Date: April 18 – May 16
Gallery Hours: Saturday’s for updated information see below
"But, cheese aside, we are at a critical moment. We have worked together for five Saturdays of our lives for two hours each Saturday for a total of ten hours to identify real problems, make a real list of needs/wants, and we have begun to take real steps to achieve those goals. We've come too far to let it die now, and at this point, I'm equally as invested as everyone else. " - LMC
Leslie confides in Dallas that now is the point that the real work begins. Read about it now and join us this Saturday at 12:30.
"Going into this I wanted to expose the problems contributing to the lack of value for visual arts and culture in Dallas in order to brainstorm possible solutions to change the tide. But at this point I have realized that in order to brainstorm real solutions we also need to brainstorm what it is that we want as an art ecosystem. " - Leslie Moody Castro
A link to Leslie's new article in the Dallas Observer
Leslie Moody Castro's latest article, entitled "This is Dallas", discusses last weeks discussion and moves the conversation forward!
Leslie Moody Castro, curator-in-residence at CentralTrak, will be taking us on a curatorial journey as money collides with gallery realities and contemporary art is produced.
On the heels of the now ginormous Dallas Art Fair, come be a part of the discussion of what money does to art and who wins and who loses.
Every week on Saturday, through May 16, we will discuss the possibilities and future of art, money, and the international context of the importance of art.
CentralTrak is proud to introduce Leslie Moody Castro’s I Should Have Been a Pop Star: Evaluating Value. Moody Castro, curator-in-residence at CentralTrak, will not be curating actual objects, art or artifacts, but rather she will produce weekly articles that explore the relationships between value and the visual arts in Dallas, the United States, and even internationally. Thus, CentralTrak’s exhibition space will be “empty”, and will be a metaphorical and conceptual reflection of the intellectual property, capacity, and the time spent curating an exhibition with little, or no existing budget.
The exhibition will exist within the conceptual framework of a series of articles in The Dallas Observer titled I Should Have Been a Pop Star: Evaluating Value. In these weekly articles she will reveal her own struggles with value in the industry, as well as interview pertinent characters and voices that can offer insights into visual culture and how it is valued.
For this project, CentralTrak will act as an incubator for conversation, and the gallery will function as a microcosmic space through which a bigger conversation can be massaged with transparency and criticality in order to begin to change how this system operates.
Proud to be the space for this experimental work, CentralTrak is THE place to make room for a project like Castro’s. As a non-commercial space CentralTrak is willing to take risks. This project holds a mirror up to the Horror Vacui and artists’ compulsion to decorate and curators’ need to contextualize.
Leslie Moody Castro is an independent curator and writer who splits her time between Mexico City and Texas. She is a regular contributor for Artforum.com, Flash Art International, and Arte al Día International and considers writing an important part of the curatorial process. She has curated independent projects such as Untitled(Public Display) for the Contemporary Art Month in San Antonio, Tell Me What You Think of Me at Texas State University, Puesto en Abismo at CoLab Projects in Austin, Somewhere Close to Anywhere but Here at testsite Austin, Lo de la Vida at Galeria 77 in Mexico City, and Transitios at Artpace San Antonio.
Moody Castro keeps the audience and the visitor in the forefront of her social practice methodology, and considers herself as an arbitrator between the artist, the physical space, and the audience. She has forthcoming projects at CentralTrak, Dallas and the Visual Arts Center at The University of Texas at Austin.
photo credit: Hueso sin Huesito Productions, Jesus Garcia, and Armando Miguelez 2015