Hoesy Corona (B. Mexico, lives and works in the USA)
Hoesy Corona (b. 1986 Guanajuato, Mexico) is an emerging and uncategorized queer Mexican artist living and working in the United States. His work is executed across various media while considering what it means to be a queer latinx immigrant in a place where there are few. His performances and installations oftentimes silently confront and delight viewers with some of the most pressing issues of our time. Reoccurring themes of queerness, race/class/gender, nature, isolation, and celebration are present throughout his work.
He lived in Mexico, Utah, and Wisconsin, before moving to Baltimore, MD in 2005 to establish a professional practice in the arts. He is a recent Halcyon Arts Lab Fellow 2017-2018 in Washington, DC and is a current George Kaiser Family Foundation Tulsa Artist Fellow in Tulsa, OK. He splits his time between Baltimore and Tulsa.
Corona has shown compelling works and inventive sculptures fitted to the human body internationally in Greece, France, and in the USA. Exhibiting and performing at various institutional, private, public and underground venues including among others The Hirshhorn Museum and Sculpture Garden (2017); The Kennedy Center (2019); The Baltimore Museum of Art (2011, 2012, 2014); Athens School of Fine Arts (2018); The Walters Art Museum (2017); Kohl Gallery (2019); Kern Gallery (2016); The Heurich House Museum (2018); The Peale Center (2016); Songs for Presidents Gallery (2015); Gallery CA (2015); Decker Gallery (2013, 2015, 2017); Smithsonian Arts and Industries Building (2018); The Brooklyn International Performance Art Festival (2014); Greenbelt Arts Center (2015); The Fine Arts Work Center (2014, 2015, 2016); VisArts (2013); The Creative Alliance (2015); IAU College(2005); and the Haggerty Museum (2005).
In addition to maintaining a prolific studio practice, he is the founding co-director of Labbodies (Jan 2014-present), a nomadic arts organization in the USA. As an independent curator his efforts include: A Monumental Absence, solo performance by Najee H.F., Confederate Monument Plinth, Baltimore, MD ; Mother/Sister/Daughter, at The Artist Run Art Fair 2017, Artscape, Baltimore, MD ; Light Happenings pt II, Light City 2017, Baltimore, MD;Labbodies Performance Art Review 2016", Spacecamp Gallery, Baltimore, MD, July 2016; "White Guilt Confessional", Solo show by April Danielle Lewi,, Artist Run Art Fair, Baltimore, MD, 2016; "Borders Boundaries and Barricades" a Performance art review, Gallery CA, Baltimore, MD, 2015 ; "Blood Cube and Spitface" solo show by Emilia Penannen, Platform Gallery (2015); "The Multiplicity and Flexibility of the Self State", Performancy-Forum-Quinquennial, Grace Exhibition Space, Brooklyn, NY, 2015 ;"Over|Under Limbo", Transmodern Festival Baltimore, MD 2014; "Fast Forward Future", Baltimore Museum of Art, Baltimore, MD 2014. "Rooms Play" and “Rooms Play 2”, The Copycat Theatre, Current Space, Baltimore, MD 2010, 2011.
Recent honors include a Merriweather District Artist in Residence 2018; an Andy Warhol Foundation Grit Fund Grant administered by The Contemporary in Visual Arts 2017; a Robert W. Deutsch Foundation's Ruby's Project Grants in Visual Art 2016-17; nominated for a USA Artist Fellowship 2017; Siren Arts Summer Residency 2018; a Light City public art commission 2017; an Ox-Bow School of Art Fall Artist in Residence 2017; a CHM Sculpture Park and Fellowship 2016-2017; a Light City Artist in Residence Winter 2016 in Baltimore's Station North; a Cafe Con Leche Latino Artist Resident in Pittsburgh,PA Spring 2016; a Fine Arts Work Center Award 2016; a Pelham Printmaking Residency 2015; was a Janet and Walter Sondheim Prize Semifinalist in 2013,2015,2017; a Maryland State Arts Council Individual Artist Award 2013; a Baker Artist Awards B-Grant (The Copycat Theatre) 2011; and was included in Creative Capital's "On Our Radar 2016.
"Art allows me to create new ways of seeing and thinking.
I am an emerging artist of Mexican descent living and working in the USA. My work is executed across various media while considering what it means to be a queer Latinx immigrant in a place where there are few. And in the process I examine the physical and phycological consequences of never seeing yourself reflected anywhere.
My performances and installations oftentimes silently confront and delight viewers with some of the most pressing issues of our time. Recurring themes of queerness, race/class/gender, nature, isolation, and celebration are present throughout my work.
I recently embraced the term “uncategorized” to describe my art practice. I think of myself as an artist of change. I am Hoesy Corona. And I am also Dr. H. Corona. My performative alter egos are part of my larger inquiry into who we are and how we construct ourselves and our identities. And how so often those who exist on the margins of society have to change who we are simply to survive.
I am influenced by post-structuralist theory and see my work as in a constant state of becoming, where garments may become sculptures or sculptures may become garments. My project based work is predicated on a multimedia approach that encompasses installation, performance, photography, sculpture, painting, and public art among other disciplines.
My work is content driven but aesthetically motivated. As such I’ve developed a personal creative vocabulary that I implement in the studio when constructing a new piece. I create otherworldly colorful manifestations that seduce and draw-in the audience closer to the work while challenging their preconceived notions.
In my ongoing series The Nobodies (2009-Present) I make colorful sculptural garments fitted to the human body to create other worldly experiences for the viewer. I revel in the simultaneous visibility and invisibility that the garments bring to the wearer. In these public performances I invite audience members to play a part in the act of nobodying, an operation that consists of making somebody, nobody. “Nothing” all of a sudden becomes individualized, becomes body and eyes, becomes no one.
Recently, I’ve been exploring the impending plight of climate-immigrants worldwide through a series of site specific performances and installations where performers wear what I call "climate-ponchos" in order to bring attention to both immigration and climate change as it applies to all of us.
I also continue to advance my “White Constructions” series that questions the construction of race in the USA by implementing large scale installations and performances that seek to open conversations around the prevalence of this social order in North America and the world at large.
I believe art has the power to unite, equalize, and help us to envision a better world for all. I am always questioning the world around me and it is this constant questioning that propels me to make art that is distinctly of our time."
photo credit: Tulsa Artist Fellowship & Melissa Lukenbaugh