg
clenched between his jaws.  But he was
amangeneticallyprogrammedtothrive
andconquerinaworldwherefraudsand
weaselsrunfree;heshredsthemwiththe
charm of a bulldozer and the savvy of a
ruthless card shark. 
And while we took in the spectacle of
Duran as he “turned and burned” in the
CAC,formethethrillwasnotsomuchthe
show,buttheentireimposterishnatureof
the enterprise.  I mean that not to sound
dismissive, but I somehow felt that we
weregettingawaywiththiscollectivefraud
internationally - and the boys at the CAC
didn’t know or care.  I later found out that
whatIthoughttobemanifestlyfraudulent
or, at best, demonstrably vapid, was real,
good currency in the art world where
art and artifice is interchangeable. This
lesson,andthedeparturefromsqueamish
hagglingoverform,intentandsubstance
would liberate us, and enable you to
embrace art in a far freer sense, able to be
disconnectedfrommeaning,arambling,
free-associativejourney,thatmayaswell
as it may not have destination.
YM: There are three ideas that stick out
in my mind as it relates to how the visual
artsstartedtoconnecttotheoutsideworld.
objectivestandardsdisconnected.Butit
hasaplannedmistakeattitudetoitIenjoy.
The first is the 1999 exhibit in Taiwan at
theFineArtsMuseumofTaipei.Duetoour
relations withTaiwan, the show was well
organized and went off without a hitch.
The second is the infusion of energy and
artistsbyAdrianBarronintothePoustinia
Land Art Park in Benque, with Luis Ruiz’s
vision of an eco-art park. And third the
opening of ZERO new belizean art in
Mérida,Yucatán in 2000.To my mind the
threethingsaresoconnected,yetfromall
JV: They are all connected in the sense
that a group of no more than a dozen
peoplewereawareofthemwhiletheywere
happening.  They were duly publicized
post-event, but there’s no denying that
these events never came out of any
collective communal acclaim... it is 1:30
brio I am beat, will finish this tomorrow...
Art and Politics
What do they have in common? It has
come down to this. Hard to say. And for
us, me as a Prime Minister’s son, you as a
superjournalist,gonegonzomaniconthe
world-bi-polaropposites.Itradeinhope
you in grope. Red and blue. Merchants in
timemanagementandcrisiscircuses.But
somewhereartcomestoplay.Theendless
coverage on Channel 7 for all things
Factory.Theendlessinterviewsonelasting
so long you fell asleep, and the tape ran
out.Itmustbethepost-modernfumes we
sniff. The Factory has a space on
television.Icontendifthefactoryhadcome
toplayinthe1970’sorearly80’swewould
have closed after one year. It is the false
feelings of joy and accomplishment that
comesfromtheelectronichit,whichmakes
usallmadwithperversepreservation.The
globalcommunityofcablewehaveinsists
onaneveningofdespairandmorningsof
hapless repair. So we live from 9:30 am to
6:25 pm each day in a fool’s paradise. But
theFactorywallsmuststayfullofdreams.
Exhibit after exhibit, show after show - it
staggers at the pace of perverts. Who
knowsthepsychologyofitall?Butartand
politics are good together.
The Factory and the NGO’s
Just before 2000, Susana Rochna from
theDutchhumanitarianorganizationHivos
paid a visit to the Factory. I recall I had
metaHivosrepresentativein1996when
I was still living at Hunters Lane. Susana
came with hope and we sat in the small
ally behind the factory and mapped out
a strategy to take art to the people. Thus
started our relationship with Hivos first
as a travelling exhibition called Art For
The People, then as a series of projects
called Art Comes Alive and now we are in
themiddleofCultureInAction.ThisNGO
connectionhasbeenimportanttousfrom
afinancialstandpointandhasallowedus
to venture into other areas such as the
new Factory store and bookshop. I want
to think that we are now on a new ride to
push the literary arts as we did the visual
arts.
The Factory Tomorrow
Tomorrow is so sexy because today and
yesterdayaresocompromised. Butwhat
does an art institution do when it has a
record behind it? Well, I’ve told Gilvano
thatinorderfortheFactorytocontinuewe
need to abandon and reject the first ten
years,andmoveonfresh.Westartedwith
allthefevertobreakdownstereotypesof
art and tradition, and I hope not to make
up new ones. Two big things emerged
in the first ten years from an ideological
standpoint. Ontherightofme,IhadJoan
Duran with all his high standards and
super global quality approaches to the
art thing. Then on the left, I had Gilvano
Swasey who is emotionally tied to the
state,thestateofthingsontheground.His
energyandcharismafrompeople,thereal
andtheraw,thethingsthathappeninreal
time. But those matters are operational.
New blood needs to be poured in, blood
disconnectedfromthe“factory”tradition.
How do we remain, yet get out of the way
so a new generation can emerge?
YM
timeline
key exhibits
1995
June4:ImageFactoryArtFoundationopensupstairsatthe91NorthFrontStreet,BelizeCitywiththeexhibitionTheYoungRealistsfeaturingGilvano
Swasey and Sergio Hoare
July:YasserMusaandAnthonyO’FerralllegallyestablishtheImageFactoryArtFoundationasanon-profitartinstitutiondedicatedtothevisualartsin
Belize
September: The Image Factory launches INtransit, a cultural supplement in The Belize Times focusing on art, culture and ideas
1996
August:MinusFouropenswiththevideoTheBelizeCityPoem.ThismarksthebeginningofFactoryBooksthepublishingarmoftheImageFactory
Art Foundation
1997
February:AnexhibitionofFolkloricArtopens.TheImageFactoryestablishesacloseworkingrelationshipwithMegCraig(anoutstandingcollectorof
a wide range of cultural materials on Belize)
April:TheMayaofMohoanarchaeologicalexhibitionopens.ThelateLeonardDieckman,S.J.whocollectedtheartifactsbecomesaspiritualguru
and inspiration to many of the Factory artists
1998
Benque House of Culture opens
November: Zinc Lion opens. It is the first comprehensive look at the art of established Image Factory icon Michael Gordon
1999
May: Controversy erupts in the local art community when sixteen year old art student Sean PaulTaegar is accused of copyright violation for
appropriatinganimagebyphotographerNorrisHall.Taegarmadealinocutprintbasedonthe1970’soriginalphotographbyHall.Hisworkwas
exhibited at Identities-Artists of Latinamerica and the Caribbean in Paris, France
August: Belizean Art exhibits at Museum of Fine Arts, Taipei, Taiwan
October: Image Factory launches website
December:ThegalleryspaceoftheImageFactoryisremodeledandrenovated.Introduction-theartofJoanDuran1949-1999isthefirstshowto
open in the new modern space
2000
March:ZER0newbelizeanartispresentedinMérida,YucatánattheCentroCulturaldeMéridaOlimpo.ItisthefirsttimecontemporaryBelizean
visual art is given such a platform. Some 17,000 visitors attend the three-month exhibition
2001
March: Belize Center for Art Education and Cultural Understanding opens on the campus of St. John’s College in Belize City
September: Belize Celebrates 20 Years of Independence. Image Factory hosts special 20/XX exhibit
November: Yasser Musa, awarded gold medal at the Fifth Biennial of the Caribbean in Santo Domingo, Dominican Republic
2002
February:MuseumofBelize,BelizeCityopens.FirsttwoexhibitionsBelizeCity:ThenandNowandMayaMasterpiecesorganizedandcuratedbythe
Image Factory Art Foundation
April: ZERO new belizean art opens 3 shows simultaneously in Guatemala
September: Banquitas House of Culture, Orange Walk opens
2003
July: Culture In Action Project is signed with Hivos. It is a three-year project involving international and national art shows, art education and
development of the art market
August: Commencement of the National Institute of Culture and History (NICH)
November: Renovated House of Culture opens
Belize participates in the 8 Havana Biennial, Cuba
Belize co-awarded best curated participation at the Sixth Biennial of the Caribbean in Santo Domingo, Dominican Republic
The House of Culture, Belize City, renovated
2004
February : The Image Factory Shop opens
March: The Bliss Centre for the Performing Arts in Belize City opens
April: The National Collection of Art is established
November: The Gulisi Garifuna Museum opens in Dangriga
2005
January: Preparations for the 10th anniversary begins
September:@10–celebratingtheImageFactoryopens.TheImageFactoryArtFoundationcollaborateswithStonetreeRecords,alsocelebrating
their 10th anniversary. Ten contemporary works of art are donated by the Image Factory to the National Collection of Art
1995
The Young Realists / Gilvano Swasey and Sergio Hoare
Above and Below / Luz Hunter and Demi Meir Underwater Photography
Fragments / Group Exhibit
The Clothes Line Project / Yasser Musa
Primary Mind with Secondary Intentions / Gilvano Swasey
1996
Minus 4 / Yasser Musa, Gilvano Swasey andJules Vasquez
Passionate Visions / Benjamin Nicholas
1997
Folkloric Art / from the Craig Family Collection
The Maya of Moho / archeology exhibit by Leonard Dieckman, S.J.
St. John’s College Art Show
1998
Cultural Proflexions Minus 2 / Yasser Musa and John Colt
Mixed Messages / group exhibition on Belize City
Zinc Lion / Michael Gordon
1999
Cutting Edge / Mercy Sabal and Michael Gordon
Bowand’s 14th annual Women Art Exhibition
The Color of Lamb / Joan Lamb
Life Underwater / a natural history exhibition by Leonard Dieckman, S.J.
Fire / a history of fires in Belize
Art for the People / a traveling exhibition of over 70 artists
Introduction: the art of Joan Duran 1949-1999
2000
Multiples / printmaking artists from Australia, Taiwan and Belize
Eclectic / an exhibition from the Meg Craig and Leonard Dieckman, S.J. Collection
V Style / Jeannie Shaw
2001
SHE / exhibit of 30 women artists
Milk Clouds / Santiago Cal
Brazilian Printmaking
20/XX / celebrating Belize’s 20th Anniversary of Independence
2002
Proyecto Móvil / Omar Said Charruf
Mystic Soup / Pamela Braun, Sandra March, Mary O’Conner and Mercy Sabal
Art Comes Alive / ceramic exhibition
New Works / Nelson Young
To A New Level / Damian Perdomo
Poustinia: Land Art in Belize
2003
Lonely Planet / Kim Baranowski
Art Now / new art in Belize
We / Richard Holder
2004
tamarindpopesoccerbulletwood / Yasmin Hage
cross-o-ver / La Cuartería - new art from honduras
Biodrawings / Elsoca & Fabián - new art from cuba
2005
Belize Creative / new art from master artisans and artists
Latta Pichaz from small country – Belize 1895-2005
bibliography (selection)
ACEITUNO, Luis, Zero Nuevo Arte de Belice, El Periódico (Guatemala) El Acordeón, April 7, 2002
ACERO RUÍZ, Carlos, Arte contemporáneo de Belice, El Caribe (Santo Domingo) Pasiones del Arte, October 20, 2002
ALFONZO-SIERRA, Edgar, Aires de creación urgente soplan desde Centroamérica - Belice hace arte contemporáneo desde Zero, El Nacional
(Caracas) Cultura, June 15, 2002
CORTÉS ANCONA, Jorge, Contra viento y marea, Por Esto! (Mérida) Cultura, March 21, 2000
BARCOTT, Bruce, And You Thought Art in New York Was a Jungle, The New York Times (New York) Art, May 9, 2004
BOSCO, Roberta, En la Capella de Barcelona, en busca de su expresión, El Periódico del Arte (Madrid) no. 50, December 2001
CASTELLOTE, Alejandro, Mapas Abiertos, Mapas Abiertos / Fotografía Latinoamericana 1991-2002, Lunwerg Editores (Barcelona) 2003
CASTRO FLÓREZ, Fernando, Agorafobia, ABC (Madrid) Cultural, February 16, 2002
CAZALI, Rosina, Zero a partir de cero, Artnexus (Bogotá) no. 46, 2002
CAZALI, Rosina, Zero Nuevo Arte de Belice, El Periódico (Guatemala) El Acordeón, April 7, 2002
DARDÓN, J.P., Banana Boy arriba al país, Siglo Veintiuno (Guatemala) Vida y Cultura, April 11, 2002
DE LA HOZ, Pedro, Belice, espejo del Caribe, Granma (La Habana) June 7, 2001
DE LEÓN, Raúl, La vanguardia de Belice llegará a Santo Domingo, El Caribe (Santo Domingo) September 5, 2002
DE TOLENTINO, Marianne, La revelación del arte contemporáneo de Belice, Hoy (Santo Domingo) Vivir, October 5 and 12, 2002
DURAN, Joan, Zero and we’re four down…, Atlantica (Las Palmas de Gran Canaria), no. 31, Winter 2002
DURAN, Joan, Los útimos diez años: de Minus 8 a Zero + 10, Blanco Móvil (Mexico), no. 88, Winter 2002/2003
DURAN, Joan, Zero y Sigue - Creando el hábito de ver y pensar, Artes en Santo Domingo (Santo Domingo), October/December, 2003
HERRERA YSLA, Nelson, Islas en la Isla, Casa de las Americas (La Habana) Artes Plásticas, no. 229, October/December, 2002
HUGHES, Henry Meyric, Quinta Bienal del Caribe - El punto de vista de un jurado, Artes en Santo Domingo (Santo Domingo) April/June 2004
LEMUS, Juan Carlos, Belice bajo Zero, Prensa Libre (Guatemala) Buena Vida: Cultura, April 8, 2002
LOBO, Paula, Ossos, poemas e computadores, Diário de Notícias (Lisboa) Artes, February 22, 2002
MACEDO, Paula, Vinte anos depois chegou o ‘Zero’, A Capital (Lisboa) Cultura & Lazer, February 22, 2002
MOLINA, Margot, Belice irrumpe en el presente, El País (Madrid) Babelia, no. 525, December 15, 2001
MONTALVÁN COLÓN, Eugenia, El nuevo arte de Belice: espíritu y cerebro en marcha, Columba (Mérida) no.11, April 2000
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-------------- L’art de Belize s’exposa a la Capella de l’Antic Hospital de la Santa Creu, Avui (Barcelona) Cultura, December 1, 2001
-------------- See and Belize, Barcelona Metropolitan (Barcelona) no. 60, January 2002
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acknowledgements
The Belize Times, Channel 5, Channel 7, Meg Craig, Leonard Dieckman, S.J., Ivan Duran, Joan Duran, Michael Gordon, Omar Habet,
Richard Holder, Joel Lipman, Eugenia Montalván Colón, Pamela Musa, Joan and Said Musa, Margaret Nunez, Anthony O’Ferrall,
Michele Perdomo, Susana Rochna, Christopher Roe, William Skinner, Andrew Steinhauer, Gilvano Swasey, Charles Tsai, Jamuna
and Jules Vasquez, Mary Vasquez and all the other artists and collaborators who have worked closely with us over the past 10 years.
publisher
Image Factory Art Foundation
concept and layout
Joan Duran
graphic design
William Skinner
text
Yasser Musa
bibliography
Katie Usher
photography
Belize Archives Department, five-o-one art projects, Richard Holder and Image Factory Archives
with the support of
five-o-one art projects
ISBN 976-95131-4-8
1000 copies, August 2005