past foundation events and exhibitions Incite
Chuck Ramirez, Piñata Series: Gregory, 2002. Photographic pigment ink print. © Estate of Chuck Ramirez. Linda Pace Foundation Collection.

Linda Pace Foundation Celebrates the Work of Chuck Ramirez, Hills Snyder, Frances Stark and More
September 8, 2017 – January 27, 2018

Linda Pace Foundation announces its fall 2017 exhibition, INCITE, featuring a dynamic selection of works from the Foundation’s extensive collection of contemporary art. The exhibition includes works by Chuck Ramirez, Hills Snyder, Frances Stark, Diana Thater and Cheyney Thompson. Rivane Neuenschwander’s room sized installation Secondary Stories will remain on view.

Themes of whimsy and ephemerality connect the selected artworks on exhibit inINCITE. At first glance, they give an impression of light-hearted simplicity, as brightly colored depictions of confetti balls, pom poms and piñatas attract viewers and provoke a feeling of festivity. Yet, when looked at in depth, layers of more complex themes emerge alluding to the temporary nature of these ordinary objects. The element of chaos versus order lingers as well when the viewer encounters the interactions between honeybees in a multicolored hexagonal beehive in Diana Thater’s video installation, while complimenting the indiscriminate dance of theSecondary Stories confetti. The artworks selected for this exhibition vary in process and medium and include installation art, video, collage, painting and photography.

The exhibition’s opening reception will be held at SPACE on Thursday, September 7, 2017 from 6-8pm, and will include musical entertainment by Sound Cream Airstream. Refreshments will be served by Honeysuckle Teatime’s savory concept, Sage, along with festive cocktails provided by mixologist, David Naylor.

The Foundation is honored to join the McNay in celebrating the art of Chuck Ramirez this fall. The McNay is presenting Chuck Ramirez: All this and Heaven Too, which opens to the public on September 14, 2017. The exhibition at the McNay is supported in part by a grant from the Foundation, an indication of its commitment to San Antonio's cultural heritage and the artists that Linda Pace championed.

The Foundation is presenting free programs in conjunction with this exhibition, which include a community art making workshop with Spare Parts on Saturday September 30, 2017 and a concert in CHRISpark with KRTU FM 91.7 Trinity University on Saturday October 20, 2017.

Opening Weekend Events
Opening Reception: Thursday, September 7, 2017; 6-8pm

Rivan Neuenschwander, Secondary Stories
Rivane Neuenschwander, Secondary Stories, 2006. Mixed media installation. ©Rivane Neuenschwander. Collection of the Linda Pace Foundation.

Secondary Stories by Brazilian Artist Rivane Neuenschwander
April 30, 2016 – July 29, 2017

The Linda Pace Foundation presents the Texas debut of Secondary Stories, a room-sized installation by Brazilian artist Rivane Neuenschwander. The artist has become widely regarded for her often ephemeral work that explores narratives about language, nature, social interactions and the passing of time. Showcasing Secondary Stories as well as three video installation works, the exhibition is open at SPACE, the public gallery of the Linda Pace Foundation, on April 30, 2016 and will remain on view through July 29, 2017. Linda Pace Foundation trustee Kathryn Kanjo states, “The Linda Pace Foundation is delighted to present this hypnotic installation by Rivane Neuenschwander. In Secondary Stories, she seems to take viewers through the looking glass: the outsized confetti makes us feel small and we become lost in the slowly shifting play of light and color. Since her Artpace residency in 2001, Rivane has achieved great acclaim, with major exhibitions at the New Museum 2010 and mal-entendidos at the Museu de Arte Moderna de Sao Paulo in 2014, which included a version of Omission Points, created at Artpace.”

In the central installation, Secondary Stories, a constellation of brightly colored circles is visible through a translucent ceiling. Hidden fans gently move the confetti-like shapes across the scrim surface, creating a dynamic abstraction. Occasionally, the colored forms slip through perforations in the ceiling and flutter to the ground. The fallen dots mirror the pattern above and are further shifted by the incidental movements of the visitors to the gallery. The circular, overlapping forms evoke mathematics and op-painting, even as they recall the look of celebratory confetti, a material the Brazilian artist has used in other works. Neuenschwander notes how confetti, “has a direct association with carnival.” In Quarta-Feira de Cinzas/Epilogue (2006), also on view, the artist tries to “capture the mood of the end of the festival, where there is a certain madness and excess. This is where my memory of childhood comes from” (Art World Magazine, April/May 2009). The work, made in collaboration with Cao Guimarães, presents armies of black ants carrying colorful pieces of confetti, implementing their own narrative of creation, composition and production.

Neuenschwander frequently turns to photography and film to capture and preserve the fugitive. In Inventory of Small Deaths (Blow) (2000), also made in collaboration with Cao Guimarães. The video, shot at Guimarães’ family farm in Belo Horizonte, shows a looped black and white film, which was edited so that a large, dramatically amorphous soap bubble appears to float across different landscapes without ever bursting. At turns, glassily reflective and all but invisible against the clouds, the bubble – like so many of Neuenschwander’s works – is sensuously bodily while remaining poised, a pinprick away from disappearance. The climax of the bubble’s “death” is eternally postponed: the fleeting is granted permanence.

Transformation and fluidity are an underlying theme of the exhibition’s third video work, which the artist produced in collaboration with her brother Sergio Neuenschwander. In Love Lettering (2002), goldfish swim back and forth in bright blue water. Attached to their tails are tiny banners bearing isolated words that express love, loss and longing. The words begin to form syntactic elements and reveal possible fragments of a love letter.

About Rivane Neuenschwander
Born in 1967 in Brazil, where she continues to live and work, Rivane Neuenschwander is informed by the Neoconcrete movement of the 1970s. Her work offers concrete manifestations and discrete objects to be observed, considered, analyzed and understood for significance beyond the verbal. She received a BFA from the Federal University of Minas Gerais, Brazil in 1993 and completed her MFA at the Royal College of Art in London. Winner of the Yanghyun Prize in South Korea in 2013 and shortlisted for the Guggenheim Museum’s Hugo Boss Prize in 2004, the artist has exhibited her work internationally throughout the past twenty years.

Opening Weekend Events
Opening Reception: Friday, April 29, 2016; 6-8pm

Lynda Benglis, Kutumb
Lynda Benglis, Kutumb, 1982. Gold leaf sculpture, 14.5 x 11.75 in. ©Lynda Benglis. Courtesy of the Artist and Cheim & Read, New York. Collection of the Linda Pace Foundation.

October 3, 2015 – February 27, 2016
An exhibition of works from the
Linda Pace Foundation Collection

Organized by Annette DiMeo Carlozzi

The Linda Pace Foundation announces its fall 2015 exhibition titled Immersed, featuring a dynamic selection of works from the Foundation’s extensive collection of contemporary art. Organized by Annette DiMeo Carlozzi, an independent curator and arts writer based in Austin, Texas, Immersed will give audiences a fresh look at the collection, bringing together approximately 20 compelling paintings, photographs, sculptures, and works on paper. The exhibition features works by 17 different artists. They are:

Terry Adkins, Chiho Aoshima, Lynda Benglis, Anne Chu, Francesco Clemente, Tracey Emin, Teresita Fernández, Antony Gormley, Arturo Herrera, Jim Hodges, Byron Kim, Surasi Kusolwong, Iñigo Manglano-Ovalle, Catherine Opie, Gabriel Orozco, Jorge Pardo, and Miwa Yanagi.

Immersed will be on view at SPACE, the Linda Pace Foundation gallery, from October 3, 2015 to February 27, 2016. Designed to explore new resonances among works by these internationally renowned artists, the exhibition features pieces that have rarely been on public view, such as Antony Gormley’s Being (1995) and Terry Adkins’ San Antonio-made Bouquet (2000), as well as a few of the collection’s signature objects, including Jim Hodges’ unfold (more) [2003]. When considered together, the selection “evokes the cool heat of intense engagement, riffing in unexpected ways on the immersive experiences of art-making and artviewing,” Carlozzi explains.

Carlozzi continues, “The Foundation’s founder, Linda Pace, constantly questioned the creative process and the display and reception of works of art. Seeking knowledge and inspiration, she in turn offered discovery opportunities to her community. I conceived Immersed as a tribute to this generosity and to Linda’s pioneering spirit. Having served as a curatorial panelist, writer, and board advisor for ArtPace in its early years, I was delighted to accept the Foundation’s invitation to organize an exhibition from its impressive collection.”

The exhibition’s powerful ensemble showcases a range of gestures, musings, and observations about the body in space and time. Whether in the heady swim of sensory overload represented in Miwa Yanagi’s and Surasi Kusolwong’s vivid photographs, or in the forceful and direct attempts to locate oneself in the world which can be understood in drawings by Gabriel Orozco and Tracey Emin, these works all engage with life’s vitality.

Throughout the gallery, the experience of immersion is referenced in multiple ways. Catherine Opie’s Untitled 10 (Surfers) [2003] is the most literal representation; its tidal swells allude to constancy, a theme also evoked poignantly in Chiho Aoshima’s Untitled (2007), an intimate memorial for Linda. Byron Kim’s Permanent Paintings (2004) suggest timelessness, or continuous coming-into-being. And the natural world is a starting point for diverse works by Anne Chu, Teresita Fernández, and Iñigo Manglano-Ovalle, which offer relational perspectives that challenge location’s meaning, echoing the unrestrained condition that being immersed Connotes.

This exhibition of selections from the Linda Pace Foundation collection rewards fluid ways of seeing and prompts reconsideration of these important works of art.

Opening Weekend Events
Opening Day: Friday October 2, 2015; 6-8PM Artists/Curator Conversation: Saturday, October 3, 2015; 2-3:30PM Participating artists include Byron Kim, and Anne Chu.

Lynda Benglis | Artist/Curator Discussion: Saturday November 7, 2015; 4-6pm

About Annette DiMeo Carlozzi
Recently retired from the Blanton Museum of Art at the University of Texas at Austin, Carlozzi is now working on independent curatorial projects and writing a book on the modern and contemporary art scene in Texas for UT Press. As a senior curator, deputy director, and curator at large at the Blanton for 18 years, Carlozzi played a critical role in building, interpreting, and publishing its modern and contemporary collection.

Alejandro Diaz, Muebles
Alejandro Diaz, It Takes a Village exhibition at the Linda Pace Foundation's SPACE gallery 2015.

Alejandro Diaz: It Takes A Village
April 18 – September 12, 2015

Organized by Kathryn Kanjo

The Linda Pace Foundation presents It Takes a Village, a solo exhibition of work by New York-based artist Alejandro Diaz. The exhibition focuses on Diaz’s eclectic and satirical aesthetic, featuring a series of new works comprising sculptures, paintings, and a site-specific installation, as well as a hand-woven tapestry from 2014. It Takes a Village will be on view at SPACE from April 18 to September 12, 2015.

As an artist with a national voice, Diaz grew up in San Antonio, Texas and much of his work is influenced by the contemporary Mexican/Texan cultures of his youth. It Takes a Village uses pop, modern, and folkloric works of art as its starting point, and evokes previous artists or art movements that combined high and low art, often using language and humor as a form of cultural and socio-economic critique.

Works in the exhibition include This is not a Calder (2014), made of hand-dyed, hand-woven wool and produced in Mexico in collaboration with the renowned Taller de Gobelinos in Guadalajara, Mexico. The work references both Calder and Magritte, presenting a tongue-in-cheek reinterpretation of the paradoxical painting. Facebook Likes (2015) references a series of cardboard signs Diaz made in 2003 and sold on the streets of Manhattan to passersby. Continuing in the tradition of sign making, Diaz later translated many of his pithy slogans into neon and most recently into the medium of painting. Facebook Likes functions as both a conceptual, text-based work of art and an everyday, non-art commercial sign. Other new works include The Color Field (2015) a solid yellow painting that references minimalist color field painting from the 1940s – 1960s. The work also includes Mexican marketplace souvenirs on a pedestal below the painting, drawing a link between the artist's use of high and low materials. A new painting on canvas, I’m Exhausted (2015), mimics 1950s Abstract Expressionist painting, and is both a humorous critique on high art and painting, and a commentary on the exhausting life of an artist struggling to make it in New York. It Takes a Village (2015) is a new, site-specific work that will be installed in a large glass vitrine and includes various found objects, including Mexican clay figurines, artificial aloes, a plastic radio, a marble statue, Spanish moss, and Mexican colonial painting, among others. Referencing a world's fair pavilion, It Takes a Village is part department-store window, part architectural model, part Mexican nativity scene. The work is characteristic of Diaz’s interest in art as a form of public engagement and political and cultural commentary. Also on view will be a series of new sculpture works called Muebles (2015), a series of cast-resin, life-size pieces of furniture that are in the shape of migrant workers, representing stereotypes of the Mexican identity. Diaz explains, “The Spanish word Muebles (furniture) comes from the Latin Mobilis which means something that is movable or easy to move. These sculptures co-opt Allen Jones' high art furniture of the 1960s to draw attention the plight of Mexican immigrants and to Mexican-American culture as a whole — as a commodity that when no longer needed can be easily moved or removed like a piece of furniture.”

Linda Pace Foundation Trustee and Curator Kathryn Kanjo adds, “Diaz reflects the creative, cultural energy of San Antonio--the same energy that so inspired Linda Pace. He filters challenging, social subject matter through visual art tropes that seem to simultaneously critique and celebrate their subjects. With works that are declarative, bold, and playful, he is one of the core artists that helped define the San Antonio contemporary art community in the 1990s.”

Shahzia Sikander, Parallax
Shahzia Sikander, Parallax, 2013, 3-Channel HD Animation, 24p with 5.1 Surround Sound, 15 min. 30 sec., 5760 x 1080 pixels, Courtesy of the Artist.

Parallax by Shahzia Sikander
October 8, 2014 – March 7, 2015

The Board of Trustees of the Linda Pace Foundation announces a new acquisition and the United States premiere of Parallax, a three-channel HD animation by international artist Shahzia Sikander. Parallax is Sikander’s largest and most ambitious animation to date. Sikander’s first foray into animation occurred during her time as the 2001 Artpace International Artist in Residence. Drawing is at the heart of her practice, and her work in new media explores the implications of engaging drawing with technology.

Comprised of hundreds of tiny drawings that have been digitally animated, Parallax deals with the history of maritime trade and colonial occupation in the Strait ofHormuz. The music score of Parallax is composed by Du Yun and includes poetry commissioned specifically for the score in collaboration with the Sharjah Art Foundation.

Parallax has been exhibited at the Sharjah Biennial 2013; Auckland Triennial, 2013; Dhaka Art Summit, 2014; Bildmuseet, Umea, 2014; Nikolaj Kunsthal, Copenhagen, 2014; and the National Museum of Modern and Contemporary Art, Seoul, Korea, 2014. It will be on view at the Guggenheim, Bilbao in 2015. Parallax marks the second public exhibition at SPACE, an institution maintained by the Linda Pace Foundation. The new film installation by Sikander will occupy the entirety of the exhibition space.

Maura Reilly
Andrea Bowers, Detail of Memorial to Arcadia Woodlands Clear-Cut, 2013, Metal, paracord, rope wood, 118 X 67 inches. Copyright of the artist.

Pace Gems: Selections from the Linda Pace Foundation Permanent Collection
April 18 — September 13, 2014

For the inaugural exhibition at SPACE, Maura Reilly curated Pace Gems. Kelly O’Connor, the Exhibitions & Collections Officer, organized the selection of works from the Foundation's permanent collection. Pace Gems aims to accurately reflect Pace’s overarching collection criteria, which focused on artists linked with the Artpace residency program and its related Hudson Show Room exhibitions, as well as other internationally recognized artists.

In addition to local San Antonio and regional artists, such as Forrest Bess, Franco Mondini-Ruiz, John Pomara, Linda Pace, and Dario Robleto, other select artworks in Pace Gems include Catherine Opie, Donald Moffett, Lynda Benglis, Kendell Geers, Teresita Fernandez, Mona Hatoum, Jim Hodges, Yayoi Kusama, Daniel Joseph Martinez, Marilyn Minter, Glenn Ligon, and Wangechi Mutu. The Foundation's newest acquisition, a monumental sculpture by Andrea Bowers, Memorial to Arcadia Woodlands Clear-Cut (2013), is included in the Pace Gems exhibition.

Teresa Hubbard / Alexander Birchler Eighteen, 2013
Teresa Hubbard / Alexander Birchler Eighteen, 2013. UHD Video with Sound. Duration: 18 min 30 sec, loop. Installation dimensions variable. Image copyright of the artists. Courtesy Tanya Bonakdar Gallery New York and Lora Reynolds Gallery Austin.

Eight, Eighteen
October 12, 2013 – March 29, 2014

Special event: Saturday March 15, 2014 at 3pm Artist talk with Anne Ellegood, Senior Curator at the Hammer Museum. Guests must RSVP to this event. To reserve your spot please email

Request an appointment for a guided tour to view the private exhibition space of the Linda Pace Foundation.

Arturo Herrera; Mushrooms (detail), 2009
Arturo Herrera; Mushrooms (detail), 2009; Mixed media on paper; 57.625 x 44.75 inches; Copyright of the artist. Courtesy of the artist and Sikkema Jenkins & Co., New York. Collection of the Linda Pace Foundation.

Arturo Herrera
February 22 – September 6, 2013

Request an appointment for a guided tour to view the private exhibition space of the Linda Pace Foundation.

The story of this exhibition begins when Arturo Herrera was invited to join the Artpace’s International Artist-in-Residence in 1999-2000 by the curatorial panel of Dan Cameron, Annette DiMeo Carlozzi, Amada Cruz, Kellie Jones, Hans-Ulrich Obrist, and Nancy Rubins. Linda Pace immediately responded and collected eight pivotal works from 1998-2002, all of which are included in this exhibition. The first being the most provocative – Untitled (BLUE) 1998 – which stands only 16 inches high but has the breadth of 20 ft monolith. Working in all scales, Herrera’s use of form, color and materiality transcends the actuality of space.

Referencing the works in the Linda Pace Collection, Arturo Herrera selected works created between 2009-2011 which have a contiguous relationship to the works in the Collection. Herrera’s selection can almost been seen like a staircase of time exemplifying his expansion of process, imagery, materiality, collage, and ideas.

Herrera previously has had solo shows at Centre d’Art Contemporain, Geneva; Dia Center for the Arts, New York; Centro Galego de Arte Contemporánea, Santiago de Compostela; Whitney Museum of American Art, New York; UCLA Hammer Museum, Los Angeles; Renaissance Society, Chicago; and P.S.1 Contemporary Art Center, Long Island City, among others. His work appeared in the Whitney Biennial (2002) and Herrera is a Deutscher Akademischer Austausch Dienst (DAAD) Fellowship recipient. He is currently represented by Sikkema Jenkins in New York. The Venezuelan-born artist now lives and works in New York and Berlin.

Fairfax Dorn

Guest Curator and Interim Program Director

Joan Mitchell. Room
Joan Mitchell. Room, 1981. Oil paint on canvas. 32 x 24 inches. Copyright of the Estate of Joan Mitchell. Courtesy of the Joan Mitchell Foundation. Collection of the Linda Pace Foundation.

Works selected by Fairfax Dorn from the
Linda Pace Foundation Collection

November 2, 2012 – January 25, 2013

"Articulate structure - creative process remains on an unconscious inarticulate level where unconscious perceptions communicate themselves directly to the artist's 'automatically' writing hand. So the task of the artist is to 'disintegrate' the articulate and rational surface perception and to call up the secondary processes in the public." Anton Ehrenzweig's The Psycho-Analysis of Artistic Vision and Hearing: An Introduction to a Theory of Unconscious Perception.

Art is a form of language, emotion, expression and therefore communication. It is a cognitive act. As an artist, visionary and collector, Linda Pace deeply connected with the idea of art as conduit for the voice. Selecting works from the Linda Pace Collection, this exhibition explores the realms between abstraction and textual based work as a system for language.

The exhibition focuses on the relationship between the illegible and legible like inventions of a hieroglyph. Works included are based on either gesture or words - George Baselitz, Forest Bess, Philip Guston, Hans Hoffman, Joan Mitchell, and contemporaries such as Nathan Carter, Trisha Donnelly, Tracey Emin, Antony Gormley, Jim Hodges, Jenny Holzer, Mona Hatoum, Christian Jankowski, Glenn Ligon, Daniel Joseph Martinez, Annette Messager, Gabriel Orozco, Linda Pace, Cornelia Parker, Mario Perez, Raymond Pettibon, Kiki Smith, Richard Tuttle, and Xu Bing.

Through investigating the irregularities between the gestural and text-based work, one can witness the tension between the verbal and the visual. This exhibition looks at the gravity of the artist's voice through these selected forms. It is through this visual process we attempt to hear and or see a symbol for an emotion and thought- like a translation of language.

Fairfax Dorn
Guest Curator and Interim Program Director

Request an appointment for a guided tour to view the private exhibition space of the Linda Pace Foundation.

Shahzia Sikander: THE LAST POST
September 14, 2012 - June 1, 2013, by appointment

The Linda Pace Foundation presents an exhibition by New York-based artist Shahzia Sikander. The Last Post, 2010, is an animated video installation inspired by Sikander’s ongoing interest in the colonial history of the Indian Subcontinent as well as the British opium trade with China. The artist animates the protagonist of The Last Post, an East India Company man who appears in various guises, as dissolving, exploding, and reconstituting himself throughout the work. Through the assorted metamorphoses of the main character, The Last Post can be seen as a metaphor for societies and cultures in constant, never-ending transformation.

Request an appointment to view the exhibition at the private exhibition space of the Linda Pace Foundation.

Read a conversation with Shahzia Sikander presented on the Linda Pace Foundation website.

Adam-Schreiber-Stairwell.jpg Adam Schreiber, Untitled (stairwell), 2012

April 14 - October 5, 2012, by appointment

The Linda Pace Foundation presents an exhibition of new photographs, Flanagan - Tiravanija, by Chicago-based artist Adam Schreiber. Using collections, warehouses, and archives as his subject matter, Schreiber’s work examines the effects of time, history, and physical context on our civilization’s evolving understanding of particular objects. Throughout his career, Schreiber has documented a range of cultural artifacts, sometimes pictured on display and sometimes in storage.

Request an appointment to view the project at the private exhibition space of the Linda Pace Foundation.

Visit Adam Schreiber July 2011 to view a gallery of Schreiber's images presented on the Linda Pace Foundation website.

Wang Ping


The Linda Pace Foundation presents a reading by author Wang Ping on Saturday May 12, 2012, at 11:00 AM at CHRISpark, 111 Camp Street, San Antonio, TX. Admission to the reading is free; advance reservations to are accepted but not required.

Wang Ping was born in China and came to the United States in 1986. Her publications include American Visa (short stories, 1994), Foreign Devil (novel, 1996), Of Flesh and Spirit (poetry, 1998), The Magic Whip (poetry, 2003), The Last Communist Virgin (stories, 2007), and the forthcoming All Roads to Joy: Memories along the Yangtze. Her books have won numerous prizes and she is the recipient of grants, awards, and fellowships from the National Endowment for the Arts, New York Foundation for the Arts, New York State Council of the Arts, Minnesota State Arts Board, the Bush Artist Fellowship, Lannan Foundation, and McKnight Artist Fellowship. She collaborated with the British artist Isaac Julien on Ten Thousand Waves, a film installation currently on view at the Linda Pace Foundation exhibition space until June 30, 2012.

Following the reading, a workshop “KINSHIP OF RIVERS” led by WANG PING will take place at the San Antonio River Foundation, 100 East Guenther Street, San Antonio at 1PM. The Kinship of Rivers project was conceived by Ping to create a sense of kinship among the people who live along the Mississippi and Yangtze Rivers through sharing and exchanging art, poetry, stories, music, dance and food.


CHRISpark and Linda Pace Foundation Offices
March 30, 2012 7pm - 11pm

View the Contemporary Art Month website

Stranger in the Village #11, 1998, Photo Credit: Seale Studios Stranger in the Village #11, 1998, Photo Credit: Seale Studios

A conversation with GLENN LIGON
March 15, 2012 at 6:00 PM
RSVP required

The Linda Pace Foundation presents a conversation with Glenn Ligon. Steven Evans will speak with one of America’s foremost artists, Glenn Ligon, about Ligon’s work and its development. Through a variety of media, the artist has explored language, identity, race, sexuality, literature, history, and cultural constructs. He is currently the subject of a critically acclaimed mid-career retrospective, Glenn Ligon: AMERICA, organized by the Whitney Museum of American Art and currently on view at the Modern Art Museum of Fort Worth, TX. Ligon is represented in the Linda Pace Foundation collection, and was a participant in Artpace San Antonio’s International Artist-In-Residence program in 1998.

Space for the conversation is limited; to receive an invitation please email

Ligon’s monumental painting Stranger in the Village #11, 1998, is included in the exhibition TERRAIN: Selected Works from the Linda Pace Foundation Collection, on view in the private exhibition space of the Linda Pace Foundation through March 23, 2012. The exhibition includes works which explore issues of identity through landscape, language, and technology. TERRAIN includes works by Laura Aguilar, Ross Bleckner, Nathan Carter, Anne Chu, Mona Hatoum, Jim Hodges, Isaac Julien, Surasi Kusolwong, Glenn Ligon, Donald Moffett, Paul Pfeiffer, Aida Ruilova, Shahzia Sikander, Nancy Spero, Rirkrit Tiravanija, and Bettie Ward, in a wide range of media such as sculpture, photography, drawing, video, and painting.

Contact us to request an appointment to visit the Linda Pace Foundation.

Susan Philipsz Sunset Song photo Green Screen Goddess Triptych (Ten Thousand Waves) (Detail), 2010

February 17 - June 30, 2012, by appointment
Conversation with the artist and reception February 17, 2012, 6-9pm
RSVP required

The Linda Pace Foundation presents a special three-screen edition of TEN THOUSAND WAVES by Isaac Julien. The exhibition will be inaugurated with a special event, a conversation between Isaac Julien and Steven Evans, Executive Director and Curator, on Friday, February 17, 2012 at 6:00 p.m. at the Linda Pace Foundation’s private exhibition space. The conversation will be followed by a reception for the artist and screenings of the work. Space is limited for the conversation and reception; RSVP is required to

TEN THOUSAND WAVES was filmed on location in China and poetically weaves together stories linking China’s ancient past and present. The work explores the movement of people across countries and continents and meditates on unfinished journeys. Conceived and created over four years, Julien collaborated with some of China’s leading artistic voices, including: the legendary siren of Chinese cinema Maggie Cheung; rising star of Chinese film Zhao Tao; poet Wang Ping; master calligrapher Gong Fagen; artist Yang Fudong; acclaimed cinematographer Zhao Xiaoshi; and a 100-strong Chinese cast and crew. The original musical score is by Julien’s fellow East Londoner Jah Wobble and the Chinese Dub Orchestra, as well as contemporary classical composer Maria de Alvear.

“The original inspiration for TEN THOUSAND WAVES was the Morecambe Bay tragedy of 2004, in which 23 Chinese cockle-pickers died,” says Julien. ”The work links the Shanghai of the past and present, symbolizing the Chinese transition towards modernity, aspiration and affluence - the so-called ‘Better Life.’ I employed the visual language of ghost stories, with recurrent figures and images appearing and disappearing.”

TEN THOUSAND WAVES crosses the boundaries of past and present, fiction and reality, and feature film and documentary. Connecting social, psychological, aesthetic, mythic, and spiritual dimensions, Julien engages the viewer with poetic beauty while encouraging the critical inquiry of Western-centric cultural globalization.

Concurrent with Julien’s TEN THOUSAND WAVES, the Linda Pace Foundation also presents TERRAIN, Selected Works from the Linda Pace Foundation Collection. The exhibition includes twenty-one works by sixteen artists, including three works by Isaac Julien. TERRAIN, Selected Works from the Linda Pace Foundation Collection is on view from February 17 - March 31, 2012.

Visitors must make arrangements in advance of their prospective visit by contacting the Foundation and submitting a request including a date and time to visit. Ideally visits occur Wednesday to Friday between noon and 5:00 PM. To request an appointment please email:

The exhibition Isaac Julien TEN THOUSAND WAVES is organized by the Linda Pace Foundation, with special thanks to Isaac Julien and the Isaac Julien Studio.

Production and support of the making of the work:
TEN THOUSAND WAVES was produced by the LUMA Foundation.
The work was made with the kind support of the Linda Pace Foundation; the Udo and Anette Brandhorst Foundation; Colección Helga de Alvear.
Supported by the National Lottery through Arts Council England.
Avec le concours du Centre national des arts plastiques (Image/Mouvement), Ministère de la culture et de la communication.
The artist would also like to thank Toby Devan Lewis and those who wish to remain anonymous for their kind support.

Susan Philipsz Sunset Song photo PHOTO BY ART INDUSTRIAL

Susan Philipsz Sunset Song
111 Camp Street, San Antonio, TX
May 8-June 26, 2011
Reception May 6, 2011; 7-9pm

Scottish artist Susan Philipsz originally created Sunset Song as part of her 2003 residency at Artpace San Antonio. In the work, she sings both the male and female parts of the 19th-century American folk ballad “Banks of the Ohio.” A new acquisition of the Linda Pace Foundation, Sunset Song will be presented daily in CHRISpark, the one-acre park built by Linda Pace at 111 Camp Street in San Antonio.

CHRISpark will maintain extended hours throughout the exhibition, presenting the work from 12 noon until sunset, Tuesday through Sunday. Sunset Song will culminate each day as the sun goes down.

Please call 210.253.3310 for general information.

Linda Pace Foundation photoLinda Pace Foundation photoLinda Pace Foundation photoLinda Pace Foundation photoLinda Pace Foundation photoLinda Pace Foundation photo

Contemporary Art Month Closing Party
Chrispark and Linda Pace Foundation Offices
March 25, 2011
7pm - 11pm

Following on last year's successful closing event, Contemporary Art Month is once again working with Linda Pace Foundation to wind up the month with a memorable evening in Chrispark. The event takes place on Friday, March 25, 7pm - 11pm, including an exhibition of works from the collection of Linda Pace Foundation, an awards ceremony, live music, locally brewed craft beer, vodka punch, and food by El Tacomiendo.

From 7 to 9 pm, the Linda Pace Foundation offices will be open to visitors, featuring the debut of a new installation of work from the foundation's collection. The collection is generally considered to be among the most distinctive in Texas, with works from many internationally-renowned artists, including a number of San Antonio-based artists and former Artpace residents.

Austin's Athens v Sparta will open the evening with a pop-opera history of the Peloponnesian War starting at 7 pm. Following this unique performance, Los Mescaleros will get the dance floor going with their gypsy-tango-blues hybrid. The awards ceremony will then commence, in an updated, completely democratic format: votes for 8 award categories collected through the CAM website will be announced, and winners will receive certificates designed by Beto Gonzales. Finally, the evening will close with a high-energy performance by De Los Muertos, an engaging, seamless blend of country, punk, and goth.

Craft beer will be generously provided by San Antonio brew pub Freetail Brewery, alongside Enchanted Rock vodka punch thanks to Republic National Distributors. $15 admission will allow guests one complementary trip to the taco truck in addition to the open bar.

Contemporary Art Month Closing Party
Chrispark and Linda Pace Foundation Offices
March 27, 2010

Edgar Arceneaux’s Old Man Hill
Thursday, April 16, 2009
Mission Drive Inn Theater
3100 Roosevelt Ave, San Antonio, TX
Performance at dusk

For its debut, the eight-minute film will be projected onto the screen of the Mission Drive-In Theater. Arceneaux will release metallic balloons into the night time sky, which spells out the name Old Man Hill translated into Bosnian. Artists, collectors, and the general public are invited to attend this free, public event. The performance will be in celebration of the late Linda Pace’s birthday, and will be held at the now defunct Mission Drive-In Theater, located on Roosevelt Avenue on the San Antonio’s South Side. The work will be shown only once and not screened again. Arceneaux was an Artpace resident in 2006. Linda Pace purchased Old Man Hill that same year.

Old Man Hill is Arceneaux’s attempt to address the magnitude of the 1995 massacre of Bosnian Muslims in Sarajevo. He filmed the video among the architectural remnants and ruins of Sarajevo. As he walked through the city, he thought of his grandfather, who had a Bosnian name. The artist never knew his grandfather; indeed, no one in his family, including Arceneaux’s own father, ever met him and knew no details of his life. When Arceneaux’s father was 51, he learned his father’s nickname - Old Man Hill. “Old Man Hill is a memorial to that which cannot be represented,” said Arceneaux. “It reveals meaning to us as it disappears from our perception.”