Having lived and worked fluidly between three different cities (New York, Miami, and his hometown of Lima, Peru), William Cordova creates artwork that deals with his real-life issues of transition and displacement. . . . Often site-specific, Cordova’s installations challenge preexisting histories of the places they occupy and present new perspectives on the fleeting significance of his subjects. Artsy, “William Cordova: Biography”
Each work in this exhibition contains layers of referents and histories, some of which may only be recognizable depending on one’s own personal and cultural background. Chelsea Weathers, “Critics’ Picks,” Artforum, Fall 2017
Kate Green, an art historian, curator, educator, critic, and recent Guest Director of Marfa Contemporary, and Carter Foster, Deputy Director for Curatorial Affairs and Curator of Prints and Drawings at the Blanton Museum of Art, are in conversation with the artist William Cordova. The focus of this conversation is the installation William Cordova: ankaylli: spatial and ideological terrain, a project Green commissioned Cordova to create for Marfa Contemporary in the fall of 2017.
True to Cordova’s practice, ankaylli: spatial and ideological terrain features a geometric form that is fundamental to nature and has appeared across cultures and times, from prehistoric carvings to pre-Columbian aqueducts to the artist Robert Smithson’s Spiral Jetty. The installation’s multifarious components circulate on and around the spiral form, directly referencing pre-Columbian traditions,
Café Modern serves cocktails and appetizers on Tuesday nights during the lecture series.