The Transart Foundation

New Events

to Nov 8

INTERFERENCE: Recent Works by Mery Godigna Collet

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Mery Godigna Collet

Born in Caracas, Venezuela, in 1959. Since the beginning of her career, Godigna Collet explores the coexistence between humans and environment through social and political issues. Her art work is supported by the versatile use of diverse materials, applied in installations, paintings, sculptures, photography and video, challenging the viewer through the use of new techniques and unconventional materials in the making of her art.

Godigna Collet’s artistic proposal is based on four research projects involving ways to concepts into matter. Her work is based in promoting a conscious use of natural resources and technology.

Mery Godigna Collet has participated in 34 solo and 40 group exhibitions in Venezuela, Colombia, Mexico, Spain, Italy, France, Germany, the Netherlands, Belgium, New York, Miami, New Mexico and Texas.

Her works are at the collections of the Museum of Contemporary Art of Zulia (MACZUL) in Venezuela, the Galleria D’Arte Moderno Aroldo Bonzagni di Cento (Italy), the Latin American Art Museum, Mexic-Arte Museum in Austin TX, B98 Museum of Marfa, TX, Benson Collection in Austin TX and Petroleum Museum in TX.

She has exhibited at the Art Gallery of Siderúrgica del Orinoco, the Museum of Discurso de Angostura in Ciudad Bolivar, Venezuela, the Centro Rómulo Gallegos of Latin American Studies (CELARG) and the Museum of Contemporary Art in Caracas, Venezuela. Monument “la Rocca” in Cento, Italy, the Museum Pallazo Estense, the Centre D’Art Puyguerin-Vayolles, Monts sur Guesnes, France, the Mexican American Cultural Center in Austin, TX, the University of Texas in Austin, LHUCA in Lubbock TX, the Museum of the Americas in Miami, USA, and the Museo Archeologico di Belriguardo in Voghiera, Italy , as well as permanent and temporary public art works in Venezuela, Texas and Italy.


“On Mery Godigna Collet’s INTERFERENCE” (PDF) | By Surpik Angelini | Houston, September, 2019

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to Oct 9

Recent Work by John Calaway

Surpik Angelini and the Transart Foundation for Art and Anthropology in Houston, Texas, are delighted to present Recent Work by John Calaway.

Dates: Thursday, September 12 - Wednesday, October 9, 2019
Hours: Wednesday to Sunday -- by appointment only.


John Calaway

John Calaway (born 1957, Corpus Christi, TX) is a sculptor and a painter based in Houston, Texas. His three-decade long career as an artist has intertwined with his entrepreneurial work in renewable energy. In the 90’s he was a lead innovator in the creation of computer driven 2D and 3D data visualization. His passion for creating new technology and his gift for taking massive amounts of data and identifying readable patterns are the underpinning of his paintings and sculpture.

Calaway approaches his art with the same kind of driven curiosity that had him excel in new computer technology. After decades of working with found objects and traditional materials such as marble, steel and bronze, Calaway is currently exploring large-scale 3D printing. His printed sculptures can allow for a delicate physicality and grace of form on a massive scale that is unachievable with conventional materials. As he develops sculptures in virtual reality, the cast shadows of these virtual sculptures become a springboard for his paintings. The paintings are intensely physical and read as maps or images of the earth from outer space. Calaway’s paintings explore the beauty of the forms and patterns forms on the micro and the macro level.

Committed to being at the forefront of accelerating technologies, Calaway is currently using hand-held, super high-resolution scanners to capture visual data from any object or surface. This data is then digitally molded and rendered into a 3D model of a sculpture that can be printed to any scale. His sculptures and paintings are fluid meditations on the possibilities of art making in the ever- evolving world of big data.

“I want to free myself from the constraints of armatures and maquettes and think of sculpture like a ballet dancer rather than an engineer. The challenging aspect of this is to manifest physical objects that will withstand the stress of time, while at the same time, have great openness and fluidity. The artist must integrate all aspects of the process.”

Calaway’s work has been shown at the Dallas Contemporary, Blue Star Art Space, Lawndale Art Center, Brookfield at One Allen Center, Winter Street Studios, Sculpture 2000, and Meg Poissant Gallery. He has worked with Flatbed Press in Austin on multiple printmaking series. He was one of the founders of Commerce Street Art Studio. His studio is located in the Acres Homes area of Houston.

(Reproduced with permission of the artist)


The Art of John Calaway (PDF) | By Surpik Angelini, Founding Director of the Transart Foundation for Art & Anthropology | September, 2019

Photography by Thomas R DuBrock.

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to May 29

Looking for a Hero, or, Whips, Whims, and Wigs, and Gio Ponti is Just an Excuse

Surpik Angelini and the Transart Foundation for Art and Anthropology in Houston, Texas, are delighted to present Looking for a Hero, or, Whips, Whims, and Wigs, and Gio Ponti is Just an Excuse, a solo exhibition by Gerardo Rosales.

Artist Statement                

For most of my artistic career I have been interested in developing a dialogue about social injustices. Through my art I explore issues of gender, class, race, power dynamics, violence, immigration and post colonialism.

The artworks I produce illustrate and reflect on these social issues that I have experienced personally and as an observer.  My idea is to mix aggression with playfulness and to contrast the decorative and the innocent with brutality to reveal the severity of my subject matter. I attempt to show social inequalities by exaggerating reality with irony.

My work is multidisciplinary and my source of reference comes from everyday objects such as wallpaper, wrapping paper, children’s books, the imagery of cartoon drawings, toy models and piñatas. I like the ornamental aspects of these items, the richness of patterns, and the use of flat colors and shapes.

In 2019 my art show Looking for a Hero or Whips, Whims and Wigs and Gio Ponti is just an Excuse will open a dialogue about problems related to domestic labor and immigration. The focus of investigation is centered around my memories while growing up in Venezuela. However, as an adult and living in the USA for 19 years has allowed me to see that this problem exists here and worldwide. Through this body of work, I infiltrate these issues of social inequalities by appropriating the ornamental aspects associated with folk art and geometric abstraction.


Open Fridays, 4:00 to 6:00 p.m., through the end of May, 2019; or by appointment. Please call (832) 397-9252.


Looking for a Hero Catalog (PDF)

Looking for a Hero, or, Whips, Whims, and Wigs, and Gio Ponti is Just an Excuse, by Laura August, Ph.D.

Houston’s Spring of LatinX Art | By Laura August | Arts and Culture Texas | March 15, 2019

Top Five by Glasstire | By Christina Rees and William Sarradet | April 11, 2019


Gerardo Rosales

Gerardo Rosales is a Venezuelan visual artist and educator who has been living and working in Houston, Texas, for 20 years. Rosales first started producing art as a self-taught artist, before attending the Armando Reverón Art Institute in Caracas, Venezuela, where he earned a B.A. in Fine Art. After graduating, he moved to London to study at the Chelsea College of Art and Design, where he obtained an M.A. in Fine Art.

During his studies, Rosales became more resourceful with the use of mixed media and began producing more socially conscious work. The themes present in his work confront the viewer with a disarming contrast between the use of pattern and ornamentation (normally associated with decorative objects of everyday life) and images related to issues of violence, repression, sexuality, abuse of power and loneliness.

Rosales has exhibited his work in the U.S. and internationally, including at ArteBA in Buenos Aires, ArtBO in Bogota, and Pinta in New York. The artist is represented, in Venezuela, by Gallery Carmen Araujo Arte. Rosales is currently the artist-in-residence at The Transart Foundation for Art and Anthropology in Houston, and was recently awarded the 2019 Support for Artists and Creative Individual Grant from the City of Houston, through the Houston Arts Alliance.

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to Mar 22

EXITIUM (On the Edge of Destruction)

Surpik Angelini and the Transart Foundation for Art and Anthropology in Houston, Texas, are delighted to present EXITIUM (On the Edge of Destruction), a solo exhibition by María Cristina Jadick.

Artist Statement

Through my work I feel compelled to build bridges that connect people. My art’s main purpose is to evoke compassion while creating a space for dialogue. The conceptual art I make is multidisciplinary in approach; integrating combinations of bricolage, photography, video, printmaking, performance, and installation. It reflects an authentic rather than a traditional beauty aesthetic. My research into particular events uncovers commonalities in human experience and this material helps inform and motivate the art I create with thought provoking perspectives on issues of global concern. Issues such as: cultural identity, social justice, war, displacement, natural disaster and climate change.


EXITIUM, by Surpik Angelini, March 2019


María Cristina "Cristy" Jadick
b. 1957, Pittsfield, MA, USA

Exploring cultural identity the human spirit and socio-political themes, multi-disciplinary artist Maria Cristina "Cristy" Jadick incorporates photography, video, printmaking and performance in what results in compelling, conceptually based projects. Incorporating found objects and bricolage into her work, Jadick further connects her viewers to a sense of place. Her projects range from large, mixed-media, photo-lithographic prints on paper and canvas to sizable, performative, interactive tableau that integrate photographs, video and sewn, painted, baked and printed elements.

Jadick earned her B.A. from Gettysburg College in Gettysburg, PA and pursued Art & Social Sciences studies at the Transart Foundation-Houston, TX (with Surpik Angelini and Abdel Hernandez,) The Glassell School-MFA Houston, Sam Houston State University, Huntsville, TX, and The Johns Hopkins University- Paul Nitze School of Advanced International Studies in Washington, DC.

Her artistic career spans over 25 years, with exhibitions at the Fotofest Biennial, Bronx Latino Art Biennial, Museums in the USA, Mexico, Peru, and Brazil, at numerous galleries, alternative spaces, public spaces and corporations.

Jadick has received several prestigious artist development grants from Creative Capital (NYC) and DiverseWorks where she served on the Artist Board from 2013-2014. Jadick lives in Houston, TX with her husband and 2 sons.

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6:30 PM18:30

Book  Presentation of "Art Forms in Mechanism" by Linarejos Moreno, in conversation with Dr. Fabiola López Durán.

This limited edition is the culmination of the artist’s monumental project, Art Forms in Mechanism (2019-2017). The project, which took the form of an impressive installation composed of photographic images printed on burlap and industrial objects from her family’s factory, was exhibited for the first time at the Royal Botanical Gardens and the Tabacalera Promoción del Arte in Madrid during PHotoESPAÑA 16.

With this volume, Linarejos brings to a close a project that began with an intervention on Karl Blossfeldt’s original edition of Urformen der Kunst (Art Forms in Nature, 1932) and would span eight years spent photographing nineteenth-century botanical models from the scientific cabinets of Madrid’s historic teaching institutes. The present edition is intended to be a facsimile of the project, including the original intervention on the Blossfeldt book as well as additional essays by American critics Fabiola López Durán and Surpik Angelini.

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to Feb 16

The Cloud Chamber (La Cámara de Niebla)

Surpik Angelini and the Transart Foundation for Art and Anthropology in Houston, Texas, are delighted to present The Cloud Chamber, a solo exhibition by Madrid-based artist Linarejos Moreno.

The exhibition, produced at the Alcobendas Contemporary Art Center (Madrid), will serve as a starting point for an artist-in-residence experiment during which Linarejos, together with invited critics, will work toward the production of seminal texts that expand and contextualize her work, while developing her artistic project, How to Catch Cosmic Rays at Home.  

Moreno’s practice explores subjectivity as a mode of resistance to reification, focusing on the non-productive uses of industrial spaces and on scientific representation as a tool for interrogating modernity. Her research interests include the sociology of science/technology and the relationship between Capital and contemporary forms of Romanticism.  

In the research-based Cloud Chamber exhibit, Linarejos takes advantage of the formal and temporal (1911) convergence of two documents – the first photographs of cosmic rays and Wassily Kandinsky’s first published text – to interrogate the origin of pictorial abstraction as a break from representation. With How to Catch Cosmic Rays at Home, the artist turns to a project that will incorporate everyday, domestic objects into experiments for visualizing cosmic rays. In so doing, the project brings humor, humanity, otherness, and a gender-based perspective to the area of Art/Science production.

The Transart Foundation for Art and Anthropology in Houston is a non profit, private foundation that supports experimental work at the intersection of art and anthropology. The AIA award-winning building is located in the museum district of Houston, Texas at 1412 West Alabama Street, near the Menil Collection. Visits by appointment only.


  • From October 26 to February 16: On view, Cloud Chamber by Linarejos Moreno.


“Duchamp and Linarejos Moreno,” by Surpik Angelini


Linarejos Moreno

Artist, scholar and associated professor in Design and Fine Arts at the Complutense University of Madrid (UCM), Linarejos Moreno has been an invited Fulbright scholar at Rice University in Houston and a visiting professor of The School of Art in the College of Liberal Arts and Social Sciences at the University of Houston.

Her work explores subjectivity as a mode of resistance to reification, focusing on the non-productive uses of industrial spaces and scientific representation as a tool for interrogating modernity.

Linarejos’s site-specific practice focuses on photographic documentation of the interventions that she enacts upon spaces in ruin, and their later expansion in the exhibition space. This practice led her to her doctoral thesis, Ruin as Process: Robert Overby, Francesca Woodman, Gordon Matta Clark and Their Legacy, in which she traces the origins of these practices and their connection with the crisis of capitalism and the development of anthropology. Her research interests include the sociology of science and the relationship between capital and contemporary forms of Romanticism.

She belongs to the research group “Prácticas artísticas y formas de conocimiento contemporáneas” (Artistic Practices and Contemporary Epistemologies, Cod.588, UCM), and she forms part of the I+D+I Project “Interacciones del arte en la tecnosfera” (Art Interactions in the Technosphere, MINECO, 2018-2021). She cooperate as a curator with the National Museum of Science and Technology (MUNCYT). Her recent book, Art forms in Mechanism, was published by Turpin Editorial in 2017.

Linarejos’s work has been internationally recognized and abundantly exhibited, recently in the solo exhibitions The Cloud Chamber, Alcobendas Centro de Arte (Madrid); Tabularia. Laboratorios de Ciencia e Imaginación (Tabularia. Laboratories of Science and the Imagination) 2017 in the Royal Botanical Gardens (Madrid), and La construcción de una ruina (The Construction of a Ruin) 2017 in the Tabacalera. Promoción del Arte (Madrid) – both of which formed part of the international photography festival PHotoEspaña PH16; and Artifactual Realities, 2016 in the Station Museum (Houston). Linarejos is represented by the Pilar Serra gallery (Spain) and the Inman Gallery (US).

Surpik Angelini

Surpik Angelini is a Houston based artist, independent curator, and writer. Her work is rooted in the overlapping disciplines of art, architecture, and cultural anthropology. Trained in art at Mills College and Cornell University (1966-68) and in architecture and urban planning at the Universidad Central de Venezuela (1971-76), she obtained her BArch from the University of Houston (1979). With artist-theorist Abdel Hernandez, she founded the Transart Foundation: a workshop for Art and Anthropology based in Houston, TX. Surpik has directed since 1996, pushing the foundation's mission to support artists and scholars involved in relevant social, anthropological and interdisciplinary research.

Surpik’s artistic vision was impacted by her collaborative performances with John Cage and Gordon Matta Clark (1966-68); her theoretical studies with Thomas McEvilley (1990-1994) at Rice University and her association with the Rice Department of Anthropology (1997), when they co-sponsored Transart’s Artists in Trance: New Methodologies in the Work with the Other, a semester program of lectures, documentary films and cutting edge exhibitions of anthropologically based art, she co-curated with Hernandez in 1997. As an artist she exhibited in solo and group shows in Houston. As a cultural researcher, she lectured in universities and museums throughout the country. Her critical essays have been published in art magazines, academic journals, artist's catalogs and monographs.

Fabiola López Durán

Adopting a transnational and interdisciplinary perspective, Fabiola López-Durán’s research and teaching focuses on the history and theory of modern and contemporary European and Latin American art and architecture. Her book, Eugenics in the Garden: Architecture, Medicine and Landscape from France to Latin America in the Early Twentieth Century, investigates a particular strain of eugenics that, at the turn of the twentieth century, moved from the realms of medicine and law to design, architecture, and urban planning—becoming a critical instrument in the crafting of modernity. Her work analyzes the cross-pollination of ideas and mediums—science, politics and aesthetics—that informed the process of modernization on both sides of the Atlantic, with an emphasis on Latin America.

López-Durán earned her Ph.D in the History, Theory, and Criticism of Architecture and Art from MIT. Prior to joining the Rice University faculty, she was the 2009-2011 Mellon Postdoctoral Fellow in the Humanities at the Department of History of Art at UC Berkeley. Her awards include predoctoral fellowships from the Woodrow Wilson National Fellowship Foundation, Dedalus Foundation, CLIR, Harvard Center for European Studies, Camargo Foundation, Samuel H. Kress Foundation and the Fulbright Program. Her work has been published in Europe, Asia, South America and the United States.


Production of these artworks, events and catalogue were funded by the generous support from The Transart Foundation for Art and Anthropology in Houston, Centro de Arte Contemporáneo de Alcobendas, Madrid and The Royal Scottish Academy of Art & Architecture. 

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to May 13

Inauguration Events

Contemporary Casta Portraiture: Nuestra “Calidad”, by Delilah Montoya
April 11 - May 13
Exhibition Viewing Wednesday - Sunday 1 pm to 5 pm

Montoya’s “casta” portraiture critiques as it mimics the Spanish colonial Casta Paintings’ depiction of social hierarchy based on the complex racial mixing of that era’s family groups.  Montoya’s present-day portraits of Houston and New Mexico colonial families also capture subjects among material objects. However, instead of using colonial labels like mulatto or mestizo to describe bloodlines she presents their ethno-racial mixes by juxtaposing each family’s portrait with their unique DNA regional ancestry graph and a global map showing their 100,000 years migration.  To complete the portrait, each family recorded a monologue about their DNA study and family history.  Montoya’s series manifests cultural and biological forms of hybridity in order to understand the impact of race and class distinctions on social, economic and aesthetic choices in the United States today.

photo by Delilah Montoya

photo by Delilah Montoya

Nuestra “Calidad” Round Table Discussion
April 7th, 7:00pm

Tomas Ybarra-Frausto moderates discussions by scholars Holly Barnet Sanchez, Mia Lopez, Delilah Montoya and Surpik Angelini of their essays from the catalog Contemporary Casta Portraiture: Nuestra “Calidad” published by Arte Público Press 2017. Catalogs will be available for sale.

“Patronas y Conductas”  Performance by Elia Arce
April 13 & 14 at 8pm

In collaboration with CounterCurrent Festival, Elia Arce will present her new performance, “Patronas y Conductas”. Inspired from a play on the Spanish words “patrones y conductas,” which literally translates to “patterns and behaviors”. In its feminine version, Patronas y Conductas, Elia addresses the norms imposed by employers in the work setting. The performance provides insights to the dynamics of labor relationships.

Elia is an international performance artist and UH alumnus, creates new work, in collaboration with Houston community members.  “Patronas y Conductas” responds to the exhibition and ethnographic art project, Contemporary Casta Portraiture: Nuestra “Calidad,” by Delilah Montoya, a Chicana Artist and UH professor.  Both the exhibition and performance address the “New World global community paradigm” dealing with themes of identity, colonial power struggles, family history, the optic-unconscious, and biogeographic ethnography.  All events are free to the public.

Ticket for Elia’s Performance available at the Counter Current Festival website

presented by the Cynthia Woods Mitchell Center for the Arts



Delilah Montoya

Chicana Artist, Delilah Montoya grounds in the experiences of the Southwest and brings together a multiplicity of syncretic forms and practices from those of Aztec, Mexico and Spain, to cross-border vernacular traditions, all of which are shaded by contemporary American customs and values.Montoya's numerous projects investigate cultural phenomena, always addressing and often confronting viewers' assumptions.

Women Boxers: The New Warriors, a book project featuring a collection of portraits is such a project. Funded in part by the University of Houston Small Grants Program and Cultural Arts Council of Houston and Harris County and was published though Arte Publico Press. The work was first exhibited during Fotofest 2006 at Project Row House, and later it traveled to Los Angeles, Santa Fe and Dallas where Charles Dee Mitchell reviewed it for Art in America.
Montoya's work has traveled with the International Center for Photography exhibition "Only Skin Deep: Changing Visions of the American Self" and "Arte Latino: Treasures from the Smithsonian American Art Museum."

Her work is included in the collections of the Los Angeles County Museum of Art, Smithsonian Institute, Museum of Fine Arts, Santa Fe, and Museum of Fine Arts, Houston.   She received 2008 Artadia Award and was honor with
Richard T. Castro Distinguished Visiting Professorship in 2009.  Her gallery affiliations are Andrew Smith Gallery, and Photographs Do Not Bend.

Elia Arce

Elia Arce is an artist working in a wide variety of media, including installation, performance, experimental theater, writing, photo, video, sculptural performance and social sculpture. Winner of the J. Paul Getty Award, Rockefeller Foundation, National Endowment for the Arts, National Performance Network National Endowment Fund Award, Durfee Individual Artist Award. Arce was nominated for the Herb Alpert / CalArts Award in Theater and awarded a scholarship by the Ford Foundation to develop a proposal for a new social sculpture project entitled Gulf Coast Art Corridor.

In 2010 she received a Fulbright scholarship to teach a semester of Performance Art at the Theater School of the National University of Costa Rica. She has taught at different universities in the United States and Costa Rica and has taught performance workshops in Mexico, Brazil, Mali, Spain, Cuba and Canada. Arce was the winner of the American Masterpiece Award in 2010 and was invited to the Bamako Photography Biennale in Mali where she exhibited her work at the Multimedia Arts Conservatory. She was invited to the International Festival of the Arts of Costa Rica in 2012 and in 2014, where she presented a short retrospective of her work of photo performance, video performance and sculptural performance. The National University of Costa Rica and its Chamber Dance Company commissioned her an original work in 2012. She designed and choreographed "Río Pirro", a piece performed inside one of the most polluted rivers in the city.

As a teacher, she taught Visual Arts in Choreography within the Master's Program of the Dance Department UNA and a Performance Laboratory and Flashmobs at the School of Performing Arts of the University of Costa Rica. Arce won the prestigious Iberescena scholarship given jointly with Costa Rica and Spain to develop a new body of work in collaboration with his Spanish colleague Orlando Britto: a research on decolonization and towards the creation of a new social sculpture.

Arce is the founder and artistic director of USEKRA: Center for Creative Investigation, which she is creating in the Caribbean area of osta Rica, where artists, academics, anthropologists, sociologists, biologists and other international thinkers; will meet to challenge each other and create art and thought that question the existing standards from an Indigenous, Afro-descendant and / or Asian perspective; cultures that are the pillars of the Talamanca región.
Currently a book about Arce´s work, edited by PHD Anabelle Contreras Castro, is being published by the Hemisferic Institute of Performance and Politics from New York University.


Production of these events, catalog, and artwork were funded by the generous support from The Transart Foundation for Art and Anthropology, Cynthia Wood Mitchell Center for the Arts, Hatch Fund, UH CMAS Seed Grant, The Idea Fund, Artadia 2015 ISCP New York Residency and the 2013 & 2017 University of Houston Small Grant.

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