A ROJAS PROJECT
2025
A Rojas Project at Bullet Space, “Art Handlers”, curated by Alex Rojas, New York NY.
2023
A Rojas Project at Bullet Space, “Not That Way”, curated by Alex Rojas, New York NY.
2019
A Rojas Project at Bullet Space, “Suzanne Broughel, Juanita Lanzo, and Janice Sloane”, curated by Alex Rojas, New York NY.
2018
A Rojas Project at Bullet Space, “Shoot The Pump”, New York, NY.
2017
A Rojas Project at Bullet Space, “Interference”, New York, NY.
2016
A Rojas Project at Bullet Space, “Folding/Unfolding”, Curator Brigitte Angler, New York, NY.
A Rojas Project at Bullet Space, “In Loving Memory of Kikuo Saito”, New York, NY.
2014
A Rojas Project at Bullet Space, “D(RAW)”, New York, NY.
Traslochi Emotivi Milan Italy at Bullet Space, New York, NY.
2013
Hyde Gallery, Memphis Museum of Art, “Memphis Social”, Curator Tom McGlynn, (Apex Art) Memphis, TN.
2011
A Rojas Project at Bullet Space, “Wrong Place for the Right People”, New York, NY.
A Rojas Project at Bullet Space, “Mob”, New York, NY.
2008
A Rojas Project at Bullet Space, “Construction Brigade”, New York, NY.
A Rojas Project is a moniker for Alex’s curatorial concepts. She wears many hats: a gallery director, curator, and archivist to be specific. She’s produced numerous art shows, organized panel discussions, guest curators, and artist residencies. Rojas co-organized the Publication Bulletin, a newspaper published every 3-4 years that informed its readers about Bullet Space history and surveys previous art shows, readings, and events that took place in this experimental, alternative art space established in 1985.
Alex Rojas has also curated her own shows at Bullet Space including, but not limited to: “The Wrong Side of His Story”. She’s curated shows in the space, including Folding/Unfolding by Brigitte Engler in 2016, hosted a special reading and performance by Aurelia Thierree, and aided in a memorial show for Kikuo Saito (1939 - 2016) that included theater drawings, set design props, theater video installation, and audio text installation with Robert Wilson.
2019
Bullet Space, “Suzanne Broughel, Juanita Lanzo, and Janice Sloane”, curated by Alex Rojas, New York NY.
Bullet Space presents a group exhibition of multimedia works from three artists, Suzanne
Broughel, Juanita Lanzo and Janice Sloane. These artists share their focus on the biology of the body as the catalyst for their creations. In this show, we witness points of connection between this trio of artists whose exploration of the body landscape run deep and in all directions. Their works share a living organic component without the use of organic materials.
2017
Bullet Space, “Interference”, New York, NY
“If I remember correctly, Bullet Space started with the gutting of the street level labyrinth in one of the scores of languishing buildings that typified not only Manhattan’s historic Lower East Side, but a hefty chunk of the imperial city’s dwindling housing stock (on top of an increasingly outmoded infrastructure). A solid decade of ubiquitous and ever burgeoning flight involved folks at every echelon, despaired of what to make out of so much blight and loss. The seeds of rui they left behind were sown into the urban soil rich in lead, the mineral ancient alchemist plumbed for gold. Ringed by poisoned rivers, the deserted bricks stacked up against sunken lots that echoed with siren songs of a shipwrecked city that spread wide on changing winds. The wav of accidental nomads drawn this far grasped the atmosphere of abandon that imprisoned those left behind and devised a thousand ways to refill what had emptied out. A common project arose without benefit of any blueprint, seeds first castaway sprouting a fresh interference.
Interference, the most recent exhibition at Bullet Space — curated by Alexandra Rojas — maps a short walk through a dense history. A story this rich is easily delivered in overwhelming detail, thick with references and footnotes that become wall notes, strings of words that visitors recognize and explore more attentively than the art. The people featured in this show easily warrant such attention, but the problem with wall notes is that they end up in the way of our own
experience; the way we’ve learned since birth to read the unwritten writing on the wall that too often goes unread...
To be sure, curator Rojas presents artworks that build upon the cultural past: the casual visitor will remark on obvious terms like minimalist and abstract, and experience the show accordingly. In a sense, this is the approach Interference challenges the visitor to trespass against. The integrity of any
exhibition isn’t conveyed by the pieces collected in a proximity that one can physically map. Rather, the convergence of personae — the collective experiences of the artists — provide the curator with the impressions that compel her to transform the exhibition space. If Interference represents the direction that this nomadic cohort has taken, having started the expropriation of
an urban setting that forces with access to different resources and perspectives ultimately outpaced, it describes a cessation of hostilities in favor of nurturing a reversal of the grandiose.”- Norman Douglas, New York, NY, October 2017
Bullet Space, “Interference”, New York, NY
“If I remember correctly, Bullet Space started with the gutting of the street level labyrinth in one of the scores of languishing buildings that typified not only Manhattan’s historic Lower East Side, but a hefty chunk of the imperial city’s dwindling housing stock (on top of an increasingly outmoded infrastructure). A solid decade of ubiquitous and ever burgeoning flight involved folks at every echelon, despaired of what to make out of so much blight and loss. The seeds of rui they left behind were sown into the urban soil rich in lead, the mineral ancient alchemist plumbed for gold. Ringed by poisoned rivers, the deserted bricks stacked up against sunken lots that echoed with siren songs of a shipwrecked city that spread wide on changing winds. The wav of accidental nomads drawn this far grasped the atmosphere of abandon that imprisoned those left behind and devised a thousand ways to refill what had emptied out. A common project arose without benefit of any blueprint, seeds first castaway sprouting a fresh interference.
Interference, the most recent exhibition at Bullet Space — curated by Alexandra Rojas — maps a short walk through a dense history. A story this rich is easily delivered in overwhelming detail, thick with references and footnotes that become wall notes, strings of words that visitors recognize and explore more attentively than the art. The people featured in this show easily warrant such attention, but the problem with wall notes is that they end up in the way of our own
experience; the way we’ve learned since birth to read the unwritten writing on the wall that too often goes unread...
To be sure, curator Rojas presents artworks that build upon the cultural past: the casual visitor will remark on obvious terms like minimalist and abstract, and experience the show accordingly. In a sense, this is the approach Interference challenges the visitor to trespass against. The integrity of any
exhibition isn’t conveyed by the pieces collected in a proximity that one can physically map. Rather, the convergence of personae — the collective experiences of the artists — provide the curator with the impressions that compel her to transform the exhibition space. If Interference represents the direction that this nomadic cohort has taken, having started the expropriation of
an urban setting that forces with access to different resources and perspectives ultimately outpaced, it describes a cessation of hostilities in favor of nurturing a reversal of the grandiose.”- Norman Douglas, New York, NY, October 2017
2011
Bullet Space “Wrong Place for the Right People”, New York, NY.
Sometimes extremes can appear subtle. This is a show of twelve artists quietly presenting loud ideas. A beautiful delirium, the mood: verticals rising, memories retrieved, the lowest ebb, the highest tide. The beautiful gray of NYC at 6am. Heavy metal played with the volume off. Cement, lipstick, water, dust, and sugar may be found in minimal, surreal works which carry the weight of concrete, yet are floating.
...
Alexandra Rojas having harvested her own hair for a span of ten years, uses the twisting strangs, not unlike the double helix of DNA, to “draw” on blocks of cement. For Rojas, hair reveals the strength of self.
Bullet Space “Wrong Place for the Right People”, New York, NY.
Sometimes extremes can appear subtle. This is a show of twelve artists quietly presenting loud ideas. A beautiful delirium, the mood: verticals rising, memories retrieved, the lowest ebb, the highest tide. The beautiful gray of NYC at 6am. Heavy metal played with the volume off. Cement, lipstick, water, dust, and sugar may be found in minimal, surreal works which carry the weight of concrete, yet are floating.
...
Alexandra Rojas having harvested her own hair for a span of ten years, uses the twisting strangs, not unlike the double helix of DNA, to “draw” on blocks of cement. For Rojas, hair reveals the strength of self.
2011
Bullet Space, “Mob”, New York, NY.
“The exhibition “Mob” takes the collective subject as its object without offering a coinciding rationale. The curator, Alexandra Rojas, recognizes that the latent potential within the group of artists assembled trumps an empirical reason that might limit its possibilities. With artworks ranging from the profane to the esoteric, the punk conceptual to the everyday abstract, graphic images and process- based sculpture, the show is inclusive of a mood or direction that evokes the contingency of actual experience. It’s like entering a large party where you get to know everyone over the course of the event. All at once, by dint of your participation, you realize that you are part of something larger.”–Tom McGlynn
︎ Read more about “Mob”.
Bullet Space, “Folding/Unfolding”, Artist Brigitte Angler, New York, NY
Curated by Colombian-born cultural activist artist Alexandra Rojas, the show includes video images, concrete music, kinetic art and rubbings.
︎ Read more about “Folding/Unfolding”.
︎ “12 Must-See Art Shows Opening This Week” — PAPER Magazine
Bullet Space, “In Loving Memory of Kikuo Saito”, New York, NY.
A mentor, friend, and family...