The Discursive and Curatorial Productions (DCP) initiative in the UC San Diego Department of Visual Arts is pleased to present an exhibition curated by Melinda Guillen, No Longer Extant: Cayetano Ferrer and Adela Goldbard. The opening reception is on Saturday, March 7, 3-5 pm.

As a spatial marker, the term "no longer extant" is typically encountered as a label demarcating an artwork, document, object or structure that no longer exists in its primary form. Taking that into consideration alongside the prevalence of contemporary artists that have maintained a continued interest in the shifts of urban landscapes and the causal, cyclical relationship between destruction and creation, No Longer Extant focuses on artistic engagement with processes of structural demolition. Both artists possess an acute conception of the built environment as subject to political, social, ecological, and temporal conditions while mediating the cycle of creation, expansion, and destruction in their respective practices.

Artist Cayetano Ferrer's Casino Model 3 (2010) is a speculative proposal for a Las Vegas casino that centers on a relationship between the geography and cultural history of the city's surrounding valley. The installation consists of a looped video façade on the casino's exterior, displaying footage in chronological order of other casino demolitions from 1993-2007. To be proposed on the former site of the Frontier Hotel & Casino, the casino incorporates the history of the Frontier as a landmark and its thematic connection to the disappearing frontier of the American West. Inside the façade model is a room with two interior elements: swatches of a printed carpet and a tromp l'oeil video ceiling. The cutaway interior represents the distorted time of casino spaces while referencing the vast geological record of the region. The work was first exhibited as part of the 2010 exhibition, The Great Unconformity, at the USC Roski School of Fine Arts and has not been re-installed since.

San Diego and Mexico City-based artist Adela Goldbard is currently an MFA candidate in the Department of Visual Arts. Her work deals with the reconstruction and deconstruction of objects, buildings, events and texts through the creation of ephemeral sculptures and edifices and their documentation through photography and video. For this exhibition, Goldbard will present LOBO (2013), in which she recreated a Ford Lobo pick-up truck, the preferred pick-up of the Mexican Narcos (drug dealers). The pick-up was built and destroyed using materials and procedures from the popular-folkloric tradition of the Toritos (Tultepec, Estado de Mexico). Deceit and play are strategies for astonishment-what is perceived as an actual vehicle is an ephemeral replica made of reed. Through fiction, cinematographic representation, and special effects, the terrorist strategies recently adopted in Mexico, a country besieged by a mafia whose actions are being endorsed by the government, are revealed. Additionally, Goldbard will also exhibit new sculptural works produced for the exhibition.

As a discursive element, there will be a screening series of art historical precedents that demonstrate artistic engagement with architectural structures from a variety of vantage points including: Gordon Matta-Clark, Splitting, (1974); Ana Mendieta, Selected Filmworks: 1972-1981; Dan Graham, Past Future Split Attention, (1972); Crawford & Flore, Sheds, 2004 (on Robert Smithson's Partially Buried Woodshed, 1970).

SCREENING: PRECEDENTS Gordon Matta-Clark, Splitting, (1974); Ana Mendieta, Selected Filmworks: 1972-1981; Dan Graham, Past Future Split Attention, (1972); Crawford & Flore, Sheds, 2004 - (on Robert Smithson’s Partially Buried Woodshed, 1970) Tuesday, April 7, 5pm Visual Arts Presentation Lab, SME 149


Tuesday, April 14, 3PM

Tuesday, May 19th, 7-9PM


Los Angeles-based artist Cayetano Ferrer was born in Hawaii in 1981. He earned his BFA at the School of the Art Institute of Chicago and MFA at the University of Southern California. Recent installations include Remnant Recomposition in the exhibition The St Petersburg Paradox at the Swiss Institute (2014), New York; a collaboration with artists, architects and musicians at Human Resources in Los Angeles under the moniker Downtown Light and Sound; a room modeled on the spectacular pastiche of Las Vegas casino interiors and a billboard in Hollywood, displaying end credits for Hollywood itself for the HAMMER Museum's Made in LAbiennial in 2012. His work has been written about in Frieze Magazine, Artforum and The New York Times. In 2013, he received the California Community Foundation Award and most recently, in February 2015, he received the 2015 Faena Prize for the Arts from the Faena Art Center in Buenos Aires, Argentina.

Adela Goldbard works in sculpture, photography and video and explores metaphoric ways of dealing with reality such as mass media, folklore, and cinema. Combining artisanal techniques with cinematographic paraphernalia, she recreates actual catastrophic events with allegory and black humor. She was awarded the Centenario Prize at Zona MACO 2012, and the Acquisition Prize at the VII Biennial Monterrey FEMSA 2007. She has received the Young Creators Grant twice (2005 and 2013), The Tierney Fellowship in 2008, and the Promotion and Joint Investment Program support also twice (2009 and 2014). Her work has been exhibited in Germany, Russia, Holland, Philippines, Hungary, Spain, Argentina, Canada, USA, and widely in Mexico. Recent solo shows include: Enrique Guerrero Gallery (2014), Diagrama Gallery (2014), Polyforum Siqueiros (2013), Aguascalientes' Museum of Contemporary Art (2013), Museum of Querétaro (2012), Arocena Museum (2011), Museum of Contemporary Art of SLP (2011), Sinaloa's Museum of Art (2011). She lives and works in San Diego and Mexico City.


Melinda Guillen is a writer and curator pursuing her Ph.D. in Art History, Theory & Criticism in the Department of Visual Arts at the University of California, San Diego. Her research areas include feminist theory, humor, socially engaged practices, temporality and spatial politics and the intersection of land art, public art and architecture. She has an MA in Art/Curatorial Practices in the Public Sphere from the University of Southern California and has published writing with Art21, Museum of Contemporary Art (MOCA), Los Angeles, and Santa Monica Museum of Art. She is Curatorial Coordinator and Editor for the Discursive & Curatorial Productions (DCP) initiative in the Department of Visual Arts at UC San Diego and is Curatorial Assistant for the exhibition Indigenismos: Ameri-Indian Inscription in the Art of the Americas at the San Diego Museum of Art, as part of the Getty Research Institute's Pacific Standard Time: LA/LA in 2017.

Sheena Ghanbari

Images Credits:
Cover Image: by Adela Goldbard. Feature Image: From left, Casino Model 3, (exterior) photo by Cayetano Ferrer, Right: Lobo (2013), digital print, photo by Adela Goldbard.