BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Mexic-Arte Museum - ECPv6.10.3//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Mexic-Arte Museum X-ORIGINAL-URL:https://mexic-artemuseum.org X-WR-CALDESC:Events for Mexic-Arte Museum REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/Chicago BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:20250309T080000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:20251102T070000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0600 TZOFFSETTO:-0500 TZNAME:CDT DTSTART:20260308T080000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0500 TZOFFSETTO:-0600 TZNAME:CST DTSTART:20261101T070000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/Chicago:20250905T180000 DTEND;TZID=America/Chicago:20260104T170000 DTSTAMP:20260404T051941 CREATED:20250529T222204Z LAST-MODIFIED:20251124T194619Z UID:17526-1757095200-1767546000@mexic-artemuseum.org SUMMARY:En lo más negro del verano / In the Darkest Domain of Summer DESCRIPTION:Nobody in a Swamp\, Lorena Diosdado\, oil and oil stick on canvas\, 121 in. × 86 in.\, 2024 \n\n\n\n\n\nAbout the Exhibit: \n\n\n\nThe Mexic-Arte Museum has been celebrating Día de los Muertos for 42 years with its Annual Viva La Vida Festival and Parade\, accompanied by an exhibition that honors this beloved tradition. For this year we are excited to depart from traditional expressions and embrace a wide range of cultural and artistic responses that extend beyond Dia de los Muertos and instead engage with broader themes of death\, nature\, geographic space\, memory\, and the cycles of life. \n\n\n\nEn lo más negro del verano / In the Darkest Domain of Summer is a contemplative exhibition inspired by a haunting poem by Peruvian writer Blanca Varela. Twelve emerging artists respond through painting\, ceramics\, installation\, film\, and more\, exploring death as an ever-present force woven through memory\, mourning\, and renewal. Much like Día de los Muertos\, these works become echoes of people\, places\, and histories\, inviting visitors to reflect on the cycle of life where beauty and loss intertwine. \n\n\n\nEn lo más negro del verano / In the Darkest Domain of Summer es una exposición contemplativa inspirada en un poema conmovedor de la escritora peruana Blanca Varela. Doce artistas emergentes responden a sus palabras a través de pintura\, cerámica\, instalación\, cine y más\, explorando la muerte como una fuerza siempre presente entretejida con la memoria\, el duelo y la renovación. Al igual que en el Día de los Muertos\, estas obras se convierten en ecos de personas\, lugares e historias\, invitando al público a reflexionar sobre el ciclo de la vida\, donde la belleza y la pérdida se entrelazan. \n\n\n\nParticipating Artists / Artistas participantes \n\n\n\n\nCamila Abbud\n\n\n\nBieke Campos\n\n\n\nVia Madison Ceaser\n\n\n\nJahaira Daga Acevedo \n\n\n\nAva Darvish\n\n\n\nLorena Diosdado\n\n\n\nJonathan Hernandez\n\n\n\nGabo Mtz \n\n\n\nRubén Ulises Rodríguez Montoya\n\n\n\nMario Alberto Ramirez\n\n\n\nAndew Sakamoto\n\n\n\nAllen Yu\n\n\n\n\n\n\n\n\nInstallation Images \n\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\nSponsored By URL:https://mexic-artemuseum.org/event/en-lo-mas-negro-del-verano-in-the-darkest-of-summer/ CATEGORIES:Exhibitions,Regular Event ATTACH;FMTTYPE=image/png:https://mexic-artemuseum.org/wp-content/uploads/2025/05/Untitled-design.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20251101T090000 DTEND;TZID=America/Chicago:20251231T120000 DTSTAMP:20260404T051941 CREATED:20250924T171218Z LAST-MODIFIED:20251223T164942Z UID:18568-1761987600-1767182400@mexic-artemuseum.org SUMMARY:Las Calaveras de la Calle 5 DESCRIPTION:About the Project\n\n\n\n\n\n\n\nTemporary Art Installation | November–December \n\n\n\nLocation: Republic Square\, 422 Guadalupe St\, Austin\, TX 78701 \n\n\n\nCalaveras de la Calle 5 is a large-scale art installation honoring the 5th Street Mexican American Cultural District in downtown Austin. The project features six monumental skull sculptures installed at Republic Square\, each designed to celebrate the rich cultural influences that have shaped Austin’s identity. \n\n\n\nCreated by Colectivo Última Hora\, a Mexico City-based artist collective recognized internationally for their iconic Día de los Muertos installations and parade props\, this project blends traditional craftsmanship with contemporary cultural storytelling. For this installation\, Mexic-Arte Museum collaborated with Austin-based artists Luis Abreux\, Luis Angulo (ULOANG)\, Valerie Chaussonnet\, Amado Castillo III\, Cindy and Ernesto Hernandez\, and Candy Yu Yen Kuo to create a vivid\, community-rooted artistic experience. \n\n\n\nEach skull is dedicated to honoring the contributions of a distinct cultural group—Indigenous\, Latine/x\, Black\, French\, Asian\, and Chicano—inviting the public to engage with the histories\, stories\, and identities that continue to shape the city. This interactive installation encourages both celebration and reflection\, fostering dialogue around cultural memory\, diversity\, and the evolving character of Austin. \n\n\n\nEmbedded QR codes at the base of each sculpture connect visitors to digital content\, providing further context about the artwork and the cultural significance behind each design. These links direct users to the 5th Street Mexican American Cultural District page\, co-hosted by the Downtown Austin Alliance and Mexic-Arte Museum. \n\n\n\nCalaveras de la Call 5 Celebration Video \n\n\n\n\n\n\n\n\n\n\n\n\n\nCultural Communities Coloring Book\n\n\n\n\n\n\n\nDigital Pages: \n\n\n\n\n\n\n\nCredits: \n\n\n\nitZel Carrizales-Aguilar Curatorial Intern – Illustrations and TextDemian Chavez Galvan Education Intern – Design and TextLuisa Fernanda Perez Curator of Exhibitions and Director of ProgramsRichard Alexander Greene Education AssociateJasmine Chock Education Associate \n\n\n\nCalavera Artists\n\n\n\n\n\n\n\n\n\n\n\nValerie Chaussonnet – Bonjour\, Bonne Nuit\, Bon Appétit\, 2025\n\n\n\nBonjur\, Bonne Nuit\, Bon Appétit\, Valérie Chaussonnet Photo Credit: Preston Rolls\n\n\n\nCalavera Description:\n\n\n\nThe artist approaches this Calavera as a richly symbolic narrative of cultural memory\, migration\, and renewal. Through a carefully considered progression from black to blue and back again\, the piece evokes the cyclical nature of life and death\, night and day\, and the ever-turning wheel of history. The imagery—ranging from the ghostly silhouette of La Belle to the white façade of the French Legation\, and pétanque boules to pastries and dancing pigs—forms a vibrant ribbon of French identity woven into the fabric of Texas.  \n\n\n\nArtist statement: \n\n\n\nValérie Chaussonnet is a French-American sculptor and painter based in Austin. She studied sculpture at the Corcoran Art School in Washington\, DC\, while working as a museum anthropologist at the Smithsonian Institution\, a specialist of Siberian and Arctic shamanism\, Native clothing and women’s art. These themes continue to inform her artwork.  \n\n\n\nAfter moving to Texas in 1997 to raise a family she studied blacksmithing and welding at Austin Community College. Her art\, spanning metal sculpture\, oil\, watercolor\, and fiber\, is colorful\, personal\, and story-driven\, often treating landscapes as portraits. Key themes include nature\, prehistoric\, biological and cultural origins\, motherhood\, love\, and human connections.  \n\n\n\nA professional artist for close to 40 years\, Chaussonnet has exhibited in over 100 shows nationwide in the last ten years\, including solo exhibitions in Austin\, Midland\, and Killeen. In 2024\, her large sculpture “Great Mother” was exhibited at the UMLAUF museum. She has shown at Dimension Gallery\, MASS Gallery\, the Lawndale Art Center\, and museums across Texas and beyond. \n\n\n\nView Valerie’s Work\n\n\n\nProcess Photos:\n\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n\n\n\n\n\n\nFrench community in Austin:\n\n\n\nThe French involvement with Texas can be traced back to the failed colonization attempt of La Salle’s “La Belle” ship\, which sank in Matagorda Bay\, Texas\, in 1686. Although the ship still belongs to France\, when archeologists dug up the ship\, the French chose Austin to safeguard it at the Bullock Museum. Established in 1841\, the French Legation became one of the first houses in Austin\, and it served as a home and diplomatic outpost for the French chargé d’affaires to the Republic of Texas. It is now a historic site that hosts guided tours\, games\, markets\, and historical workshops.  \n\n\n\nA more recently established organization is La Petite Provence Austin\, which was created in 1999 by featured artist Valerie. La Petite Provence is a French-language school that offers French and Art classes for people of all ages/experiences. This program welcomes students to learn French through different forms of classes\, mixing in art\, music\, and culinary arts.  \n\n\n\nAustin has a vibrant French culinary scene and is home to a variety of bistros\, cafes\, bakeries\, and cooking classes. Fête de la Musique\, a music festival that showcases musical traditions shared between Austin and Angers. French’s involvement with Texas started over 300 years ago\, but we still see French culture being preserved in Austin to this day.  \n\n\n\n\n\n\n\n\n\n\n\nLuis Abreux – Calling Shango\n\n\n\nCalling Shango\, Luis Abreux Photo Credit: Preston Rolls\n\n\n\nCalavera Description:\n\n\n\nBecause time is infinite and injustices persist today\, my calavera is an offering\, a celebration and a call to Shango.Shango is the Yoruba Orisha (god) of thunder\, lightning\, fire\, dance\, music and virility. Once a mortal king\, he was deified and now commands the forces of nature\, particularly storms\, to enforce justice and inspire courage. He is a powerful\, respected\, and sometimes feared deity known for his strength\, temper\, and association with warriors. Shango embodies leadership and authority\, wielding a double-headed axe called the “oshe Shango” and is associated with the sounds of the bata drums. With tobacco smoke and spitting mouthfuls of rum into the air\, the Santeros invoked the Orishas while the  goat’s eyes stared at me as they cut short its life and the rooster crowed for the last time.  Taken from a very young age\, by my mother\, to watch and participate in “toques de santos” (Saint’s Touches)\, or initiation parties\, a magical world opened up for me and I began to draw imaginary people and animals.The deep symbolic and historical resonance of Black churches in Austin are spaces of resilience\, resistance\, and renewal\, much like the spirit of Shango\, which honors both the past and the ongoing journey of a people and their beliefs. These churches embody a legacy of faith fused with action.The story of Mount Olive Baptist Church and the broader tradition that includes the First Baptist Church for Colored—founded in 1867 under Rev. Jacob Fontaine—illustrates the vital role of Black religious institutions in advocating for justice\, education\, and dignity in the face of systemic oppression. Born from a congregation of enslaved members\, these churches became cornerstones of the Black community\, offering not just spiritual refuge but also a platform for leadership\, organizing\, and empowerment.  \n\n\n\nArtist statement:\n\n\n\nWith an intuitive and deliberate creative process\, Abreux aims to evoke emotion with his work. He believes that visuals influence and allow the viewer to travel and find new creative dialogue that ultimately lead to creating new solutions. The human\, the immigrant\, the memory\, the interactions of constant escape and the experiences of interminable travel leading the way on the canvas or the paper. His work absorbs and melts the before and now\, the fantasy and the reality pictured in a surrealist diary that births real experiences and the absurdities of the experiment. Drawings\, collages\, mixed techniques and all other mediums are used to support his diverse formats. Luis Abreux is an interdisciplinary artist who engages in artistic practice regarding identity and connection. Using drawing\, painting\, collage\, photography\, objects\, and sculpture\, Abreux explores his cultural identity and heritage. His art holistically represents a storytelling timeline that expresses a myriad of his lived experiences that change alongside his perspective on life. \n\n\n\nAbreux obtained a Master’s of Fine Art degree specializing in Painting\, in 1995\, from the San Alejandro Art Academy in Havana\, Cuba. He also attended the Taller de Tecnicas Subliminales en el Arte y la Publicidad. Abreux’s art has been shown in museums and galleries around the world and in private collections.  Luis Abreux escaped Cuba in 2005 and lives in Austin with his wife and their beautiful children. \n\n\n\nView Luis’s Work\n\n\n\nProcess Photos:\n\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\nBlack community in Austin:\n\n\n\nThe earliest communities of Black people in Austin were established by former enslaved people in Wheatville and Clarksville\, which were originally freedom colonies. However in 1927 a city plan was set to relocate and segregate African Americans and their communities to East Austin\, which became a thriving community filled with culture\, art and landmarks.  \n\n\n\nIn 1867 the First Baptist Church for Colored was founded by Rev. Jacob Fontaine and in 1889 the Mount Olive Baptist Church was founded by Rev. James H. Harold these churches became one of the city’s oldest Black congregations. Six Square (Austin’s Black Cultural District) and the African American Cultural and Heritage Facility (AACHF) are groups that focus on preserving Black culture. Six Square hosts tours that explore historic landmarks\, churches\, cemeteries\, restaurants etc. all while teaching you about the history of the places and the people that contributed to the history of Austin.  \n\n\n\nSome important landmarks in Austin include the George Washington Carver Museum\, Huston-Tillotson University\, Downs Mabson Field\, Victory Grill\, and the Texas African American History Memorial.  \n\n\n\nIn recent years\, Austin has made an effort towards urban renewal and East Austin has been facing the effects of gentrification. This has begun to drive small businesses and Black residents out of East Austin. Although this is tragic for the Black community in Austin\, some groups and communities keep fighting for the preservation of African American history and spaces in Austin. \n\n\n\n\n\n\n\n\n\n\n\nLuis Angulo – Flor de mi gente\, 2025\n\n\n\nFlor de mi gente\, Luis Angulo Photo Credit: Preston Rolls\n\n\n\nArtist statement:\n\n\n\nLuis Angulo (ULOANG) is a visual artist and muralist originally from Caracas\, Venezuela\, currently residing in Austin\, Texas. By using murals and street art as his main forms of expression\, ULOANG aims to create art that is accessible to all. His work explores themes representing social and cultural issues in the world around him. \n\n\n\nAlthough originally trained using traditional materials such as oil paints\, and charcoal —spray paint has become his primary tool for creating art. He celebrates this medium as a powerful tool for creating impactful moments both indoors and outside. \n\n\n\nView Luis’s Work\n\n\n\nProcess Photos:\n\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\nLatine/x community in Austin:\n\n\n\nFollowing the Cold War\, South Americans from countries such as Argentina\, Chile\, and Colombia began migrating to the United States in greater numbers\, driven by economic instability\, armed conflict\, and political unrest. Since then\, immigration from the region has steadily increased. In Austin\, this migration has contributed to a growing and diverse Latine/x population—now the largest minority group in the city. \n\n\n\nA variety of organizations work to support and amplify the voices of the Latine community in Austin. The Greater Austin Hispanic Chamber of Commerce advocates for Hispanic business owners and entrepreneurs\, while Latinitas empowers young Latine girls through culturally relevant education and mentorship. The Latino Artist Access Program provides local artists with affordable space and resources to develop and showcase their work. \n\n\n\nCommunity and culture thrive in public spaces across the city. Markets like 812 Outdoor Market\, Austin Country Flea Market\, and Marketplace Austin offer South American imports\, food\, and gathering places for community connection. Austin is also home to a wide selection of South American restaurants and bars\, where authentic cuisine brings the flavors of the region to life. In addition\, Austin celebrates and preserves Latine/x culture through spaces like the Benson Latin American Collection\, one of the premier libraries dedicated to Latin American and U.S. Latine/x studies; and Carnaval Brasileiro\, a vibrant annual celebration inspired by Brazilian traditions. Together\, these spaces and organizations reflect the resilience\, creativity\, and cultural richness of Austin’s Latine/x and South American communities. \n\n\n\n\n\n\n\nCindy and Ernesto Hernandez – Guardians of the Sacred Path\, 2025\n\n\n\nGuardians of the Sacred Path\, Cindy and Ernesto Hernandez Photo Credit: Preston Rolls\n\n\n\nCalavera Description:\n\n\n\nIn this calavera the artists include 5 sacred animals from the Coahuitecan origin story\, set within a continuous spiral of water which circles the skull. The spiral represents the belief that humans came from water onto land with the help of these 5 animals. At the bottom of the calavera bones are represented\, symbolizing the ongoing effort of Coahuiltecan elders – under the program known as “repatriation” – to reclaim the remains of their ancestors\, many of which are still stored at universities such as UT. \n\n\n\nArtist statement:\n\n\n\nErnesto and Cindy Hernandez are Indigenous\, community-oriented artists based in Central Texas whose practice centers on storytelling\, cultural memory\, and connection. Ernesto began painting murals at age sixteen along the border of Ciudad Juárez and El Paso\, while Cindy’s work grew from tattoos\, henna\, and narrative composition shaped by her upbringing in Dallas’s multicultural community\, Oak Cliff. Together\, they merge ancestral traditions with a forward thinking approach\, creating public art that transforms shared spaces into places of belonging. Their collaborative practice spans murals\, installations\, and traveling printmaking workshops that engage audiences of all ages. They have led youth mentorship programs\, taught at the Indigenous Cultures Institute’s Summer Youth Encounter\, and will serve as guest instructors for the Headwaters at the Comal Archaeology Program in Fall 2025. Their large-scale murals double as community engagement opportunities\, inviting youth and adults to co-create\, express themselves\, and strengthen bonds with neighbors. In addition to drawing on ancestral roots\, they embrace modern technology and new mediums. They combine photos\, audio\, video\, and storytelling into augmented reality\, resulting in multisensory experiences that amplify community voices. This approach shaped their largest mural to date\, Taking Flight. Their murals can be found across Austin\, San Antonio\, San Marcos\, and Pflugerville\, including Knowledge is Power (UT Latino Studies\, 2025)\, and Taking Flight (Texas Mutual\, 2024). Their work has been featured in Tribeza and Texas Town and City Magazine. Rooted in collaboration and storytelling\, their art bridges tradition and innovation to inspire connection\, belonging\, and collective identity.  \n\n\n\nFollow them on Instagram\n\n\n\nProcess Photos:\n\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\nCoahuiltecans in Austin:\n\n\n\nNative American peoples\, including the Coahuiltecan\, Tonkawa\, and Comanche\, have a long history in Central Texas\, with early inhabitants like the Coahuiltecan being one the original peoples of the area that now includes Austin and San Marcos. San Marcos\, Texas\, is the site of one of their ancestral homelands and a place for cultural preservation and celebration\, with local organizations like the Indigenous Cultures Institute and the Tāp Pīlam Coahuiltecan Nation actively working to preserve the culture\, traditions\, and language of these communities. The San Marcos River area\, including Spring Lake\, is considered a sacred site for the Coahuiltecan people\, with descendants actively practicing ceremonies and living in the region.  \n\n\n\nThe Native American Cultural Center located in 3100 E 4th St #118 was established in 1991 and had its grand opening September 27th 2025. They are dedicated to celebrating and preserving Native American traditions through cultural programs\, education\, health\, and community development. They host movie nights\, workshops\, and they hold an annual Pow Wow.  \n\n\n\n\n\n\n\n\n\n\n\nAmado Castillo III – El Barrio\, 2025\n\n\n\nEl Barrio\, Amado Castillo IIIPhoto Credit: Preston Rolls\n\n\n\nArtist statement: \n\n\n\nAustin\, Texas born and raised\, Amado Castillo III grew up on the Eastside during the late 1970’s. It was in elementary school that his curiosity and drive for creating became noticeable to his teachers and peers. In 4th grade\, one of his teachers recommended him for an opportunity that would allow artistically gifted students to follow an active member of the Austin art community. His then mentor\, Raul Valdez\, a highly respected muralist of the moment\, propelled Amado into using paints\, brushes\, and canvases as opposed to paper and pencil. As time passed\, his skillset became stronger and his appreciation for the contemporary style solidified. \n\n\n\nFrom a young age\, Amado has had an innate sense of duty and discipline for family; that proved true when his father became a pastor. He began helping heavily in the church\, where he explored a different artistic avenue–music. If he wasn’t painting\, he was almost certainly making music. These two pastimes occupied and grounded him from getting involved in gang activity that was booming back then in the Eastside. \n\n\n\nFrom a young age\, Amado has had an innate sense of duty and discipline for family; that proved true when his father became a pastor. He began helping heavily in the church\, where he explored a different artistic avenue–music. If he wasn’t painting\, he was almost certainly making music.  \n\n\n\nFollow Amado on Instagram\n\n\n\nProcess Photos:\n\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\nChicano community in Austin:\n\n\n\nThe Chicano community in Austin has a deep and resilient history. Like the Black communities in Austin\, early Chicano residents faced segregation and were forced to move to East Austin. Despite these challenges they have created a vibrant and thriving community. Over the decades\, Chicanos in Austin have contributed to the city’s identity through art\, music\, education and political movements—especially during the Chicano Civil Rights Movement of the 1960s and ‘70s. The Chicano presence in Austin remains strong\, with ongoing efforts to preserve their heritage and celebrate their legacy. \n\n\n\nOne of the most iconic cultural expressions that have emerged was lowrider culture\, which originated among Chicanos in post-World War II California. Lowriders—cars modified with lowered bodies—became symbols of identity and pride\, driven “low and slow” to showcase both craftsmanship and culture. By the 1970s\, lowrider culture made its way from California to Austin\, where it quickly resonated with Chicano Austinites. Today\, groups like Austin Lowriding\, and families like the Colungas carry that legacy forward\, hosting community events\, exhibitions and fostering community. \n\n\n\n\n\n\n\n\n\n\n\nCandy Yu Yen Kuo – Across Land and Sea\n\n\n\nAcross Land and Sea\, Candy Yu Yen KuoPhoto Credit: Preston Rolls\n\n\n\nCalavera Description:\n\n\n\nThis calavera is a celebration of my heritage\, my ties to both my homes in Austin and Taiwan\, as well as a piece of Austin’s Asian-American history that found root in downtown through the Lung family.  \n\n\n\nA lion dance head beams through from the calavera’s face\, a symbol of joy\, luck\, and fortune. These creatures often dance at celebrations\, with the accompanying music and drums believed to be a deterrent for evil spirits.  \n\n\n\nAlong the sides\, twin fish\, one adorned and painted traditionally\, a nod to grace\, beauty\, and prosperity. The opposite side\, with touches of aerosol\, imperfect with drips represents the break from tradition\, the cutting of old ties\, the breaking of generational trauma and curses. To be unapologetic and present\, of the moment and in it.  \n\n\n\nJoe Lung is featured across the back\, an important figure in the Asian-American community in Austin’s early days. Originally a young rail worker\, the eateries he eventually opened fed over three generations of families. Flanked on his sides are some Texas Star mushrooms. A rare fungus that hisses\, it is found only in Texas\, Japan\, and very recently was also discovered in my home country of Taiwan\, a beautiful thread of connection that ties me to both homesteads\, oceans apart. \n\n\n\nArtist statement: \n\n\n\nBorn in Taipei and raised in South Texas\, Candy seamlessly weaves together Eastern and Western aesthetics\, producing a style that embodies the bridge between diverse cultures. Her artwork often displays a captivating dichotomy\, where vibrant colors depict dark narratives and low brow aesthetics harmonize with refined artistic techniques.Over the past seven years\, she has made significant contributions to the field of large-scale installations and murals. Having called Austin home for more than half of her life\, she possesses a deep connection to the heart of Central Texas\, which is beautifully reflected in her portfolio. Her versatile style ranges from realism to bold\, graphic designs\, showcasing her mastery of composition\, expression\, and illustration. Through these transformative creations\, she effortlessly communicates stories and emotions without the need for words or sound\, inviting viewers to immerse themselves in her visual symphony. \n\n\n\nHer extensive experience in large-scale installations and murals is a testament to her expertise and commitment to her craft. In addition to collaborative work with local leaders\, communities\, artists\, and organizations\, she often embarks on solo mural projects with a recent notable accomplishment covering an expansive area of approximately 900 square feet. From operating scissor lifts to working on scaffolding in diverse conditions and meeting people from all over\, she adeptly adjusts to the unpredictable nature of the industry. \n\n\n\nView Candy’s Work\n\n\n\nProcess Photos:\n\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\nAsian community in Austin:\n\n\n\nAsian immigrants have been present in Austin since the 19th century\, when Chinese immigrants arrived they were laborers in railroad construction. It wasn’t until the 20th century when the Chinese Exclusion Act was repealed and some changes in national immigration policy\, when the Asian population began to significantly grow.  \n\n\n\nIn 2013 the Asian American Resource Center (AARC) opened\, and their goal was to create a space of belonging for Asian Americans in Austin. They provide a space for Asian Americans to explore their creativity and identity through the arts\, culture\, and history. Alongside the AARC\, The Lotus Gallery is a gallery founded in 2001 that focuses on showcasing Asian art and antiques. Austin hosts an annual Lunar New Year festival filled with dancers\, vendors\, food and music\, and other events like the Dragon Boat Festival and the Austin Asian American Film Festival. Although there is no official Chinatown in Austin\, there are numerous Asian restaurants\, markets\, and community spaces that can serve as a connecting opportunity for Asian Americans in Austin. In these past few years\, Austin has created a diverse scene of Asian cultural events\, galleries\, businesses\, and cultural hubs that is continuing to grow. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nColectivo Última Hora\n\n\n\nThe celebrated Colectivo Última Hora from Mexico City specializes in large-scale marionettes. Their monumental marionettes were featured in the opening scene of the film Spectre. The Colectivo Última Hora was founded in 2004 by students of the Fábrica de Artes y Oficios Oriente\, also known as FARO de Oriente\, which is a cultural center and arts training facility located in Mexico City. The Última Hora Collective is dedicated to the promotion and dissemination of plastic arts focused on the popular cultures of Mexico. Colectivo Última Hora works on sculptures and sets\, in small and large formats\, in diverse materials such as traditional cardboard\, carpentry and artistic blacksmithing\, as well as the use of polymers and resins for various finishes. \n\n\n\n\n\n\n\n\n\n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n \n\n\n \n\n\n\n\n\n\n\n\n\n\n\n\n\nThank you to our Sponsors!\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nLearn more about the Downtown Austin Alliance! Thank you for your support! \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nLearn more about the Office of Arts\, Culture\, Music\, and Entertainment (ACME)! Thank you for your support! URL:https://mexic-artemuseum.org/event/calaveras-de-la-calle-5/ LOCATION:Mexic-Arte Museum\, 419 Congress Avenue\, Austin\, TX\, 78701\, United States CATEGORIES:5th St,Exhibitions ATTACH;FMTTYPE=image/jpeg:https://mexic-artemuseum.org/wp-content/uploads/2025/09/Website.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/Chicago:20251201T080000 DTEND;TZID=America/Chicago:20251231T170000 DTSTAMP:20260404T051941 CREATED:20250211T170608Z LAST-MODIFIED:20251201T161933Z UID:16247-1764576000-1767200400@mexic-artemuseum.org SUMMARY:Changarrito Residency: Chelsea Amato DESCRIPTION:About the Artist\n\n\n\nChelsea Amato specializes in epoxy resin mixed media collage. Her vibrant and eclectic folk artwork delves into feminist themes and the female psyche. Self-taught and experimental\, she finds special significance in epoxy resin\, symbolizing endurance and longevity. Through her deliberate use of materials\, she creates pieces that transcend time. \n\n\n\nArtist Statement\n\n\n\n‘Chelsea is a boundary-pushing mixed media artist whose work explores themes of femininity and trauma with a maximalist style. With a penchant for bold colors and eclectic compositions\, she captivates audiences with her raw and introspective storytelling. Her pieces often delve into personal experiences\, including infertility and divorce\, inviting viewers to engage with the complexities of human emotion. Through her art\, Chelsea challenges societal norms and encourages dialogue around mental health and resilience.” \n\n\n\n\nLook at Chelsea’s work\n\n\n\n\n\n\n\n\nChangarrito Cart – Dec 13 & 14 and Dec 20 & 21\n\n\n\nArtists have the opportunity to sell their art on the Changarrito cart in front of the Museum (or an offsite location\, as representative for the Museum during various Austin festivals). Changarreando expands the reach of the artist by presenting their gallery online\, while allowing the option to sell merch over Instagram and receive 100% of the sale. \n\n\n\nChelsea Amato will be at the Mexic-Arte Museum featuring her artwork on the Changarrito cart right outside the Museum’s entrance on Dec 13 & 14 and Dec 20 & 21 from 12 – 3 PM. \n\n\n\nFollow us on Instagram and Facebook for updates on original work available for purchase and behind the scenes of the artist’s work\, space\, and creative process. \n\n\n\n\n\n\n\n\n\n\n\nChangarrito Interview URL:https://mexic-artemuseum.org/event/changarrito-residency-chelsea-amato/ CATEGORIES:Changarrito/Changarreando ATTACH;FMTTYPE=image/jpeg:https://mexic-artemuseum.org/wp-content/uploads/2025/02/Four-of-Daggers-revised-_1-scaled.jpg END:VEVENT END:VCALENDAR