Common Currents is a diverse showcase of San Antonio’s history as told by 300 local artists at 6 art-centric venues. Drawing on the connections that run through San Antonio’s vibrant creative community, each of the organizing partners began by inviting two artists. These initial artists were then asked to invite two peer artists until more than 300 were amassed. All of the participating artists are assigned one year of San Antonio’s history to reflect on in the development of their work for Common Currents. This exhibition is presented chronologically through a variety of contemporary media. More information on Common Currents is at commoncurrents.org.
Artpace San Antonio hosts artists responding to San Antonio’s first 50 years (1718-1768).
1718 Mark Menjivar
Yanaguana limestone reliquary containing a cloth relic of St. Anthony, patron saint of that which has been lost.
1719 Julie Ledet
La Louisiane to the East speaks to the forced migration of 200 Canary Islander families (Isleños) to the Presidio San Antonio de Bexar that was initiated in 1719. It would take until 1731 for the settlers, comprised mostly of laborers or military families, to arrive. After years of traveling by boat over water and on foot by land, only 15 families survived the trek. Similarly, New Orleans was experiencing their own migratory currents around this time, and by 1731 Isleños were settling the Mississippi River as well. My great-great-great-great-great-great grandmother was born in 1731 in the Canary Islands, and would eventually settle in La Louisiane where maps would describe the area as the land of “Mistaken Indians and Cannibals.” The installation is a culmination of notes written while researching the land and the people as well as my own ancestry, making connections and finding the common current between these peoples and the social injustice toward the Native inhabitants.
1720 Charles Harrison Pompa
Our San Antonio River is the heart and life force of our city now and in the past and the Blue Hole Springs its source. Pompa’s circular 3d mixed media painting sculpture conveys our native San Antonio River and springs ecosystem landscape and habitat representing 1720 and the earliest years prior to our built cultural environment. The exterior is the river with plants and animals and the interior represents an underwater river perspective of a microcosym of native species in Pompa’s contemporary style and form.
1721 Kathleen Baker Pittman
The San Antonio River is the source and support of life and inspiration.
1722 William Zwartjes
A first crude presidio was established near San Pedro creek in May 1718 by the Governor of Coahuila, Don Martin de Alarcon and named San Antonio de Valero in honor of the Marques de Valero, Viceroy of Mexico. However, 1722 was especially important when the Marques de Aguayo returned to San Antonio with General Almazen and moved the primitive presidio to a site between the San Pedro creek and San Antonio de Padua river. A larger, square presidio was placed 30 varas [82.3 ft.] from the creek and 200 varas [548.5 ft.] from the river. The new presidio, located at the opening to the loop in the river, had fortifications, permanent stone buildings and an improved irrigation system. The Plaza de Armas [now Military Plaza] was established as a parade ground for Spanish soldiers.
About 1722 the first mission was moved to the east side of the river near the present-day St. Joseph’s church due to friction between the military and padres over authority. Records show the padre to be Fr. Joseph Gonzales and note the burial of Manuel Maldonado, a soldier of the presidio. The main Indians at the mission were Xarame, with Pauigan, Pamaya, Paquache, and Siguausan among the other tribes represented. [E.W.Heusinger, F.C.Chabot, J.C.Butterfield, J.D.Eaton]
1723 John Tyson
This piece stands to inform the viewer of the Lipan Apache residing in San Antonio and their attempt to keep their culture and lifestyle intact, during the entrance of Spanish and Mexican settlers into south Texas. The information provided sets the tone, the arrows 