The Lovers, Mar 8 – Apr 8, 2006

Past: 55 Chrystie St

Installation view, The Lovers, Canada, New York, 2006


Chemi Rosado Seijo,

Beer counts,


Assorted beer caps, thread

Radamés Figueroa,

The Lovers (CANADA),


16 × 20 in (40.64 × 50.8 cm)

Acrylic on canvas

Chemi Rosado Seijo,

Tapando para ver,


2 drawings

Charcoal on paper on newsprint

Radamés Figueroa,

The Lovers (Hugo),


8 × 8 in (20.32 × 20.32 cm)

Acrylic on canvas

Press Release

Memories worth hanging on walls usually happen on the floor.

CANADA is pleased to announce a gallery exchange with artists from Galeria Comerical in San Juan, Puerto Rico. The artists selected from their program will exhibit at CANADA in New York City for March while in April a group of CANADA artists will show in Puerto Rico.

Though not intended, the group of works in The Lovers resembles an adulterated version of a bar. The sum of art put together for this exhibition spans a jukebox, a cooler, a pool table and a hippie bead curtain.

Carolina Caycedo’s “Solo Under” (2005) is a coin-operated jukebox that blasts the history of the Reggaeton music genre from its inception (roughly 1990) to the present. Reggaeton evolved from rap, creating a fusion of reggae and dance hall. As a foreigner visiting Puerto Rico, Carolina recognized the phenomenon early on. The process behind the jukebox echoes the title of an earlier project: “Immigrants Influence Home Cultures”.

Michael Linares’ piece, titled “Oasis” (2006), is a pedestal stuffed with beer. Strategically located between other works in the exhibition, it functions simultaneously as a gathering and refreshment area. The seemingly abstract forms contrast with the open-ended relational formations produced by them.

Jesus ‘Bubu’ Negron’s piece (not titled, 2006) is a pool stick fashioned to look like a rifle. His version of politics of resistance is wedded with humor, and he practices his craft like someone who loves the game and plays to win. As Jose Lerma notes, “Bubu is not interested in actions that spark large-scale social movements. He’s different… he’s one of those still using visual poetry, I mean, his work is not literal in that sense.”

Chemi Rosado Seijo’s “Beer counts” (2006) is an homage to Felix Gonzales-Torres “Blood works”. Gonzales-Torres pieces mark time by counting white and red blood cells; Chemi does it with beer caps. The first is interested in the time remaining and the latter on time past.

While most of the works are placed on the floor, the walls will feature memorabilia of past projects by Caycedo (UK, 1978), Linares (Puerto Rico, 1979), Negron (Puerto Rico, 1975) and Rosado Seijo (1973). Also, in a move that exemplifies the constant flow of colleagues in this and other groups, two artists not on the header will be present: Jose Lerma (Spain, 1971) and Radames "Junior" Figueroa (Puerto Rico, 1982). As in any Mom & Pop bar, the walls will collect highlights of the lives of both owners and patrons.


Galeria Comercial, San Juan, Puerto Rico

February, 2006