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Work Samples

Alien Nation

Alien Nation, 2017 | Hirshhorn Museum and Sculpture Garden | Washington, DC

Recharging the Canon | Nobodies Gala No. 2

Recharging the Canon | Nobodies Gala No. 2 | Hoesy Corona | Walters Art Museum | Baltimore, MD

Dark City, 2016

Dark City, 2016 | Penn Station Plaza | Light City | Baltimore, MD | part of Labbodies "Light Happenings"

Light Happenings Pt. 2 | The Bodies that were not Ours

The Bodies that were not Ours | Hoesy Corona | Light City | Baltimore, MD | Labbodies Light Happenings Pt2

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About Hoesy

Baltimore City - Station North A&E District

Hoesy Corona (b.1986)  is a multidisciplinary artist/orchestrator of mysterious and surprising experiences. Corona has shown compelling works and inventive sculptures fitted to the human body at various institutional, private, public and underground venues including among others: The Hirshhorn Museum and Sculpture Garden (2017); The Baltimore Museum of Art (2011,2012,2014) ; The Walters Art Museum(2017); The Peale Museum (2016); Transformer (2016); Songs for Presidents Gallery (2015); Gallery CA (... more

Alien Nation, 2017

Alien Nation, 2017
Hoesy Corona
Hirshhorn Museum and Sculpture Garden
Washington, DC

curated by Victoria Reis

In Alien Nation the artist ruminates on the impending plight of climate-immigrants worldwide. In Alien Nation 24 costumed performers traversed the museum's second floor rotunda and embarked 1,200 viewers in a mysterious and evocative journey.

  • Alien Nation

    Alien Nation, 2017 | Hirshhorn Museum and Sculpture Garden | Washington, DC
  • Alien Nation, 2017

    Alien Nation, 2017
  • Alien Nation, 2017

    Alien Nation, 2017 Hoesy Corona Hirshhorn Museum and Sculpture Garden Washington, DC
  • Alien Nation, 2017

    Alien Nation, 2017 Hoesy Corona Hirshhorn Museum and Sculpture Garden Washington, DC
  • Alien Nation, 2017

    Alien Nation Hoesy Corona Hirshhorn Museum and Sculpture Garden Washington, DC
  • Alien Nation, 2017

    Alien Nation, 2017 Hoesy Corona Hirshhorn Museum and Sculpture Garden Washington, DC
  • Alien Nation

    Alien Nation Hoesy Corona Hirshhorn Museum and Sculpture Garden Washington, DC
  • Alien Nation

    Alien Nation Hoesy Corona Hirshhorn Museum and Sculpture Garden Washington, DC
  • Alien Nation

    Alien Nation Hoesy Corona Hirshhorn Museum and Sculpture Garden Washington, DC

Recharging The Canon | Nobodies Gala No. 2 , 2017

Recharging the Canon | Nobodies Gala No. 2
Hoesy Corona
Walters Art Museum
Baltimore, MD

Recharging the Canon | Nobodies Gala No. 2 was inspired by the museum's obscure Mexican earthenware collection. Recharging the Canon | Nobodies Gala No. 2 acts as a Quinciañera celebration, or fifteenth anniversary, of the artist's longest ongoing performance "Hoesy" while highlighting the museum's Mexican earthenware collection.

The Bodies That Were Not Ours, 2017

The Bodies That Were Not Ours, 2017
Light City
Public Art Commission
Baltimore, MD

"The Bodies that were not Ours" was a response to the complex history of the installation site set on Baltimore's Inner Harbor. Historically the site had served as: a disembarkation point during the slave trade; was along the civil war pathway; and is home to a 9/11 memorial. For this public art installation the artist considered the connection between tragic historical events in the USA and their relationship to contemporary acts of violence.

The Nobodies (2009-Present)

In The Nobodies (2009-Present), I invite audience members to play a part in the act of 'nobodying', an operation that consists of making somebody into nobody. Nothing all of a sudden becomes individualized, becomes body and eyes, becomes no one. The Nobodies take the form of site specific performances where I simultaneously hide and reveal the body--in the process of obfuscating the figure I inadvertently bring attention to the absence of the very same body. To be or not to be. The dominant social class has banished marginalized individuals to not being, and despite this the NOBODIES, unseen and unheard, continue to exist.

As a culture we take part in NOBODYING everyday, when we cover our bodies with garments selected from the offerings of monopoly stores that dictate our tastes with the promise to make us into individuals in uniform. We engage in the operation of NOBODYING with our selective hearing and seeing, with our lack of eye contact, when we dissimulate both the presence of a homeless person on the street and our own, in an effort towards invisibility. Blindly believing that if I can't see them-- they must not be there and so I must not be here either.

The process of NOBODYING is one that denies the presence of the other and of the self simultaneously. A reality in which we dismiss ourselves from the complicity of our political-structures and the social-actions that mask the horrifying critiques of the “reality” we help sustain but refuse to acknowledge. Usually faceless NOBODIES are easily consumed as objects by passersby, ambulatory viewers and dedicated observes.

The Nobodies Pt 2 (2009-Present)

Site Responsive and Situation Specific Installations (2010-Present)

Site Responsive and Situation Specific Installations (2010-Present) are a series of sculptural and performance arrangements that transform a specific site or location by carefully crafting relationships between the limitations of the designated space itself and the materials used in the transformation. These types of works typically incorporate ongoing interactive live performances that animate the installation and engage the participants.

These site responsive installation performances were created through dynamic collaborations with individuals and groups of creative friends. Together we manifested extraordinary other-worldly visuals, living situations and immersive experiences/happenings that were constantly received well by the public. My collaborators are an array of artists working in a variety of media. Collaborations include "Noon Bloom" with Mary Alessi, "The Copycat Theatre" with multidisciplinary artists Sam Shea, Person Ablach, Pilar Diaz, and Monica Mirable, living performances with Victor Torres, and a musical performance with acclaimed musician Abdu Ali in art critic Michael Farley's empty baltimore bedroom.

White Constructions, 2016-Present

"White Constructions", MW Fine Art Gallery, Pittsburgh, PA, 2016
"White Constructions", Kern Gallery, Milwaukee, WI, 2016
"White Constructions 2", Spacecamp Gallery, Baltimore, MD, 2017
"White Constructions 3", Decker Gallery, Baltimore, MD, 2017

In white constructions I present constructions that explore notions around the calculated construction of race as it pertains to us here in the united states.

This series explores the deliberate construction of the white race and the strategic placement of white identities as superior to the rest.

In White Constructions I limit my materials to the word white cut out from black vinyl adhered on a clear surface such as glass, plastic and/or film. These transparent substrates often times implicate the architecture of the gallery in the work itself— revealing the symbiotic relationship as well as the conceptual predication between the white walls and the white constructions.

Given the abstract nature of the white construction of race in the United States I decided to employ language as a way to have us imagine the world of the ‘real’ as something that is made up through the limitations of language, in other words we create the world around us through words/language. I secretly and opening suggest to viewers that language is actually malleable flexible and limitless as opposes to perpetual permanent or static.

In White Constructions I utilize language as art in an effort to show and articulate what the construct of race in the United States looks like, and to expose the power held within words and their ability to dominate and dictate our socially constructed realities.

My hope with white constructions is that I can hopefully make a complex topic visible, palpable, approachable and encourage a timely conversation around the social construction of race, and the social implications or consequences within it for people of color.

Dark City, 2016

Dark City, 2016
Penn Station Plaza
Baltimore, MD

made possible by Light City Neighborhood Lights and Station North

Dark City was a temporary public sculptural-performance-installation that ruminates on the one year anniversary since the death of Freddie Gray while in police custody and the subsequent city wide uprising that followed. Dark City takes the form of a transparent house structure covered in black and brown vinyl imagery that was popularized by media outlets during the time of the uprising. The accompanying sound performance considers the near week long curfew mandate imposed on Baltimore City residents by the mayor.

The Dreamer, The Writer, and The Philosopher: a conversation with The Thinker, 2014

The Dreamer, The Writer, and The Philosopher: a conversation with The Thinker, 2014
Hoesy Corona
Baltimore Museum of Art

Mother Death Life Mama, 2012
Hoesy Corona
Baltimore Museum of Art

The Queen's Game, 2011
The Copycat Theatre
Baltimore Museum of Art

Scapegoat , 2013-Present

I often intertwine the archetype of the scapegoat throughout my work as a way to have us visualize the strategic selection of individuals to be dehumanized for the supposed well being of the group.

Three subcategories of Scapegoats:

Scapegoat Idols - are a series of small to midsize sculptures that offer to absolve the holder from guilt.

Scapegoat Thrones - are contemporary chairs that invite their owners to consider the expense of their comfort.

Scapegoat Monuments - performances that honor the scapegoat.

Connect with Hoesy

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Hoesy's Curated Collection

This artist has not yet created a curated collection.