Selected Biographical Information

Education / Training

• 1984-1989: B.Sc. in Physical Chemistry, Concordia University, Montréal, Canada.

Prizes / Fellowships

• 2012-2013: Joyce Award, The Joyce Foundation, Chicago, Ill, United States.

Solo Exhibitions

• 2016: “Surface Tension, Electronic Superhighway show”, Whitechapel Gallery, London, United Kingdom.
• 2013: “Quinta fachada”, VII Premio Luis Caballero, Museo Leopoldo Rother, Bogotá.
• 2013: Aluvión. Sala U, Universidad Nacional de Colombia, Medellín.

Group Exhibitions

• 2015: “Encan Esse Auction”, Musée des Beaux-Arts, Montreal, Quebec, Canada.

Publications

• RLH, Keynote Presentation (Mexico City: MUAC Museum), 1-3.

Collections

• 21C Museum, Louisville, Kentucky, United States.

• Artists

Para mi la abstracción esta en todos lados y en todos los niveles. Nuestra mente o nuestro conocimiento sólo percibe algunos tipos de abstracción, pero si ahondamos en éste tema, lo pensamos y observamos, nuestra vida esta rodeada de abstracción.

_

For me, abstraction is everywhere and at every level. Our mind or knowledge can just perceive some types of abstraction, but if we go deeper into the subject, think about it and observe it, our everyday life is surrounded by abstraction.

Selected Biographical Information

Education / Training

• 1989: Escuela Nacional de Artes Plásticas San Carlos, Mexico City, Mexico.

Prizes / Fellowships

• 1997-1998: Premio de Adquisición en Instalación, VIII Bienal de Arte Femsa, Monterrey, Nuevo León, Mexico.
• 1991-1992: Premio del Instituto de Ciencias de Guadalajara, Instituto de Ciencias de Guadalajara, Guadalajara, Jalisco , Mexico.

Solo Exhibitions

• 2014: “Cactli-Cacle“, Museo de Arte de Zapopan, Guadalajara, Jalisco, Mexico.
• 2013: “Árbol Cósmico“, Museo Experimental El Eco, Mexico City, Mexico.
• 1997: “Aqui Afuera“, Museo de Monterrey, Monterrey, Nuevo León, Mexico.
• 1997: “El Alimento“, Museo del Palacio de Bellas Artes, Mexico City, Mexico.

Group Exhibitions

• 2015: “Biennial of the Americas”, Biennial of the Americas, Denver, Colorado, United States.
• 2015: “Proyecto Meteoro/Escuelas de Oficios“, Museo Tamayo, Ciudad de México, Mexico.
• 2015: “La misteriosa desaparición de Arthur Cravan”, Cabaret Voltaire, Zurich, Switzerland.
• 2015: “Nevermore, Halloween Parade”, Bronx Museum for the Arts, New York, United States.
• 2007: “Hecho en México”, ICA Boston & Hammer Museum, Los Angeles, Boston, USA.
• 2005: “Eco: Arte Contemporáneo Mexicano”, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain.
• 2002: “Zebra Crossing“, Haus der Kulturen der Welt, Berlin, Germany.
• 2002: “El Aire es Azul “, Casa Museo Luis Barragán, Mexico City, Mexico.

Publications

• Cuauhtémoc Medina; Olivier Debroise, La Era de la Discrepancia / Age of Discrepancies (Mexico City:  UNIVERSIDAD NACIONAL AUTONOMA DE MEXICO), 504.
• Salón Internacional de Pintura, Cinco Continentes y una Ciudad / Five continents and one city: The Tercer Salón Internacional de Pintura [3rd International Painting Salon] (Mexico City: Howard Karno Books Inc).
• Maria Lind, “Abstract Possible: The Tamayo Manifestation“, Rufino 3, Spring – Summer 2011, 12-19.
• “Del Angström al Infinito“, Luna Córnea, 2001, 155-159.

Collections

• Daros, Zürich, Switzerland.
• Colección Jumex, Mexico City, Mexico.
• Colección FEMSA, Monterrey, Nuevo León, Mexico.
• Colección Museo Universitario de Arte Contemporáneo, Mexico City, Mexico.

• Artists

• Chain of Questions
• Dialogues

• Chain of Questions
• Dialogues

I’m an electronic-based artist. My work, often large scale, is made up of interactive installations in public space and usually deploys new technologies and physical interfaces. Using robotics, projections, sound, internet and mobile phones, sensors and other devices, I make examples of kinetic sculpture, responsive environments, video installations and photography which require the viewer to reconsider their conceptions of art, networks, language, code and meaning through human interactions and production of the ephemeral.

_

Soy un artista electrónico, mi obra generalmente de gran escala, se conforma por instalaciones interactivas en espacios públicos, normalmente usando nuevas tecnologías e interfaces físicas. Por medio de la robótica, proyecciones, sonido, Internet y teléfonos móviles, sensores y otros dispositivos, creo ejemplos de escultura cinética, entornos interactivos, instalaciones de vídeo y fotografía que obligan a reconsiderar el concepto unidireccional del arte. Exploro y experimento con lo análogo y digital, con conceptos como el de red, lengua, código y significado a través de la presencia humana y de lo efímero.

Selected Biographical Information

Education / Training

• 1984-1989: B.Sc. in Physical Chemistry, Concordia University, Montréal, Canada.

Prizes / Fellowships

• 2012-2013: Joyce Award, The Joyce Foundation, Chicago, Ill, United States.

Solo Exhibitions

• 2016: “Surface Tension, Electronic Superhighway show”, Whitechapel Gallery, London, United Kingdom.

Group Exhibitions

• 2015: “Encan Esse Auction”, Musée des Beaux-Arts, Montreal, Quebec, Canada.

Publications

• RLH, Keynote Presentation (Mexico City: MUAC Museum), 1-3.

Collections

• 21C Museum, Louisville, Kentucky, United States.

• Artists

• Forum

• Chain of Questions

About the Artist

September 1955

“Melancholy is the happiness of being sad”
Victor Hugo

“Melancholy is the sadness that has acquired lightness”
Italo Calvino

When I stumbled upon the Venezuelan magazine “Integral” (architecture and art) at the library, I became obsessed with the aesthetic of their covers, especially the September 1955 issues, designed by González Bogen.

Its patterns, color and smell transported me to a country, where, despite the evident progress of the arts, was experiencing a cruel dictatorship. Artists and architects were dreaming with a perfect modern world, a utopian island where it was impossible to wake up. These were the times of my earliest infancy. After came the nightmares and everything came tumbling down.

I amplify this image, I reduce it, refute it, trace it, deconstruct it. Its contours delineate new maps of unexplored territories, streaked by ‘black’, ink over the skin of my work. I rethink colors, creating layers of time and air, obsessive interlaces of a Lilliput like world. Between lights and shadows, I propose a new view at this historical time. A sort of melancholic geometry.

The drawings are in Chinese ink, gouache, graphite and watercolor on paper and on wall color samples.
2012-14

_

Septiembre 1955

“La melancolía es la felicidad de estar triste”
Victor Hugo

“La melancolía es la tristeza que ha adquirido ligereza”
Italo Calvino

Cuando me tropecé en la biblioteca con las revistas venezolanas “Integral” (arquitectura y arte) me obsesioné con la estética de sus portadas, especialmente la de Septiembre de 1955 diseñada por GonzálezBogen.

Su patrón, color y olor me transportó a un país en que, a pesar del evidente progreso en las artes, se vivía en una cruel dictadura. Artistas y arquitectos soñaban con el perfecto mundo moderno, la isla Utopía en donde era imposible despertar. Eran los tiempos de mi más temprana infancia. Luego vinieron las pesadillas y todo se derrumbó.

Esta imagen la amplío, reduzco, rebato, calco, deconstruyo. Sus contornos delinean nuevos mapas de territorios inexplorados, surcados por “lo negro”, la tinta sobre la piel de mi obra. Replanteo colores, creando capas de tiempo y aire, entrelazados obsesivos de un mundo liliputiense. Entre luces y sombras planteó una nueva mirada a ese tiempo histórico. Una suerte de geometría melancólica.

Los dibujos son en tinta china, gouache, grafito y acuarela sobre papel y sobre mostrarios de colores de pared.
2012-2014.

Selected Biographical Information

Education / Training

• 1976-1980: School of the Museum of Fine Arts, Boston, USA.
• 1974-1976: Taller Teresa Azara, Caracas, Venezuela.

Prizes / Fellowships

• 2002: Premio Armando Reverón, Salón Michelena, Valencia, Venezuela.
• 2001: Gran Premio Salón Nacional de Arte Aragua, Salón Aragua, Aragua, Venezuela.
• 1976: Bolsa de Trabajo Conac, Mexico.

Solo Exhibitions

• 2009: “Pelikan”, Faría Fabregas Galería, Caracas, Venezuela.
• 2008: “Obra Recente”, Galería Valu Oria, São Paulo, Brazil.
• 2006: “Bichus Invasion “, Signature Art Gallery, Miami, USA.
• 2006: “Bichus”, Galería 39, Caracas, Venezuela.
• 2002: “Neurohilados “, Galería Valu Oria, Caracas, Venezuela.
• 2001: “Entretejimientos “, Sala Alternativa, Caracas, Venezuela.
• 1996: “Ascensión”, The Venezuela Center Gallery, New York , USA.
• 1994: “Diario de la luna”, Sala Alternativa, Caracas, USA.
• 1992: “Pinturas y dibujos”, Sala Alternativa, Caracas, Venezuela.
• 1982: “Dibujos”, La Librería, Sala Mendoza, Caracas, Venezuela.
• 1977: “Dibujos “, La Librería, Sala Mendoza, Caracas, Venezuela.

Group Exhibitions

• 2014: “September 1955”, Henrique Faria Fine Art, New York , USA.
• 2011: “Ciudad Volátil”, Centro Cultural Chacao, Caracas, Venezuela.
• 2011: “Geometrías Alteradas”, Galería Faría + Fábregas , Caracas, Venezuela.
• 2007: “Interconexiones”, Galería La Cuadra, Caracas, Venezuela.
• 2006: “9 Propuestas Estéticas”, Galería Universitaria UCV, Caracas, Venezuela.
• 2005: “13 Instrumentos de Dibujo”, Fundación Corp Group, Caracas, Venezuela.
• 2004: “Figuración-Fabulación”, Museo de Bellas Artes, Caracas, Venezuela.
• 2004: Centro de Arte Lya Bermúdez, Maracaibo, Venezuela.
• 2003: “Muestra 2”, Sala Alternativa , Ciudad de México, México.
• 2003: “Arte Hoje y Pequeños Formatos”, Galería Valu Oria, São Paulo, Brazil.
• 2002: “Bienal Barro de América”, Museo de Arte Contemporáneo de Caracas, Caracas, Venezuela.
• 2002: “Ars Feminae”, Instituto de Cultura Mexicano, Washington DC., USA.
• 2002: Salón Michelena, Valencia, Venezuela
• 2001: “Arte y Hoje y Pequeños Formatos “, Galería Valu Oria, São Paulo, Brazil.
• 2001: Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela.
• 2001: Sala Marta Traba Memorial de América Latina, São Paulo, Brazil.
• 2001: Salón Michelena, Valencia, Venezuela.
• 2001: Salón Aragua, Maracay, Venezuela.
• 2000: Salón Aragua, Maracay, Venezuela.
• 1999: Salón Aragua, Maracay, Venezuela.
• 1998: Museo de Arte Contermporáneo Sofía Imber, Caracas, Venezuela.
• 1997: Salón Aragua, Maracay, Venezuela.
• 1995: Museo de Arte Contemporáneo Sofía Imber, Caracas, USA.
• 1995: “La mujer venezolana en las artes”, Wang Fu Gallery, Beijing, China.
• 1995: “Festival Internacional de La Pinturee”, Cagnes-sur-Mer, France.
• 1995: Salón Michelena, Valencia, Venezuela.
• 1995: Salón Aragua, Maracay, Venezuela.
• 1994: Salón Michelena, Valencia, Venezuela.
• 1993: Salón Aragua, Maracay, Venezuela.
• 1992: Salón Michelena, Valencia, Venezuela.
• 1991: Salón Michelena, Valencia, Venezuela.
• 1988: Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela.
• 1983: Salón Michelena, Valencia, Venezuela.
• 1982: Salón Michelena, Valencia, Venezuela.
• 1981: “La Generación Intermedia”, Museo Omar Rayo, Roldanillo, Colombia.
• 1981: “Salón Nacional de Jóvenes Artistas”, Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela.
• 1979: “Once Tipos”, Sala Mendoza, Caracas, Venezuela.
• 1977: Salón Michelena, Valencia, Venezuela.
• 1974: Salón Michelena, Valencia, Venezuela.

Collections

• Banco Mercantil, Caracas, Venezuela.
• Private Collection, London, UK.
• Private Collection, Sao Paulo, Brasil.
• CIFO, Miami, Florida.
• Museo de Arte Contemporaneo de Caracas, Caracas, Venezuela.

• Artists

Ricardo Rendón – Vazio Contido / Contained Emptiness, texts by Paula Braga and David Miranda, Zipper Galeria, Sao Paulo, 2013

In this catalogue, Paula Braga writes: “In his works, Ricardo Rendón proposes a renaissance in reverse, that emphasizes manual work, and exposes the worker face of conceptual art, that which values the process, the singularity of each gesture, which, as we learned with Sisyphus, is a redeeming attitude. Rendón, therefore, joins a school of Latin American artists like Hélio Oiticica who practiced a “cordial conceptualism”, in Marcelo Campos’ apt expression; cosa mentale, no doubt, but smoothened by the appreciation of banal materials.

The obsessive works in which Rendón pierces a felt, card or plaster surface are based on an idea of repetitive procedure that is no stranger to conceptual art. But it is not enough for this Mexican artist to offer the script, the algorithm that defines the repetitions to be executed; it’s necessary to present the object, to scatter on the floor the remains of the repetitive process of piercing the industrial felt, thus exhibiting a dimension of the object called time, even if what remains of the work is more of a void than actually matter; a void that points to the idea of corrosion, wear and tear, disappearing, dematerialization through division into small parts.”

To download the full catalogue, click here

• Contexts

• Chain of Questions

The exhibition Daily Abstractions: Body – Nature/Home – Street aims to offer a thought-provoking perspective regarding the dynamic field of contemporary abstraction in Latin America.

We propose abstraction as an expanded field of reality, one that is in direct dialogue with it. The four themes of the exhibition—Body, Nature, Home, and Street—will anchor a dialogical interchange between abstraction and daily life.

In Latin America, abstraction is often a strategy of critical interrogation of the social, the political arenas, and culture. A vital form of abstraction is inserted in everyday life, whether through appropriation or recycling of materials and objects from popular or industrial culture, or in projects dealing directly with social, cultural, conceptual, or ideological issues.

Abstraction, particularly in Latin America, can be seen as an area of resistance different from utopianism at the beginning of the 20th century. Yasmil Raymond has stated meaningfully that “an abstract resistance, in its broader sense, is the artwork that refuses an idealistic narrative of normalcy while it questions the commodity product with the barricade of contradictions and irreverence.” Supporting this perspective, abstraction can be seen as an investigation derived from the ideological, symbolic, and physical reality of today. It is charged with content and references to the real world, not in opposition or negation of it.

In the expansive field of abstraction directly related to popular and industrial culture, the categories or modes of abstraction are either juxtaposed or their limits are blurred, making it impossible or even counterproductive to define them or separate them. Since popular culture in Latin America is not dictated by the canonical notion of pop, which is associated to mass media, consumerism and the entertainment industry; artists address popular and mass culture by expanding and questioning the “pop” arena as a hybrid cultural subject that coexists in contemporary Latin American culture. In this exhibition, the term “daily” denotes hybrid cultures stemming from the coexistence of cultural, popular, and industrial traditions from disparate economic realities in the continent.

1 Yasmil Raymond. ‘Contending with Comfort: The Possibility of an Abstract Resistance’, in Abstract Resistance, The Walker Art Center, Minneapolis, 2010, pp.16-17

• Exhibitions

• Chain of Questions

I source scientific visualization to explore and create artworks directly informed by geometries and architectures from the spaceflight programs operated by the U.S., Russia, Japan and the E.U. The visual data mined results in site-specific murals, works on paper, oil paintings, sound art pieces and multi- media installations. Images and information from Mars remote sensing, aerospace architecture, earth observation, and materials sciences are amongst many of the constantly flowing and evolving real-time sources used in the studio and post-studio processes. Post-studio research has been conducted in Arecibo Telescope, Puerto Rico, NASA Ames Research Center, Mountain View, CA., JSC (NASA), Houston, TX; KSC (NASA), Cape Canaveral, FL; Gagarin Cosmonaut Training Center (Roscosmos), Korolyov, Moscow Oblast, Russia and the Baikonur Cosmodrome, Baikonur, Kazakhstan. My research and concerns enable me to understand, analyze and speculate on our relationship with nature, with each other and with ourselves.

_

Mis obras esta basadas en visualizacion científica para explorar y crear obras de arte informadas por geometrías y arquitecturas a partir de los programas de vuelos espaciales operados por los Estados Unidos, Rusia, Japón y la Comunidad Europea. La data visual extraida resulta en murales site-specific, obras en papel, pinturas al oleo, piezas de arte de sonido e instalaciones multimedia. Imágenes e información de detección remota desde Marte, arquitectura aerospacial, observaciones de la tierra, y ciencias materiales son entre las muchas fuentes que fluyen y evolucionan constantemente a tiempo real en el estudio y en los procesos post estudio. Investigación post estudio han sido llevada a cabo en Arecibo Telescope, Puerto Rico; NASA Ames Research Center, Mountain View, California; JSC (NASA), Houston, Texas; KSC (NASA), Cape Canaveral, Florida; Gagarin Cosmonaut Training Center (Roscosmos), Korolyov, Moscú Oblast, Rusia; y el Baikonur Cosmodrome, Baikonur, Kazajstán. Mi investigación y preocupaciones me permiten comprender, analizar y especular acerca de nuestra relación  con la naturaleza, el uno al otro y con nosotros mismos.

Selected Biographical Information

Education / Training

• 1991-1996: The University of Texas at Austin, Austin, USA.

Prizes / Fellowships

• 2014: Artist Pension Trust, Artist Pension Trust, New York, United States.
• 2013: Member of Arts & Letters Council, The Mexican Museum, San Francisco, CA, USA.
• 2012: Public Art for Public Schools commission, Percent for Art & NYC Dept. of Cultural Affairs, New York, United States.
• 2008: Abbey Mural Painting Memorial Fellowship, The National Academy Museum and School, New York, United States.
• 2007: Workspace Residency, Dieu Donné Papermill, New York, United States.
• 1998: Artist in the Marketplace Program, Bronx Museum of the Arts, The Bronx, NY, United States.
• 1997: Young Artist Award, Bank of America/Mexic-Arte Museum, Austin, United States.

Solo Exhibitions

• 2015: “Interkosmos”, EDS Galeria, Mexico D.F., Mexico.
• 2014: “Cosmos Codex”, MACLA/Movimiento de Arte y Cultura Latino Americana, San Jose, CA. Organized in dialogue with  NASA Ames Research Center, San Jose, CA, United States.
• 2013: “Vector Composition No. 1”, Miller Theater at Columbia University. Organized by the Miriam & Ira D.Wallach Art Gallery, Columbia University, New York, United States.
• 2013: “Vector Group Paintings (soundtrack collaboration with Stephen Barber)”, GE Galeria, VOLTA NY, New York, United States.
• 2012: “Astrospheres”, Galeria Okyo, Caracas, Venezuela.
• 2010: “Cosmodrome Vectors”, Think.21 Gallery, Brussels, Belgium.
• 2008: “Virus Americanus Maximus”, GE Galeria, Garza Garcia, Mexico.
• 2007: “Next Green Sphere”, g-module, Paris, France.
• 2006: “A New Kind of Science”, Karpio+Facchini Gallery, Miami, United States.
• 2005: “Space Station: Tenochtitlan”, Museo de Arte Carrillo Gil, Mexico D.F. , Mexico.
• 2004: “Event Horizon”, g-module, Paris, France.
• 2003: “American Virus”, Jersey City Museum, Jersey City, United States.
• 2003: “Proper Motion (Pictures)”, The Hudson River Museum of Westchester, Yonkers, NY, United States.
• 2002: “Stardust, new wall drawings”, Thomas Erben Gallery, New York, United States.
• 2002: “Space Stations and Blueprints”, g-module, Paris, France.
• 2002: “Vargas-Suarez Universal: Space Stations”, Lobby Gallery, Brooklyn Public Library. organized by d.u.m.b.o. arts center, Brooklyn, United States.

Group Exhibitions

• 2015: “God Save the Queen: Sobre Pintura en la Coleccion MUSAC “, Museo de Arte Contemporaneo de Castilla y Leon  (MUSAC), Leon, Spain.
• 2015: “TOPOGRAFICA “, American University of Central Asia (AUCA), Bishkek, Kyrgyz Republic.
• 2015: “A False Horizon: Art from Latin America”, PEANA Projects, New York, United States.
• 2015: “In The Cloud”, Ethan Cohen Fine Arts, New York, United States.
• 2014: “The Vastness id Bearable”, Museum of Contemporary Art Santa Barbara, Santa Barbara, CA, United States.
• 2014: “Rojo Vivo: la pasión por coleccionar “, Fundacion Canaria para el Desarollo de la Pintura, Las Palmas de Gran Canaria, Spain.
• 2014: “By Invitation Only 3 curated by Renée Riccardo”, Kinz + Tillou Fine Art, Brooklyn, NY, United Sates.
• 2014: “Separation Anxiety”, Wallplay, New York, United States.
• 2014: “Convergencias Distantes/Distant Convergence “, EDS Galeria, Mexico D.F, Mexico.
• 2013: “Housewarming: Notions of Home from the Center of the Universe”, BRIC Arts Media House, Brooklyn, NY, USA.
• 2013: “30th Ljubljana Biennial of Graphic Arts “, Moderna galerija Ljubljana (Museum of Modern Art, Ljubljana) , Ljubljana, Slovenia.
• 2013: “‘ON PAINTING’  [Prácticas pictóricas actuales… más allá de la Pintura o más acá]”, CENTRO ATLÁNTICO DE ARTE MODERNO, Las Palmas de Gran Canaria, Spain.
• 2013: “Epures “, Le Sept.Cinq, Paris, France.
• 2012:“I N   P L A I N   V I E W   A group exhibition”, Gallery Geranmayeh, Westport, CT, USA.
• 2012: “Colliding Complexities-Extreme Feats of the New Aesthetic”, Storefront Gallery, Brooklyn, NY, USA.
• 2012: “Vistas: A Sense of Place by Contemporary Latin American Artists”, University of Maryland University College  (UMUC), Adelphi, MD, USA.
• 2012: “(Un)folding Patterns”, Dorsky Curatorial Programs, Long Island City, NY, USA.
• 2012: “TRIENAL POLI/GRÁFICA DE SAN JUAN: EL PANAL/THE HIVE”,  Instituto de Cultura Puertorriqueña, Antiguo Arsenal de la Marina Española, San Juan, Puerto Rico, USA.
• 2011: “Campo de Asociaciones”, Centro Cultural Simón Bolivar, Guayaquil, Ecuador.
• 2011: “A line of souls and a few words from the holy”, Fortress to Solitude Gallery, Brooklyn, NY, USA.
• 2011: “Spirit of the Epoch: A Decade of Painting from the Ofelia Martin & Javier Nuñez Art Collection”, Museo Internacional  de Arte Contemporáneo (MIAC-Lanzarote), Arrecife, Canary Islands, Spain.
• 2011: “Signs, Systems & the City in El Museo del Barrio’s Permanent Collection”, El Museo del Barrio, New York, USA.
• 2010: “Unraveling Abstraction”, Gallery Geranmayeh, Westport, CT, USA.
• 2009: “Brooklyn Utopias? “, Brooklyn Historical Society, Brooklyn, NY, USA.
• 2009: “Big Show: Love “, Jacob Karpio Galeria, San Jose, Costa Rica.
• 2009: “Baroque Reason”, Keith Talent Gallery, London, UK.
• 2008: “Workspace Program 2007-08”, Dieu Donne Papermill, Inc., New York, USA.
• 2008: “Wild”, Jacob Karpio Galeria, San Jose, Costa Rica.
• 2008: “Claiming Space: Mexican Americans in U.S. Cities”, Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso (UTEP)., El Paso, Texas, USA.
• 2008: “S.O.S. 4.8 Sustainable Art Actions”, Centro de Congresos Victor Villegas, Murcia, Spain.
• 2008: “Walls and Gateways”, Existentie vzw, ACEC, Ghent, Belgium.
• 2008: “ggg.g-salon”, g-module, Paris, France.
• 2007: “Della Pittura Digitalis – Painting and the digital momentum”, Caprice Horn Galerie GmbH, Berlin, Germany.
• 2007: “Double-edged Abstraction”, g-module, Paris, France.
• 2007: “2nd Moscow Biennale of Contemporary Art: Special Projects: We Are Your Future”, Winzavod Contemporary Art  Centre, Moscow, Russian Federation.
• 2007: “Mixed Signals “, Ronald Feldman Fine Arts, Inc., New York, USA.

Publications

• Ice Cream – 10 curators, 100 contemporary artists, 10 source artists (London: Phaidon), 316, 317, 318, 319.
• Rumos Itaú Cultural – Artes Visuais 2005-2006 (São Paulo: Itaú Cultural), 190.
• Gabinete de Desenhos – Obras do Acervo do MAM-SP (São Paulo: Museu de Arte de Arte Moderna de São Paulo), 50, 51.
• José Augusto Ribeiro, “Nicolás Robbio”, ArtNexus, Sept-Nov 2005, 157-158.
• Adriano Pedrosa, “Nicolás Robbio”, Artforum, Summer 2007, XLV, Nº10, 507-508.
• Celso Martins, “Arte por um fio”, E – a revista do Expresso (Portugal), Aug 29, 2015, 76.
• Dr. Kate Bonansinga, Curating at the Edge: Artists Respond to the US/Mexico Border (Austin: University of Texas Press), 92, 94, 99, 104, 105, 106.
•  Selene Wendt, Paco Barragan, When a Painting Moves… Something Must be Rotten (Milano: Edizioni Charta, Stenersen Museum), 49, 50, 51, 52.
• Paco Barragan, Sustainabilities (Milano: Edizioni Charta), 12,15,16,19.
•  Stellweg, diSONARE (Mexico D.F.: Batallas de la Era Comun S.A.P.I de C.V.), 14-26.
• Susan Jennings, THIS: A Collection of Artist’s Writings (New York: Right Brain Words), 75-80.
• Paco Barragan, “Dialogues for a New Millenium: Interview with Vargas–Suarez Universal“, Artpulse, No. 17 Vol. 5, 2013, 68-71.
• Susana Benko, “Los Lazos Comunicantes de Vargas–Suarez Universal“, Papel Literario, El Nacional, June 23, 2012.
• Blanca Gonzalez Rosas, “Arte: PS 1 Studio Visit”, Proceso, July 4, 2010, 70.
• Julieta Gonzalez, “Virus Americanus”, Revista ARCO, 2003, 54.
• Dr. Rocio Aranda-Alvarado, “Vargas–Suarez Universal“, Bomb, No. 90 Winter 2005, pp. 32-39.
• Benjamin Gennochio, “ART REVIEW; A View of Outer Space? No, It’s Just of Jersey City“, The New York Times, December 28, 2003.
• Pablo Helguera, “Solo Show  Vargas Suárez–Universal “, ArtNexus,  #48 Apr. Jun 2003.
• Adriana Herrera, “VARGAS–SUÁREZ UNIVERSAL: UNA NUEVA CLASE DE ARTE”, Nuevo Herald, El (Miami, FL), May 14, 2006  Section: SECTION: Artes y Letras, Galeria  Edition: Final, 8D.
• Michael Wilson, “First take: Michael Wilson on Vargas–Suarez Universal“, Artforum, January 2003 XLI, No. 5, 127.

Collections

• American University of Central Asia, Bishkek, Kyrgyz Republic.
• Artist Pension Trust, New York, USA.
• Baltimore Museum of Art, Baltimore, MD, USA.
• The Brooklyn Museum, Brooklyn, NY, USA.
• Centro Atlantico de Arte Moderno (CAAM), Las Palmas de Gran Canarias, Spain.
• Comunidad Autonoma de la Region de Murcia (CARM), Murcia, Spain.
• DA2 (Domus Artium 2002), Salamanca, Spain.
• Dieu Donne Papermill, Inc., New York, USA.
• El Museo del Barrio, New York, USA.
• Fundación Canaria para el Desarrollo de la Pintura, Las Palmas de Gran Canaria, Spain.
• LibertyHealth Foundation, Jersey City Medical Center, Jersey City, USA.
• Jersey City Museum, Jersey City, NJ, USA.
• Mexic-Arte Museum, Austin, TX, USA.
• The Museum of Modern Art Library, New York, USA.
• Palazzo delle Papesse Centro Arte Contemporanea, Siena, Italy.
• Queens Museum of Art, Flushing Meadows, Corona Park, Queens, NY, USA.
• Rhode Island School of Design Museum of Art, Providence, RI, USA.
• Jordan Schnitzer Museum of Art, University of Oregon, Eugene, OR, USA.
• UBS Art Collection, New York, USA.
• Whitney Museum of American Art, New York, USA.
• Winzavod Contemporary Art Centre, Moscow, Russian Federation.

• Artists

Selected Biographical Information

Education / Training

• 1995-2000: PhD, Escola de Comunicações e Artes da Universidade de São Paulo, São Paulo, Brazil.
• 1984-1986: MFA, The School of The Art Institute of Chicago, Chicago, USA.
• 1978-1982: BFA, Fundação Armando Álvares Penteado, São Paulo, Brazil.

Prizes / Fellowships

• 2013-2014: Humanities Research Center – Autrey Visiting Scholar. Rice University, Rice University, Houston, USA.
• 2002-2003: John Simon Guggenheim Foundation Grant, John Simon Guggenheim Foundation, New York, USA.
• 1991: Prêmio of the City of Ribeirão Preto 16º SARP , Casa da Cultura Ribeirão Preto, Ribeirão Preto, Brazil.
• 1990: Prêmio Brasília de Artes Plásticas 1990, MAB Museu de Arte de Brasília, Brasília, Brazil.
• 1987: Prêmio Artista Revelação 1987 – APCA , Associação Paulista de Críticos de Arte, São Paulo, Brazil.
• 1984-1986:  MFA Scholarship, FULLBRIGHT/CAPES/LASPAU.
• 2007: Ida Ely Rubin Artist-in-Residence, Massachusetts Institute of Technology, Boston, USA.
• 2007: Red de Residencias Artisticas Local Mestrado en Artes, Universidad Nacional de Bogotá – UNAL , Bogotá, Colombia.

Solo Exhibitions

• 2015: “Deviating Utopias from the Artifactual Series”, Galerie Stöckle Hauser, Stuttgart, Germany.
• 2015: “Cárceres a duas Vozes: Piranesi e Ana Maria Tavares”, Museu Lasar Segall, São Paulo, Brazil .
• 2015: “Deviating Utopias from the Artifactual Series”, Rools Royce Studio, Berlin, Germany.
• 2015: “Sinfonia Tropical para Loos”, Galeria Vermelho, São Paulo, Brazil.
• 2014: “Euryales Amazonica”, Sicardi Gallery, Houston, USA.
• 2014: “Atlântica Moderna: Purus e Negros”, Museu Vale, Vila Velha, Brazil.
• 2013: “Deviating Utopias”, Frist Center for the Visual Arts, Nashville, USA.
• 2013: “Natural-Natural: Paisagem e Artifício”, MAC – Museu de Arte Contemporânea do Centro Dragão do Mar de Arte e Cultura, Fortaleza, Brazil.
• 2013: “Tautorama”, Paço das Artes, São Paulo, Brazil.
• 2011: “Desviantes (da série Hieróglifos Sociais)”, Galeria Vermelho, São Paulo, Brazil.
• 2008: “Ana Maria Tavares”, The Shusev State Museum of Architecture, Moscow, Russia.
• 2008: “Crystal Waters”, Kröller Müller Museum, Arnhem, Holland.
• 2005: “Paisagem para Exit II”, Culturgest, Porto, Portugal.
• 2001: “Middelburg Airport Lounge with Parede Niemeyer”, De Vleeshal, Middelburg, Holland.
• 1998: “Relax’o’visions”, Museu Brasileiro da Escultura, São Paulo, Brazil.
• 1997: “Porto Pampulha”, Museu de Arte da Pampulha, Belo Horizonte, Brazil.

Group Exhibitions

• 2014: “Josephine Baker e Le Corbusier – Um Caso Transatlântico”, MAR Museu de Arte do Rio, Rio de Janeiro, Brazil.
• 2009: “After Utopia”, Centro per l’arte contemporanea Luigi Pecci, Prato, Italy.
• 2009: “Neo-Tropicália”, Yerba Buena Center for the Arts, San Francisco, USA.
• 2008: “Neo-Tropicália”, MOT – Museum of Contemporary Art Tokyo, Tokyo, Japan.
• 2008: “Blooming Now: Brasil-Japão, o seu lugar”, Toyota Municipal Museum of Art, Toyota, Japan.
• 2008: “Grandeur. Sonsbeek_10”, Sonsbeek Park, Arnhem, Holland.
• 2006: “Belief”, Singapore Bienalle 2006, Singapore, Singapore.
• 2005: “Farsites: Urban Crisis and Domestic Symptoms in Recent Contemporary Art”, The San Diego Museum of Art, San Diego, USA.
• 2004: “The Encounters in the 21st Century: Polyphony – Emerging Resonances”, 21st Century Museum of Contemporary Art, Kanazawa, Japan.
• 2003: “Conceptualisms: Zeitgenossische Tendenzen in Musik”, Kunst und Film, Akademie der Kunste, Berlin, Gemany.
• 2003: “Auf Eigene Gefahr/At your Own Risk”, Schirn Kunsthalle, Frankfurt, Germany.
• 2003: “The Straight or Croocked Way”, Royal College of Art, London, England.
• 2003: “Living Inside the Grid”, The New Museum of Contemporary Art, New York, USA.
• 2002: “Arte Cidade Zona Leste”, SESC Belenzinho, São Paulo, Brazil.
• 2001: “Ego Fugal”, VII Istambul Biennial, Istambul, Turkey.
• 2000: “Septima Bienal de La Habana: Una más acerca del otro”, Habana, Cuba.
• 1997: “XXVI Bienal de Arte de Pontevedra: O Espaço como Projeto – O Espaço como Realidade”,  Pazo da Cultura, Pontevedra, Spain.
• 1994: “Bienal Brasil Século XX“, Fundação Bienal de São Paulo, Sao Paulo, Brazil.

Publications

• CHIARELLI, Tadeu, Arte Internacional Brasileira (São Paulo: Lemos Editorial), 311.
• TILROE, Anna, The Thinking Matter: Looking for a New Utopian Vision  (Amsterdam: Querido Publishers).
• CREAM 3 – Contemporary Art in Culture. 10 Curators. 10 Contemporary Artists. 10 Source Artists (London: Phaidon Press Limited), 448.
• LAGNADO, Lisette, Carriers (São Paulo: Museu Brasileiro da Escultura).
• Fernando Pedro da Silva. Marília Andrés Ribeiro., Ana Maria Tavares (Belo Horizonte: C/arte), 96.
• CARVALHO, Bernardo, “Escultora seduz e castiga o olhar com boas intenções e perversão”, Folha de São Paulo , November 27, 1990.
• HERKENHOFF, Paulo , “Brazilian Contemporary Art: A Theorethical Construction”, Ultramodern: The Art of Contemporary Brazil. The National Museum for Women in The Arts , 1993.
• HINCHBERGER, Bill, “Ana Maria Tavares: Impractical Practices”, Art News, 1993.
• HIRSZMAN, Maria, “As Vertiginosas Esculturas de Ana Tavares no MuBe”, O Estado de São Paulo, October 17, 1998.
• ZAYA, Octavio, “Potafolio de Ana Maria Tavares para Atlántica”, Atlántica Revista de Arte y Pensamiento, Verano, 2000, Pages 94-109.
• GALLÁN, Fernando Martín , “Obras Referenciales”, Sublime. , March/April,  2002,  Page 32-33.
• GROSSMANN, Martin, “Seducción y Crítica, Arte y Arquitectura en Brasil”, Revista Sublime / arte + cultura contemporânea , November/ December, 2002, Page 19-23.
• Andy Campbell, “Ana Maria Tavares”, Artforum, December 2005, .
• Julia Buenaventura, “Ana Maria Tavares”, ArtNews, 2011, 133-134.

Collections

• KMM – Kröller Müller Museum, Arnhem, Holland.
• FRAC Haute Normandie. Fonds Régional d’Art Contemporain, France.
• CULTURGEST – Fundação Caixa Geral de Depósitos, Lisboa, Portugal.
• MuHKA Museum van Hedendaagse Kunst Antwerpen, Brussels, Belgian.
• Fundação Arco, Madrid, Spain.
• Fundação Serralves, Porto, Portugal.
• MAC – Museu de Arte Contemporânea de São Paulo, São Paulo, Brazil.
• MAC – Museu de Arte Contemporânea de Niterói, Niterói, Brazil.
• Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
• MAM – Museu de Arte Moderna de São Paulo, São Paulo, Brazil.

• Artists

• Chain of Questions

• Chain of Questions

Selected Biographical Information

Education/Training

• 2015: Programa de formación, Fondo Nacional de las Artes – Haroldo Conti, Caba, Argentina
• 2013: Programa de formación, PAC (Prácticas Artísticas Contemporáneas), Caba, Argentina.
• 2010-2011: Residency, Cannonball, Miami, USA.
• 2000-2005: BFA, UNA (Universidad Nacional de Arte), Buenos Aires, Argentina.

Prizes/Awards

• 2015: Fellowship Fondo Nacional de las Artes – Haroldo Conti, Haroldo Conti, Ciudad Autónoma de Buenos Aires, Argentina.
• 2014: Residency program El Ranchito, Matadero Madrid + AECID, Matadero Madrid, Madrid, Spain.
• 2013: International Fellowship Robert Sterling Clark Foundation, Vermont Studio Center, Johnson, Vermont, USA.
• 2009: 3 prize at Premio Estímulo del Banco Provincia de Buenos Aires, BAPRO, Ciudad Autónoma de Buenos Aires, Argentina.
• 2007: 1 Prize at Salón Provincial de Arte Joven, Pintura, Gobierno de la Provincia de Buenos Aires, La Plata, Argentina.

Solo Exhibitions

• 2012: “Things in the Air”, Alejandra Von Hartz Gallery, Miami, Florida, USA.
• 2010: “Watch the Stars and from them Learn”, Spinello Gallery, Miami, Florida, USA.

Group Exhibitions

• 2015: “La Fuerza Débil”, Fondo Nacional de las Artes, Ciudad Autónoma de Buenos Aires, Argentina.
• 2014: “New Dialogues“, Alejandra Von Hartz Gallery, Miami, Florida, USA.
• 2014: “Normal“, Matadero Madrid, Madrid, Spain.
• 2012: “Art Live Fair“, Miami, USA.
• 2010: “Littlest Sister ´10”, Spinello Gallery, Miami, Florida, USA.

Publications

• Consulado General de la República Argentina en Miami, Artistas Argentinos en Miami (Miami: Consulado General de la República Argentina en Miami), 211.
• Gachi Prieto, PAC 2013 (Prácticas artísticas contemporáneas) (Vicente Lopez : India Ediciones), 140.

Collections

• Fundación Williams, Caba, Argentina.
• Banco BAPRO, Caba, Argentina.
• Museo Provincial de Bellas Artes Emilio Petorutti, La Plata, Argentina.

• Artists

• Chain of Questions

• Chain of Questions

• Chain of Questions

Artists: Adrián Balseca, Adrian Paci, Adriana Escobar, Alexandra McCormick, Allan Sekula and Noël Burch, Amar Kanwar, Ana Patricia Palacios, Annaleen Louwes, Anri Sala, Antonio Caro, Antonio Paucar, Arquitectura Expandida and Caldo de Cultivo, Camila Botero, Camilo Cantor, Camilo Restrepo, Carlos Motta, Clara Ianni and Debora da Silva, Claudio Perna, Colectivo Nomanada, Cráter Invertido, Dan Perjovschi, Daniela Ortiz, Elena Vargas Tisnés, Élkin Calderón Guevara, Emilia Azcárate, Fernando Arias, Giuseppe Campuzano, Gülsün Karamustafa, Halil Altindere, Jordi Colomer, Jorge Alonso Zapata, Jorge Andrés Marín, José Alejandro Restrepo, Juan Javier Salazar, Juan Obando, Libia Posada, Liliana Angulo, Magdalena Fernández, Mapa Teatro, María Buenaventura, Michael Soi, Miguel Ángel Rojas, Mónica Mayer, Mujeres Creando, Myriam Lefkowitz, Natalia Giraldo Giraldo, Nathalie Djurberg and Hans Berg, Nathaly Rubio, Núria Güell, Paromita Vohra, Phil Collins, Santiago Vélez, Sislej Xhafa, Tercerunquinto, Todo por la Praxis, Tricilab, William Engelen, Wilson Díaz, Ximena Garrido-Lecca, Yoel Díaz Vázquez.

MDE 15 Medellín
Curated by Nydia Gutiérrez, Tony Evanko, Fernando Escobar, Sharon Lerner, Edi Muka.
October 2015 – March 2016
Museo de Antioquia
Medellín, Colombia

The theme of Local Stories/Global Practices has been conceived to create a space of reflection and engagement with the recent transformation of Medellín since the turn of the millennium. Medellín, considered to be a progressive Latin American city that has implemented innovative programs to stimulate social and urban development, is part of a larger picture. While the results of these processes are real and tangible, the dynamics they have generated are particularly complex from an ethical standpoint. In order to understand their implications we propose to focus on these processes of change and explore them through commissioned projects, works of artists and other socially oriented initiatives, sometimes inserted in spaces beyond the artistic field.

MDE15 inserts itself in the social fabric of the city while sharing stories, experiences and practices from elsewhere in the world. Transformative changes can elicit psychological, physical and social responses that range from issues of trust and security to economic well-being. The stories that result from observations and from the direct experiences of people in communities, often address the coping mechanisms that are required to survive and flourish amid those changes, which often occur at a pace that outstrips the citizens and society’s ability to assimilate them. MDE15 aims at focusing on the unsaid and the less visible aspects of the everyday, such as memory, the past, the persistence of structural problems, but also the resilience of life in the city. It also relies on the potential of art to harness the capacity of individual and collective imagination to re-signify complex situations.

It is in this context and in the context of a critical standpoint in which the definition of artistic practice is constantly being challenged, that the MDE15 unfolds.

Topics

1. Violence, conflict and memory
2. Local stories in a global context
3. Exertion of power over the body
4. The institutional teasing
5. Resilient city: dreams, desires and possibilities

• Happenings

Customizing Language
Curated by Idurre Alonso and Selene Preciado
January 7 – February 14, 2016
LACE (Los Angeles Contemporary Exhibitions)
Los Angeles, CA, USA

Customizing Language critically examines how language reflects geopolitical realities. The project approaches language as a tool to reflect power relations, hierarchies, social differences, and historical problems, as well as a cultural system of belonging that can indicate the loss or reconfiguration of certain kinds of identities. The participating artists engage local and historical issues by using experimental language to create a dialogue with the audience, exploring issues of “custom” as cultural tradition, U.S. Customs as an immigration agency, and lowrider customization in popular culture.

• Happenings

Artists: Cyrcle, Jan Kaláb, Ox, Rero, Andrey Zignnatto, and Aníbal Vallejo.

TRANSBORDER
January 30 – February 28, 2016
Fabien Castanier Gallery
Los Angeles, CA, USA

The exhibition centers around artists who challenge the idea of boundaries within art, both physical and ideological borders. Each artist presents new work for TRANSBORDER, examining the transitory elements of shape, color, form, and context within art making. The group exhibition takes a survey of how the language of both abstraction and figurative form can be conveyed throughout vastly different corners of the world.  Across borders of both time and space, these artists have created connectivity and conversation through creation.

From the curator
This exhibition aims to bring together, in a single physical space, artists from five nationalities, while also focusing on the artists’ variations in approaches, practices and techniques. So why did I want to bring these artists together in the same space and time? But also, why Transborder?

Firstly, art is for me a pretext for meetings and travel. Art is above all a human adventure. However art is also a coming together of objects, materials, and works that evoke an “emotional shock” that drives viewers to evolve ideas, perceptions, life trajectories and constructs of reality. I ask you to search your memory for a time that you, as a viewer, experienced a work by an artist you did not know, yet you sensed an inexplicable vibration. That same sensation in that precise moment has driven my desire to curate Transborder, to evoke these emotionally compelled experiences in viewers.

I have the feeling that what unites us all is the fact that we are all in the “fold”, i.e. that we have decided to place ourselves consciously or unconsciously to the limit of inside and outside as Michel Foucault suggested. “We must escape the alternative of outside and inside: we must be the border.”

TOP: Jan Kaláb | Black Planes, acrylic on cut-through canvases, 44 x 48 in. (112x121cm)

• Happenings

Selected Biographical Information

Prizes / Fellowships

• 2015: Prêmio Marcantonio Vilaça CNI SESI SENAI (5th edition), Prêmio Marcantonio Vilaça CNI SESI SENAI , São Paulo, Brazil.
• 2006: Paradoxos Rumos Itaú Cultural, Bethanien Kunsthaus, Berlin, Germany.

Solo Exhibitions

• 2015: “Observações de uma realidade sincopada”, Museu da Cidade, Lisboa, Portugal.
• 2014: “Medos Modernos“, Instituto Tomie Ohtake, São Paulo, Brazil.
• 2014: “Repetição da Ordem“, Galeria Vermelho, São Paulo, Brazil.
• 2013: “Every Body Knows“, Galerie Invaliden1, Berlin, Germany.
• 2012: “A força é limitada pela necessidade“, Galeria Vermelho, São Paulo, Brazil.
• 2011: “Bandeira em branco não é bandeira branca (A Blank Flag is not a  White Flag)“, Galeria Vermelho, São Paulo, Brazil.
• 2010: “Se mueve pero no se hunde“, Galeria Vermelho, São Paulo, Brazil.
• 2010: “O Amanhã de ontem não é hoje fro Emissores Reunidos Project“, Fundação Serralves, Porto, Portugal.

Group Exhibitions

• 2015: “Singularidades/Anotações: Rumos Artes Visuais 1998 – 2013“, Paço Imperial, Rio de Janeiro, Brazil.
• 2015: “Aprendendo a Viver com a Sujeira”, Galeria Vermelho, São Paulo, Brazil.
• 2015: “Pontos Colaterais“, Arquipélago – Centro de Artes Contemporâneas, Açores, Portugal.
• 2014: “C-32 Sucursal“, MALBA, Buenos Aires, Argentina.
• 2013: “Blind Field“, Krannert Art Museum, Champaign, USA.
• 2012: “When Attitudes Became Form Become Attitudes“, CCA Wattis Institute for Contemporary Art, San Francisco, USA.
• 2012: “Sextanisqatsi: desordem habitável“, Museo de Arte Contemporáneo de Monterrey [MARCO], Monterrey, Mexico.
• 2011: “32º Panorama da arte Brasileira”, Museu de Arte Moderna (MAM), São Paulo, Brazil.
• 2010: “Para ser Construidos (To be built)“, Museu de Arte Contemporáneo de Castilla y León [MUSAC], Castilla y León, Spain.
• 2010: “The Travelling Show“, Fundación/Colección JUMEX, Mexico DF, Mexico.

Publications

• Ice Cream – 10 curators, 100 contemporary artists, 10 source artists (London: Phaidon), 316, 317, 318, 319.
• Rumos Itaú Cultural – Artes Visuais 2005-2006 (São Paulo: Itaú Cultural), 190.
• Gabinete de Desenhos – Obras do Acervo do MAM-SP (São Paulo: Museu de Arte de Arte Moderna de São Paulo), 50, 51.
• José Augusto Ribeiro, “Nicolás Robbio”, ArtNexus, Sept-Nov 2005, 157-158.
• Adriano Pedrosa, “Nicolás Robbio”, Artforum, Summer 2007, XLV, Nº10, 507-508.
• Celso Martins, “Arte por um fio”, E – a revista do Expresso (Portugal), Aug 29, 2015, 76.

Collections

• Museu de Arte Moderna de São Pauo (MAM SP), São Paulo, Brazil.
• Museo de Arte Latino Americano de Buenos Aires (MALBA), Buenos Aires, Argentina.
• Fundação Serralves, Porto, Portugal.
• Museo de Arte Contenporâneo de Castilla y León (MUSAC), Castilla y León, Spain.
• Firstsite, Colchester, UK.
• Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
• Arquipélogo – Centro De Artes Contemporânea Dos Açores, Açores Island, Portugal.

• Artists

Selected Biographical Information

Solo Exhibitions

• 2014: “Historia de la Fotografía”, Oficina N°1, Caracas, Venezuela.
• 2008: “Color Contracuratorial”, Periférico Caracas, Caracas, Venezuela.
• 2007: “El Rostro, Lugar de Nadie”, Gallery 415, San Fracisco, United States.
• 2006: “Desparpajos”, Galeria D´Museo, Caracas, Veneuzuela.
• 2003: “Punto Ali Dades”, Galería D´Museo, Caracas, Venezuela.
• 2001: “Usted El Espacio”, Galeria D´Museo, Caracas, Venezuela.
• 1999: “Instalaciones”, Sala Mendoza, Caracas, Venezuela.
• 1990: “Gran Museo de la Locura y la Legalidad”, Sala RG, Caracas, Venezuela.

Group Exhibitions

• 2015: “116”, Galería de Arte Florida, Caracas, Venezuela.
• 2014: “Panorámica Arte Emergente en Venezuela 2000/2012”, Sala TAC, Caracas, Venezuela.
• 2008: “Salón CANTV Jóvenes con FIA”, Centro Cultural BOD Corpbanca, Caracas, Venezuela.
• 2006: “Espacios Re-Dibujados”, Centro Cultural BOD Corpbanca, Caracas, Venezuela.
• 2005: “Jump Cuts”, Americas Society, New York, USA.
• 2004: “Arte Contemporáneo Venezolano 1990-2004 en la Colección Cisneros “, Museo de Arte Moderno Jesús Soto, Ciudad Bolivar, Venezuela.
• 2000: “La Llama”, Sala RG, Caracas, Venezuela.
• 2002: “Feria del Arte ARCO”, Galería D´Museo, Madrid, Spain.
• 1998: “Made in Mexico/Made in Venezuela”, Art Metropole, Canada.

Publications

• Erik Del Bufalo, El Rostro, Lugar de Nadie (Caracas: Galería D´Museo, Banco Mercantil), 51.
• Dulce Gómez, Francisco Villnueva, Arte Contemporáneo de Venezuela (Caracas: Dulce Gómez, Francisco Villnueva), 135.

Collections

• Galería de Arte nacional, Caracas, Venezuela.
• Museo de Bellas Artes, Caracas, Venezuela.
• Museo de Arte Contemporáneo de Caracas, Caracas, Venezuela.
• Museo del Barrio, New York, USA.
• Museo de Arte Latinoamericano MOLAA, Long Beach, California, USA.
• Colección Mercantil, Caracas, Venezuela.
• Colección Cisneros, Caracas, Venezuela.

• Artists

Selected Biographical Information

Education / Training

• 2000-2004: Artista Visual, Escuela Superior de Bellas Artes Corriente Alterna, Lima, Peru.

Prizes / Fellowships

• 2011: Arcos Dorados Pintura Latinoamericana, Golden Arches, Buenos Aires, Argentina.
• 2008: Artista Emergente – premio en obra, Fundación Arte BA, Buenos Aires, Argentina.
• 2007: Pasaporte para un Artista, Alliance Francaise, Lima, Peru.

Solo Exhibitions

• 2015: “El Fronton y Stellar”, Corkin Gallery, Toronto, Canada.
• 2015: “Poéticas del resto –  (STELLAR 1)”, Sala Luis Miró Quesada Garland, Lima, Peru.
• 2014: “Stellar”, Bendana | Pinel Art Contemporain, Paris, France.
• 2011: “Infierno en Chorrillos”, Galeria AFA, Santiago de Chile, Chile.
• 2011: “Nunca fuimos la Revolución”, Revolver Galeria, Lima, Peru.
• 2008: “Twenty C Boy”, Galeria Lucia de la Puente, Lima, Peru.

Group Exhibitions

• 2015: “Salón de arte contemporáneo 2015”, Palacete Sousa, Lima, Peru.
• 2015: “A las piedras vamos” project rooms, curadoria por Emiliano Valdez”, PARC (Peru arte contemporaneo), Lima, Peru.
• 2015: “U-TURN” project rooms, curadoria por Giacopo Crivelli Visconti”, ArteBA, Buenos Aires, Argentina.
• 2015: “Imágenes desplazadas / Imágenes en el espacio”, 4º Trienal Poli/Gráfica de San Juan: América Latina y El Caribe, San Juan, Costa Rica.
• 2015: “Mensajes de una nueva America”, Bienal de Mercosul, Porto Alegre, Brazil.
• 2013: “Silver”, Revolver Galería, Lima, Peru.
• 2013: “Bajo el sol de la muerte – Revolver 05”, Galeria Espacio Mínimo, Madrid, Spain.
• 2012: “41  Reasons We Still Need Superman”, Arts University Bournemouth, Poole, UK.
• 2012: “La quema del diablo”, Galeria Diablo Rosso/Proyectos Ultravioleta, Panama, Panama.
• 2012: “Revolver 04”, Galeria NUEVE OCHENTA, Bogota, Colombia.
• 2012: “Arte al paso” –  muestra itinerante de la colección contemporánea del Museo de Arte de Lima MALI)”, Pinacoteca de Sao Paulo, São Paulo, Brazil .
• 2011: “Bruma – Revolver 03”, Twenty Hoxton Proyect, London, UK.
• 2011: “Difracción – Revolver 02”, Arroniz Arte Contemporáneo, Ciudad de México, Mexico.
• 2011: “Materia Prima”, Atelier Subterranea, Bienal de Mercosul, Porto Alegre, Brazil.
• 2009: “El fin del principio- Revolver 01”, Galeria Patricia Ready, Santiago de Chile, Chile.
• 2008: “Mali Contemporáneo”  (Casa Wiesse, Lima), Museo de Arte Contemporaneo MALI, Lima, Peru.

Collections

• Museo de Arte de Lima MALI, Lima, Peru.

Links

• Oveja negra
• Trienal San Juan
• Artsy
• Sala LMQG
• Fundación Bienal

• Artists

Selected Biographical Information

Education / Training

• 2010-2012: MFA, Yale University, New Haven, USA.
• 1999-2003: BFA, Cooper Union, New York, USA.

Prizes / Fellowships

• 2013-2014: Eliza Long Prize, Museum Fine Arts, Houston, Houston, USA.
• 2012: 2012 New American Painting, New American Painting, USA.
• 2011: Bronx Recognizes Its Own, Bronx Arts Council, Bronx, USA.

Solo Exhibitions

• 2015: “Home Field Advantage“, Casita Maria Center for Arts and Education, Bronx, USA.
• 2013: “Ulama, Ule, Olé”, Carol Jazzar Gallery, Miami, USA.

Group Exhibitions

• 2015: “Open Sessions 6“, The Drawing Center, New York, USA.
• 2015: “Specter Field“, Lawndale Arts Center, Houston, USA.
• 2015: “Lineas de la Mano“, Sicardi Gallery, Houston, USA.
• 2015: “Name It by Trying to Name It“, The Drawing Center, New York, USA.

Publications

• Andy Campbell, “Critics’ Picks“, Art Forum, 2015.

• Artists

Artists: Emilia Azcárate, Jacques Bedel, Fernando ‘Coco’ Bedoya, Paulo Bruscky, Jorge Caraballo, Elda Cerrato, Emilio Chapela, Guillermo Deisler, Noemí Escandell, Nicolás García Uriburu, Anna Bella Geiger, Leandro Katz, Leonel Luna, Jonier Marín, Juan José Olavarría, Alejandro Puente, Osvaldo Romberg, Horacio Zabala, Carlos Zerpa.

América
October 21, 2015 – February 10, 2016
Henrique Faria
Buenos Aires, Argentina

Perfiles múltiples para un continente

La historia de América está repleta de gritos: aquellos del conquistador divisando tierra, los de independencia -desde Dolores a Yara- o los del inmigrante que a comienzos del siglo XX intentaba conjurar con su voz el calvario que atravesaba. Sin embargo, hay otras formas de decir América, modos singulares de invocarla, donde se experimenta con su nombre, su cartografía o su pasado. Aquí América se revela como una construcción, una evocación estratégica para desarmar imágenes naturalizadas, desafiar poderes o confrontar mecanismos de opresión.

A través de las obras que participan de esta exposición es posible distinguir no sólo cómo los diversos problemas de las agendas americanas fueron recurrentes en las investigaciones de los artistas contemporáneos sino la manera en que sus estrategias, sus fundamentos políticos y sus objetivos de intervención se modificaron a lo largo del tiempo. Sin embargo, es necesario regresar hacia las obras, establecer nuevos diálogos entre artistas y clarificar sus contextos de circulación para dar lugar a la tarea que parece más urgente: desarmar lecturas naturalizadas que en el estado actual del arte definen los perfiles de lo latinoamericano.

Agustín Díez Fischer

• Happenings

Selected Biographical Information

Education / Training

• 1998-2001: Visual Arts, Fundação Armando Álvares Penteado, São Paulo, Brazil.

Prizes / Fellowships

• 2011: Prêmio CNI-SESI Marcantonio Vilaça para Artes Plásticas, Prêmio CNI-SESI Marcantonio Vilaça para Artes Plásticas, São Paulo, Brazil.
• 2011: ARCO 2011 – Illy SustainArt Award, ARCO, Madrid, Spain.
• 2010: El Ranchito, Matadero, Madrid, Spain.
• 2009: Bronx Museu (residence programm), Bronx Museum, New York, USA.
• 2005: Prêmio Bolsa Pampulha, Museu de Arte da Pampulha, Belo Horizonte, Brazil.

Solo Exhibitions

• 2015: “White Noise“, Palazzo Pamphilj – Galleria Cândido Portinari, Rome, Italy.
• 2014: “Insustentável Paraíso“, Galeria Vermelho, São Paulo, Brazil.
• 2014: “André Komatsu“, Galleria Continua, San Gimigniano, Italy.
• 2010: “Acaso por intenção“, Galeria Vermelho, São Paulo, Brazil.
• 2010: “Concreto/Periódico“, Natalie Seroussi, Paris, France.
• 2009: “Soma Neutra”, Galeria Vermelho, São Paulo, Brazil.
• 2007: “Quando ramos são subtraídos“, Galeria Vermelho, São Paulo, Brazil.

Group Exhibitions

• 2015: “Singularidades/Anotações: Rumos Artes Visuais 1998 – 2013“, Paço Imperial, Rio de Janeiro, Brazil.
• 2015: “Follia Continua!“, Le CENTQUATRE, Paris, France.
• 2015: “Now? NOW! Biennial of the Americas“, Museum of Contemporary Art Denver, Denver, USA.
• 2015: “Aprendendo a Viver com a Sujeira“, Galeria Vermelho, São Paulo, Brazil.
• 2015: “So much that it doesn’t fit here – 56th Venice Biennale“, La BIennale de Venezia, Venice, Italy.
• 2015: “O Museu que há de vir”, Fórum Eugénio de Almeida, Évora, Portugal.
• 2014: “Do Valongo à Favela”, Museu de Arte do Rio (MAR), Rio de Janeiro, Brazil.
• 2014: “Beyond the Superquare“, Bronx Museum, New York, USA.
• 2013: “Future Generation Art Prize @Venice“, Pallazzo Contarini Polignac, Venice, Italy.
• 2013: “Prêmio CNI/SESI Marcantonio Vilaça para Artes Plásticas“, Palácio das Artes, Belo Horizonte, Brazil.
• 2013: “El Arte Contemporaneo de la X Bienal Monterrey FEMSA“, Antiguo Colegio de San Ildefonso, Mexico City, Mexico.
• 2013: “Blind Field“, Krannert Art Museum, Champaign, USA.
• 2013: “Future Generation Art Prize 2012 [21 Shortlisted Artists]“, Pinchukartcentre , Kiev, Ukraine.
• 2012: “Trienal Poli/Gráfica de San Juan: América Latina y el Caribe“, Instituto de Cultura Puertorriquena , San Juan, Porto Rico.
• 2012: “Sextanisqatsi: desordem habitável“, Museo de Arte Contemporáneo de Monterrey , Monterrey , Mexico.
• 2011: “An Other Place“, Galerie Lelong, New York, USA.
• 2011: “Contra a Parede“, Galeria Vermelho, São Paulo, Brazil.
• 2011: “The Peripatetic School: Itinerant Drawing from Latin America“, Middlesbrough Institute of Modern Art [MIMA], Middlesbrough , UK.
• 2011: “The Peripatetic School: itinerant drawing from Latin America“, Drawing Room, London, UK.
• 2011: “8ª Bienal do Mercosul: Ensaios de Geopoéticas“, Bienal do Mercosul, Porto Alegre, Brazil.
• 2010: “To be built“, Museu de Arte Contemporáneo de Castilla y Léon [MUSAC], Castilla y Léon, Spain.
• 2009: “After Utopia”, Centro per la Arte Contemporanea LuigiCentro Pecci, Prato, Italy.
• 2009: “When Lives Become Form: Creative Power from Brasil”, Hiroshima City Museum of Contemporary Art, Hiroshima , Japan.

Publications

• Eurograficas, Dardo Magazine (Santiago de Compostela: Dardo), D192.
• Antonio Sergio Bessa, Brazilian Art in the Museuns of New York City (Brasilia), 188-189.

Collections

• Pinacoteca do Estado de São Paulo, Sâo Paulo, Brazil.
• Middlesbrough Institute of Modern Art (MIMA), Middlesbrough, UK.
• Bronx Museum, New York, USA.
• CA2M Centro de Arte Dos de Mayo, Madrid, Spain.
• Museu de Arte Moderna do Rio de Janeiro (MAM RJ), Rio de Janeiro, Brazil.
• Museum of Modern Art [MOMA], New York City, USA.
• TATE Modern, London, UK.
• Fundação Serralves, Porto, Portugal.

• Artists

Artists: Omar Barquet, José Bedia, Jorge Méndez Blake, Carlos Cárdenas, Los Carpinteros, Enrique Martínez Celaya, Eugenio Dittborn, Gonzalo Fuenmayor, Carlos Garaicoa, Guillermo Kuitca, Gilda Mantilla, Moris, Vik Muniz, Oscar Muñoz, Damián Ortega, Liliana Porter, Sandra Ramos, Pablo Rasgado, Camilo Restrepo, Graciela Sacco, Ana Tiscornia, José  A. Vincench, Ishmael Randall Weeks, and many others.

A Sense of Place – Selections from the Jorge M. Pérez Collection
Curated by Patricia Hanna and Anelys Alvarez
December 3-6, 2015
Mana Contemporary
Miami, FL, USA

Despite the fact that these artists are working in a globalized society, where technology and communication transcend physical boundaries, many continue to construct personal and cultural identities by exploring ideas that are specific to their own experiences and places of origin. The show will examine the idea of building such an identity; how artists use abstraction, architecture, politics and memory to carve out a sense of place; and how these concerns are reflected in Pérez as a collector and in Miami as a developing city. Artists in the show include a mix of well-known and emerging art stars from Argentina, Brazil, Colombia, Cuba, Mexico, Peru, and Uruguay, including: Omar Barquet, José Bedia, Jorge Méndez Blake, Carlos Cárdenas, Los Carpinteros, Enrique Martínez Celaya, Eugenio Dittborn, Gonzalo Fuenmayor, Carlos Garaicoa, Guillermo Kuitca, Gilda Mantilla, Moris, Vik Muniz, Oscar Muñoz, Damián Ortega, Liliana Porter, Sandra Ramos, Pablo Rasgado, Camilo Restrepo, Graciela Sacco, Ana Tiscornia, José  A. Vincench, Ishmael Randall Weeks, and many others.

Jorge M. Pérez was named one of the most influential Hispanics in the U.S. by TIME magazine, and is considered a visionary for his contributions to South Florida’s cultural and artistic landscape, as well as his integration of world-class art into each of his real estate developments.

A Sense of Place is being held at Mana Wynwood Convention Center, 318 NW 23rd Street, Miami, Florida.

• Happenings

Artists: Fariba Abedin, Adela Andea, Soledad Arias and Lorraine Tady.

The Weight of Light
December 5, 2015- January 2, 2016
Rudolph Blume Fine Art / ArtScan Gallery
Houston, TX, USA

The visible light spectrum is quite dramatic and holds all the colors that humans can see; a beam of white light is made up of all the colors. Visible light is composed of photons, which are the most abundant particles in the universe. These weight-less particles have the ability to form a stream or wave-like pattern that makes up the wavelengths of the Electromagnetic Spectrum. Contrast of hue, in painting, enables the painter to establish the interplay of luminous forces. Black and white are the artist’s strongest tools to express darkness and light, but with the advancement in harnessing different light particles, neon and LED lights are new and exciting instruments.This exhibition explores and juxtaposes the visual parameters of light as a physical presence and asa symbolic conjecture.

Soledad Arias’ work has been exhibited extensively in museums throughout the US and South America. Her wall based neon sculptures engage the viewer with mostly trivial, yet emotionally charged words like “white lies” or “like you i forgot”. The impact of the brilliant luminescence and the halo effect of the neon writing potentially transforms the immanence and perception of these phrases.

• Happenings

Artists: Álvaro Barrios, Eduardo Berliner, Luis Camnitzer, Mario Cravo Neto, Antonio Dias, Paz Errázuriz, León Ferrari, Guillermo Kuitca, Liliana Porter, Miguel Ángel Rojas, Melanie Smith and Horacio Zabala.

Dark Mirror, Art from Latinamerica since 1968
September 27, 2015 – January 31, 2016
Kunstmuseum Wolfsburg
Wolfsburg, Germany

In its exhibition, Dark Mirror: Art from Latinamerica since 1968, the Kunstmuseum Wolfsburg provides compelling and multi-faceted look at contemporary art in Central and South America.

Topics such as the literal and metaphorical boundaries of freedom, gender identity, social criticism and political power as well as reflections on nature vs. urban existence will be examined via more than 150 works. These come from all genres of art – including installations, objects, paintings, photographs, videos and works on paper – and will be shown in an exhibition space encompassing 1100 square meters. This extensive selection of works, from the largest and most important institution devoted to contemporary Latin American art in Europe: the Zurich-based Daros Latinamerica Collection, not only sheds light on parallels to the history of European art but also on specific Latin American developments, particularly since the 1960s.

The works by such artists as Álvaro Barrios; Eduardo Berliner; Luis Camnitzer; Mario Cravo Neto; Antonio Dias; Paz Errázuriz; León Ferrari; Guillermo Kuitca; Liliana Porter; Miguel Ángel Rojas; Melanie Smith and Horacio Zabala provide a striking picture of Latin American art’s creative diversity and energy.

With respect to its beginnings in 1967 as well as its focus on groups of works by major artists, there are conceptual parallels between the Daros Latinamerica Collection and the holdings of the Kunstmuseum Wolfsburg. The examination of the artistic continent of Latin America in the Dark Mirror exhibition also serves, in this context, as a laboratory for a global expansion of the Kunstmuseum Wolfsburg’s collection.

The exhibition Dark Mirror Art from Latinamerica since 1968 is supported by the artEDU Foundation.

Image: Marcos López, Criollitas, 1996/2006

• Happenings

Selected Biographical Information

Education / Training

• 1985-1990: Diplom Künstlerin, Kunst Akademie, Hamburg, Germany.
• 1970-1974: B.A., M.B.A., Columbia University, New York City, U.S.A.

Prizes / Fellowships

• 2013: Orden San Sebastian, Orden San Sebastian, Maracaibo, Venezuela.
• 2012: Premio AICA, Asociación Internacional de criticos de Arte, Caracas, Venezuela.
• 2010: Orden Ciudad de Maracaibo, Maracaibo, Venezuela.
• 2009: Premio Braulio Salazar, Ateneo de Valencia, Valencia, Venezuela.
• 2003: Hansa Preis, Hansa Preis, Hamburg, Germany.

Solo Exhibitions

• 2015: “Confeti”, Galeria Grewenig/Nissen, Heidelberg, Germany.
• 2015: “Pulpa Chic”, Museo de Arte de Coro, Coro, Venezuela.
• 2014: “2014”, Pulpa Chic, Museo de Arte de Valencia, Venezuela.
• 2012: “Whitegold”, New World Museum, Houston, U.S.A.
• 2012: “Mantuana”, Diana Lowenstein Fine Arts, Wynwood, Miami, U.S.A.
• 2012: “La pinta”, Museo de Arte Contemporáneo, Maracay, Venezuela.
• 2012: “Tangible”, Galería D’MUSEO, Caracas, Caracas, Venezuela.
• 2009: “doping PulpaWynwood”,  Diana Lowenstein Fine Arts, Miami, USA.
• 2009: “Lionza Capuchina”, Museo Carmelo Fernandez, San Felipe, Venezuela.
• 2008: “El Vergel de Clemencia Labin”, Centro de Arte Lía Bermúdez, Maracaibo, Venezuela.

Group Exhibitions

• 2015: “God save the Queen”, MUSAC, Museo de Arte contemporáneo de Castilla y León, Leon, Spain.
• 2015: “4409.72Miles 9125 Days”, Diana Lowenstein Fine Arts, Miami, USA.
• 2015: “Proposiciones Abstractas”, Galeria D’Museo, Caracas, Venezuela.
• 2015: “Colectiva 07-15”, Spazio Zero Galería, Caracas, Venezuela.
• 2014: “1a. Bienal Cartagena de Indias”, Museo Naval, Cartagena, Colombia.
• 2013: “Linien”, Villa Bosch, Kunstverein Radolfzell am Bodensee, Radolfzell, Germany.
• 2013: “Premio Arte”, Arsenale, Venecia, Italy.
• 2013: “on Painting”, Centro Atlántico de Arte Moderno de las Palmas (CAAM), Gran Canaria, Spain.
• 2011: “transito Veneciano”, 54.Venice Biennale, Venezuelan Pavilion, Venice, Italy.
• 2011: “altered nature”, Center for visual Art, Denver, U.S.A.

Publications

• HfBK, “Beruhmt Berüchtigt”, 100 Jahre Lerchanfeld, 2013.
• ART, das Kunstmagazin, “Kunst ist keine Frage des Ortes”, ART, das Kunstmagazin, 2011.
• “Clemencia Labin liebt Farbe und Mode“, Rhein Neckar Zeitung, 12.06.2015, 1.
• Fernando Castro R. Exhibition New World Museum, Houston, „Clemencia Labin works for the 21st Century ways of life“, Arte al dia Internacional, 2013, 4.
• Amalia Caputo. Exhibition Diana Lowenstein Fine Arts, Miami, “Clemencia Labin “Mantuana”“, Arte al dia International , 2012, 2.
• “Clemencia Labin’s collective art project at the54th Biennale von Venezia“, Arte al dia International , 2011, 2.
• Eva Eusterhus, “Wattebilder, die aus dem Rahmen fallen“, Die Welt, 25.08.2012, page 42, 1.
• Catharine D. Ansporn, “it is a whole new World. Labin at the 2011  Venice Biennale“, Papercity Magazin, 2012, 1.
• Sara Maria Manzo, “Kunst ist keine Frage des Ortes“, ART, das Kunst Magazin , Hamburg,June 2011, 4.

Collections

• MUSAC, Museo de Arte contemporaneo de Castilla y León, Castilla y León, Spain.
• Warehouse, Martin Margulies Collection, Miami, USA.
• Banco Mercantil Collection, Caracas, Venezuela.
• Museo Alejandro Otero Collection, Caracas, Venezuela.
• Galeria de Arte Nacional, Caracas, Venezuela.
• Patricia Phelps de Cisneros Collection, Caracas, Venezuela.
• Museo de Arte de Valencia Collection, Valencia, Venezuela.

Links

• Velada Santa Lucia
• Velada Remix

• Artists

Selected Biographical Information

Education / Training

• 2002-2005: Licenciada en Educación, Universidad de Quilmes, Quilmes, Argentina.
• 1996-2002: Clinica de Arte with Sergio Bazan.

Prizes / Fellowships

• 2003-2005: Programa de Talleres para las Artes Visuales Centro Cultural Rojas-UBA Beca Kuitca, Centro Cultural Ricardo Rojas-Universidad de Buenos Aires, Ciudad de Buenos Aires, Argentina.
• 1999-2002: Beca Antorchas de perfeccionamiento en artes visuales, Fundación Antorchas, Ciudad de Buenos Aires, Argentina.

Solo Exhibitions

• 2015: “Visión Dual”, Centro Cultural Recoleta, Buenos Aires, Argentina.
• 2012: “Ayer también te vi“, Praxis International Art, Buenos Aires, Argentina.
• 2010: “Raiteri en Mundo Dios”, Mundo Dios, Mar del Plata, Argentina.
• 2007: “Alternativas de Espacio“, Praxis International Art, Buenos Aires, Argentina.
• 2003: “Obras Recientes“, Motp Arte Contemporáneo, Mar del Plata, Argentina.

Group Exhibitions

• 2015: “Parodiando Arquitectura. Florida Circuito Cultural“, Florida Circuito Cultural, Ciudad Autónoma de Buenos Aires, Argentina.
• 2015: “El teatro de la Pintura. Artistas Argentinos en diálogo con la obra de Sonia Delaunay“, Museo de Arte Moderno de Buenos Aires, Ciudad Autónoma de Buenos Aires, Argentina.
• 2014: “Variaciones Raiteri-De Volder“, Galería mock, Ciudad Autónoma de Buenos Aires, Argentina.
• 2013: “PintorAs“, Galería Magda Belotti, Madrid, Spain.
• 2013: “Wallpaper“, Centro Cultural Ricardo Rojas, Ciudad de Buenos Aires, Argentina.
• 2012: “Geométricos hoy, caminos en expansión“, Museo Emilio Caraffa, Cordoba, Argentina.
• 2011: “SynchroNY-City”, Consulado Argentino,  NY, USA.
• 2011: “Colorforms“, Praxis art International, Miami, USA.
• 2010: “Colorforms”, Praxis Art International, NY, USA.
• 2009: “Logica Provisoria”, Centro Cultural de España en Buenos Aires, Ciudad Autónoma de Buenos Aires, Argentina.
• 2007: “Bienal De Arte Geométrico“, Museo de Arte Construido, Ciudad Autónoma de Buenos Aires, Argentina.
• 2006: “La Geometría Fuerte”, Centro Cultural Recoleta, Ciudad Autónoma de Buenos Aires, Argentina.
• 2006: “Ejercicios en conjunto Joglar- Raiteri”, Estudio Abierto. Palacios de Correos, Ciudad Autónoma de Buenos Aires, Argentina.
• 2006: “LX Salón Nacional De Rosario”, Museo Municipal de Bellas Artes Juan B. Castagnino, Rosario, Argentina.
• 2005: “Bienal Nacional de Arte Bahía Blanca”, Museo de Arte Contemporáneo, Bahia Blanca, Argentina.
• 2004: “Cultural Chandon”, Museo Emilio Caraffa, Córdoba, Argentina.
• 2003: “Etchegoyen-Raiteri-Roveda. Espacio Ojo al País”, Centro Cultural Borges, Ciudad Autónoma de Buenos Aires, Argentina.
• 2002: “Merluza”, Mario Brodersohn Jacques Martínez Arte Contemporáneo, Ciudad Autónoma de Buenos Aires, Argentina.
• 2002: “13B“, Museo Provincial de Bellas Artes René Brusau, Posadas, Argentina.
• 2001: “13B“, Centro Cultural Posadas, Misiones, Argentina.
• 1999: “Bienal Nacional de Arte Bahía Blanca”, Museo de Arte Contemporáneo, Bahía Blanca, Argentina.

Publications

• Ana Martinez Quijano, Registros Contemporáneos (Ciudad Autónoma de Buenos Aires: ASEA), 27 -28.
• Mercedes Casanegra, “Abstraccion geometrica en la Argentina Panorama desde 1915 hasta hoy”, Barzon, Noviembre 2007, 276 y 282.
• MARIA EUGENIA SPINELLI  VERONICA FLOM y BARBARA GOLUBICKI CARMEN FERREYRA CANDELARIA MURO JUANITA BLEE, “PintorAs“, Fanzine, 2012, 25.
• Daniel Gigena, “Belleza por mano propia Beto de Volder e Inés Raiteri presentan en Mock versiones de sus ya consolidadas obras y tensan el espacio circundante con bucles escultóricos y puntadas hábiles“, La Nación, 25/4/2014, 26.
• Daniel Gigena, “Nuevos Paisajes Utópicos“, La Nación, 26/7/2015.
• Mercedes Perez Bergliafa, “El arte cambia el paisaje de Florida“, Revista Ñ  N 632, 5-11-2015, 26-27.

Collections

• Museo de Arte Contemporaneo de Buenos Aires, Buenos Aires, Argentina.

Links

• Bola de nieve
• Ines Raiteri “Ayer también ti vi” Site specific – Praxis
• Ines Raiteri Ayer tambien ti vi Site specific – Praxis
• Curso Arte y Ciencia ISES
• Inauguraciones del 1 de julio de 2015 en el CCR
• SynchroNY-City
• Las mujeres entraron al arte por la ventana
• Fiorito
• Diario de Cultura

• Artists

Artists: Matheus Rocha Pitta, Marcos Chaves, Pedro Motta, Marepe, Rosângela Rennó, Rochelle Costi, Alexandre da Cunha, Marcos Vilas Boas, Fernando Lazslo, Alice Quaresma, Laura Belém, Maria Laet, Luiza Baldan, Arnaldo Antunes, Cinthia Marcelle, Vicente de Mello, Maria Nepomuceno, Marcia Xavier, Omar Salomão, Marcius Galan e Douglas Garcia, Jarbas Lopes, Thiago Honório e Cao Guimarães.

Coleções 10
Curated by Nessia Leonzini
November 25, 2015 – January 30, 2016
Galeria Luisa Strina
São Paulo, Brazil

A série Coleções, considerada um projeto pioneiro no universo da fotografia e da arte contemporânea no Brasil, tem como objetivo ampliar o público da fotografia no país e a formação de novos colecionadores. Já participaram de Coleções mais de 100 artistas, consagrados e emergentes, brasileiros e estrangeiros.

Nesta edição fazem parte 23 artistas que trabalham, também, em outros suportes e representam diferentes pontos de vista. Eles utilizam um vocabulário imagético inspirado por objetos e situações do dia a dia ou determinados por uma poética pessoal. O espírito de Coleções é definido pelo envolvimento dos artistas que produzem trabalhos específicos para o projeto e tornam possível a aquisição de obras de arte a um preço acessível.

• Happenings

Artist: Ricardo Rendón

Equilibrio y concentración
November 21 – December 18, 2015
Nueveochenta
Bogotá, Colombia

La obra de Ricardo Rendón se ha mantenido como un comentario constante de las posibilidades espaciales y materiales de la práctica escultórica, en busca de la concepción de atmósferas creadas para la reflexión sensorial de la forma y los materiales que la detonan. Su trabajo discurre en los limites de los formatos industriales y los propios de la práctica artesanal, y propone con su antonimia de producción una plataforma de especulación de lo que podría identificarse como nuestra “actual naturaleza”, cargada de soportes y disciplinas para comprender la materia de manera no científica, sino emocional.

David Miranda

• Happenings

Artists: Rocío Areán, Christian Bagnat, Luis Camnitzer, Jef Chippewa, Sandra Gamarra, Carlos Garaicoa, Carmela García, Jimena Kato, Adriana Lara, Rogelio López Cuenca, Fernando Millán, Levi Orta, Víctor Piverno, Elvira Poxon, José Andrés Prieto, Manuel Rocha Iturbide, Tania Rubio, Sara y André, Lucía Simón, Ignacio Uriarte, Isidoro Valcárcel Medina, Pierre Valls.

Grafización Bocetos, mapas y partituras: representaciones gráficas para la interpretación
Curated by Víctor Aguado Machuca y Antoine Henry Jonquères
November 11-29, 2015
LiMAC Museo de arte contemporáneo de Lima
Lima, Peru

Archivo de documentos preliminares, véase: notas, bocetos, borradores, apuntes, mapas y partituras. Tómese éstos como guiones gráficos para la interpretación. Entiéndase por «nota» cualquier documento digital, mecanografiado o manuscrito de carácter personal. Entiéndase por «boceto» cualquier documento preparatorio que contenga una idea esbozada. Entiéndase por «borrador» cualquier documento provisional que preceda a la obra pero no sea la obra final. Tómese el término «apunte» desligado de su carácter de registro. Tómese el término «mapa» desligado de su condición documental. Tómese el término «partitura» según su etimología: como partición (partition, en francés) y como punto de partida (departure, départ). Nótese que aquí la «partitura» no está limitada por el uso del lenguaje musical, así como el «mapa» tampoco lo está por el uso del lenguaje cartográfico o arquitectónico. Entiéndase por ambos términos cualquier escritura abstracta, emancipada de la realidad sonora y visual, que describa un desarrollo espacial y temporal.

Nótese que el archivo no pretende poner en entredicho las categorías «obra» y «documento». Aquí el documento ocupa eventualmente el lugar de la obra pero no es la obra final. Absténgase de considerar que el documento expuesto insinúa que tal vez no haya lugar para la obra, el archivo no está condicionado por la faceta productiva del arte conceptual; tampoco cuestiona si será necesario ejecutar la obra tal como describe el documento, o si por el contrario deberá bastar con éste. Entiéndase en todo caso que el documento no es autónomo sino declaradamente preliminar, accesorio, funcional, o dicho de otra manera: que precisa forzosamente un estado posterior.

El archivo no está sujeto a la supervivencia material, puesto que los documentos no importan como objetos sino como factores (del latín: facere, «que hacen»). Concíbase indistintamente el documento original y una fotocopia del mismo, ambos formatos se ajustan al propósito del archivo.

• Happenings

Artist: Sandra Gamarra

Paisaje entre comillas
October 17 – November 14, 2015
Galería Lucía de la Puente
Lima, Peru

Como constructora de imágenes en un mundo en el que se multiplican constantemente, Sandra Gamarra las recicla y reincorpora para indagar en sus orígenes y especular sobre su posible destino. En su cuarta exposición en la galería Lucía de la Puente, utiliza el género de paisaje occidental “en el arte” para señalar de dónde procede, que lo caracteriza y cuáles son las repercusiones que ha tenido en nuestra relación con el entorno. Continuando con la apropiación de imágenes y cuestionamiento del arte mediante la pintura, Sandra Gamarra utiliza el medio con el que se creó la idea de paisaje europeo con la intención de desvelar su supuesto realismo y de esta manera confrontarlo con la Naturaleza.

Desde que el paisaje apareció como género propio en el siglo XV en el arte europeo, este concepto ha invadido otras áreas del conocimiento. Se habla de paisaje social, sonoro, visual, económico, psicológico, como si fuese una verdad tangible y olvidando que el paisaje ha sido construido como una ilusión, una aproximación y una fragmentación de la naturaleza, que de por sí no busca abarcarla por completo. Al construir puntos de vista parciales, el paisaje “no traza tanto los contornos o examina la topografía de su entorno como selecciona y reforma naturalmente la naturaleza para representarla de modo ejemplar”. (Sutton, 1994, El siglo de oro del paisaje holandés, p.16)

De este modo “ejemplar”, los paisajes sirvieron también de certificados de autenticidad. El territorio era delimitado y domesticado por la pintura. Al igual que el mapa, el paisaje sirve como una herramienta para relacionarse con el entorno, que la edita y reencuadra, desde una perspectiva única.

Por otro lado, la representación de la naturaleza en las culturas precolombinas fue siempre simbólica y abstracta; no existió, por tanto, la ilusión “realista” del paisaje. En comparación a la lógica cristiana que considera que el mundo fue creado por un dios, las culturas precolombinas ubican a sus propios dioses en la naturaleza. Esta distinción fundamental respecto a la interpretación e interacción con lo natural es producto de una mentalidad que no intenta dominar la naturaleza (a sus dioses), si no que más bien se sabe dominada por ésta.

El Perú actual se exporta como un país de paisajes. Los instrumentaliza para comercializarlos turísticamente o usarlos como símbolos de poder y permanencia en los billetes y monedas, tarjetas de crédito, condecoraciones, etc. Este “paisaje” que sirve de eje unificador de lo peruano ha reducido a la naturaleza, mucho más compleja y sensible a nuestra acción. La incomprensión de las consecuencias ambientales producto de la explotación de los recursos naturales y el uso del territorio es una medida de esta distorsión.

En nuestra sociedad, generadora incansable de imágenes, la pintura de paisaje podría parecer un género obsoleto, relegado a decorar pasillos y salvapantallas. Si bien la fotografía de paisaje ha tomado el relevo a la pintura, popularizándola a través del turismo y la publicidad, ha mantenido la fragmentación y reducción que la pintura, de la que es heredera, ha construido como “realidad”.

Paisaje entre comillas  tiene como punto de partida fotografías de paisajes peruanos provenientes de la prensa y reproducciones de obras de distintas épocas para colocarlas sobre soportes como espejos, cuadros antiguos y falso pan de oro. De esta manera, la carga simbólica y las propiedades de cada material hacen que la pintura pierda la independencia que le confiere la superficie blanca

Sandra Gamarra retoma el paisaje para cuestionar los elementos que lo conforman, señalar las consecuencias que tiene sobre nuestros modos de pensar y devolverle su perdida aura de falsedad. Desde este punto de vista, se pueden observar las deformaciones que infligen las imágenes en nuestro raciocinio cuando no son usadas con los fines para las que fueron creadas.

Antoine Henry Jonquères

• Happenings

Artist: Adán Vallecillo

Earthworks
Curator: Carla Acevedo-Yates
November 13 – December 21, 2015
80M2 Livia Benavides
Lima, Peru

Adán Vallecillo nació en Danlí, El Paraíso, Honduras (1977). Es licenciado en Sociología por la Universidad Nacional Autónoma de Honduras (2010). Realizó estudios de arte en Escuela de Artes Plásticas, San Juan, Puerto Rico (2000) y en la Escuela Nacional de Bellas Artes, Tegucigalpa, Honduras (1995).

Su carrera artística incluye decenas de exhibiciones individuales y colectivas, así como varias conferencias y talleres en América Latina, el Caribe, Europa y  Estados Unidos. Entre algunos de los reconocimientos a su labor artística se pueden citar selecciones para: CIFO, Miami, USA (2015); Sala de Arte Público Siqueiros, México D.F. (2015); Trienal Poligráfica de San Juan, Puerto Rico, (2015);  10 Bienal de Mercosur, Porto Alegre, Brasil, (2015); Bienal de Montevideo, Uruguay, (2014); Bienal de Arte Paiz, Ciudad de Guatemala (2014); Bienal de Cartagena, Colombia, (2014); California-Pacific Triennial, Orange County Museum of Art, USA, (2013); Caribbean: Crossroads of the World, Museo del Barrio, New York, USA (2012); 54 edición de la Bienal de Venecia, (2011); XIV Muestra Internacional de Performance, Ex-Teresa, Arte Actual, México D.F. (2010); Bienal del Istmo Centroamericano, Managua Nicaragua, 2010; XXXI Bienal de Pontevedra, España, (2010); 10 Mª Bienal de la Habana (2009),Residencia Artística en la  Escuela de Artes Plásticas, San Juan, Puerto Rico, (2007), entre otros.

Sus obras forman parte de importantes colecciones como Daros Latin-america, Zurich-Río de Janeiro;Fundación Teorética, San José, Costa Rica; Colección Patricia Phelps de Cisneros, Nueva York-Caracas; Saxo Bank, Dinamarca; Museo de Arte Latinoamericano MoLaa, California, Estados Unidos;Museo de Arte y Diseño Contemporáneo, San José, Costa Rica; entre otras.

• Happenings

Artist: Sandra Nakamura

Una razón superficial
November 11 – December 5, 2015
Wu Galeria
Lima, Peru

Una razón superficial reúne una serie de obras en diversos formatos que abordan la idea de superficie como simulacro, a la vez apariencia, ejercicio e imagen. En ellas, es recurrente la alusión a la línea de horizonte -a la superficie del agua- como un punto de referencia inestable y desde el cual el paradigma de la percepción se hace evidente.

• Happenings

Artists: Arnaiz, Greco, Grilo, Kemble, Kirin, Lecuona, Lío, F. Muro, Macaparana, Minujín, Pakovskà, Pucciarelli, Sacerdote, Sakai, Sclavo, and Stupía.

El color de los sueños
November 6 – December 30, 2015
Jorge Mara La Ruche
Buenos Aires, Argentina

A blue stain on the white fabric and beside it the words: ceci-est-la-couleur-de-mes- rêves. That is how Joan Miró named his monochrome picture.

Many other artists – before and after- felt attracted by the use of a single color in their works. Klee, Kandinsky, Fontana, Klein and Malevich painted monochrome works. Sometimes the dominance of one color is inextricably associated with the artist: Ives Klein is blue, Beuys and Jasper Johns are identified with gray, Rothko and Tapies with roasted reds. Black is Goya and Ad Reinhardt, Millares and Saura too. Gray evokes Joseph Beuys, Jasper Johns and Robert Morris. Blue is Miró; red belongs to Matisse and Newman. Roasted red belongs to Rothko and Tapies. Black is Goya and Millares, Ad Reinhardt, Saura …

Art history provides examples of various possible meanings for monochrome painting. This is sometimes negation and sometimes affirmation. The monochrome is a vacuum which, by definition, means absence of image. The rectangle of a single color is a tabula rasa on which the unique relationship that it counts is the one between the pictorial surface and the viewer.

The first fully monochrome paintings, three fabrics that Rodchenko painted in 1915, Red, Yellow, Blue, expressed a return to the primary colors, or in other words, the principle ones. For artists of the revolutionary vanguard, the goal was to go “beyond the painting”. The tabula rasa corresponds to the revolutionary impulse of starting over: Russian and Polish constructivists, the School of New York in the post-war, Burri, Fontana and Manzoni in Italy, Yves Klein in Paris and the Zero Group in Germany use monochromes in the immediate post war. During Franco’s dictatorship the Spanish abstraction is characterized by mostly almost black paintings. Blacks are typical Saura pictures, including a series based on the black paintings from Goya. In fact, the first specific identification of single color paintings in art history goes back to the series of frescoes painted by Goya in the Quinta del Sordo, known as “black paintings”. His Perro semi-hundido (1819) is certainly the first monochrome works of art history.
From there onwards, there were and are many artists who aspire- through the use of one color only – an eloquent silence, to an irradiation of light and color, or an unrelenting darkness. In this exhibition we present various works, mostly related to our gallery artists who explore in their works, and in their own way, this singular and complex way of using a dominant color.

• Happenings

Artist: Cipriano Martínez and Christine van der Hurd

Woven Cities
November 27 – December 19, 2015
Maddox Arts
London, UK

Christine Van Der Hurd and Cipriano Martínez have a mutual appreciation for traditional artistic techniques and geometric design. When they were first introduced in the Autumn of 2013 their collaborative process was quick to develop. Cipriano Martínez paints with oils on canvas and then screenprints his artwork; while Vanderhurd rugs are woven by highly skilled craftsmen in India using traditional techniques. This process involves a strong mutual belief in the artistic, hand crafted approach to the creation of an original artefact of true lasting value.

In contrast to the ordered geometry found in Vanderhurd designs, Martínez enjoys disruption and dislocation of pattern, creating conflict between order and chaos. The greatest challenge for him during this creative process was adapting to a different format for the execution of these pieces, and that this would create an alternative interpretation of his original paintings. Though he was never expecting the process to be an easy one.

For example, the designs that included very small triangular shapes had to be enlarged to a minimum of 6 centimetres to enable sharp, straight lines to be achieved in the weaving process. The artwork represents aerial views of maps and cities, describing the juxtaposition of order and chaos found within them. Martínez has relished the implications of this new medium, while Vanderhurd’s considerable understanding of colour has been a key component in the development of these dhurries.

A small selection of Cipriano Martínez oil paintings will be accompanying the exhibition.

• Happenings

Artist: Eduardo Stupia

Cenas de uma Viagem
November 9, 2015 – January 16, 2016
Baró Galeria
Sao Paulo, Brazil

A mostra conta com obras criadas em São Paulo, inspiradas no bairro da Barra Funda. As telas pintadas por Stupía, reconhecido por seus desenhos de formas arquitetônicas utópicas, revelam uma percepção do artista, mais do que sobre o deslocamento geográfico. Stupía acredita que toda mudança física e territorial implica em mudanças emocionais, é o que transparece nas obras que compõem a exposição.

“O bairro da Barra Funda impõe suas qualidades a um recém-chegado e um forte temperamento cênico. Nesse sentido, entendo a mostra como um verdadeiro diário de viagem, além de aventuras geográficas, mas sim impressões psíquicas, ressonâncias, metáforas e miragens. Às vezes, olhando para cada uma das telas, individualmente parecem representar aspectos mais narrativos”, comenta Stupía.

Segundo o artista, a inspiração aconteceu naturalmente quando esteve em visita ao galpão da Baró Galeria, ao entrar no grande espaço, observou que havia uma ressonância entre o alcance e geometrias, estruturas arquitetônicas e espaços ao ar livre em torno. “Tudo começou a ser processado e traduzido na forma de linguagem gráfica pura, ou seja, minhas impressões sobre a viagem produziram um fenômeno mais análogo do que mimético”, reforça.

As cores são a influência mais visível na estadia de Eduardo Stupía no bairro, na série há presença, vibração, temperamento e importância, segundo o artista, mais fortes do que em suas obras mais recentes. Suas pinturas narram mais uma vez o estado das coisas, antes mesmo das próprias coisas. Sons, percepções sobre o caos, mistura de características suburbanas com a turbulência do centro, estão em cada detalhe em suas obras.

• Happenings

Artist: Jesús Matheus

Neoglifos
November 1, 2015
Beatriz Gil Galería
Las Mercedes, Caracas, Venezuela

Solo show by artist Jesús Matheus

• Happenings

Artist: Ana Tiscornia

Des-habitaciones
November 5, 2015
Galería del Paseo
Miraflores, Peru

Los trabajos que hacen parte de Des-habitaciones son pinturas, ensamblajes, y objetos, creados a partir de una preocupación recurrente en mi trabajo de los últimos años, la de encontrar un lugar conceptual y poético que albergue aquello que resulta de cualquier desplazamiento ya sea físico o de sentido.

Estas construcciones y re-disposiciones de objetos y materiales, en general surgen de una relación paradojal entre la arquitectura -un lugar por excelencia vinculado al acto constructivo- y la destrucción, o la dislocación. Al reordenar los materiales, creando nuevas situaciones busco un potencial poético -una especie de cartografía del olvido- que al mismo tiempo exponga y recobre fragmentos disperos de un proyecto utópico. Aunque mis trabajos suelen ser disparados por circunstancias políticas y catastróficas sociales, no corresponden a ningún incidente específico, sino que miran a una situación global compartida.

• Happenings

Artists: Carla Arocha & Stephane Schraenen, Alexander Apóstol, Miguel Braceli, Alberto Cavalieri, Arturo Herrera, Suwon Lee, Victor Lucena, Alfredo Ramírez.

BIG
September 27 – December 20, 2015
Espacio Monitor
Caracas, Venezuela

Karla Franceschi C.

• Happenings

Artists: Benjamin Bergmann, Hermann Breucker, Christian Truth Czaplicki, Ingrid Dahn, Bogomir Ecker, Thomas Florschütz, Aslan Gaisumov, Carla Guagliardi, Selma Gültropak, Bernhard Heiliger, Pia Janssen, Martin Kaltwasser, Markus Karstieß, Mischa Kuball, Marlena, Kudlicka, Katharina Monka, Johanna Reich, Thomas Rentmeister, Matthias Schamp, Jan Scharrelmann, Martin Schwenk, Max Schmitz, Kenneth Snelson, Albert Weiss und chinesische Gelehrtensteine aus dem Museum DKM, Duisburg sowie Werke aus der Sammlung des Skulpturenmuseums Glaskasten Marl.

Skulptur
October 25, 2015 – February 7, 2016
Skulpturenmuseum Glaskasten Marl
Marl, Germany

Die Ausstellung Skulptur 2015 will die Möglichkeiten von Skulptur heute aufzeigen, ohne eine These zu belegen, sondern indem sie die Marler Situation mit den über 80 Skulpturen im öffentlichen Raum und die spezifische Sammlung des Skulpturenmuseums nutzt. Konkret ist damit eine Verzahnung der hochinteressanten Marler Sammlung mit eigens für die Ausstellung entstandenen neuen Arbeiten im Museum sowie drei neuen Installationen im Skulpturenpark von Bogomir Ecker, Selma Gültropak und Jan Scharrelmann und gezielt ausgewählten Leihgaben gemeint.

• Happenings

Selected Biographical Information

Education / Training

• 2010-2014: Fine Arts. International program, The Arts Student League of New York,  New Yor., USA.
• 2001-2007: Architect and Urbanism, Pontificia Universidad Católica de Valparaíso, Valparaíso, Chile.

Prizes / Fellowships

• 2014: Lloyd Sherwood Grant, The Arts Student League of New York, New York, USA.
• 2012: The Red Dot Award, Phyllis Harriman Mason Gallery, New York, USA.

Solo Exhibitions

• 2015: “Wanderlust”, Galería Mundo Sur,  Santiago, Chile.
• 2013: “Continuum”, Gallery Space at Wagner NYU,  New York, USA.
• 2011: “Impossible Maps”,  Galería Trece, Santiago, Chile.
• 2010: “Panorámica”, Galería Modigliani, Mendoza, Argentina.
• 2009: “Producción Urbana”, Sala Juan Egenau,  Santiago,  Chile.

Group Exhibitions

• 2013: “Contradistinction”, Reverol & Co. Contemporary Art Gallery, New Rochelle, NY, USA.
• 2013: “Cosmobilities”, Rowen University Gallery, New Jersey, USA.
• 2013: “Re-Imagining Past Possessions”, TransFORM Gallery, Westchester, NY, USA.
• 2013: “Dyptich Tryptich and Multiples”, cWOW Gallery, Newark, New Jersey, USA.
• 2012: “3rd Bronx Latin American Art Biennial, illusory  Correlation”, Edgar Allan Poe visitor center Gallery,  Bronx, New York, USA.
• 2012: “Dialogo 365: Carpe Diem”, City Hall, Philadelphia, USA.

Publications

• Maria Jesus Carvallo, “Deconstrucción”, Revista ED, 27-05-2013, 04.

Collections

• Permanent Collection of The Arts Student League of New York, New York, USA.

• Artists

Selected Biographical Information

Education / Training

• 1996-2000: No., Universidad de Antioquia / Facultad de Artes Plásticas, Medellín, Colombia.
• 1998-2000: No., Colegiatura Colombiana de Diseño / Diseño de Moda, Medellín, Colombia.

Solo Exhibitions

• 2015: “Progresión / Gradación”, Museo de Arte de Pereira MAP, Pereira, Colombia.
• 2015: “Progresión“, Lokkus Arte Contemporáneo, Medellín, Colombia.
• 2013: “Paisaje sin lugar“, Galería Duque Arango, Medellín, Colombia.
• 2012: “Hobnobbing at the Garden of Earthly Delights“, Black Square Gallery, Miami, USA.
• 2009: “De bichos y modas entre telas“, Galería de la oficina, Medellín, Colombia.
• 2008: “Is the glass half empty or half full?”, Museo El Castillo, Medellín, Colombia.

Group Exhibitions

• 2015: “Qué es el presente?”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
• 2014: “Línea Blanda”, Galería Sextante, Bogotá, Colombia.
• 2014: “Reserva expuesta”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
• 2013: “Sans lieu ni tête / Sin lugar ni cabeza”, Mark Hachem Galerie, Paris, France.
• 2013: “La gente en la colección del museo”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
• 2013: “Latinamerican Art Showcase”, ION Art Gallery, Singapore, Singapore.
• 2011: “Dream Catcher II“, Black Square Gallery, Miami, USA.
• 2011: “Colombia en Mérida”, Museo de Arte Contemporáneo de Yucatán MACAY, Mérida, Mexico.
• 2010: “Dorado”, Fondo Internacional de las Artes FIART, Madrid, Spain.
• 2009: “Casa de Citas”, Museo de Antioquia, Medellín, Colombia.
• 2009: “Corte 50”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
• 2008: “Nuevas Adquisiciones”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
• 2008: “Imagina+A Umbral Gráfico Colombiano”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
• 2006: “Summer Group Show”, Biagiotti Progetto Arte, Florence, Italy.
• 2005: “Spring Group Show”, Earl McGrath Gallery, Los Angeles, USA.
• 2005: “Small Treasures”, Biagiotti Progetto Arte, Florence, Italy.
• 2004: “Summer Group Show”, Earl McGrath Gallery, New York, USA.

Collections

• Related Group, Miami, USA.
• Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
• Museo de Antioquia, Medellín, Colombia.

Links

• Revista Arcadia
• Arte al Dia
• APT Global
• Arte-sur
• Dazed Digital

• Artists

Lo que vemos es el reflejo de lo que no.

Pienso en mi obra como una investigación en curso sobre cómo somos afectados por fenómenos constantes y sutiles en un nivel sensorial, afectivo, material y mental. Me interesa la relación existente entre lo que consideramos concreto y abstracto, entre la experiencia física directa y lo que esta produce en nuestro interior.

Me interesa construir espacios donde los fenómenos físicos puedan ser una metáfora de cómo un individuo puede percibirse y organizarse dentro de su cuerpo, espacios abiertos donde poder sentir y pensar nuestras reacciones ante lo otro.

Mi trabajo parte de una preocupación sobre los efectos de la violencia social en los individuos con la muestra Onda Expansiva en el 2012. Desde ahí se desarrolla hacia un plano más general, para pensar no solo la violencia y sus efectos sino para intentar ver desde dónde y cómo vivimos el fenómeno de la experiencia: Cómo somos afectados por la viviencia del contacto entre lo interior y lo exterior.

Hace un par de años que estoy inmerso en experiencias de meditación. En la actualidad la pienso como el método central de mi investigación artística. Es a partir de la experiencia de la meditación que mis nociones de la realidad se han expandido y nuevas preguntas han emergido y nutrido la creación de mi obra. Me interesa la intuición como una forma de conocimiento que escapa de nuestra construcción linguística del pensamiento y como el canal principal por el cual la gente se relacione con mi trabajo.

Mi obra intenta crear formas con las cuales mirar y mirarnos, formas para encontrar experiencias nuevas con lo ya conocido, formas para comprender.

—

What we see is the reflection of what is not.

I think that my work as an ongoing investigation about how we are affected by constant and subtle phenomena at the sensorial, affective, material and mental levels. I’m interested in the relationship that exists between what we consider concrete and abstract; between the direct physical experience and the one produced internally.

I’m interested in constructing spaces where the physical phenomena can be a metaphor about how an individual can perceive himself and organize within the body; as well as open spaces where we can feel and think our reactions in front of the other.

My work departs from a preoccupation about the effects of social violence on individuals as seen in the exhibition Onda Expansiva (Expansive Wave) in 2012. Since then my work is moving towards a more general arena, to think not only about violence and its effects, but to attempt to see from where and how we experience the phenomena of experience: How are we affected by experiencing the contact between the internal and the external.

For the past couple of years I have been immersed in experiences of meditation. At present I think of it as a method that is central to my artistic research. Stemming from my experiences of meditation my notions of reality have expanded, and new questions have emerged and enriched the creation of my work.

My work attempts to create ways through which we can see and see ourselves; ways to find new experiences with what we already know; ways of understanding.

Selected Biographical Information

Education / Training

• 2002-2007: Bachillerato en Artes Plásticas, ENPEG. La Esmeralda, Mexico City, Mexico.
• 1999-2001: Universidad Católica del Perú, Lima , Peru.

Prizes / Fellowships

• 2014: Finalista Concurso de Artistas Jóvenes Miraflores, Municipalidad de Miraflores, Lima, Peru.
• 2013: Mención honrosa Pasaporte para un Artísta , Alianza Francesa, Lima , Peru.

Solo Exhibitions

• 2015: “Al Interior de un Límite “, Gallery 770, Lima, Peru.
• 2012: “Onda Expansiva”, Gallery El Ojo Ajeno, Lima, Peru.

Group Exhibitions

• 2013: “Muestra Pasaporte para un Artísta”, Centro Cultural CCPUC, Lima, Peru.
• 2013: “Ojo Ajeno, colectiva artístas de la galería”, Galería El Ojo Ajeno, Lima, Peru.
• 2012: “Structura”, SUM. Arcadia – Mediática, Lima, Peru.

Links

• Mis contemporaneos

• Artists

Artists: Vyacheslav Akhunov, Jonathas de Andrade, Meris Angioletti, Alexander Apóstol, Marwa Arsanios, Vartan Avakian, Azorro Group, Zbyněk Baladrán, Sammy Baloji, Yason Banal, Guy Ben-Ner, Michael Blum and Damir Nikšić, Deanna Bowen, Pavel Braila, Andrea Büttner, Robert Cauble, Aslı Çavuşoğlu, Park Chan-Kyong, Chen Chieh-jen, Chto delat/What is to be done?, Josef Dabernig, Elena Damiani, Shezad Dawood, Manon de Boer, Jos de Gruyter &  Harald Thys, Angela Detanico, Annika Eriksson, Kota Ezawa, Antanas Gerlikas, Tamar Guimarães, Dan Halter, Annemarie Jacir, Ranbir Kaleka, Beryl Korot, Nestor Kruger, Rafael Lain, Lars Laumann, Aníbal López, Reynier Leyva Novo, Basim Magdy, Cinthia Marcelle, Bradley McCullum & Jacqueline Tarry, Anja Medved, Tracey Moffatt, Ivana Müller, Tuan Andrew Nguyen, Phu Nam Thuc Ha, Ho Tzu Nyen, Ahmet Ögüt, Agnieszka Polska, Jenny Perlin, Daniela Paes Leao, Elodie Pong, The Propeller Group, Wanda Raimundi-Ortiz,  Sara Ramo, Tracey Rose, Sona Safaei, Edwin Sánchez, Heino Schmid, Michael Stevenson, Stephen Sutcliffe, Yukihiro Taguchi, Prilla Tania, Alexander Ugay, Ulla Von Brandenburg, Wok the Rock, Zhou Xiaohu, Sun Xun, Jin-me Yoon, Dale Yudelman, Helen Zeru, Chen Zhou.

Project 35: The Last Act
ICI Independent Curators International, organized by Andrey Misiano
August 8, 2015 – January 31, 2016
Garage Museum of Contemporary Art
Moscow, Russia

Project 35: The Last Act is an unprecedented exhibition of single-channel video works that reveal today’s global connectivity through art. It is the result of an extensive five-year project by Independent Curators International (ICI), which exclusively culminates at Garage. Project 35: The Last Act presents 70 video works from artists living and working all over the world—from Zimbabwe and Guatemala to Japan, from the USA and New Zealand to Kyrgyzstan, that have been selected by 70 leading curators who are part of ICI’s extensive network, including, Chus Martinez, Viktor Misiano, Hou Hanru, and Hans Ulrich Obrist. Since 2010, different versions of the exhibition have been presented in over 50 institutions around the world. As the finale, this is the first time they will be screened together, providing a unique, global overview of video art now.

Showcasing many leading artists in Russia for the first time, the exhibition is also unusual for its “cinema” style presentation in Garage’s new auditorium. Each week there is a new, daily program of video works, which are each especially selected for audiences by eleven key creative people in Moscow and Saint-Petersburg, such as Olga Chernishova (artist), Anton Belov (Garage Director), and Elena Yushina (independent curator), based on their personal interests and tastes. Visitors can watch for half an hour, an hour, or four hours—to see the “top picks” that each selector has made and why they liked them—and can keep coming back to see more works from more selectors over the winter months, all through January 2016. In this way the exhibition offers a flexible viewing opportunity for visitors to enjoy on their own time.

Project 35 began as the first international survey of what curators thought was the most interesting video art happening around the world since the new millennium, further revealing the ways in which artists are wanting to communicate today. To begin, 35 international curators selected 35 video works that ranged from reinterpretations of traditional philosophical propositions, to uprisings and protests in South Africa and emerging youth culture in Ho Chi Minh City in Vietnam, to environmental exploitation in the Democratic Republic of Congo. Then, in 2012, 35 new curators selected 35 new videos works, expanding the reach of the project to reflect the continued rise of video art as an important medium for artists. Together, the works reveal the diversity of approaches practitioners are taking to the medium, using various animation techniques, as well as borrowing from the language of cinema, performance, and even YouTube, to produce work that weaves between documentary and fiction formats.

The weekly screening program that takes place in the Garage Auditorium has been prepared in collaboration with Russian artists (Olga Chernyshova, Evgeny Granilshikov), film critics (Alexey Artamonov, Boris Nelepo), journalists (Maria Kravtsova), art critics (Alexander Evangeli), curators (Elena Yushina, Aperto gallery; Maya Kuzina, Documentary film center; Andrey Misiano, Garage) directors (Anton Belov, Garage) and theatre director who will choose their personal favourites from the wide range of works.

• Happenings

Artist: Ximena Garrido-Lecca

Solo show
November 5 – December 26, 2015
Casado Santapau Gallery
Madrid, Spain

Solo show by Ximena Garrido-Lecca.

• Happenings

Artists: Rosenda Álvarez Faro and Grabadores por Grabadores, Carlos Amorales, Francisca Aninat, Rodrigo Arteaga, Myrna Báez, David Beltrán, Hernaín Bravo, Fernando Bryce, Waltercio Caldas, Manuel Calderón, Johanna Calle, Luis Camnitzer, Tania Candiani, Claudia Casarino, Albert Chong, Lourdes Correa-Carlo, Elena Damiani, Annalee Davis, Paula Dittborn, Frances Gallardo, Carlos Garaicoa, Félix González Torres, María Elena González, Karlo Andrei Ibarra, José Iraola, Alfredo Jaar, Voluspa Jarpa, Ivelisse Jiménez, Leandro Katz, Lucia Koch, Irene Kopelman, Ricardo Lanzarini, Nicola López, Claudia Martínez Garay, Vik Muniz, Mônica Nador, Jesús Bubu Negrón, Rivane Neuenschwander, José Ortiz-Pagán, Amalia Pica, Isabel Ramírez, Sandra Ramos, Rosângela Rennó, Verónica Rivera, Nicolás Robbio, Mariana Rondón, Graciela Sacco, Rosemberg Sandoval, Oscar Santillán, Giancarlo Scaglia, the SEMEFO Collective, Daniel Senise, Edra Soto, Adán Vallecillo, and Alicia Villarreal.

Displaced Images / Images in Space
The 4th Poly/Graphic San Juan Triennial: Latin America and the Caribbean
Curators: Gerardo Mosquera (Chief Curator), Vanessa Hernández, Alexia Tala
October 24, 2015 – February 28, 2016
Institute of Puerto Rican Culture
San Juan, Puerto Rico

The Poly/Graphic Triennial of San Juan, Latin America, and the Caribbean represents the transformation of what was, for more than 30 years, one of the most important art events in Latin America and the Caribbean: the San Juan Biennial of Latin American Graphics. Created in 2004, the Triennial promotes experimentation in the graphic arts, stimulating the combination of traditional printmaking and contemporary practices within a different curatorial theme each year.

Under the curatorial team of distinguished art critic Gerardo Mosquera (Cuba) as chief curator and co-curators Alexia Tala Barril (Chile) and Vanessa Hernandez Gracia (Puerto Rico), this 4th edition, titled Displaced Images/Images in Space will examine the shift of the graphic image between fields, supports, habits, and techniques, and especially its projection into three-dimensional spaces.

This edition of the Triennial will feature 55 artists from Puerto Rico, Latin America, and the Caribbean, as well as Latino artists residing in the United States.

This ambitious edition will include exhibitions, an educational program, events and publications throughout Puerto Rico, expanding beyond the capital city of San Juan to include spaces on the periphery and in other municipalities. As well, galleries and alternative spaces across the island will organize exhibitions in salute to the Triennial.

As a fundamental part of this 4th Triennial, an educational program has been designed whose aim is to develop and nurture creative thinking through participatory activities aimed at a variety of audiences and focusing on the exploration and collective recognition of the aesthetic experience. The project will feature activities that go beyond looking at art and entering the classroom as passive and hierarchical experiences.

The highlight of the workshops and lectures will be an international symposium, titled “The Contemporary Image: From Symbolic Space as Hegemony to Symbolic Space as Problematization,” to be held on October 25, 2015 in the theater of the University of Puerto Rico, Río Piedras. Panelists scheduled to take part are Luis Camnitzer, Marta, Gili, Alfredo Jaar, Mari Carmen Ramírez, Cuauhtemoc Medina, and Beatríz Santiago Muñoz. This opening summit will bring together internal and external audiences of the 4th Triennial, and is aimed at promoting a discussion of the contemporary image, and the image in general, as social experience.

Amalia Pica, Venn Diagrams (In the spotlight), 2011, Focos en trípode, sensor de movimiento, gel de iluminación y grafito sobre la pared, Dimensiones variables, Obra: Cortesía de la Colección Patricia Phelps de Cisneros

• Happenings

Artists: Carla Arocha & Stephane Schraenen, and Piotr Tolmachov.

Landscape and Spacing
Pulsar
November 6 – 22, 2015
Antwerp, Belgium

Pulsar is a new artist run, not-for-profit space located in Antwerp. Each month we feature works by local, international, established or emerging artists. A platform is offered for artist curated installations and exhibitions, encouraging a wide range of disciplines and practices.

• Happenings

Artist: Emilio Chapela

Cavalo de pau
October 9 – November 21, 2015
Galeria Pilar
Sao Paulo, Brazil

• Happenings

Artists: Daniel Aguilar Ruvalcaba, Esteban Aldrete, Maj Britt Jensen, Christian Camacho, Ramiro Chaves, Carolina Esparragoza, Andrés García Riley, Cynthia Gutiérrez, Rodrigo Hernández, Mauricio Marcin, Jonathan Miralda, Jazael Olguín, Rita Ponce de León, Emiliano Rocha, José Luis Sánchez Rull, Daniel Steegmann.

Como fantasmas que vienen de las sombras…
Project: Juan Caloca and Andrés Villalobos
October 30, 2015
ESPAC
Mexico City, Mexico

Contrario a lo evidente esta cueva no es el resultado de una búsqueda primigenia. Esta caverna es un umbral. Un pasaje a otros mundos, una nueva forma de ver y sentir. La cueva en este caso sirve como metáfora de procesos de representación. La cueva es un dibujo expandido, una textura gigante. Esta caverna alude a lo interior, a lo más profundo de los pensamientos escondidos detrás de las pantallas, las imágenes y los seres humanos. Esta cavidad sirve de analogía para hablar de la televisión, el pensamiento y los desdoblamientos del ser. De algún modo esta cueva representa el origen, pero no el de la humanidad, ni mucho menos el de la filosofía como en la de Platón.

La intervención a su vez plantea un esfuerzo para el espectador. Los recorridos probables para transitar la exposición no serán de fácil acceso, requiriendo un esfuerzo extra en los participantes. Exigiéndoles una interacción activa tanto con el espacio como con las piezas contenidas en éste.

Es así que las piezas de la exhibición se afectarán una a otra, formarán parte de un todo conglomerado. No estarán aisladas señalando su aura artística sino que se implantarán en este habitáculo para formar una sola idea antropofágica. Unos comiéndose a los otros. Unos siendo los otros.

• Happenings

Artist: Marcius Galan

Planta / Corte
October 8 – November 14, 2015
Galeria Luisa Strina
Sao Paulo, Brazil

O título da exposição é retirado da denominação das vistas de desenhos de arquitetura, utilizadas para a compreensão geral da área de um projeto.

Em Planta/Corte, Marcius Galan fragmenta elementos como linhas, cantos, e intervalos, em uma escala próxima à escala real, em que a espessura das linhas coincide com a das paredes da galeria.

Exercícios geométricos e de transposição de escalas, além do tráfego entre diferentes disciplinas, são recorrências em seu trabalho. Na Bienal de São Paulo de 2010, o artista apresentou dois trabalhos: Ponto em escala real, apropriando-se de um elemento gráfico do mapa (um ponto) e submetendo-o a uma escala 1:1; eEntre, um conjunto de microscopias que partiam de linhas divisórias em mapas nos quais a noção de precisão se transformava na possibilidade de adentrar em um universo interno às fibras do papel.

O universo da geometria costuma ser encontrado em sua pesquisa. A linha pode ser um simples desenho no papel, assim como também pode se impor como barreira física, impossibilitando a livre movimentação entre territórios, orientando nosso percurso pela cidade, e organizando o espaço doméstico e, diagramando os formulários burocráticos, as filas de banco, etc. Nesse sentido, ao desmembrar essas plantas em pequenos fragmentos, temos uma situação ambígua entre a organização e a desordem.

Translúcido, outra série apresentada na exposição, é formada por sobreposições de retângulos de ferro vazios que estão posicionados contra a parede e projetam um improvável reflexo de vidro e sombra. O trabalho forma um conjunto de janelas, em equilíbrio aparentemente precário, onde a percepção do espaço está outra vez em jogo.

Na última sala será apresentado um conjunto de trabalhos inéditos intitulados A mão suja, em que superfícies impregnadas de grafite são suspensas em uma parede que guarda a marca de sua instalação, formando desenhos que registram os movimentos durante a montagem da sala. Novamente o desenho deixa de lado seu aspecto virtual, de representação, e impregna a sala com os rastros do trabalho ali realizado durante o período de pouco mais de uma semana.

Ao sobrepor sistemas e códigos, apresentando novas formas de leitura e de compreensão do espaço, Marcius Galan explora a funcionalidade dos objetos e dos sistemas de representação, e propõe, consequentemente, um questionamento acerca da ideia de precisão – sobretudo no que se refere à representação de lugar, como a cartografia, a geometria, a arquitetura e o design.

Recentemente, seu trabalho participou de importantes mostras coletivas como Site, Specific, Objects, Galerija Gregor Podnar, Berlim, Alemanha (2015); Now? Now!, Biennial of the Americas, Museum of Contemporary Art Denver, EUA (2015); Empty House/Casa vazia, Luhring Augustine, Nova York, EUA (2015); Spatial Acts: Americas Society Commissions Art, Americas Society, Nova York, EUA (2014);  Cruzamentos: Contemporary Art in Brazil, Wexner Center for the Arts, Columbus, EUA (2014); My Third Country, Frankdael, Amsterdã, Holanda (2013); Blind Field, Krannert Art Museum e Kinkead Pavilion, EUA (2013); Planos de fuga: uma exposição em obras, Centro Cultural Banco do Brasil, São Paulo, Brasil (2012); Cisneros Fontanals Art Foundation 2011 Grants Program, Miami, EUA (2011); 8^a Bienal do Mercosul, Porto Alegre, Brasil (2011); 29^aBienal de São Paulo, Brasil (2010); Para ser construidos, MUSAC Castilla y León, Espanha (2010); Color into light: Selections from the MFAH Permanent Collection, Museum of Fine Arts Houston, EUA (2008).

Exposições individuais incluem: Diagrama, NC – Arte, Bogotá, Colômbia (2013); Geometric Progression – Marcius Galan Inside the White Cube, White Cube Bermondsey, Londres, Inglaterra (2013).

Seu trabalho é parte das seguintes coleções privadas e institucionais: Museu de Arte Moderna de São Paulo (Brasil), Museu de Arte Moderna do Rio de Janeiro (Brasil), Pinacoteca do Estado de São Paulo (Brasil), Fundação Serralves (Portugal), Zabludowicz Collection (Inglaterra), Museum of Fine Arts Houston (EUA), Cisneros Fontanals Foundation (EUA), MALBA – Museo de Arte Latinoamericano de Buenos Aires (Argentina), Nicolas Cattelain Collection (Inglaterra), CACI – Centro de Arte Contemporânea Inhotim (Brasil), Coleção Instituto Figueiredo Ferraz (Brasil).

Entre os prêmios e residências, destacam-se: residência na Gasworks, Londres (2013); Prêmio PIPA (2012); residência na School of the Art Institute of Chicago (2005); prêmio residência do Instituto Iberê Camargo (2005); residência na Cité des Arts, Paris (2003). hosting information lookup

• Happenings

Artists: Iván Argote, Arocha + Schraenen, Lothar Baumgarten, Matthew Buckingham, Elena Damiani, Adler Guerrier, Jorge Pedro Núñez, Edgar Orlaineta, Laercio Redondo, Matheus Rocha Pitta, Sergio Vega.

The Devil is in the details
Curated by Jesus Fuenmayor
September 17 – November 20, 2015
KaBe Contemporary
Miami, FL, USA

The title of the exhibition “The Devil is in the details” pretends to point towards the details’ appearances in a work of art that unexpectedly allow viewers to comprehend the work (and even history) in a different way, even when this reading betrays our expectations or completely twists a work’s initial intention. Instead of just speaking about how important the use of historiography is for this group of artists, the show draws attention to what Roland Barthes used to call the “Punctum.” That is, that detail in an image (or work) that escapes its own structure, shooting out like an “arrow” towards the viewer. The artists selected for this exhibition have turned to the representation of history not just as material itself but also as means by which to criticize how history is constructed. They are not just interested in the past tense or simply reviving archival strategies, but in putting the past in relation to the present and the future, creating overlapping temporalities that bring disparate moments together. scottrade site down

• Happenings

Artists: Alejandro Almanza Pereda, Darío Escobar, Alexandra Grant, Patrick Hamilton, Sandra Monterroso, Gabriel Orozco, Sebastián Preece, Richard Prince, Isabel Ruíz, Inés Verdugo.

Pero no soy fotógrafo / But I am not a photographer
November 5, 2015
The 9.99 Gallery
Guatemala City, Guatemala

In Roland Barthes’s book La Chambre Claire (1980), he explains that the critical part of photography focuses on the mechanical moment. The moment in which the brain decides and the finger clicks is the moment in which the “[t]he obstinacy of the referent in being there, always there” is present. Currently, that moment continues to be the most important; it is the one that makes the difference between points of view. Photography as a technique has rapidly shifted from the dark room into digitalization. When it started in the nineteenth  century, it was a contraption. The expertise one needed to have in physics for the light aperture, along with the chemistry knowledge required to reveal the images have all but faded away. Technological advances allow many of us to carry a camera in our pocket.

Photography’s goal is to capture a moment that takes place only once, whether it is in the various classifications borrowed from academic painting: still-life, landscapes, people and historical moments. The way in which we approach them, and the stories that these images tell us, are not from a specific moment; but rather from the combination of several moments: to click, to develop, to manipulate, and finally, to single that moment and to make its invisibility present.

The exhibition consists of 27 pieces, which presentation starts from a photographic aspect challenging its more orthodox definition as it returns to an academic classification. Installed in a “cabinet of curiosities” style, we see a small compilation of works that goes from landscape to photographs of historical moments, in different formats and presentations, highlighting its rareness or its single imperfection as “impure” photography.

The exhibit starts with the hesitation and manipulation of the countryside landscapes Paisajes Perforados I y II  (Perforated Landscapes I and II, 2009) by Patrick Hamilton (Chile, 1974), whose dalliances venture into his well-known photographic shots and manipulations of building materials in the series Proyectos de arquitecturas revestidas para la Ciudad de Santiago (Architectural projects re-covered for the City of Santiago, 2008) or Posters (2008), and returns to the landscapes, not only to manipulate them but to turn them into three-dimensional objects, based on repetition and reflection, as in the case of his most recent piece Escape al Paraíso (Escape to Paradise, 2014) and Spatula #1 (2015).

Playing with repetition, The less things change, the less stay the same (2013) by Alejandro Almanza Pereda (Mexico, 1977), a work that obtained an honorific mention at the XVI Bienal de Fotografía in 2014 at the Centro de la Imagen in Mexico City, here we see a series of moments in an exercise of constructive transformation of materials, tinged with nostalgia, which will be reactivated in Geometría Imperfecta(Imperfect Geometry, 2012) of Darío Escobar (Guatemala, 1971), but where instants are even more ephemeral as light is the main composition and appeal, or in the case of Untitled (2002) where memory is contained in the  oil stains.

At first sight, the photography Dot Ball (1992/1996) of Gabriel Orozco (Mexico, 1962) could be a ready-made of a balloon in the middle of nature. In reality the manipulation of an object within its context gives it a particular placement, which is one of the more evident features of portraiture. Although we usually refer to a portrait as the likeness of a person, the truth is that a person’s own objects also speak about their specific characteristics; they show us the “observing subject,” as is the case of the series Equilibrio (Equilibrium) by Patrick Hamilton and Volume XIV (2008) of Sebastián Preece (Chile, 1972).

The human figure is revisited in the gestures of Alexandra Grant (United States, 1973). In her series Shadows, a collaboration with the actor and writer Keanu Reeves, the technical manipulation creates a game of colors, shadows, and movement. This, on the other hand, is hidden in the work by Richard Prince (United States, 1949) where the manipulation is referred to as a physical object—Bill Powers’s novel What we lose in flowers (2012). The pin-up style female nude, behind a strip that reminds us of DVD titles, gives a new meaning to the idea of mixed media. compare hotel prices The human figure is also the protagonist in Sandra Monterroso’s performance documentation (Guatemala, 1974), Tu Ashé Yemaya(2015), presented in the 12 Bienal de La Habana, and in the light boxes of Isabel Ruiz (Guatemala, 1945) in the series Río Negro (1988), where photography is on the verge of gesture. Finally, the exhibition closes with a gaze looking at another gaze, that of Inés Verdugo (Guatemala, 1983) in her work Continuidad (Continuity, 2015).

 While at the beginning of photography the end of painting was predicted, today the photographic image has become such a generalized practice that “we are all photographers.” However, photography is still a specialized field where questions of light, focus, and perspective are endless challenges to overcome.

• Happenings

Artists: Vito Acconci, Artur Barrio, Rosemarie Castoro, Eduardo Costa, Cris Gianakos, Victor Grippo, Stephen Kaltenbach, Leandro Katz, Rosemary Mayer, Ana Mendieta, Marta Minujín, Hélio Oiticia, John Perreault, Regina Vater.

Acciones en la calle: Street Works in New York and Latin America circa 1970
Curator: Gillian Sneed
October 26 – December 4, 2015
Amelie A. Wallace Gallery
SUNY College
New York, NUY, USA

“Acciones en la Calle” considers the conceptual and performative strategies employed by artists in the 1960s and ’70s that rejected institutional spaces in favor of the street as the context and subject of their work. The exhibition’s point of departure is the six-part Street Works (1969-1970), a series of events during which numerous artists utilized urban public spaces in New York City’s streets as their performance and exhibition venues.

While New York is often considered the birthplace of this genre, street actions had also taken hold in Latin America, and relationships between Latin American and U.S. artists, critics, and curators developed. Latin American artists who sought exile from dictatorships or had been awarded grants came to New York, while many U.S. artists traveled to Latin America.

“Acciones en la Calle” demonstrates resonances and disjunctions between the works and their political, practical, and theoretical concerns. While the Civil Rights Movement and Vietnam War protests provided the backdrop against which street works emerged in the U.S., in Latin America limited art markets and repressive regimes left only the streets as venues for artistic intervention. These artists investigated the complex intersections of political repression, violence, and social marginalization in ways that challenged the traditional “center/periphery” model so often employed in canonical accounts of Latin American and U.S. conceptual art. Curator Sneed explains: “The relevance of these works could not be more urgent today, as activists across the Americas have returned to the streets to take action.”

The works in this exhibition revolve around three themes related to the urban setting: Site, Drift, and Debris. Site considers street works that mark or highlight the location where they unfolded; Drift engages works that wander through urban networks to produce dérives, or flows; and Debris explores what is revealed about a city’s inhabitants by the refuse that accumulates on their streets.

• Happenings

Artist: Erica Muralles Hazbun

Cualquier otra realidad / Any other reality
October 15 – November 5, 2015
Sol del Rio Gallery
Guatemala City, Guatemala

Solo show by Erica Muralles Hazbun.

• Happenings

Artists: Belén, Andrea Canepa, Mauro Cerqueira, Miki Leal, Juan López, Maider López, Carlos Maciá, Tobias Rehberger, Fernando Renes y Miguel Ángel Tornero.

El público
Curator: Virginia Torrente
September 18 – October 18, 2015
Centro Federico García Lorca
Granada, Spain

Group show.

• Happenings

Artists: Álvaro Barrios, Eduardo Berliner, Luis Camnitzer, Mario Cravo Neto, Antonio Dias, Paz Errázuriz, León Ferrari, Guillermo Kuitca, Marta María Pérez Bravo, Liliana Porter, Miguel Ángel Rojas, Melanie Smith and Horacio Zabala.

Dark Mirror: Art from Latin America since 1968
September 7, 2015 – January 31, 2016
Kunstmuseum Wolfsburg
Germany

Topics such as the literal and metaphorical boundaries of freedom, gender identity, social criticism and political power as well as reflections on nature vs. urban existence will be examined via more than 150 works. These come from all genres of art – including installations, objects, paintings, photographs, videos and works on paper – and will be shown in an exhibition space encompassing 1100 square meters. This extensive selection of works, from the largest and most important institution devoted to contemporary Latin American art in Europe: the Zurich-based Daros Latinamerica Collection, not only sheds light on parallels to the history of European art but also on specific Latin American developments, particularly since the 1960s.

The works by such artists as Álvaro Barrios; Eduardo Berliner; Luis Camnitzer; Mario Cravo Neto; Antonio Dias; Paz Errázuriz; León Ferrari; Guillermo Kuitca; Marta María Pérez Bravo; Liliana Porter; Miguel Ángel Rojas; Melanie Smith and Horacio Zabala provide a striking picture of Latin American art’s creative diversity and energy.

With respect to its beginnings in 1967 as well as its focus on groups of works by major artists, there are conceptual parallels between the Daros Latinamerica Collection and the holdings of the Kunstmuseum Wolfsburg. The examination of the artistic continent of Latin America in the Dark Mirror exhibition also serves, in this context, as a laboratory for a global expansion of the Kunstmuseum Wolfsburg’s collection.

• Happenings

Artist: Gabriel Sierra

Numbers in a Room
September 20, 2015 – January 4, 2015
Sculpture Center
New York, USA

By modifying and extending the guiding information of the exhibition space, Sierra will restructure the lower level galleries, effacing and confusing distinctions between the architecture, the institution, and the works that comprise the exhibition. The combination of alternative and existing floor plans, signage, and objects in the space all refer to the codes for viewing and maneuvering through the context of an exhibition.

Increasingly layered in Sierra’s presentation, the various structures comprising an exhibition in an institution create a mirroring effect, where each thing recalls another thing. This indexical accumulation makes it unclear exactly where the exhibition begins and ends, bringing into question the semantics of the various navigational prompts within art institutions. The exhibition structure asks that the visitor adjust to its new form.

Sierra (born 1975, San Juan Nepomuceno, Colombia) is based in Bogotá, Colombia and has had solo exhibitions at the Renaissance Society at the University of Chicago (2015) and Peep-Hole in Milan (2013). Recent group exhibitions include the 56th Carnegie International, Carnegie Museum of Art, Pittsburgh (2013); The Ungovernables, New Museum Triennial, New Museum, New York (2012); and the 12th Istanbul Biennial (2011).

• Happenings

Artist: Elena Damiani.

Testigos: un catálogo de fragmentos / Sediments: an assemblage of remains
Curated by Cecilia Delgado and Amanda de la Garza
September 5, 2015 – February 7, 2016
MUAC Museo Universitario de Arte Contemporaneo
Mexico City, Mexico

La propuesta de Elena Damiani forma parte del programa curatorial Intemperie Sur, que parte de la idea del intersticio como hendidura que media entre dos partes de un mismo cuerpo. Opera desde la posibilidad de vincular el adentro y el afuera del museo, por ello propone que las intervenciones artísticas sucedan en terrazas y patios.

La instalación Testigos: un catálogo de fragmentos se presenta como un interludio espacio-temporal. Conformada por dos esculturas en travertino que aluden a la naturaleza discontinua del tiempo y a la aparición de espacios liminales dentro de éste, Damiani revela los intersticios que el propio material contiene. Estas fisuras -hiatos o lagunas en el tiempo geológico- son los puntos de interés crítico, ya que representan la evidencia de ciertos quiebres, filtraciones y discordancias, factores que señalan sutilmente la existencia de un ‘tiempo perdido’.

En los vacíos es donde se formula un espacio para el cuestionamiento de la continuidad y la estabilidad de lo que entendemos como espacio-tiempo. Si bien, se considera que el tiempo ayuda a revelar la esencia de las cosas: la apariencia de una ilustración cuyos bordes han sido manoseados por un número de personas, el tono oscurecido de un árbol o la rugosidad de una piedra son testigos silenciosos que en su composición material contienen una serie de capas de información que representan un transitar del tiempo.

La primera escultura es una serie de 34 piezas talladas en travertino, son prismas cortados a la vena provenientes de la misma piedra; este corte permite ver las diferentes capas de sedimentación características de la composición de este material. Cada uno se encuentra dispuesto uno junto al otro de manera secuencial sobre el muro, recomponiendo el patrón de estratificación original de la piedra, el cual se ve interrumpido por una incrustación de resina translucida en cada una. La segunda, son dos losas de travertino cortadas a la vena que rotan en uno de sus vértices para incorporarse la una con la otra ubicadas sobre el piso. El área donde se superponen es remplazada por un vidrio del mismo espesor de manera que las capas estratigráficas queden a modo de espejo.

En su conjunto, la instalación hace referencia a dialécticas de linealidad, ruptura y yuxtaposición, de superficie plana y volumen, de adentro y afuera; señalando la potencialidad de los materiales para retener y desplegar información o dejar que ésta se filtre a través de los huecos en las superficies segmentadas. Damiani integra a la instalación resina y vidrio en las fracturas del travertino, destacando la notoria intrusión de elementos ajenos entre los sedimentos naturales, generando así pequeños vanos o paréntesis que exponen una serie de quiebres en la continuidad de la composición morfológica de la piedra. La artista expande las posibilidades del collage como un medio para la escultura y la instalación, presentando una tensión dialéctica entre el todo y sus partes, donde la composición de las obras dispuestas en el espacio señalan la naturaleza fragmentaria, propia del collage, a través de los segmentos y las capas que se acoplan presentándose como un nuevo todo.

• Happenings

Artist: Paula de Solminihac.

Ceramix, Art and ceramics from Rodin to Schütte
Curated by Camille Morineau and Lucia Pesapane
October 16, 2015 – January 31, 2016
Bonnefantenmuseum
Masstricht, The Netherlands

Officielle
October 21-25, 2015
Paris, France

Les Noms Secrets (Hidden Names)
October 10 – November 7, 2015
Galerie DIX9
Paris, France

El reciente proyecto de Paula de Solminihac, Los Nombres Secretos, recupera residuos de materiales del trabajo de taller y recortes de sus cuadernos de trabajo, para producir obras que evocan vestigios arqueológicos y transforman los detritus de la experiencia artística en obras sometidas a la lógica de las operaciones alquímicas.

Restos de arcilla seca y hojas de los cuadernos que la artista usa a diario como laboratorio creativo, fueron combinados utilizando un método que intenta restituir los materiales a su condición inicial, la humedad de la arcilla y el vacío de la página en blanco. En concreto, mientras las arcillas fueron envueltas en trapos viejos y enterradas en arena y agua para devolverles la humedad, en las hojas de los cuadernos se orillaron a lápiz los espacios libres de anotaciones y dibujos, a fin de perfilar los vacíos y así poner de manifiesto las formas residuales del trabajo de exploración visual consignado en los cuadernos.

Su trabajo de investigación en torno a la cerámica lo realiza poniendo atención a los procesos y al trabajo sobre la materia, haciéndose parte del análisis de las dinámicas tecnológicas de la arqueología contemporánea, que en lugar de clasificar los objetos por sus rasgos formales, prefiere analizar los procesos a partir de los cuales los objetos han llegado a ser lo que son. A diferencia de las obras anteriores de Paula de Solminihac, donde la atención estaba puesta en el paso de lo crudo a lo cocido para producir mapas mentales o constelaciones de letras modeladas, actualmente centra su atención en el estado crudo-seco de la arcilla, y en su tránsito a lo crudo-húmedo y a lo calcinado como antesala de la descomposición de la materia.

El resultado es un conjunto de obras a base de capas o cortezas superpuestas, ya sea de materiales concretos como la tierra, ya sea de elementos simbólicos como las ideas que retornan una y otra vez en los cuadernos, todo esto hasta conformar un todo sin costuras entre la vida y el trabajo. Durante octubre del 2015, Los Nombres Secretos, tres cuerpos de obras relacionados entre sí, se presentará simultáneamente en el Bonnefantenmuseum, Maastricht, Holanda, en una gran muestra colectiva sobre cerámica contemporánea curada por Camille Morineau y Lucia Pesapane; en una muestra individual en galería Dix9, de París, y en un solo Project en la feria de arte contemporáneo Officielle, también en Paris.

Los Nombres Secretos / Ceramix

Organizada por tres instituciones europeas se presentará en el Bonnefantenmuseum en Maastricht, Holanda (16 de octubre 2015 al 5 de febrero, 2016), Maison Rouge, Fundación Antoine de Galbert, Paris y la Cité de la Céramique de Sèvres (2016).

Se mostrarán 13 bultos de arcilla negra que se hicieron amortajando papeles de arcilla sometidos simultáneamente a procesos de secado y humectación durante varios meses, haciendo reaccionar la materia de distintas formas. Junto con las piezas de cerámica se muestran dos fotos, una de un trozo de tela que se usó de envoltura en el proceso y otra de una ceniza de diario minúscula que sobrevivió al fuego de cocción.

Los Nombres Secretos / diarios de una transformación

Para su primera exhibición en Francia en la galería Dix9, Paula de Solminihac presenta una serie de objetos de cerámica y papel dispuestos taxonómicamente como evidencias de un proceso. Lo que se mostrará es un encadenamiento de piezas disímiles; en concreto: Soft Shells, una cuelga de trapos de algodón y lino usados como envoltorios; Archeological matter, serie de 24 clasificaciones de piedras de arcilla de colores modeladas espontáneamente en arena y agua; Diary pages, una serie de trabajos en papel con formas circulares que aluden a organismos vivos de estructuras complejas como la Victoria Amazónica, un loto gigante, y la Armillarea, un hongo que es el organismo mós grande del mundo y que vive oculto bajo tierra; Fungi print, 4 impresiones serigráficas de patrones de hongos que se estamparon en las telas usadas. Las reproducciones, hechas con tinta fluorecente, solo pueden ser vistas en la oscuridad y por un tiempo limitado hasta que se apaga la tinta; y, finalmente, Hard Shells, un collar de papel y lino que simboliza los procesos de rescate alquímico de lo desechable mediante su transmutación material y figurativa.

Los Nombres Secretos / Officielle

Para Officielleartfair, feria de arte contemporáneo que se realiza en París entre los días 21 y 25 de octubre, la artista ha diseñado un Solo Project en donde mostrará libros de arcilla y composiciones a partir de las hojas de sus cuadernos, una suerte de bitácora de papeles de distintas composiciones que ha ido acumulando en el tiempo.

En los tres paneles que conforman el espacio habrá un librero con 10 libros de arcillas de distintos colores y una columna hecha por el despliegue de uno de ellos, un segundo panel con 10 trabajos en papel y el tercer panel con tres fotografías.

• Happenings

Selected Biographical Information

Education / Training

• 2013-2015: Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands.
• 2006-2011: Taller de Arte contemporáneo de Caracas TAC con Antonio Lazo y Zeinab Bulhossen, Caracas, Venezuela.
• 2003-2008: Arquitecto, Universidad Experimental del Tachira UNET, San Cristobal, Tachira.

Prizes / Fellowships

• 2015: Production grant, Mondriaan Fonds , Amsterdam, The Netherlands.
• 2014: Art in the City, Selected Project, Kyiv Sculpture Project Prize (KSP), Kyiv, Ukraine.
• 2013: Scholarship Cees e Inge de Bruin-Heijn, Amsterdam, The Netherlands.
• 2011: Training scholarship, Patricia Phelps de Cisneros foundation CPPC, Buenos Aires, Argentina.
• 2011: Residencia artistica, CIA Centro de Investigaciones artisticas, Buenos Aires, Argentina.
• 2011: Residencia artistic, Terra Una, Serra da Mantiqueira, Liberdade, Brazil.
• 2011: Residencia artistica, ALA artista en Latinoamerica, Valparaiso, Chile.
• 2010: Third Prize, salón Super Cable, jóvenes con FIA, Caracas, Venezuela.
• 2010: Residencia artística , KIOSKO, Santa Cruz de la Sierra, Bolivia.
• 2008: Sculpture Award, International Competition, Alameda Sol de Oriente, Cali, Colombia.
• 2007: Honorable Mention, VII Salon Nacional de fotografia Seguros Catatumbo, Maracaibo, Venezuela.
• 2007: Honorable Mention, Salon Naciona de arte visuales de la ciudad de Coro, Coro, Venezuela.
• 2007: Premio de Fotografía , Salon Binacional de artes Visuales CONFANORTE, Pamplona, Colombia.

Solo Exhibitions

• 2015: “Typical modernity”, Martin van Zomeren gallery, Amsterdam, The Netherlands.
• 2015: “Soloproject“, Swab, Barcelona, Spain.
• 2015: “Sculpture and repetition“, Bergarde gallery, Rotterdam, The Netherlands.
• 2015: “Interior Francés“, Oficina # 1, Caracas, Venezuela.
• 2014: “XYZ“, Martin van Zomeren, Amsterdam, The Netherlands.
• 2012: “Proyecto / Escultura“, Oficina#1, Caracas, Venezuela.
• 2011: “La imagen de los tiempos“, Al Borde, Maracaibo, Venezuela.
• 2011: “De la herencia a lo heredado“, Oficina # 1, Caracas, Venezuela.
• 2010: “S/t“, Kiosko, Santa Cruz de la Sierra, Bolivia.
• 2005: “Geometría sensible”, galeria Demetrio Silva, San Carlos, estado Cojedes, Venezuela.
• 2004: “Síntesis II”, galería Manuel Osorio Velasco, San cristobal, Venezuela.
• 2004: “Síntesis I”, Galería de arte el punto, San Juan de Colon, Venezuela.
• 2003: “Inquisiciones geométrica y color”, Sala de espacios visuales UNET, San Cristobal, Venezuela.

Group Exhibitions

• 2015: “TRÓPICOS“, Oficina # 1, Caracas, Venezuela.
• 2015: “Velada remix“, Hamburg, Germany.
• 2015: “REALIDADES INSTANTÁNEAS“, Sala Trasnocho Arte Contacto (TAC), Caracas, Venezuela.
• 2015: “ARTBO, International Contemporary Art”, nube gallery, Bogota, Colombia.
• 2015: “INTERVENCIONES TRIDIMENSIONALES“, Hacienda La Trinidad, parque cultural, Caracas, Venezuela.
• 2015: “Amsterdam Art Fair”, Martin van Zomeren, Amsterdam, The Netherlands.
• 2015: “ARTROTTERDAM, International Contemporary Art Fair”, Martin van Zomeren, Rotterdam, The Netherlands.
• 2014: “Open Studio“, Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands.
• 2014: “ARTISSIMA, International Contemporary Art Fair”, Martin van Zomeren, Turín, Italia.
• 2014: “ARTBO, International Contemporary Art Fair “, Oficina#1, Bogotá, Colombia.
• 2014: “Panorámica. Arte Emergente en Venezuela. 2000-2012“, Sala Trasnocho Arte Contacto (TAC), Caracas, Venezuela.
• 2014: “A.O.”, Martin van Zomeren, Amsterdam, The Netherlands.
• 2014: “ESCALA“, Oficina # 1, Caracas, Venezuela.
• 2014: “JustMad, International Contemporary Art Fair, COAM, “, nube gallery, Madrid, Spain.
• 2013: “Open Studio“, Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands.
• 2013: “The Right to the City“, Stedelijk Museum Bureau, Amsterdam, The Netherlands.

Publications

• Oscar Abraham Pabon, In the beginning was the Word (Amsterdam), 80.
• Oscar Abraham Pabon, New Modern Sculpture (Amsterdam), 50.
• Oscar, De la Herencia a lo Heredado (Caracas), 30.
• Felix Suazo, Panorámica, Arte Emergente en Venezuela 2000/2012 (Caracas: Telefónica Fundación), 80.
• Rosana Pabon, “Artista y arquitecto venezolano inauguró esculturas flotantes en Holanda“, entre rayas – revista de arquitectura, 18 sep 2015.

Collections

• Stichting Pieter Janszoon Saenredam, Rotterdam, The Netherlands.
• Cees e Inge de Bruin-Heijn, Amsterdam, The Netherlands.
• Patricia Phelps de Cisneros foundation CPPC, New York, USA.
• Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands.
• Colección Ella Fontanals-Cisneros CIFO, Miami, USA.

Links

• Laboratorio de Puertas Urbanas.

• Artists

Artists: Pablo Accinelli, Edgardo Aragón, Juan Araujo, Felipe Arturo, Nicolás Bacal, Milena Bonilla, Paloma Bosquê, Pia Camil, Bevenuto Chavajay, Marcelo Cidade, Donna Conlon & Jonathan Harker, Nicolás Consuegra, Minerva Cuevas, Elena Damiani, Mariana Castillo Deball, Ximena Garrido-Lecca, Federico Herrero, Voluspa Jarpa, Runo Lagomarsino, Adriana Lara, Engel Leonardo, Valentina Liernur, Mateo López, Renata Lucas, Daniel Steegmann Mangrané, Nicolás Paris, Amalia Pica, Pablo Rasgado, Pedro Reyes, Adrián Villar Rojas, Gabriel Sierra, Clarissa Tossin, Carla Zaccagnini.

United States of Latin America
Curated by Jens Hoffmann and Pablo León de la Barra
September 18, 2015 – January 3, 2016
Museum of Contemporary Art
Detroit, MI, USA

The exhibition United States of Latin America brings together more than thirty emerging artists from Latin America, many of whom will be exhibiting in the United States for the first time.

The show is based on an ongoing conversation between two curators, Jens Hoffmann and Pablo León de la Barra, who for a number of years have exchanged research and information about artists, artworks, and the overall development of the art world from Mexico to Argentina and the many countries in between. The exhibition is an extension of this dialogue into the galleries of the Museum of Contemporary Art Detroit via artworks suggested in dialogue format.

United States of Latin America features a wide range of works in a variety of mediums, for instance a series of photographs about housing in Havana, a film about the effects of gang violence in Mexico, sculptures reflecting on the involvement of the CIA in Latin American dictatorships, drawings of historical monuments from the future, a floor map about the selling of Brazilian rubber to the United States, boulders from a Colombian river that have been turned into flip-flops, and paintings about the interplay of modernist houses, tropical vegetation, and utopian architecture. The individual artworks touch upon themes such as geography, history, urbanism, memory, colonialism, architecture, war, modernism, social inequality, regionalism, and power. Given how Latin America’s realities oscillate between the colonial and the contemporary, between severe economic hardships and enormous financial expansions, between flourishing democracies and suppressive dictatorships, and between great progress and immense regression, the exhibition presents an intentionally fragmented survey, a deliberately disjointed overview, of the region and the art being made there. It allows the viewer a glimpse into a reality that may seem geographically near, but is in many ways far away and unfamiliar.

The curators invited a number of writers and curators from throughout Latin America to contribute to a glossary of terms that articulate the region’s historical landscape and conceptual syntax. This glossary will be published in the exhibition catalogue along with a conversation between the curators, texts on all of the artists, images of the exhibited artworks, and a roundtable discussion featuring a number of curators based in Latin America.

Developed in collaboration with Kadist Art Foundation, United States of Latin America is curated by Jens Hoffmann, MOCAD senior curator at large, and Pablo León de la Barra, guest curator. A range of public programs and educational activities will run concurrently with the exhibition, including a public conversation with the curators, lectures by some of the participating artists, film screenings, and performances.

• Happenings

Artist: Marco Maggi

Unfolding
September 10 – October 24, 2015
Josée Bienvenu Gallery
New York, NY, USA

Like in the Venice pavilion, Maggi separates the two basic elements of drawing. He draws with paper on the walls in the main space, and presents an installation of pencils in a separate area. “Drawing is a dialogue with a superficy and a certain superficiality. It is a superficial discipline that allows oneself to take distance from the depths of thinking in order to de-multiply an empathy for the insignificant. Drawing for me is like writing in a language that I don’t understand. I don’t believe in messages or ideas. Ideas have the tendency to become fixed and aspire ultimately to the status of ideology.” (Marco Maggi, 2015)

A portable kit composed of thousands of elements cut-out from self-adhesive paper becomes an insignificant alphabet folded and pasted onto the walls during the months preceding the exhibition. The diminutive papers are disseminated or connected following the traffic rules and syntax dictated by any accumulation of sediments. Some areas throughout the gallery are infected with color, the edge of the wall in red, blue or yellow, like the margins of a misprinted sheet of paper. The colonies of stickers on the walls enter in dialogue with the light upon them. Myriads of shadows and infinitesimal incandescent projections aim to slow down the viewer. The main ambition of the project is to promote pauses and make time visible.

In Putin’s Pencils, ten pencils are pointed against the wall, held by the tensions of bowstrings, ten arrows ready to be projected. The trajectory of these Soviet era color pencils is frozen, almost going backward in time. Leading to the project room, a ladder made of Fanfold, the already obsolete perforated computer paper, grows upward and downward from two dimensions to three-dimensional space in a symbiosis of hardware and software. Inside the room, two individual panels of cutout stickers face each other. Another wall installation, Stacking Quotes (Black Cachet), suspends bound sketchbooks with fragments of colored stickers pressed within their pages. These small referential stickers act as words cut out from a larger message, recoding the original context.

Born in Montevideo, Uruguay in 1957, Marco Maggi lives and works in New Paltz, NY and Montevideo, Uruguay. His work has been exhibited extensively throughout the United States, Europe, and Latin America in galleries, museums, and biennials. This year, he represents Uruguay at the 56th Venice Biennale, on view through November 22. His first monograph was published on this occasion. Maggi’s work is also on view at the concurrent exhibition Déplier Marco Maggi at Galerie Xippas, Paris. In 2013, he received the Premio Figari (Career Award). Selected exhibitions include Drawing Attention, Kemper Museum of Contemporary Art, Kansas City, MO (2015); Embracing Modernism: Ten Years of Drawings Acquisitions, The Morgan Library & Museum, New York (2015); Functional Desinformation, Instituto Tomie Ohtake, Sao Paulo, Brazil (2012); Optimismo Radical, NC-arte, Bogota, Colombia (2011); New Perspectives in Latin American Art, 1930–2006, Museum of Modern Art, New York (2008); Poetics of the Handmade, Museum of Contemporary Art, Los Angeles, CA (2007); Fifth Gwangju Biennial, Korea (2004); VIII Havana Biennial, Cuba (2003); 25th Sao Paulo Biennial, Sao Paulo, Brazil (2002); and Mercosul Biennial, Porto Alegre, Brazil (2001). Public collections include The Museum of Modern Art, New York; Museum of Contemporary Art, Los Angeles; Whitney Museum of American Art, New York; Art Institute of Chicago; The Drawing Center, New York; Hirshhorn Museum and Sculpture Garden, Washington D.C.; Museum of Fine Arts, Boston; Fine Arts Museums of San Francisco; Walker Arts Center, Minneapolis; Museum of Latin American Art, Long Beach; El Museo del Barrio, New York; Cisneros Collection, New York; and Daros Foundation, Zurich.

• Happenings

Artists: Claudio Vera and Martin Pelenur.

Primordial Meditations
September 17th – October 24th, 2015
Artemisa Gallery
New York, NY, USA

It is embedded in human nature to be thoughtful and innovative for survival. Collectively, a dialogue surrounding this concept is excavated from Vera’s and Pelenur’s parallel bodies of work, to raise thought provoking questions that are inherent to humanity’s progression on earth, as well as, within society. How can humanity move forward in connection with the land, and how does one’s consciousness allow this process to unfold? Such primordial concerns with existence have continued through ancient times into contemporary civilization. To investigate Vera and Pelenur in this vein brings to light the association of physical and cerebral conditions, which are key to the balancing act that humanity must perform throughout time.

• Happenings

Artists: Carla Arocha and Stéphane Schraenen, Francis Alÿs, Gaston Bertrand, Amédée Cortier, Raoul de Keyser, Walter Leblanc, Bernd Lohaus, Luy Mees, Gert Robijns, Timothy Segers, Boy and Erik Stappaerts, Philippe Van Snick, Jef Verheyen, Pieter Vermeersch.

The Gap: Selected Abstract Art from Belgium
Curated by Luc Tuymans
September 9 – December 6, 2015
Parasol unit
London, UK

Focusing on the notion of abstraction in twentieth-century and contemporary Belgian art and the varying sources of influence and inspiration among the artists of two generations, Tuymans has selected fifteen artists whose work either articulates a relationship to abstraction or takes as its cue the definition of abstraction. Although the artists themselves have emerged from different periods and motivations, a clear formal relationship between the selected works is apparent, and thereby reveals a current and earlier interest in abstraction that has not lost its relevance over recent decades.

Luc Tuymans, himself a figurative painter who constantly seeks to extend the traditional boundaries of his practice, has specifically selected these artists for the individual nature of their practice and the paradoxical way each of them uses their medium. Presented in the two gallery floors of Parasol unit, their works collectively investigate the potential, formal and conceptual tensions within the notion of abstraction.

Works by the earlier generation of artists represented in the show can be loosely situated within geometric abstraction and abstract constructivism, influenced by artists such as Piet Mondrian (1872–1944) and groups such as De Stijl (founded 1917) and the ZERO movement of the 1950s and 60s, as well as the American Colour Field painters. Whereas the more recent works by the younger generation of artists reconstruct and reinterpret the Modernist ideas and concerns from today’s artistic point of view. Ultimately, this exhibition highlights the diversity of artistic practice within abstraction, while revealing intergenerational influences and allowing viewers to explore and be challenged by the depth and limits of abstraction.

• Happenings

Artist: Mario Navarro

Aesthetical Irregularities
September 18, 2015
Proyecto Paralelo
Mexico City, Mexico

Navarro extracts fragments from the exhibition space thus creating voids and duplicates that that echo each other. The artist understands the void as a loss or as something missing, but as a place where it is possible to multiply reality over and over. The void works just as another constructive element that operates by pointing to the limits of forms and things.

• Happenings

Artist: Amadeo Azar

La tormenta que imaginamos
September 18 – October 30, 2015
Nora Fisch
Buenos Aires, Argentina

¿Qué pasa cuando un artista pinta en acuarela la modernidad? ¿Pueden las formas del arte moderno inventarse otra vez, o descubrirse como si hubieran pasado siglos olvidadas y perdidas para deslumbrar con aliento renovado? ¿Cómo puede volverse a ellas libre de vicios? ¿O volverlas tema sin hacer revisionismo, sin ahondar en el fracaso del gran proyecto moderno y de la revolución? ¿Sin caer en un conceptualismo que se pretenda superador? Sumergido en su taller, Amadeo Azar emprende una aventura infinita hacia lo profundo de su interés por las formas de la modernidad guiado por el encantamiento romántico y puntilloso con el que se entrega a su trabajo de artista, fundamentalmente de pintor. Y de su combinación aparentemente incompatible de tema y método, resulta un trabajo delicado y conmovedor en el que las formas supuestamente anónimas y prácticas, neutras y absolutas de la modernidad, se despliegan en imágenes donde la naturaleza de la acuarela -veloz, difusa y transparente- las carga de ánimo y hace visibles en una atmósfera de gran intimidad.

Si a partir del camino abierto por la abstracción, el artista moderno intensifica su búsqueda por obras que signifiquen la pura invención y, por ende, la pura verdad, el trabajo de Azar retoma, a través de ellas, el camino de la ilusión y la referencialidad. Sus pinturas de esculturas de Naum Gabo, Enio Iommi, Gyula Kosice, de obras de Raúl Lozza, son imágenes de imágenes. Lo que presentan no son ya el movimiento, el volumen o el color irrumpiendo en el espacio, sino radiografías exquisitas que traen a la vista algo para su reconocimiento. Con estos estudios, Azar penetra no sólo en la intimidad de una obra sino también en el proceso de invención de quien la creó, hace de la pieza que mira un retrato psicológico, la recorre y reproduce para entender, desde el hacer, su forma, sus brillos, sus líneas, sus volúmenes, sus quiebres; para representarla en toda su materialidad y, por qué no, en su espiritualidad. Fantasmales, las pinturas -algunas incluso fotografiadas e impresas sobre el mismo tipo de papel sobre el que él pinta- parecen eternizar, aunque en composiciones más oscuras, su luminosidad.

En el otro extremo de esta serie de trabajos, que se reproducen como espejismos, Azar parece probar la modernidad por sí mismo. Aunque con toda la carga del siglo pasado en sus manos y en sus ojos de artista, perdido en el ensimismamiento en el que se entrega a pintar, algunos de sus papeles buscan conquistar como se hizo antaño el plano puro de pintura como habiendo llegado otra vez al punto en que la materia exige no ser más que ella misma. Y, silenciosas, se asocian a estas imágenes casi fotográficas de obras reconocidas, papeles donde la acuarela logra plenos audaces en que sólo ella se hace escuchar. Crujiendo sobre el papel, sin embargo, no hay en ellos exclusiva precisión, uniformidad y pureza de color; por el contrario, es imposible no sentir en ellos la evocación de la niebla, o de una bruma de paisaje romántico o renacentista. Si, por un lado, estos plenos intensifican la relación con las fuentes que inspiran el trabajo de Azar, y se alinean con ellas, por otro, parecen defender el valor de lo inacabado, difuso, sugerente y abierto frente a la obra concluida y perfecta.

Una serie de esculturas -piezas que recuerdan los primeros trabajos constructivistas de Vladimir Tatlin que combinan planos y volúmenes de materiales diversos-, también se animan a probar estos momentos iniciáticos de las vanguardias. Combinando libros, recortes de diarios, partes de yeso, restos de papeles pintados, Azar arma volúmenes en los que incluso la pintura se integra al espacio, poniéndola nuevamente a prueba. Continuando con el principio del arte abstracto de ser fiel a los materiales, estas piezas integran al trabajo el flujo de lo que rodea al artista en su taller y tal vez buscan compartir, en el acto de su descubrimiento y composición, algo del júbilo inventivo que los guiaba.

Si la modernidad pretendía redefinir la sensibilidad colectiva, la obra de Azar renueva nuestra sensibilidad hacia ella. En el tratamiento personal, íntimo y minucioso que da a este proyecto que se cantó concreto y puro, lo homenajea andando sobre sus propios pasos con silencio y más de su propia y única delicadeza.

Alejandra Aguado

Images courtesy of the artist.

• Happenings

Monochrome Undone
SPACE Collection

Curated by Cecilia Fajardo-Hill
October 24, 2015 – April 1, 2016
SPACE, Irvine, CA

Artists: Ricardo Alcaide, Alejandra Barreda, Andrés Bedoya*, Emilio Chapela, Eduardo Costa, Danilo Dueñas, Magdalena Fernández, Valentina Liernur, Marco Maggi, Manuel Mérida, Gabriel de la Mora, Miguel Angel Ríos, Lester Rodríguez, Eduardo Santiere, Emilia Azcárate, Marta Chilindrón, Bruno Dubner, Rubén Ortíz-Torres, Fidel Sclavo, Renata Tassinari, Georgina Bringas, Abraham Cruzvillegas, Thomas Glassford, José Luis Landet, Jorge de León, Bernardo Ortiz, Martin Pelenur, Teresa Pereda, Pablo Rasgado, Ricardo Rendón, Santiago Reyes Villaveces, Mariela Scafati, Gabriel Sierra, Jaime Tarazona, Adán Vallecillo, Horacio Zabala.

The monochrome as a focus in the SPACE Collection began in a spontaneous form and soon became a systematic field of research. This exhibition is about the contemporary monochrome in Latin America. The monochrome is one of the most elusive and complex art forms of modern and contemporary art. If we think about its origins or meaning, we find that the monochrome is many contradictory things. The monochrome is neither a movement nor a category; it is not an “ism” or a thing. It may be painting as object, the material surface of the work itself, the denial of perspective or narrative, or anything representational. The monochrome may be a readymade, a found object, or an environment—anything in which a single color dominates. The monochrome can be critical and unstable, especially when it dialogues critically or in tension with modernism. This exhibition is organized into four different themes: The Everyday Monochrome, The White Monochrome, The Elusive Monochrome and The Transparent Monochrome. These themes have been conceived to create context and suggest interpretations that otherwise might be illegible.  These may overlap at times, pointing to the multiplicity of content in many of the works. The unclassifiable and variable nature of the monochrome in Latin America today is borne of self-criticality and from unique Latin contexts, to exist within its own specificity and conceptual urgency.

To purchase the catalogue click here.

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El monocromo, como enfoque de SPACE Collection, comenzó de forma espontánea y a poco se convirtió en un campo de investigación sistemático. Esta exposición trata sobre el monocromo contemporáneo en América latina. El monocromo es una de las formas de arte más elusivas y complejas del arte moderno y contemporáneo. Si reflexionamos acerca de sus orígenes o su significado, nos encontramos con que puede albergar muchas cosas contradictorias. El monocromo no es un movimiento ni una categoría; no es un “ismo” ni una cosa. Puede ser la pintura como objeto, la superficie material de la obra, la negación de la perspectiva o de todo lo representativo o narrativo. El monocromo puede ser un readymade, un objeto encontrado, un cuadro o un ambiente: cualquier cosa definida como una superficie cromáticamente uniforme donde un solo color predomina. El monocromo puede ser crítico e inestable, especialmente cuando se dialoga críticamente o en tensión con el modernismo. Esta exposición está organizada en cuatro temas: el monocromo cotidiano, el monocromo blanco, el monocromo elusivo y el monocromo transparente. Estos temas han sido concebidos a fin de crear un contexto y sugerir interpretaciones que de otra manera podrían ser ilegibles. Éstos pueden superponerse a veces, apuntando a la multiplicidad de contenidos en muchas de las obras. La naturaleza indeterminada, inclasificable y variable del monocromo en Latinoamérica hoy en día es producto de la autocrítica y de los contextos propios, para existir dentro de su propia especificidad y urgencia conceptual.

• Projects

Artists: Jumana Emil Abboud, Adel Abdessemed, Mathieu Kleyebe Abonnenc, Abounaddara, Boris Achour, Terry Adkins, Saâdane Afif, Chantal Akerman, John Akomfrah, Karo Akpokiere, Meriç Algün Ringborg, Jennifer Allora & Guillermo Calzadilla, Kutluğ Ataman, Maja Bajevic, Ernesto Ballesteros, Sammy Baloji, Rosa Barba, Georg Baselitz, Eduardo Basualdo, Petra Bauer, Walead Beshty, Huma Bhabha, Christian Boltanski, Monica Bonvicini, Sonia Boyce, Daniel Boyd, Ricardo Brey, Marcel Broodthaers, Tania Bruguera, Teresa Burga, Keith Calhoun & Chandra McCormick, Cao Fei, Nidhal Chamekh, Olga Chernysheva, Tiffany Chung, Cooperativa Cráter Invertido, Creative Time Summit, Elena Damiani, Jeremy Deller, Thea Djordajdze, Marlène Dumas, e-flux Journal, Melvin Edwards, Inji Efflatoun, Antje Ehmann & Harun Farocki, Maria Eichhorn, Walker Evans, Harun Farocki, Emily Floyd, Peter Friedl, Coco Fusco, Marco Fusinato, Charles Gaines, Ellen Gallagher, Ana Gallardo, Dora García, Theaster Gates, Isa Genzken, Gluklya, Sônia Gomes, Katharina Grosse, Gulf Labor, Rupali Gupte & Prasad Shetty, Andreas Gursky, Hans Haacke, Joana Hadjithomas & Khalil Joreige, Newell Harry, Kay Hassan, Thomas Hirschhorn, Carsten Höller, Nancy Holt & Robert Smithson, IM Heung Soon, Invisible Borders: Trans-African Photographers, Tetsuya Ishida, Ji Dachun, Isaac Julien, Hiwa K., Samson Kambalu, Ayoung Kim, Alexander Kluge, Emily Kame Kngwarreye, Runo Lagomarsino, Sonia Leber & David Chesworth, Glenn Ligon, Gonçalo Mabunda, Madhusudhanan, Ibrahim Mahama, David Maljkovic, Victor Man, Abu Bakarr Mansaray, Chris Marker, Kerry James Marshall, Helen Marten, Fabio Mauri, Steve McQueen, Naeem Mohaiemen, Jason Moran, Ivana Müller, Lavar Munroe, Oscar Murillo, Wangechi Mutu, Hwayeon Nam, Bruce Nauman, Cheikh Ndiaye, Olaf Nicolai, Chris Ofili, Emeka Ogboh, Philippe Parreno, Pino Pascali, Adrian Piper, Lemi Ponifasio, Qiu Zhijie, Raha Raissnia, Raqs Media Collective, Lili Reynaud-Dewar, Mykola Ridnyi, Liisa Roberts, Mika Rottenberg, Joachim Schönfeldt, Massinissa Selmani, Fatou Kandé Senghor, Gedi Sibony, Gary Simmons, Taryn Simon, Lorna Simpson, Robert Smithson, Mounira Al Solh, Mikhael Subotzky, Mariam Suhail, Sarah Sze , The Propeller Group, The Tomorrow, Rirkrit Tiravanija , Barthélémy Toguo, Xu Bing , Ala Younis

56 International Art Exhibition, Venice Biennale, All the World’s Futures
Curated by Okwui Enwezor
May 9 – November 22, 2015
Giardini and Arsenale -La Biennale
Venice, Italy

Rather than one overarching theme that gathers and encapsulates diverse forms and practices into one unified field of vision, All the World’s Futures is informed by a layer of intersecting Filters. These Filters are a constellation of parameters that circumscribe multiple ideas, which will be touched upon to both imagine and realize a diversity of practices. In 2015, the 56th International Art Exhibition – la Biennale di Venezia will employ the historical trajectory of the Biennale itself, over the course of its one hundred and twenty years existence, as a Filter through which to reflect on both the current “state of things” and the “appearance of things”. All the World’s Futures will take the present “state of things” as the ground for its dense, restless, and exploratory project that will be located in a dialectical field of references and artistic disciplines.

• Happenings

Artists: Adolfo Bernal, Alex Cerveny, Alexander Apostol, Anna Bella Geiger, Armando Miguelez, Bouchra Khalili, Camille Henrot, Carolina Caycedo, Christy Gast, Dora Mejia, Elena Damiani, Jose Castrellon, Leyla Cardenas, Libia Posada, Luis Hernandez Mellizo, Manuela Ribadeneira, Margarita Pineda, Milena Bonilla, Monica Paez, Nicolas Consuegra, Oscar Farfan, Paola Monzillo, Sebastian Fierro, Tania Bruguera, Tulio Restrepo.

En y Entre Geografías / In and In Between Geographie
Curated by Emiliano Valdés
September 2 – November 9, 2015
MAMM Museo de Arte Moderno
Medellín, Colombia

After almost four decades of existence, the Medellín Museum of Modern Art begins a new phase with the opening of its Expansion in September. For the opening, the Museum will present En y entre Geografías (In and In Between Geographies) among eight other exhibitions. In and In Between Geographies brings together a group of international artists who incorporate in their practices research and physical, cultural and political thinking aspects that determine the location of human beings and how such aspects affect life conditions, including subjective parameters like desire and intellectual production. The exhibition is structured in three sections that address mobility in the early 21st century through a variety of research approaches: formal, political, and metaphorical.

• Happenings

Artists: Felipe Mujica and Herbert Weber

Felipe Mujica and Herbert Weber
October 9 – November 7, 2015
Christinger de Mayo
Zurich, Switzerland

Two-person exhibition.

• Happenings

Artist: Magdalena Fernández

Magdalena Fernández
Curated by Alma Ruiz
October 3, 2015 – January 3, 2016
MOCA Pacific Design Center
West Hollywood, CA, USA

Magdalena Fernández is the first major museum exhibition of the artist’s work presented in the United States. Organized by Alma Ruiz, Magdalena Fernández features six videos and one site-specific installation at MOCA Pacific Design Center in West Hollywood. A well-known and influential Venezuelan artist, Fernández has built her practice upon the foundation of Latin American modernist abstraction that took root in her native country at the beginning of the 20th century. Fernández’s multidisciplinary work incorporates light, movement, and sound, following traditions established by renowned compatriot artists Gego (1912-94), Alejandro Otero (1921-90), and Jesús Rafael Soto (1923-2005). Fernández’s artistic practice is deeply connected to the natural world, especially the tropical fauna and flora of Caracas, as well as to formal modernist sensibilities. Her extensive background in graphic design—acquired as a student at the Instituto de Diseño Fundación Neumann, and later as a designer in the studio of minimalist Italian architect-designer A.G. Fronzoni (1923-2002)—has greatly influenced the visual, sensorial, and experiential aspects that distinguish her work.

The artist has stood out as one of the most innovating artist of contemporary geometric abstraction. Her multidisciplinary work conjugates light, sound and contemporary criteria of space and use of materials, with some formal concepts of the traditional legacy of optical and geometrical abstraction. Fernández’s video-artistic practice explores the possible relations between abstraction and nature. In her work, the artist proposes a dialogue of visual and sensorial perceptions with space, transforming geometry and abstraction into nature for the senses.

Image: Magdalena Fernández, 1pmS011, 2011, video installation, dimensions variable, photo by Ricardo Jiménez, courtesy of Centro Cultural Chacao and the artist. Sayago & Pardon Collection.

• Happenings

Artist: Nuno Ramos.

Houyhnhnms
August 29 – November 15, 2015
Pinacoteca de Sao Paulo
Sao Paulo, Brazil

São mais de 20 obras entre pinturas, relevos, desenhos e esculturas de grandes proporções produzidas ao longo de nove meses e que agora ocupam o quarto andar da Estação Pinacoteca. Com exceção de Cavaloporpierrô, já montada em 2014 no Instituto Iberê Camargo de Porto Alegre, todos os trabalhos apresentados são inéditos.

As cinco pinturas encontradas na exposição retomam o uso maciço da vaselina como base das cores, procedimento que Nuno Ramos desenvolveu no fim da década de 1980 e abandou no começo da década seguinte. Quatro relevos e sete desenhos completam a mostra. Feitos a partir de chapas e tubos de metal, tecidos, plásticos e tinta a óleo sobre madeira, os relevos apresentam elementos tridimensionais que prolongam ou contrastam os movimentos sugeridos pela pintura. “Os relevos e as vaselinas se complementam. Os desenhos, por sua vez, formam uma série dedicada a Proteu, conhecido na mitologia grega como o deus da metamorfose. Cada um traz carimbado o nome de uma das transformações pelas quais Proteu passou no canto IV da Odisséia”, explica o curador Lorenzo Mammì.

• Happenings

Artist: Iosu Aramburu

Modernidad Histérica
September 9 – October 15, 2015
80m2 Livia Benavides
Lima, Peru

I
Hacia 1903, Heinrich Mann describió la obsesión de su época (y la de su hermano Thomas) con el renacimiento italiano como un renacimiento histérico. Esto es, un renacimiento inventado por el siglo XIX para proyectar sus propios deseos y frustraciones. El título de este proyecto trasplanta esa referencia 100 años en el futuro para pensar la invención contemporánea de la modernidad de mediados del siglo XX como un espacio poroso, de proyección de deseos y frustraciones contemporáneas. El pasado reciente convertido en un terreno histérico, capaz de adaptarse a las formas que nuestro tiempo necesita o cree necesitar.

II
Entre 1947 y 1949 la Oficina Nacional de Planificación Urbana, a cargo de Luis Dórich y con el apoyo de Josep Lluís Sert, Paul Lester Wiener y Ernesto Nathan Rogers, desarrolló el Plan Piloto de Lima. Un plan para organizar el crecimiento de la ciudad y separar sus distintas funciones de manera racional. Para el centro de la ciudad, el plan proponía identificar y conservar las construcciones coloniales más importantes; el resto de construcciones serían reemplazadas por edificios altos sobre pilotes ubicados hacia el centro de las manzanas, liberando espacio entre las torres que sería usado por áreas verdes y plazas cubiertas. Para ejemplificar este nuevo uso del espacio se realizó una maqueta con un segmento de 12 manzanas del centro de la ciudad, ubicadas entre el Jirón De la Unión y la Avenida Tacna y los Jirones Huancavelica y Conde de Superunda. La maqueta no solo mantenía algunos de los edificios coloniales como una parte del convento de San Agustín, sino también algunos de los edificios neocoloniales que habían sido inaugurados hace poco, como el Palacio Municipal de Harth-Terré.

• Happenings

Artist: Nicolás Gómez

Parque estacionario
September 18 – November 8, 2015
Museo de Arte de Pereira
Pereira, Colombia

En la Sala Principal del Museo el Artista Nicolás Gómez Echeverri, nos presenta una serie de proyectos y piezas que hacen parte de la investigación que el artista realiza en torno a la historia de la pintura y su legado en la comprensión colectiva del paisaje. Estos trabajos no se apoyan en la pintura para hacer una ficción del espacio contemplado, Por el contrario, parten de los códigos pictóricos existentes en los espacios recorridos a diario, que en su manifestación dan cuenta de un potencial simbólico de efecto en nuestras vidas.

• Happenings

Artists: Pablo Accinelli, Doug Ashford, Claire Barclay, Rana Begum, Elena Damiani, Shezad Dawood, Annika Eriksson, Matias Faldbakken, Monir Shahroudy Farmanfarmaian, Ane Hjort Guttu, Tom Holert, Philippe Parreno, Amalia Pica, Bik Van der Pol, Yelena Popova, Walid Raad, Haegue Yang.

Future Light: Escaping Transparency
Curated by Maria Lind
June 11 – October 4, 2015
MAK Museum of Applied Arts, Vienna
Vienna Biennale 2015 – Ideas for Change
Vienna, Austria

How come some features of the old Enlightenment have crept back and are now being revisited in art, activism, and theory? Why now, after just about a century problematizing, questioning and opposing its legacy? Perhaps it is an ever more economized, fragmented, privatized, and surveilled existence where, for instance, taxpayers are forced to compensate for the crimes of financial speculation and the gap between the rich and the poor is rapidly increasing. It now becomes enticing to return to some fundamental notions and phenomena inherited from the struggle for universal emancipation: the light of reason and rationality, the individual subject, and the public sphere. They point to a wish to explore vision from its very basics—as if to try to see anew, to radical transformations of desire and to challenges to ownership and property relations as we know them. And to do so while not losing sight of the future, in the midst of parallax views, in light of the hyper-contradictions of our time. A future beyond pre-emptive and algorithmic forecasting. Art has after all this capacity to function as part seismograph and part sniffer dog, detecting things not yet seen, gelled and shaped in other parts of society, creating new imaginaries. Whether utopian or dystopian, or an unclear mix of the two.

These basic notions in radically mutated forms seem to indicate a future affected by an emerging movement toward a new enlightenment, conscious of the violent heritage of the old one in whose name atrocities have been committed over the centuries. It is post-enlightenment, not as in “radical rupture” but as in “working through” some of its characteristics. This time it is acknowledging the tensions and contradictions of the enlightenment baggage, trying not to give up on the future while being embedded in the current condition of “retrotopia” where the past in general and “memorialism” in particular loom large. Thus, three strands of thought and action have crystallized within the framework ofFuture Light: non-penetrating light, the individual subject as reworked by the politics of queer-feminism and its polymorph desires, and the public spherereconceived through and as commons and commoning. Each strand is taking shape in a different institutional and spatial setting, accompanied by a reader entitled Future Light and the mini-symposium Politics of Shine, and partly prepared in a closed workshop in October 2013 as well as in a series of public MAK Nite Labs at the MAK.

Within contemporary art, instead of the penetrating light that gives clarity and transparency, there is the reflected and refracted light that creates opacity, abstraction, and shadows. It is the light that goes on and off, that does not serve as a searchlight and yet is able to nurture new beginnings. Besides conditioning human visual perception, its new forms—for example the low-power LED light—are having other literal effects on the look and taste of plants as well as the physical and medical conditions of humans and animals. Furthermore, the future remains a point of orientation in many of the artworks. All this is being played out in the group exhibition at the MAK. Existing paintings, videos, sculptures, and drawings by seventeen artists is making up an installation without walls but with plenty of natural light.

Theory and practice in the name of LGBT and queerness have for some time reshaped notions of the individual, subjectivity, and desire. If traditional notions of gender rely on heteronormative patriarchal formations of desire, then this linchpin is now being challenged in ways hitherto unseen, affected by synthetic extensions of identity such as hormonal drugs. Under the rubric of LOVING, REPEATING, Pauline Boudry and Renate Lorenz are presenting three film-based works at Kunsthalle Wien. The installations convey filmed performances where the tensions between the individual and the collective carry a high degree of theatricality. While curtains and fumes create opacity, glitter and wigs indicate glamour. The characters who feature in these dramas are consciously multi-sided, defying normality, including the law and economy. Neither being entirely historical nor present, they project ahead in a truly anachronistic manner, to new and unrealized forms of enjoyment. Today many artistic and other projects revive the notions of “commons” and “commoning” in response to failures of capitalism and the increasing withdrawal of the welfare state. How will the Vienna Biennale of 2049 resurrect the voices of the citizens’ initiatives that have appeared during the past 130 years? With The Report, STEALTH.unlimited and Stefan Gruber together with Paul Currion shed light on how the achievements of these initiatives have been essential to the development of the city, yet have often been obscured by the political requirements of Vienna’s urban ambitions. Straddling the line between fiction and non-fiction, The Report will ask what it means to be a citizen of the smartest of all smart cities. It will be released as a limited printed edition in September 2049.

In a new film Marysia Lewandowska is exploring the commons as experienced through the kindergarten as an early testing ground for sharing, belonging, privacy and withdrawal. The project was triggered by the work and life of the Viennese architect Margarete Schütte-Lihotzky (1897–2000), in which many of the contradictions of the 20th century are played out, and involves the voice of Di Zhang, a young architect in Beijing for whom “the communism of commerce” is a lodestar. Ayreen Anastas and Rene Gabri are arranging an “unworkshop” around the politics of food and food production, which have been central concerns for the artists in their work on commons and commoning. The design, research and art studio Metahaven, who have developed the notion of “black transparency”, have co-conceptualized and designed the e-reader Future Light and the handout which connects the various parts of the overall project Future Light.

• Happenings

Artist: Esvin Alarcón Lam

Línea de horizonte, o la tensión en múltiples puntos
September 3, 2015
The 9.99 Gallery
Guatemala City, Guatemala

Solo show by Esvin Alarcón Lam.

• Happenings

Artist: Diana de Solares

El ojo que ves no es…
August 25 – October 2, 2015
Galería de Arte, Universidad Rafael Landívar
Guatemala City, Guatemala

Solo show by Diana de Solares.

Image: Diana de Solares, “Súbitamente un mundo frente al mundo comenzaría a transpirar.” (Construcción suave no. 3) / “Suddenly a World Before the World Would Begin to Transpire.” (Soft construction no. 3)”, 2014, Sports shoe laces, construction iron, Variable dimensions.

• Happenings

Artist: Christian Camacho Reynoso

Noche y dibujo
September 10, 2015
Cooperativa Cráter Invertido
Mexico City, Mexico

• Happenings

Artist: Ricardo Alcaide

Not Much Further
September 18, 2015
Arróniz Arte Contemporáneo
Mexico City, Mexico

Podríamos pensar que existe una línea que divide lo inservible y lo útil, lo proyectado y lo alcanzado. Pero esa división no es real cuando deambulamos por una ciudad o recordamos una historia. Es en ese punto de suspensión donde se sitúan las reflexiones de Ricardo Alcaide.

Acostumbrado a mirar desde el modernismo venezolano, su mirada crítica se ha ido trasladando por otros entornos urbanos, ejercitando la agudeza de descubrir las promesas de lo que se imaginaba un futuro mejor en lo que está a punto de desaparecer.  En Not Much Further la sensación de atracción e incomodidad y la indefinición a través de la recuperación estética de formas modernistas, replantean imposiciones y disfunciones de la sociedad actual.

• Happenings

Artist: Lucila Amatista

Vida Primaria
Curator: Valeria González
August 20 – October 16, 2015
Ro Galería de Arte
Buenos Aires, Argentina

Lucila Amatista (Buenos Aires, 1978) presenta una selección de acuarelas y cerámicas que nos muestran entidades que no pueden ser definidas como una especie del reino animal o vegetal. Organismos que viven en un mundo rebosante de vida, tan monstruoso como bello, silencioso e inmóvil. La  forma de exhibición propone una mirada crítica sobre las ciencias naturales y sus métodos de investigación y exposición.

Como plantea Valeria González en el texto que acompaña la exposición:“Hagamos el esfuerzo de comprender que, si las manchas de pigmento acuoso –lo mismo que los trozos de arcilla- crecen pacientemente a través de mínimos matices y se multiplican flotantes sobre planos ingrávidos, no se trata simplemente de decisiones cromáticas y compositivas de una artista, sino de su esfuerzo por proceder con la materia del mismo modo en que la vida se auto produce microscópicamente. (…) Y así, la obra de Lucila Amatista podrá comprenderse, también, en sus implicancias éticas y políticas”.

Texto de la exposición

En uno de sus espacios de creación, Lucila Amatista genera lo que podrían ser los objetos o los rastros de un extraño personaje. Primorosas cajas donde ha atesorado rarezas naturales; o su mesa de observación, detenida en un instante, donde los especímenes, antes de ser guardados, participan de un cierto desorden en el que podemos espiar las curiosas relaciones entre las cosas que su mente imagina. Se trata, sin duda, de un coleccionista al margen de las ciencias, o de un tiempo anterior, en el que los gabinetes de curiosidades aún no habían sido atravesados –desmantelados- por el orden racional de las clasificaciones biológicas y geológicas.
Podríamos resumir en el nombre de Mark Dion todo un espacio del arte contemporáneo dedicado a la apropiación crítica de los saberes de las ciencias naturales y sus dispositivos de display. Este distanciamiento conceptual está lejos de la escala íntima, el cuidado artesanal y el espíritu amateur con que Lucila Amatista dota a su personaje.
Sin embargo, no importa cuán caprichoso o personal, se trata de un orden humano aplicado a especies naturales. Pero los organismos vivos, a diferencias de las ideas, se organizan a sí mismos y se auto reproducen. En un segundo espacio de creación, la artista no procede representando formas de la naturaleza, sino intentando emular su dinámica de génesis y multiplicación celular. He aquí el sentido primero –ya no de la cerámica y la acuarela como medios artísticos- sino del agua y la tierra como el sustrato desde donde se origina la vida primaria.
Si una semilla es capaz de hacer estallar a un muro ¿qué sentido tiene preguntarse por su forma? La única pregunta importante por hacerle a la semilla es ¿hasta dónde irás?. Esta es la lección que nos trae Deleuze para comprender la visión de Spinoza: no una jerarquía de seres organizados bajo el dominio de la mente humana –Dios creador por encima del mundo- sino un Dios-energía repartido en cantidades diferenciales de potencias que se expanden, combinan y cesan en un gran plano inmanente.
Hagamos el esfuerzo de comprender que, si las manchas de pigmento acuoso –lo mismo que los trozos de arcilla- crecen pacientemente a través de mínimos matices y se multiplican flotantes sobre planos ingrávidos, no se trata simplemente de decisiones cromáticas y compositivas de una artista, sino de su esfuerzo por proceder con la materia del mismo modo en que la vida se auto produce microscópicamente.
El esfuerzo no será menor si tenemos en cuenta que el destino último de las ciencias no es producir saber sino legalizar, mediante patentes de propiedad intelectual, la posesión empresaria de las capacidades generativas de los organismos vivos, separando poblaciones enteras del acceso a su propio medioambiente. Y así, la obra de Lucila Amatista podrá comprenderse, también, en sus implicancias éticas y políticas.

Valeria González

• Happenings

Artist: Marco Maggi

Drawing Attention
June 19 – November 1, 2015
Kemper Museum of Contemporary Art
Kansas City, Kansas, USA

At the center of this exhibition, featuring Uruguayan artist Marco Maggi, is his ambitiously scaled paper installation Great White Dialogue (2000) which reveals an encoding of the world in macro and micro, linear and aerial perspectives. From a distance, the stacks of thousands of sheets of paper (24,549 total) that are set out in a grid onto the floor suggest a landscape, circuit boards, or an architectural model for an imagined city. Viewed more intimately, delicate sculptural forms have been cut and raised from the top layer of paper, creating shadows that extend along the paper’s surface. The perplexing abstract language of Maggi’s tiny incised paper sculptures promotes longer viewing time and shifts our bodily relationship to an intimate viewing experience.

Accompanying Maggi’s sculptural installation is a related two-dimensional work, Global Myopia (2001), made by carefully pressing into aluminum foil. The network of impressions made to the malleable metal’s surface acts as the artist’s method of drawing, developed from his interest in the printmaking technique of plate etching.  He creates a patchwork of lines that impart a sense of movement across the surface of the piece. The pairing of these works emphasizes Maggi’s ability to call attention to the transformation of everyday materials he often uses, such as coated office paper, aluminum foil, apple skins, and plexiglass, as detailed and poetic expressions of the expanded language of contemporary drawing.

Marco Maggi was born in Montevideo, Uruguay. He earned his MFA from the State University of New York, New Paltz, and had his first solo museum exhibition at the Kemper Museum of Contemporary Art in 2001. Maggi is representing Uruguay with a site-specific installation of paper and pencils, Global Myopia II, on view through November 22, 2015, at the Venice Biennale in Italy. The Uruguayan pavilion is one of the twenty-nine national pavilions located in the Giardini della Biennale.

• Happenings

Artist: Octavio Abúndez.

El futuro no es lo que solía ser
September 4, 2015
Museo de Arte Raúl Anguiano (MURA)
Guadalajara, Jalisco, Mexico

La exposición individual multidisciplinaria de Abúndez propone una reflexión multidireccional acerca del futuro de las sociedades. El futuro, visto como problema, posibilidad y topos (lugar), alimenta las investigaciones más recientes del artista que se vinculan a su anterior exploración fenomenológica y del episteme. Desde la creación de un manifiesto político hasta la invención de un futuro alterno, la apropiación de diálogos cinematográficos o un resumen sumamente tendencioso de la Historia, Abúndez propone al visitante posturas encontradas.

La exhibición estará compuesta en su mayoría por piezas inéditas y nunca exhibidas en Guadalajara, acompañadas por un par de piezas seminales de 2006 y 2008. Esta muestra se divide en dos partes, la primera es un análisis del futuro desde tres perspectivas: el futuro como posibilidad, el futuro como ficción y el futuro como consecuencia. La segunda parte muestra dos vertientes, la emocional y la intelectual al enfrentarnos con la responsabilidad de formar el futuro.

El proyecto consta de dieciocho piezas entre dibujo, instalación, vídeo, fotografías, escultura, pintura, entre otras.

• Happenings

Artists: Alfredo Ceibal, Christian Dietkus Lord, David Sánchez, Diana de Solares, Diego Sagastume, Edgar Orlaineta, Ronny Hernández Salazar, Sebastian Preece and Tepeu Choc.

La desintegración de la forma
September 3, 2015
The 9.99 Gallery
Guatemala, Guatemala

Even at its inception and during its heyday in the mid-sixties and early seventies, conceptual art was difficult to define. No one knows who started it, which artist did what and when, what were his or her philosophy, goals and policies. None of those present remember much; each person has its own history and scholars and critics have been left to try to make head or tail out of the movement—among them, many who did not live through those times and did not witness those events. That is why American curator and art critic Lucy R. Lippard in her book Six Years: The dematerialization of the art object from 1966 to 1972 tries to reconstruct that story—readily admitting not being able to rely much on her memory—to give us a context of the artistic era in which she lived. According to Lippard she concentrated her efforts to write “a critical memoir of a small group of young artists’ attempts to escape from the frame-and-pedestal syndrome in which art found itself by the mid-1960s.”

The artists in “La desintegración de la forma” have also looked for ways to express themselves by making art that need not be framed or put on a pedestal; their work is ephemeral, cheap, and unpretentious, where the idea is paramount while the material form is secondary. For example, Diana de Solares’s work made of iron and twisted wires, shoestrings, electrical cords, pieces of pottery and other found materials are veritable poetic tangles, or drawings in space as defined by the Venezuelan artist Gego (1912–1994). They rest directly on the floor or hang from the ceiling, casting dancing shadows on the wall. Rejecting the idea of ​​highlighting the work by placing it on a base or pedestal Solares eliminates that invisible barrier that separates the art from the viewer, thus denying it a special status. The works of Edgar Orlaineta, also suspended from the ceiling like a Calder mobile, have the appearance of a three-dimensional puzzle with each element playing a vital role in the final composition. In contrast to Solares’s sculptures that deal with formal aspects, the materials employed by Orlaineta are selected based on the artist’s interest in the work of American graphic designer Alvin Lustig (1915-1955), and more specifically in the book covers that Lustic designed for the publishing house New Directions during the 1940s. Although you’d think that the focal part of the piece is the narrative contained in the book that is included in each of the works and whose title provides the name for the work (in this case A Season in Hell, from the series New Directions, 2015), what actually counts for Orlaineta is the modernist design of its cover with its harmonic composition, its emphasis on abstraction and complementary colors, and its minimal use of typography. It was this rigor that gave fame to Lustig, who believed that good design should permeate all aspects of a person’s life, an idea that persists until today in the belief that form is important in the functionality of design in general.

The graphic design of the magazine covers is barely glimpsed in the work of Christian Dietkus Lord who obscures them with a series of painted circular compositions based on the Zen practice of Ensō painting. This practice dictates that the circle should be drawn with a single stroke, which once made cannot be altered. The gesture highlights the character of its creator and the context of its creation in a short and contiguous period of time. Traditionally this type of painting is done in black ink on very thin white paper. In Northern Shell ( 2011) Dietkus Lord uses a variety of colors to draw concentric circles deliberately obscuring the text that reveals the magazines’ content, including Attitude, a magazine that specializes in articles about homosexuality as a way of life for a post-AIDS generation.

The irregular circles that appear in the Transparencies (2015) of Alfredo Ceibal have their origin in the craters of volcanoes and the lakes that form inside them. The artist defines these shapes as “abstract mantras,” and depending on the limpidness of the body of water, they can be defined as “benign pools” or “malignant pools.” They are also places that invite meditation for their altitude and geographical location, as well as for their exuberant and less contaminated nature that make us feel part of a cosmic whole and of a world at peace. Ceibal’s series of drawings entitled Dialogues (2015) represents vague human forms of communication. According to the artist they denote different types of conversations that take the form of “language, ritual, dance, music, literature, body language, and the gaze, to understand each other.” To Ceibal “the great value of dialogue can not be underestimated as it is the crucial component for communication and equality in human relations.”

Communication so important for the proper functioning of society is interrupted in the work of Ronny Hernández Salazar. Vol-can (2014) is a file cabinet with open drawers filled with sand. The accumulation has formed a heap of sand, in the form of a volcano, burying the papers supposed to be archived there. Vol-can is a metaphor for the lack of justice; it represents court cases that have been forgotten, suspended in time, waiting for a judgment that may never come. The fragility of life is reflected in El final de las palabras (The end of words, 2004) by David Sánchez in which air produced by a fan spreads marble dust over the floor forming a thin white layer upon which visitors leave foot track made while walking on it. With its continued air movement the fan erases them so that others can make them again. To record and to erase is an exercise that could be repeated ad infinitum where the human presence is evidenced on a marble dust canvas analogous to the tombstones that accompany the graves. Other artists in the exhibition are Diego Sagastume with images showing the moisture condition of the asphalt, a time-ravaged wall, and rust on a ventilation duct that reflects a sunset, and a cast concrete floor; Sebastián Preece with a photograph of a decomposed book that was part of an important library but its disappearing due to neglect and the passing of time; and Tepeu choc with a work made of sift mesh and colored threads, a work he describes as the X-ray of a sculpture. Forms of communication, pseudo-alphabets, font types, abstractions that overflow, fragile materials that disappear over time, these are some of the ongoing concerns of the artists in “La desintegración de la forma.”

• Happenings

Selected Biographical Information

Education / Training

• 1970-1978: Arquitecto, Universidad de Los Andes, Bogotá, Colombia.
• 1973-1974: Diseñador Gráfico, Universidad Jorge Tadeo Lozano, Bogotá, Colombia.
• 1972-1973: Diseñador Textil, Facultad de Bellas Artes, Universidad de Los Andes, Bogotá, Colombia.

Prizes / Fellowships

• 2005: 3er. Premio. VIII Bienal Nacional de Esculturas Francisco Narváez, Museo de Arte Contemporáneo Francisco Narváez, Porlamar, Venezuela.

Solo Exhibitions

• 2013: “Esculturas“, Espacio 5, Valencia, Venezuela.
• 2012: “Vicente Antonorsi“, Galería La Cuadra, Caracas, Venezuela.
• 2010: “Esculturas recientes“, Galería La Cuadra, Caracas, Venezuela.
• 2007: “Acumulaciones, diálogos visuales – exposición dual“, Sala TAC, Trasnocho Arte Contacto, Caracas, Venezuela.
• 2005: “Estructuras recientes“, Alternativa, Elvira Neri Galería de Arte, Caracas, Venezuela.

Group Exhibitions

• 2009: “Visión constructiva“, Galería GBG Arts, Caracas, Venezuela.
• 2009: “Circuito en 3 Dimensiones“, La Galería de Arte de la Dirección de Cultura, Universidad Simón Bolívar, Caracas, Venezuela.
• 2005: “Itinerario 3D“, Espacios abierto Trasnocho Cultural, Caracas, Venezuela.

Publications

• GBG Arts, Pixeles 2005 – 2009 (Caracas : Gabriela Benaim Ginnari – José Luis García R.), 30 y 31.

• Artists

Artists: Sandra Nakamura, Claudia Martínez Garay and Arturo Kameya.

Analogías temporales
August 11 – September 18, 2015
Wu Galería
Lima, Peru

Analogías temporales reúne dos proyectos que habiendo acontecido en contextos históricos diferentes, guardan relación en el momento de hacer contacto el uno con el otro.  El azul de la distancia (2015) de Sandra Nakamura es un conjunto de impresiones hechas a partir de una fotografía de Frank Hurley titulada Endurance (Tenacidad), tomada durante la fallida Expedición Imperial transantártica de Ernest Shackleton en 1914: las imágenes suspendidas del techo y ordenadas consecutivamente en el espacio, de manera ligeramente ondulante, van de mayor a menor contraste terminando en la gradual desaparición de la imagen fotográfica. Por su parte la serie de fotografías impresas en lenticulares de Arturo Kameya y Claudia Martínez, pertenecen a la serie Mass illusion (2012), fotografías de Mass Gamescoreanos de los años 50, donde grupos de jóvenes gimnastas componen de manera colectiva imágenes con carteles en mano, formando figuras que simbolizan la República Democrática Popular Coreana de Kim II-Sung y que son leídas de diferente manera según el ángulo de visión.

Ambos proyectos, desarrollan procesos de reapropiación de fotografías ya existentes, desde donde se propone forzar la evocación de una temporalidad hallada en la imagen original. Ésta se vuelve un recurso metafórico para evidenciar ilusión, así como el devenir heroico del trabajo colectivo y  en un sentido casi opuesto: la subordinación del deseo individual por el grupal. Las múltiples lecturas posibles en el contraste de ambos proyectos, evidencian a su vez condiciones propias del medio fotográfico y la imagen: revelado, temporalidad, reproductibilidad. Se trata de la analogía que existe no sólo entre los proyectos, sino también entre la poética visual que excede el medio de la fotografía convencional, lo que acontece dentro de cada imagen y nuestra propia experiencia.

• Happenings

Artist: Alexander Apóstol

Yamaikaleter
August 13 – September 27, 2015
CAPC Contemporary Art Museum of Bordeaux
Bordeaux, France

The CAPC contemporary art museum of Bordeaux continues its program The Screen: Between Here and Elsewhere dedicated to films and videos by international artists, the museum will present from august to september the film Yamaikaleter made by the venezuelian artist  Alexander Apóstol.

This program is conceived by the guest curator, Anne Sophie Dianant.

Alexander Apóstol’s work is concerned with the consequences of South America’s political and cultural heritage. Using film, video and photography, the artist often introduces the relations between architecture and city-planning with regard to history. The film Yamaikaleter draws inspiration from Simón Bolivar’sThe Jamaica Letter, written in English on 14 May 1815, in which the Venezuelan statesman, an emblematic figure in the emancipation of the Spanish colonies in South America, developed his ideas.

Because the legacy of The Jamaica Letter has often been used to support any manner of political tendency, the artist has it read out loud by residents of a poor Caracas neighborhood, themselves leaders of different political groups (chavistas and anti-chavistas). These protagonists do not understand English, so the reading swiftly turns into a form-focused performance, a parody of a charisma-free discourse which seems devoid of meaning, but where we rediscover the corporal language and the intonation usually adopted by leaders. The artist proposes a deconstruction of the political discourse, keeping just the elements and codes to do with representation—the body language and the vocal intonation which punctuate the film.

Commissioned by the Goethe-Institut in 2009, Yamaikaleterwas screened at the 54th Venice Biennale in 2011.

Alexander Apóstol was born in 1969 in Barquisimeto, Venezuela. He lives and works between Madrid and Caracas. His solo exhibitions include Centro de la Imagen, Lima, Peru, 2011; MUSAC, Castilla y León, León, 2010; Arratia+Beer Gallery, Berlin, 2010; Harvard University, Boston, 2007 and Cisneros Fontanals Art Foundation, Miami, 2006. He has taken part in the following group exhibitions: Under the Same Sun: Art from Latin America Today, 2013; Manifesta 9, Limburg, Belgium, 2012; 54th Venice Biennale, Venice, Italy, 2011; The End of Money, Witte de With, Rotterdam, 2011; Photographic Typologies, Tate Modern, London, 2010-11; Atopia: Art and the City in the 21st Century, Centre de Cultura Contemporània, Barcelona, 2010. He was awarded the prize of the Rockefeller Foundation, Bellagio, Italy, 2012.

• Happenings

My work revolves around issues of gender, the body, and a lifelong interest in nature. This combination also draws from my various studies in Visual Communication, Conservation Biology and Fine Arts. In recent years I have been developing a visual approach that uses photography, performance, installation, sculpture and video. Through these processes I tackle issues that concerned the Surrealists and the body art of the seventies, while maintaining a contemporary approach through my research-based practice. I seek stories that often come from literary and artistic references in significant periods both in Europe and South America. Ultimately I mix a wide range of aesthetics, cultures and historical figures in my work.

Traducido del inglés

Mi trabajo gira en torno a las cuestiones de género, el cuerpo, y un interés de por vida hacia la naturaleza. Esta combinación se basa también en mis diversos estudios en Comunicación Visual, Biología de la Conservación y Bellas Artes. En los últimos años, he desarrollado un enfoque visual a través de la fotografía, performance, instalación, escultura y video. A través de estos procesos, abordo cuestiones que preocupaban a los Surrealistas y al arte del cuerpo en los años setenta, manteniendo un enfoque contemporáneo a través de mi práctica basada en la investigación. Busco historias que a menudo provienen de referencias literarias y artísticas en períodos significativos tanto en Europa y América del Sur. En última instancia, mezclo en mi trabajo una amplia gama de la estética, las culturas y figuras históricas.

Selected Biographical Information

Education / Training

• 2008-2009: Masters in Fine Arts, Chelsea College of Arts and Design, London, United Kigndom.
• 2001-2002: Certificate in Conservation Biology, CERC Columbia University, New York, USA.
• 1993-1998: BA in Visual Communications, Universidad Católica Andres Bello, Caracas, Venezuela.

Prizes / Fellowships

• 2014: Hotshoe Photofusion Award 2014, Photofusion, London, United Kingdom.
• 2013: Special Mention Region 0 Video Art Festival, KJCC-NYU, New York, USA.
• 2013: Emerging Artist Award , AICA-Venezuela Association of International Art Critics, Venezuelan chapter, Caracas, Venezuela.
• 2013: XII Premio Eugenio Mendoza, Fundación Sala Mendoza, Caracas, Venezuela.
• 2006: Second Prize IX Salon CANTV de Jóvenes Artistas FIA , Feria Iberoamericana de Arte (FIA), Caracas, Venezuela.

Solo Exhibitions

• 2015: “A Garden for Beatrix“, Cecilia Brunson Projects, London, United Kingdom.
• 2014: “The Worshipper of the Image“, Beers Contemporary, London, United Kingdom.
• 2014: “El Adorador de la Imagen”, Sala Mendoza, Caracas, Venezuela.
• 2013: “Mariposario“, Oficina#1, Caracas, Venezuela.
• 2011: “Orchis”, Galería Fernando Zubillaga, Caracas, Venezuela.
• 2009: “Vessel”, Galería Fernando Zubillaga, Caracas, Venezuela.
• 2007: “Absent Portraits”, HACS (Miami) & La Carnicería (Caracas), Miami & Caracas, USA & Venezuela.
• 2003: “Vestigios”, Sala Mendoza. La Librería, Caracas, Venezuela.

Group Exhibitions

• 2014: “Solo Project with Oficina#1”, Pinta London curated by Kiki Mazzucchelli & Catherine Petitgas, London, United Kingdom.
• 2013: “Region 0 Video Art Festival“, Museo de Arte Contemporáneo de Vigo (MACRO), Vigo, Spain.
• 2013: “Solo Project curated by Octavio Zaya”, Pinta Video at Pinta NY, New York, USA.
• 2013: “Region 0“, The Latino Video Art Festival of NY, King Juan Carlos I Center at NYU, New York, USA.
• 2013: “Masquerade – Be Another”, Stephen Lawrence Gallery, London, United Kingdom.
• 2013: “XII Premio Eugenio Mendoza”, Sala Mendoza, Caracas, Venezuela.
• 2012: “Deseo y transgresión curated by Jesus Torrivilla”, Periferico Caracas. II Taller de curaduría – Centro de Arte Los Galpones, Caracas, Venezuela.
• 2011: “Friendship of the people”, Simon Oldfield Gallery, London, United Kingdom.
• 2011: “The Winter Show”, Maddox Arts, London, United Kingdom.
• 2010: “Guest Artist”, Bienal Internacional de Arte Contemporáneo ULA, Merida, Venezuela.
• 2010: “Curated Series of Moving Images”, Art Reach, Nottingham, United Kingdom.
• 2010: “ITINERANTE/PASSERBY/ZEITLICH”, GBG Arts, Caracas, Venezuela.
• 2009: “Beyond Appearances”, Lehman College Art Gallery, Bronx, NY, USA.
• 2008: “MOLAA Collects Photo-Based Art”, Museum of Latin American Art MOLAA, Long Beach, USA.
• 2008: “Lasts days of summer”, Alejandra Von Hartz Gallery, Miami, USA.
• 2008: “64th Salon Arturo Michelena”, Arturo Michelena Museum, Valencia, Venezuela.
• 2007: “Tipos Moviles-Bogota”, Universidad de los Andes, Project Space, Bogotá, Colombia.
• 2007: “YO, Contemporary Self-portraits”, Solar Gallery,  East Hampton, NY, USA.
• 2006: “Queens Bienalle. Queens International 06: Everything all at once”, Queens Museum, Queens, NY, USA.
• 2006: “Identidades”, Galería El Museo, Bogotá, Colombia.
• 2006: “I Bienal del Agua “, Museo Jacobo Borges, Caracas, Venezuela.
• 2005: “Traveling Tales curated by Camila Marambio”, Aratori Warairapa Art Museum, Masterton, New Zeland.
• 2003: “L Factor”, Exit Art, New York, USA.

Publications

• Felix Suazo, Panorámica: Arte Emergente en Venezuela 2000-2012 (Caracas: Fundación Telefónica).
• Nicola Homer, “Lucía Pizzani: Interview“, Studio International, 24/07/2014.
• Apóstol, Alexander y González, Lorena, “El arte venezolano en las instituciones de fin de siglo“, El País, 14 Marzo 2013.
• Miranda Gavin, “Lucía Pizzani: A Garden for Beatrix“, Hotshoe Magazine Blog, 02/06/2015.
• Vasi Hirdo, “Corporeal Metamorphoses“, Ceramics Now, , 56, 57.
• Celeste Olalquiaga, “Lucía Pizzani: la adoradora de mariposas“, Artishock, 17/03/2014.
• Gabriela Salgado, “Lucía Pizzani: Beers Contemporary“, ArtNexus, 101.

Collections

• Colección Patricia Phelps de Cisneros (CPPC), Caracas – NY, Venezuela – USA.
• Essex Collection for Art from Latin America (ESCALA), Essex, United Kingdom.
• Colección Juan Yarur, Santiago de Chile, Chile.
• Museum of Latin American Art MOLAA, Long Beach, USA.
• Colección Banco Mercantil, Caracas, Venezuela.

• Artists

Artist: Guido Ignatti

Vista interior de una cámara
August 11 – 30, 2015
Centro Cultural Recoleta
Buenos Aires, Argentina

La muestra permite una lectura narrativa en relación al lugar donde está montada, contiene una escena que juega con la ficción y el enunciado conceptual de su sitio específico. La sala 10 oficia de cámara, un espacio aislado, quizá sagrado. Aunque el público puede ingresar a su interior solo por uno de sus accesos, el resto de las aberturas están bloqueadas por tapiados de madera que recuerdan su condición de claustro; que señalan su función concreta y simbólica de lugar íntimo donde se atesora un valor intangible. Lo cierto es que adentro, no hay más que soledad y la materialidad rústica de los tablones de madera. La cámara ha sido profanada. Su secreto ya no existe. Solo queda su atisbo aurático, las sombras de lo que fueron objetos de culto: ¿obras de arte?

• Happenings

Artists: Raquel Rabinovich, Jule Manna, Linda Mary Montano.

7 Hour Collaborative Glandathon: Dance, Pray, Bless at Nancy Donskoj’s
August 29, 2015
The Storefront Gallery
Kingston, NY, USA

A SEVEN HOUR EXPERIENCE GIVING GRATITUDE TO THE 7 GLANDS

Actions:

. Manna will move and dance for seven hours

. Montano will pray sounds for seven hours

. Rabinovich will give offerings (mud drawings) from her hands to everyone for one hour (6-7pm)

Each hour will reference one of the seven glands.

Image: Raquel Rabinovich, “Emergences (Hudson River)”, 2012-2014, Series: Emergences, Site-Specific Sculpture, On-site stones, Dimensions variable, Lighthouse Park, Port Ewen, New York, USA, Collection Town of Esopus, Photo credit: Camilo Rojas.

• Happenings

Artists: Jaime Ruiz Otis, Pablo Llana, José Hugo Sánchez, Mario Alberto Rodríguez Herrera, Toni Larios, Miguel Ángel Jiménez, Diana Andrea Fuentes Salinas, Alejandro Jara López, Luis Alderete, and many more.

XIX Bienal Plástica de Baja California
June 29 – December 2015
Centro Estatal de las Artes de Tijuana
Tijuana, Baja California, Mexico

Exposición de 60 obras de diferentes formatos, de 33 artistas plásticos de la región, en la Galería de Exposiciones Internacionales del Centro Estatal de las Artes Tijuana (Ceart Tijuana).

• Happenings

Artist: Luis Roldán

Rompecabezas
Curated by Alejandro Martín
July 24 – October 25, 2015
Museo La Tertulia
Cali, Colombia

Son tan distintas las obras que ha realizado Luis Roldán durante su vida que en una primera mirada cuesta entender que sea la misma persona quien las haya hecho. ¿Pero qué es ser una misma persona? Hay distintas formas de entender la identidad: una salida es buscar aquello común, aquello que es siempre igual, y otra asumir la complejidad, viendo las partes con cuidado y estudiando las formas en que se conectan y se relacionan. Ante el conjunto de las piezas, al ser pensadas como una unidad, es en quien las aprehende donde se produce el clic que genera la conexión.

El trabajo de Roldán se configura en conjuntos de obras en las que las piezas se agrupan de modos muy diferentes. Es posible reunirlas en series, a la manera clásica, como sucede con su serie de pinturas Reflexiones (1989) y la de esculturas-pinturas Eidola (2015), pero también es posible hacerlo en conjuntos muy heterogéneos que más bien es posible pensar como “rompecabezas”, entre los cuales están aquellos que ocupan las salas principales de esta muestra: Circunstancias (2009) y Secreta prudencia (2014). En estos “rompecabezas”, Roldán presenta a la vez dibujos, pinturas, collages, instalaciones y objetos intervenidos que, reunidos, dan cuenta de su exploración tras una cierta pista, del seguimiento de una serie de intuiciones en cadena a partir de un impulso inicial. Al ver las piezas juntas, el espectador es quien debe armar el todo, atender a los detalles y dejarse guiar por su sensibilidad para llevarse consigo una emoción o una inquietud, más que un mensaje o una idea.

Circunstancias parte de una anécdota de En busca del tiempo perdido de Marcel Proust. En este libro se cuenta el último día de la vida de Bergotte, el escritor, y la forma en la que una crítica de arte que lee lo impulsa a visitar en el museo la Vista de Delft, de Vermeer, para buscar un detalle que allí se menciona y que no había notado en un cuadro que él creía conocer muy bien. Esa pequeña pared amarilla que mira con cuidado por primera vez lo lleva a pensar: “Así debería haber escrito yo. Mis libros son demasiado secos, tendría que haberles dado capas de color, que mi frase fuera preciosa por ella misma, como ese pequeño panel amarillo”. Esa pared amarilla, que tiene eso inasible que hace la obra de arte, hace eco de la frase musical que obsesiona a Swann, otro de los personajes de la novela, y a través de los dos motivos Proust va dando forma a su concepción de la belleza: en particular, sobre cómo ella se nos presenta y nos somete de modo implacable y caprichoso a la vez [1].

Secreta prudencia, por su lado, va configurándose al rededor de la lectura del libro Los tiempos de Stalin, de Anton Antonov-Ovseyenko (1920-2013), quien fue hijo de uno de los líderes revolucionarios bolcheviques traicionados, perseguidos y ejecutados por el gobierno de Stalin. El autor, que a su vez fue víctima del encerramiento injusto en campos de trabajo por trece años, intenta reconstruir en su libro los horrores sucedidos bajo el poder de Stalin y cuyo rastro ha intentado ser borrado de la historia. A partir de allí, Roldán produce obras que crean una situación inquietante, en las que se hacen presente la mirada policiva, la represión y las distintas estrategias para sobrevivir. Pero es clave notar cómo, si bien en la instalación hay elementos de representación literal como la gorra soviética o las gafas que nos hablan de la casi total ceguera de Antonov, la exploración del artista en todos los casos se apoya en esos gestos para dar un salto y crear otras piezas, en las que cada una crea su propio enigma, realiza su propia exploración con los materiales y las formas o da cuenta de un particular hallazgo o conexión.

En la serie Sueños (2003), Roldán cose sobre papel dibujos con hilos cargados de grafito que crean distintas estructuras dispersas y que también pueden ser vistas como códigos o partituras. Al seguir la metáfora sugerida por el título, uno puede tomarlos como diagramas de una consciencia intermitente: esquemas para pensar el yo no como una línea continua, sino como una línea que puede atenuarse y subrayarse, que a veces duda, que da vueltas, que se bifurca. Parte de esos Sueños son los Rotos (2005). En este caso, el papel, que era una superficie continua sobre la que sucedía el dibujo, se rasga y las líneas de hilo se tornan telarañas, marañas. La situación se troca: ahora el fondo no es el papel sino el espacio, el dibujo se curva, se tuerce y se hace tridimensional y ya no nos preguntamos por la unidad de la línea, sino de la superficie. Esos papeles quebrados están ahora a punto de separarse y permanecen frágilmente unidos por los hilos. La ruptura ya no es discontinuidad, sino quiebre y nos enfrentamos al vilo, a la tensión, al suspenso.

Esta exposición busca pensar los fragmentos, las rupturas, los quiebres y las formas. Invita a imaginar cómo a partir de allí se pueden hilar memorias o relatos, ligar intuiciones o emociones, trazando líneas que intenten unir, pero que son siempre conscientes de lo vulnerables que son los lazos que crean.

[1] «A la idea filosófica de “método” opone Proust la doble idea de “coacción” y de “azar”. La verdad depende de que demos con algo que nos obligue a pensar y a buscar lo verdadero. El azar de los hallazgos, la presión de las coacciones son los dos temas fundamentales de Proust. Es precisamente el signo el que establece el objeto de un hallazgo, el que ejerce sobre nosotros esta violencia. El azar del encuentro es lo que garantiza la necesidad de lo pensado»
(Deleuze [1971]. “Proust y los signos”. Ideas y Valores. Bogotá: Universidad Nacional de Colombia).

• Happenings

I construct abstractions with found materials that belong to my context, which also provide information since rust and visible aging suggest a hint of irony. At the same time, and through simple gestures such as re-composition, re-contextualization, repetition, etc., I establish a visual dialogue between materiality and historical art movements. In general, these works take specific events from social, cultural and/or political realities as their starting point.

I consider my works to be situated between painting, drawing and sculpture. I develop their narratives by overlaying residues in our imaginary: pop culture, modern painting and South American kinetic art. Through a quality of abstraction and a sense of materiality, the viewer can relate to these works in different ways, allowing each individual to have a unique experience.

Mi práctica artística se relaciona con las ideas y las formas materiales de la precariedad de la vida contemporánea, la memoria colectiva, el paso del tiempo y la arquitectura urbana, creando imágenes que evocan la modernidad a través de una perspectiva residual.

Traducido del inglés

Construyo abstracciones con materiales encontrados que provienen de mi contexto, que también proporciona información en sí, como la oxidación y el envejecimiento visibles que sugieren una pizca de ironía. Al mismo tiempo, y a través de gestos simples como la re-composición, re-contextualización, repetición, etc., establezco un diálogo visual entre materialidad y movimientos artísticos históricos. En general, estas obras toman forma de eventos desde las realidades sociales, culturales y/o políticas como punto de partida.

Considero que mis obras se sitúan entre la pintura, el dibujo y la escultura. Desarrollo sus narrativas mediante la superposición de los residuos de nuestro imaginario: la cultura pop, la pintura moderna y el arte cinético sudamericano. A través de una cualidad de la abstracción y de un sentido de la materialidad, el espectador puede relacionarse con estas obras de diferentes maneras, lo que permite a cada individuo tener una experiencia única.

Selected Biographical Information

Education / Training

• 2009-2014: Bachelor in Comunication Sciences, Universidad Rafael Landívar, Guatemala, Guatemala.
• 2011-2012: National Fine Arts school “Rafael Rodríguez Padilla”, Guatemala, Guatemala.

Prizes / Fellowships

• 2014: Finalist for the David Rockefeller Atrium Art Commission, The Americas Society, New York, United States of America.

Group Exhibitions

• 2015: “Líneas de la Mano“, Sicardi Gallery, Houston, Texas, United States of America.
• 2015: “5 R.P.M (Revolutions per minute)“, The 9.99 Gallery, Guatemala, Guatemala.
• 2014: “Spatial Acts“, Americas Society, New York, United States of America.
• 2014: “The Thin Line“, The 9.99 Gallery, Guatemala, Guatemala.
• 2014: “The Moon Museum”, Sótano 1, Guatemala, Guatemala.
• 2014: “LENGTH X WIDTH X HEIGHT“, The 9.99 Gallery , Guatemala, Guatemala.
• 2013: “5 Días, Puertas Abiertas“, Centro Cultural de España en Guatemala, Guatemala, Guatemala.
• 2013: “Post – Después del Genocidio“, Yantra Studios, Guatemala, Guatemala.

Collections

• Sayago & Pardon, California, USA.

Links

• YouTube video

• Artists

I have the habit of making installations and sculptures that focus on how a sign (or semiotic structure) can be constructed and communicated within the conventions of matter. I think about how memory and stories stay latent within matter and context, how those memories can be articulated into or revealed through a material statement. I want to understand the process of communication and propose a collective construction of meaning through my work that is at present participatory in nature. My work is a device or system for the acquisition of sense, the exploration of knowledge in context, and the examination of transmission and communication.

Traducido del inglés

Tengo la costumbre de hacer instalaciones y esculturas que se centran en cómo un signo (o estructura semiótica) pueden ser construidos y son comunicados dentro de las convenciones de la materia. Pienso en cómo la memoria y las historias permanecen latentes dentro de la materia y el contexto, cómo esos recuerdos pueden articularse dentro o revelado a través de una declaración material. Quiero entender el proceso de comunicación y proponer una construcción colectiva de significado a través de mi trabajo que es, en la actualidad, de carácter participativo. Mi trabajo es un dispositivo o sistema para la adquisición de sentido, una exploración de los conocimientos en el contexto, y un examinación de la transmisión y la comunicación.

Selected Biographical Information

Education / Training

• 2010-2012: MFA Fine Arts , Parsons The New School for Design, New York, USA.
• 2008: Especialista en historia y teoría del arte moderno y contemporáneo, Universidad de los Andes, Bogotá, Colombia.
• 2003-2007: Maestro en arte con énfasis en medios electrónicos y artes del tiempo, Universidad de los Andes, Bogotá, Colombia.

Prizes / Fellowships

• 2011: Dean Scholarship Award, Parsons The New School for Design, New York, USA.
• 2010: Dean Scholarship Award, Parsons The New School for Design, New York, USA.
• 2007: Trabajo de grado meritorio, Universidad de los Andes, Bogotá, Colombia.

Solo Exhibitions

• 2014: “Máquina“, Espacio Odeón, Bogotá, Colombia.
• 2014: “La promesa de la desorganización“, Centro empresarial Chapinero – Cámara de Comercio de Bogotá – Artecámara, Bogotá, Colombia.

Group Exhibitions

• 2015: “Espacios para la ficción”, Museo de Arte y Cultura Colsubsidio, Bogotá, Colombia.
• 2015: “Museo Efímero del Olvido“, Salón Regional de Artistas Zona Centro, Bogotá, Colombia.
• 2014: “Nuevas aperturas”, Museo de Arte y Cultura Colsubsidio, Bogotá, Colombia.
• 2014: “La colectiva del año”, Salón Comunal, Bogotá, Colombia.
• 2013: “Ps67”, Salón Comunal – Bogotá de Colores, Bogotá, Colombia.
• 2012: “Gowanus Field Notes”, Can Factory, Brooklyn, USA.
• 2012: “(Re)Purpose”, The Kitchen, New York, USA.
• 2011: “Gowanus Field Notes”, Parsons The New School for Design, New York, USA.
• 2011: “Pretty Vacant”, , Brooklyn , USA.
• 2010: “Group Therapy”, 25 east 13th Gallery Parsons The New School for Design, New York, USA.

Publications

• Manuela Ochoa y Camilo Leyva, “Conceptos para la construcción del archivo digital Oropéndola Arte y Conflicto“, Karpa 8, 2015.
• Camilo Leyva, Manuela Ochoa, Juan Carlos Osorio, “Feliza Bursztyn”, Libro Pensadores Colombianos del siglo XX vol. 4, 2013.

• Artists

Artists: Alberto Conrcuera, Bill Abdale, Carlos García Noriega, Diego Sierra Alta, Federico Martínez, Isauro Huizar, Ivan Krassoievitch, Javier Barrios, Jerónimo Reyes, José Luis Rojas, Juan Caloca, Karian Amaya, Laura Meza Orozco, Mario Navarro, Mauricio Cadena, Morelos León, Pablo Dávila, Paola Cortázar, Rolando Jacob, Sebastián Vizcaíno, Sofia Byttebier, Sofía Echeverry, Xavier de María.

SALÓN ACME
August 22 and 23, 2015
Wythe Hotel
Brooklyn NY, USA

Salón ACME is a platform that exhibits the work of new and established artists, either Mexican or foreign, encouraging the country’s artistic production.

• Happenings

Artists: Amadeo Azar, Daniel Barroca, Matt Bua, Onyedika Chuke, Annette Cords, Marcelo Moscheta, Zach Rockhill, and Lauren Seiden.

Name It by Trying to Name It
July 17 – August 30, 2015
The Drawing Center
New York, USA

Initiated in 2014, Open Sessions is a new program at The Drawing Center through which a large group of artists consider their relationship to drawing as medium, process, and metaphor. Working together over a two-year period, Open Sessions artists participate in ongoing studio visits and discussions, punctuated by small group exhibitions at The Drawing Center, as well as other self-organized shows in New York and abroad.

Name It by Trying to Name It: Open Sessions 2014-15 includes all artists in the program, giving the first floor of the museum over to an exploration of contemporary drawing, encompassing performance, video, sculpture, and installation, as well as traditional drawing forms. The show’s numerous collaborations, in which ideas and materials are shared, emphasize the medium’s flexibility and process-oriented nature. The exhibition will evolve over its six-week run, as some artworks enter and exit in two-week cycles, while others remain constant throughout the show’s run. Taken as a whole, Name It by Trying to Name It presents a window into nearly two years of thinking about drawing.

• Happenings

Artist: Miguel Rothschild

XXI. Rohkunstbau – Apokalypse
June 21 – September 6, 2015
Roskow castle
Postdam-Mittlemark, Germany

This year marks the twenty-first edition of the Rohkunstbau exhibition. Themed apocalypse  and set against the historic backdrop of Schloss Roskow in the District of Potsdam-Mittelmark, the exhibition presents nine artists and an artist duo from eight nations.

The notion of transition serves as the focus of the examination of apocalypse. Every end brings a new beginning. This choice of theme for the XXI. Rohkunstbau is loosely tied to Richard Wagner’s Der Ring des Nibelungen. But instead of being an exact interpretation of Götterdämmerung, the fourth and final part of the Ring, the exhibition draws on Wagner’s notion of an end and subsequent beginning. Wagner has served as inspiration for Rohkunstbau’s exhibition since 2011. In previous exhibitions artists have been invited to address themes of Power (2011), Morals (2013), and Revolution (2014), now followed by Apocalypse for 2015.

• Happenings

Artists: Amilcar de Castro, Ana Maria Tavares, Daniel Senise, Cristina Canale, Carlito Carvalhosa, Cinthia Marcelle, Chiara Banfi, Laercio Redondo, Marcius Galan, Miguel Rio Branco, Nelson Leirner e Rodrigo Matheus.

Exposição de Acervo 2015
June 26 – August 1, 2015
Silvia Cintra + Box4
Rio de Janeiro, Brazil

Com trabalho de 12 artistas representados pela Silvia Cintra+Box4, a “Exposição de Acervo 2015 ” traz um panorama diversificado da arte contemporânea brasileira.

• Happenings

I incorporate the material function of my studio as a means of illustrating my artistic practice.

Traducido del inglés

Incorporo la función material de mi estudio como medio de ilustrar mi práctica artística.

Selected Biographical Information

Education / Training

• 2006-2008: Programe La Seine – Postgraduate program, Ecole Nationale Supérieure Des Beaux Arts Paris-ENSBA, Paris, France.
• 2002-2005: Master in Fine Arts, Universidade de São Paulo. ECA- Escola de Comunicações e artes-USP, São Paulo, Brazil.
• 1995-2001: Bachelor’s Degree in Architecture and Urbanism, Universidad Ricardo Palma, Lima, Peru.

Prizes / Fellowships

• 2011: artistic residence, SOART, Millstättersee, Austria.
• 2010: artistic residence, Malongen Nordic Guest Studio, Stockholm, Sweden.
• 2008: artistic residence, Microresidencia Parasit(i)o in collaboration with MeetFactory, Prague, Czech Republic.
• 2008: artistic residence, NID- National Institute of Design – in collaboration program La Seine , Ahmedabad, India.
• 2007: artistic residence, Mongin art studios-collaboration program Las Seine, Seoul, South Korea.
• 2006-2007: artistic residence, Cité Internationale des Arts, Paris, France.

Solo Exhibitions

• 2015: “Do & Hope”, Gleichapel, Paris, France.
• 2014: “Elephant Island”, Galería Lucía de la Puente, Lima, Peru.
• 2013: “Time & Tide (Flow wide)”, Galeria Casado Santapau, Madrid, Spain.
• 2013: “Head On”, Lisabird Contemporary, Vienna, Austria.
• 2012: “Prismatic”, Casa Triangulo, São Paulo, Brazil.
• 2011: “USURPATION: Le Folklore”, Galería Lucía de la Puente, Lima, Peru.
• 2011: “INRI”, Casa Triangulo, São Paulo, Brazil.
• 2009: “God (and Le Corbusier) promises a safe landing (but not a calm voyage)”, Casado Santapau, Madrid, Spain.
• 2006: “Manimal”, De Vleeshal, Middleburg, Holland.
• 2005: “SantaCruz”, Casa Triangulo, São Paulo, Brazil.
• 2003: “Burocracia”, Paço Das Artes, São Paulo, Brazil.

Group Exhibitions

• 2015: “Idées Multiples”,  Galerie Des Galeries, Paris, France.
• 2015: “A false Horizon“, Peana Projects, New York, USA.
• 2015: “Polivalencias “, Curated by Jorge Villacorta. Galería Lucía de la Puente, Lima, Peru.
• 2014: “Light/Color/Object”, Super Dakota, Brussels, Belgium.
• 2014: “Casa Triangulo No Pivò“, Casa Triangulo- Pivò, edificio Copan, São Paulo, Brazil.
• 2014: “UNTITLED miami Art Fair “, Rincón Projects, Miami, USA.
• 2011: “Choix de Paris”, Cité International des Arts curated by Elsy Lahner, Paris, France.
• 2010: “Everydays(s)“, Casino Luxembourg-Forum d’art contemporain, Luxembourg, Luxembourg.
• 2010: “Now or Never”, Rincón Projects, New York, USA.
• 2008: “El Papel del artista”, Doméstico 08. Curated by Teodora Diamantopoulos, Joaquín García, Giulietta Speranza, Andrés Mengs y Virginia Torrente, Madrid, Spain.
• 2005: “AU-DELA DU COPAN: Beyond the Copan, Supernatural Urbanism“, Fondation d’Enterprise Ricard, Paris, France.
• 2004: “Artista-Personagem -curated by Daniela Labra”, Centro cultural Maria Antonia, São Paulo, Brazil.

Publications

• Pier Stockholm, The Weight of References (Paris: onestar press), 150.

Collections

• Albertina Museum, Vienna, Austria.
• SBKM / De Vleeshal at MuHKA, Antwerp, Belgium.

Links

• One Star Press
• One Verge

• Artists

My conceptual interests –understanding the present by looking into the past and recognizing the potential of images to resonate and prompt a universe of associations in the collective memory– guide my practice of transforming found material into collages, sculptures, and video installations. In my investigation I turn to scientific studies such as geology, archeology, and cartography to explore forms of fragmentation and material reinterpretation. My work seeks to redefine natural realms and their generative processes, presenting them as incomplete and ambiguous spaces where multiple times and topographies seem to unfold in unison.

Mi práctica es guiada por intereses críticos relacionados al entendimiento del presente a través de una mirada al pasado y a la capacidad evocativa de las imágenes para resonar y desencadenar un universo de asociaciones en la memoria colectiva; estos intereses transforman materiales encontrados en collages, esculturas y video instalaciones. En mi investigación recurro a temas como la geología, arqueología y cartografía para explorar formas de fragmentación y reinterpretación de material documentado y racionalizado por la ciencia que estudia la composición, evolución e historia de la Tierra. Mi obra busca reinterpretar estadíos naturales y sus procesos generativos presentándolos como espacios incompletos y ambiguos en donde se fusionan múltiples tiempos y topografías.

Selected Biographical Information

Education / Training

• 2008-2010: MA Fine Arts, Goldsmiths College, London, United Kingdom.
• 2000-2005: BA Fine Arts, Escuela Superior de Bellas Artes Corriente Alterna, Lima, Peru.

Prizes / Fellowships

• 2014: Americas Society’s Commission for David Rockefeller Atrium, Americas Society, New York, USA.
• 2006: Special Mention , 12th International Arts and Digital Cultures Festival of Gran Canaria, Las Palmas de Gran Canaria, Spain.
• 2006: Second Prize, 9th French-Peruvian Contest of Visual Arts “Pasaporte para un Artista”, Lima, Peru.
• 2004: Production Prize, 2nd Peruvian Contest of Video and Electronic Arts, Lima, Peru.

Solo Exhibitions

• 2013: “All The Pieces Back Together”, Selma Feriani Gallery, London, United Kingdom.
• 2013: “La Chambre“, Elaine Levy Project, Brussels, Belgium.
• 2012: “History Decomposes Into Images, Not Into Narratives”, Revolver Galeria, Lima, Peru.
• 2011: “Elena Damiani and Alois Godinat“, Elaine Levy Project, Brussels, Belgium.
• 2011: “The Second Treasury of Stanleth”, Selma Feriani Gallery, London, United Kingdom.
• 2011: “Vanishing Point Vantage Point”, Dohyang Lee Galerie, Paris, France.
• 2007: “Sites”, Galeria Vertice, Lima, Peru.
• 2005: “1st International Print Biennale – Prints and Motion “, Escuela Superior de Bellas Artes Corriente Alterna, Lima, Peru.
• 2005: “Geo”, Sala Luis Miro Quesada Garland, Lima, Peru.
• 2003: “Moción animal”, Espacio La Culpable, Lima, Peru.

Group Exhibitions

• 2015: “THEOREM, You Simply Destroy the Image I Always Had of Myself“, Mana Contemporary, New Jersey, USA.
• 2015: “Vienna Biennale – Future Light: Escaping Transparency“, MAK Museum of Applied Arts, Vienna, Austria.
• 2015: “All the World’s Futures“, 56 Venice Biennale International Art Exhibition, Venice, Italy.
• 2014: “Idea of Fracture – Opinione Latina P.2“, Francesca Minini, Milan, Italy.
• 2014: “Spatial Acts: Americas Society Commissions Art“, Americas Society, New York, USA.
• 2014: “BIM Bienal de la Imagen y Movimiento“, Buenos Aires, Argentina.
• 2013: “Project 35 Volume 2“, ICI Independent Curators International, touring exhibition.
• 2013: “Videoarte 01- Reopening the blackbox of technology“, MAC Museo de Arte Contemporaneo, Lima, Peru.
• 2013: “9th Bienal do Mercosul“, Porto Alegre, Brazil.
• 2013: “Ciclorama“, Museo Tamayo Arte Contemporaneo, Mexico City, Mexico.

Collections

• Museo Tamayo Arte Contemporaneo, Mexico City, Mexico.
• Kadist Art Foundation, San Francisco, USA.
• Kamel Lazaar Foundation, Geneva, Switzerland.
• Coleccion Patricia Phelps de Cisneros, Caracas / New York, Venezuela / USA.

• Artists

Artist: Gabriel Acevedo Velarde

Estado Sincopado, Concierto y charla
August 11, 2015
Tupac Asociación Cultural
Lima, Peru

Estado Sincopado es mi proyecto de banda musical, hasta hora de una sola persona, yo. Hago letras a partir de diferentes fuentes, casi todas referentes a aspectos del contexto social o político peruano, a manera de collage. En esto hay algo de los cut-ups de William Burroughs y de cierta tendencia del hiphop de rimar palabras más por su sonoridad que por su sentido, como en el trabajo de Victor Vásquez (Kool A.D.). En los conciertos, proyecto videos que explican de dónde viene cada fragmento y yo canto sobre bases musicales pre-elaboradas, añadiendo elementos electrónicos en vivo. (Gabriel Acevedo)

Sobre Gabriel Acevedo Velarde

Gabriel Acevedo Velarde nació en Lima, Perú, en 1976. Después de vivir por distintos periodos en Ciudad de México, Sao Paulo y Berlín, regresó para vivir en Lima en enero del año pasado. Entre sus exposiciones individuales destacan: “Ciudadano Paranormal” (Museo Reina Sofía), “Interruptions on decrees and stages” (Mori Art Museum), “Quorum Power” (Museo Carrillo Gil, Ciudad de México), y ”Cone Flow” (Modern Art Museum of Fort Worth, Texas). Ha participado en las siguientes exposiciones colectivas: Bienal de Lyon, Bienal de Sao Paulo, Trienal de Guangzhou, Auto-Kino (Temporäre Kunsthalle, Berlin), entre otras.

• Happenings

Artists: Regina Aprijaskis, Emilia Azcárate, Valerie Brathwaite, Feliza Bursztyn, Marta Chilindrón, Mirtha Dermisache, Diana de Solares, Noemí Escandell, María Freire, Gego (Gertrud Goldschmidt), Anna Bella Geiger, Mercedes Elena González, Ana Mercedes Hoyos, Elizabeth Jobim, Judith Lauand, Ana Maria Maiolino, Marta Minujín, Mercedes Pardo, Liliana Porter, Margot Römer, Lotty Rosenfeld, Ana Sacerdote, Fanny Sanín, Adriana Santiago, Mariela Scafati, Antonieta Sosa, and Yeni & Nan.

Folding: Line, Space & Body / Latin American Women Artists Working Around Abstracion
Curated by Aimé Iglesias Lukin
July 9 – August 21, 2015
Henrique Faria Fine Art
NY, NY, USA

Folding is the action through which a line turns into a figure, a plane becomes tridimensional, and a painting becomes an object. And beyond all these actions, we see how representation becomes presentation.

Since the historical avant-garde, the quest for an art that transcended the representation of reality has led artists to create abstract art and to focus on the material objecthood of a painting or sculpture. This exhibition presents the work of Latin American women artists from the 1950s through the present day, showing the different ways in which they worked with abstraction and geometry to explore the space of the artwork and that of the spectator, as mediated by the body.

Latin American abstraction has gained recognition worldwide in the last decade. Exhibitions like “Inverted Utopias,” curated by Mari Carmen Ramírez and Héctor Olea in 2004 and “The Geometry of Hope,” curated by Gabriel Pérez-Barreiro in 2007, presented the diverse abstract movements that developed in the Post War Latin American metropolis, from Joaquín Torres García and Escuela del Sur in Montevideo, to Arte Concreto Invención and Madí in Buenos Aires, the Ruptura group in São Paulo and the work of Alejandro Otero and Jesús Rafael Soto in Caracas.

In all of these avant-garde scenes, women artists gained—not without struggle—a place of recognition and a social circle in which they could develop their profession with relative tolerance. Still, except a few exceptions like Gego, Lygia Clark and Lygia Pape, it is mostly male artists we see represented in museums and art history books. This exhibition does not intend to resolve that problem, which is of a much larger scale, but aims to present some of their production and to explore the formal and creative connections among this diverse group of artists from the continent. This show also chooses to escape the historical understanding of abstraction, which is referred to here not as the Post-war movement but more broadly as a creative strategy that has continued through the decades. In this way, Judith Lauand’s planimetric work of 1960 can be seen alongside the contemporary pyramidal sculptures of Marta Chilindrón, and the use of the grid in 1950s and 1960s abstraction can be observed in Anna Bella Geiger’s video Passagens II from 1974 or in Emilia Azcarate’s Sudoku series from 2009.

The earliest-made piece in the show is that of Uruguayan artist María Freire, who co-founded in 1952 the group Arte No-Figurativo along with her husband José Pedro Costigliolo, Antonio Llorens and other artists. Works like Composición vertical (1956), show her interest in orthogonal compositions and planar superimpositions, which along with her use of line demonstrate her interest not simply in abstraction and space but more specifically in dynamism. In a similar spirit, but resulting in a very different work, Judith Lauand’s Concrete 178 (1960) presents a flat geometric composition, in monochrome grays, that through a careful use of lines and planes suggests a volumetric and angular surface. Known as the “Dama do concretismo,” Lauand was the only female member of Brazil’s Grupo Ruptura, and created unique works through a very personal use of geometry, mathematics and space.

In contrast, Mercedes Pardo’s acrylic painting Untitled (c. 1975) explores space recession not through line but using color fields. The Venezuelan artist, who was a pioneer of abstract art in Venezuela along with her husband Alejandro Otero, focused on a sensorial use of color in abstract compositions to achieve the autonomy of painting. Along with Pardo, the other representative of geometric abstraction from Venezuela in this exhibition is Margot Römer, whose triptych from the series Plomos Despojados (1995) uses the panel subdivisions to present three variations of a rectangular structure by alternating the color distribution. A similar emphasis in color is seen in Acrylic No. 7, painted in 1978 by Colombian artist Fanny Sanín, who creates a complex arrangement of intersecting rectangles of different purple hues. This simple alteration of tone in one color still allows Sanín to create a rich composition of receding planes that suggests rhythmic movement and dynamism. Indeed, movement is directly incorporated in Essai de Couleur Animée, a film made by Ana Sacerdote in between 1959 and 1965 in which she interposes geometric chromatic compositions, animating their shapes.

The case of Regina Aprijaskis exemplifies the difficulties of being a woman artist and of combining work and personal life. The Peruvian artist was developing a fruitful career and became interested in abstraction in the 1950s and 1960s after two trips to New York, but abandoned painting in 1970 following the coup d’état in Peru two years earlier, to work alongside her husband in his factory. Her 1996 acrylic painting Negro, rojo y blanco demonstrates how her interest in geometric abstraction stayed intact after a 26-year hiatus, at the same time the choice of the Peruvian flag’s colors seems to speak directly about her country’s political and social struggles.

Other works in the show leave color aside and refer to the white monochrome also with the means of exploring geometry and space.  That is the case of Ana Mercedes Hoyos’ 1970s series Atmósferas, where subtle variations of white hues suggest surfaces on the canvas. Similarly, Anna Maria Maiolino’s Light Image (1971) depends on a simple square embossing on paper to invoke the tradition of the monochrome. The square is also the theme of Gego’s Dibujo sin papel 79/14, made in 1979. Famous for her Reticuláreas, or net sculptures, in this work the Venezuelan artist uses wire and metal to frame a piece of the wall, allowing the shadow to become part of the work, continuing the integration of work and exhibition space that allowed her work to spatially affect the spectator.

The relationship between the gallery space and the visitor’s body became a main topic of interest for artists in the late 1960s, notably within Minimalism and among Western artists, but similar creative inquiries were being made in Latin America. Argentinean artist Noemí Escandell created sculptural projects such as Rectangles and Squares and Volumes, Bodies and Displacements, both from 1966, in which basic geometric shapes are combined in odd dispositions to affect the tridimensional perception of the object. In Venezuela, Antonieta Sosa was doing similar work with pieces like Stable-Unstable (1967/2014), which put into question geometry and the laws of gravity while simultaneously presenting organically aesthetic objects.

The body would later be presented directly, rather than invoked, in the work of artists such as Liliana Porter and Yeni & Nan. The Argentine is represented with her 1973 work Untitled (Line), in which her finger is photographed as interrupting a line, one that transcends the frame of the work onto the real space of the wall. In the Polaroid series Cuerpo y línea (1977), the Venezuelan duo Yeni & Nan position their bodies along the geometric designs of a tennis court, evolving the linear and geometric tradition of their home country to include performance and body art.

The urban space is also the canvas chosen by Brazilian conceptual artist Anna Bella Geiger, whose video Passagens II (1974) shows her body creating diagonal trajectories in the grid-like formation of the steps of a stairway. In a similar approach, Lotty Rosenfeld’s ongoing series Geometría de la línea, begun in 1979, intervenes the infinite number of broken white lines that divide a road with intersecting, transversal lines, in a formal but also powerfully political performance associated to her participation in the CADA group protesting the dictatorship in Chile. The relationship between geometry and power is explicit in Marta Minujín’s The Obelisk Lying Down (1978). The work, created for the first Latin American Biennial in São Pablo, presents the geometrical structure of the famous monumental form lying down, allowing spectators to walk through it in a democratizing and desacralizing gesture.

In the exhibition we also encounter more expressive uses of abstraction, where experimentation with materials led to more free-flowing forms. This is the case of Mirtha Dermisache’s graphisms from the 1970s, where the lines drawn by the Argentine artist sinuously move to create abstract texts. The abstract sculpture Untitled (1981) by Colombian artist Feliza Brusztyn, who in 1967 created the famous series of motorized sculptures Las histéricas, also combines dissonant materials into visually striking, amorphous objects. Trinidanian artist Valerie Brathwaite opts for anti-geometric shapes in her Soft Bodies, a series initiated in 2011, where the hanging and floor fabric sculptures play fluidly between the borders of figuration and abstraction.

After all these decades, geometry is still very much present in the work of younger artists. Sometimes the continuity takes place by claiming geometric abstraction directly, like Mercedes Elena González’s series September 1955 (2014), which re-conceptualizes the cover of the inaugural issue of the art and architecture magazine Integral to reevaluate the legacy of modernism in Venezuela. Others adapt geometric abstraction into new formats, like the wood piece Untitled (Free Construction No. 1) (2005) by Diana de Solares. In the case of Elizabeth Jobim’s Wall (2015), geometric shapes invade the wall and floor, overlapping each other and creating optical layers. Emilia Azcárate’s Untitled (Sudoku), from 2009 takes the grid of that game as influence and codifies numbers into colors, allowing her to create a meditative abstraction that juxtaposes the game’s problem with its solution. Formally opposite to this grid but equally colorful is Adriana Santiago’s Untitled from the series Maracaibo (2015), which combines pompoms into a frame in a playful and appealing tactile composition. The work of Marta Chilindrón retakes the tradition of dynamic planes and shapes of Gego and Lygia Clark but includes color as a key part of her manipulable works such as 27 Triangles (2011). Finally, Mariela Scafati goes back to the original questions of abstract painting in her works Tu nombre completo and Nueve minutos exactos, both from 2015, which literally –through bondage ropes— and conceptually –by transforming them into objects— tense the possibilities of what a painting can be: not a representation but an object, a body itself.

These interactions between the artwork, its surrounding spaces and the bodies that interact with it are present through the sixty years in which these artworks were created. The formal explorations initiated by the historical avant-gardes have not, as proven by the younger generation, exhausted themselves. This group of women artists from Latin America offer a wide range of answers to these questions, all personal but also collective. The line and the plane not only folded but became the body, expanding the shape of art above and beyond.

Aimé Iglesias Lukin

• Happenings

The formal aesthetics and syntax of my work stand as an alternative reference to certain classes of objects, just as words do not « refer » to things themselves in Saussure’s theory of linguistics. Objects and architectures have meanings as points and conceptual significations within an entire system of relations as each and every element evokes an idea different, let’s say, than that of another class of objects in virtue of their literal properties. I believe in creating a meta-class of language that questions both architecture and the way we look at it but in different terms. Architecture is re-contextualized.

Issues of perception, the combination of language and spatial elements, the sculptural properties of language, matter/materials and their representations are lines of research that I have been investigating lately. The relations between architectures and forms, and more specifically, the decomposition of architectural paradigms (balance, symmetry, organization of units and the figure of the architect) are some of the constant interests and explorations in the ongoing and never finalized propositions that I create.

Traducido del inglés

La estética formal y sintaxis de mi trabajo se destacan como una referencia alternativa a ciertas clases de objetos, de la misma forma que las palabras no se « refieren » a las cosas mismas, como en la teoría lingüística de Saussure. Los objetos y las arquitecturas tienen significados como puntos, y significaciones conceptuales dentro de todo un sistema de relaciones, así como cada elemento evoca una idea diferente, digamos, que la de otra clase de objetos en virtud de sus propiedades literales. Creo en la creación de un meta-lenguaje que cuestione tanto la arquitectura como el modo en que lo observamos, pero en diferentes términos. La arquitectura es re-contextualizada.

Las cuestiones de la percepción, la combinación del lenguaje y elementos espaciales, las propiedades escultóricas del lenguaje, materia / materiales y sus representaciones, son las líneas de investigación que he estado realizando últimamente. Las relaciones entre las arquitecturas y las formas, y más específicamente, la descomposición de los paradigmas arquitectónicos (el equilibrio, la simetría, la organización de unidades y la figura del arquitecto) son algunos de los intereses constantes y de las exploraciones de las proposiciones siempre inconclusas y en desarrollo.

Selected Biographical Information

Education / Training

• 2003-2008: Bachelor in Architecture, Instituto Tecnológico de Estudios Superiores de Occidente (ITESO), Guadalajara, Mexico.

Solo Exhibitions

• 2015: “Aesthetical Irregularities”, Proyecto Paralelo, Mexico City, Mexico.
• 2012: “Estética de la desaparición”, Zona MACO México Arte Contemporáneo, Mexico City, Mexico.

Group Exhibitions

• 2015: “Map of the New Art: The Future is Unwritten“, Fondazione Giorgi Cini, Venice, Italy.
• 2015: “A False Horizon: Art from Latin America“, Gallery 151, New York, USA.
• 2014: “Verano/Summer“, Proyecto Paralelo, Mexico City, Mexico.
• 2014: “Leviatan”, Museo de Arte Raul Anguiano, Guadalajara, Mexico.
• 2014: “Salón ACME”, Mexico City, Mexico.
• 2014: “Salon ACME In Situ”, Mexico City, Mexico.
• 2013: “Sin necesidad de profecías”, Galería Diéresis, Guadalajara, Mexico.
• 2013: “Salon ACME”, Mexico City, Mexico.
• 2013: “Paradise is an Island so is Hell”, La Brignonesca, Careyes, Mexico.
• 2012: “Whatever Works”, Laboratorio de Arte Jorge Martínez, Guadalajara, Mexico.
• 2011: “Don y Látigo”, Sala Juárez, Guadalajara, Mexico.
• 2011: “No puedo prometer nada”, Laboratorio de Arte Jorge Martínez, Guadalajara, Mexico.

Publications

• Imago Mundi – Luciano Benneton Collection, Mexico: The Future is Unwritten (Venice: Fabrica).

Collections

• ArtNexus, Bogota, Colombia.
• Colección Diéresis, Guadalajara, Mexico.
• Frances R. Dittmer Collection, Chicago, USA.
• Fundación Jumex Arte Contemporáneo, Mexico City, Mexico.
• Sayago & Pardon, California, USA.
• The Petitgas Collection, London, United Kingdom.

• Artists

Poetry can lead us to the flow of wind. The words, or mental images can take us away, into trance. The relation with the unknown takes shape in that stopped time, and it’s up to us to give body to the experience. Everything is an abstraction. Let’s overlay this with words, feelings and movement.

Traducido del inglés

La poesía nos puede llevar al flujo del viento. Las palabras o imágenes mentales nos pueden llevar lejos, a un trance. La relación con lo desconocido toma forma en este tiempo detenido, y nos toca a nosotros darle cuerpo a esa experiencia. Todo es una abstracción. Vamos a poner palabras, sentimientos y movimiento sobre ésta.

Selected Biographical Information

Education / Training

• 2014-2010: Art – Visual arts – unfinished studies, University of Buenos Aires, Buenos Aires, Argentina.
• 2012-2015: Diplômé de l’École Nationale Superieure de la Photographie, École Nationale Supérieure de la Photographie à Arles, Arles, France.
• 2010-2007: Técnico Superior en Imagen Fotográfica – Fotógrafo Profesional, Escuela Argentina de Fotografía, Buenos Aires, Argentina.
• 2010-2006: Studies in Philosophy – Unfinished Studies, University of Buenos Aires, Buenos Aires, Argentina.

Solo Exhibitions

• 2009: “Trash”, Casa Escópica, Bahía Blanca, Argentina.
• 2006: “Confesiones del aire”, Casa de la Cultura de la Ciudad Autónoma de Buenos Aires, Buenos Aires, Argentina.

Group Exhibitions

• 2015: “Group show”, Galerie Agnès B., Paris, France.
• 2015: “Une attention particulière”, Rencontres Internationales de la Photographie, Arles, France.
• 2015: “Je suis vague comme la mer”, Galerie Oberkampff, Paris, France.
• 2015: “Why?”, FRAC PACA, Marseille, France.
• 2015: “Échappées Belles”, Archevêché, Arles, France.
• 2014: “Why #1”, Galerie Arena, Arles, France.
• 2011: “Paso a desnivel – Overpass”, Galería Arte x Arte, Fundación Luz y Alfonso Castillo, Buenos Aires, Argentina.
• 2010: “tapper – Overpass group”, Casa Escópica, Bahía Blanca, Argentina.

Publications

• Rencontres Internationales de la Photographie d’Arles, Catalogue des Rencontres Internationales de la Photographie 2015 (Arles: RIP), 346.
• ENSP , Échappées Belles (Arles: ENSP).
• Muriel Toulmonde, Paul Pouvrau, Why? (Arles – Lyon: ENSP-ENS).
• Anne Camille Allueva, “Serie Holisme“, Der Grief, 2014.

Links

• Vimeo

• Artists

Translated from Spanish

My work integrates elements from fields such as urbanism, architecture and art as they relate to politics, history, geography, and economy. My projects are generally sculptures, installations and videos that originate from principles such as structure, sequence and material. My practice has been influenced by the idea of a vernacular architecture, which can be defined as construction techniques that reflect processes of assimilation and resistance to colonial and postcolonial processes.

Mi trabajo toma elementos de campos como el urbanismo, la arquitectura y el arte en relación con la política, la historia, la geografía y la economía. Mis proyectos son generalmente esculturas, instalaciones y videos que parten de principios como estructura, secuencia y materia. Mi práctica ha sido influenciada por la idea de una arquitectura vernácula, es decir por técnicas de construcción que reflejan procesos de asimilación y resistencia a procesos coloniales y postcoloniales.

Selected Biographical Information

Education / Training

• 2005-2007: Master in Fine Arts, Columbia University, New York, U.S.A.
• 1996-2002: Architect, Universidad De Los Andes, Bogotá, Colombia.

Prizes / Fellowships

• 2014-2015: Artist residency, Illy Sustain Art – Fondazione Bevilacqua La Masa, Venice, Italy.
• 2015: Doctoral fellowship, Fundação para a Ciência e a Tecnologia: FCT, Lisboa, Portugal.
• 2012-2013: Exhibition grant, Lugar a Dudas, Cali, Colombia.
• 2010-2012: Research Grant, Colombian Ministry of Culture, Bogota, Colombia.
• 2007-2008: Artist Residency, Colombian Ministry of Culture, FONCA-CONACULTA, Bogotá – Mexico D.F., Colombia – México.
• 2007-2008: Travel grant, Jerome Foundation, Minnesota, New York, U.S.A.
• 2005-2007: Dean & Work Scholarship, Columbia University, New York, U.S.A.

Solo Exhibitions

• 2015: “Verso Anverso“, Galeria Baginski, Lisboa, Portugal.
• 2015: “La Migración De Las Plantas“, Centro Cibeles, Madrid, Spain.
• 2014: “La Formula Del Cemento“, Art Rio, Rio de Janeiro, Brazil.
• 2014: “La Disolución De La Geometría”, Maco Zona Sur, Mexico, D.F., Mexico.
• 2014: “Trópico Entrópico“, Bienal de Cartagena de Indias, Cartagena de Indias, Colombia.
• 2013: “Piedra Líquida”, Centro Cultural García Márquez, Fondo de Cultura Econónica, Bogotá, Colombia.
• 2013: “Trópico Entrópico“, Lugar a Dudas, Cali, Colombia.
• 2012: “Ten Letters”, Positions Art Basel Miami Beach, Miami, U.S.A.
• 2012: “Diez Letras”, Galeria La Central, Bogota, Colombia.
• 2011: “Biblioteca Del Agua“, Biblioteca Luis Angel Arango, Bogotá, Colombia.
• 2010: “Constructivismo Espontáneo“, Galeria OMR, México D.F., Mexico.

Group Exhibitions

• 2015: “Siempre El Horizonte“, Galeria Max Estrella, Madrid, Spain.
• 2015: “Acorazado Patacón“, Tabacalera, Madrid, Spain.
• 2015: “Territorios en juego“, Espacio Odeón, Bogotá, Colombia.
• 2014: “Beyond the Supersquare“, Bronx Museum, New York, U.S.A.
• 2014: “Dispostivos para un mundo (im) possivel”, Galeria Nara Roesler, Sao Paulo, Brazil.
• 2013: “43 Salón (inter) Nacional de Artistas“, Museo de Antioquia, Medellin, Colombia.
• 2013: “Erinnerungsfelder“, Gallerie im Ratskeller, Berlin, Germany.
• 2012: “Alem da Vanguardia“, Bienal Naif do Brasil-SESC, Pircaciba, Sao Paulo, Brazil.
• 2009: “Fresh Latino“, Instituto Cervantes, Madrid, Spain.
• 2007: “The Hapiness of Objects“, Sculpture Center, New York, U.S.A.
• 2007: “Thanks: Returning the Favor“, Apex Art, New York, U.S.A.
• 2005: “Lugar no lugar, o el espacio entre las cosas. Nuevos Nombres“, Biblioteca Luis Ángel Arango, Casa Republicana, Bogotá, Colombia.

Publications

• Juan Cárdenas, Mediaciones y lucha de sensibilidades en el arte contemporáneo colombiano (Bogotá: Universidad de los Andes).
• Jacob R. Moore, “International Style“, Art Forum, October 2014.
• Maria Minera, “Más allá del supercuadrado“, El Pais, August 11, 2014.
• Julie V. Iovine , “A God That Failed“, The Wall Street Journal, July 29, 2014.
• Holland Cotter, “Even Utopian Citizens Like to Leave the House“, The New York Times, July 24, 2014.
• Claudia Arias, “Es hora de cambiar el patrón: Felipe Arturo“, Revista Diners, September 26, 2013.
• Diego Alarcón, “Entre el concreto y la memoria“, El Espectador, December 10, 2012.
• Felipe Martínez Pinzón, “Para contar la historia de los ríos: notas sobre Felipe Arturo“, Critica Latinoamericana, 2012.
• Elena Vozmediano, “Volver a Latinoamérica“, El Cultural, February 18, 2011.
• Paula Carrizosa, “El Museo Amparo recibe una intervención del artista colombiano Felipe Arturo“, La Jornada de Oriente, July 29, 2010.
• Federico Simón, “Esta exposición es un error“, El Pais, May 10, 2011.

Collections

• Colección Jumex, México, D.F., Mexico.
• Colección Museo Amparo, Puebla, Mexico.
• Colección Patricia Phelps de Cisneros (CPPC), New York – Caracas, U.S.A. – Venezuela.
• Colección Suramericana, Medellín, Colombia.
• Colección de Arte del Banco de la República, Bogotá, Colombia.
• Kadist Art Foundation, San Francisco, U.S.A.
• Bronx Museum´s Permanent Collection, New York, U.S.A.

Links

• Vimeo

• Artists

Alejandro Londoño Urdaneta, “DIC. 21 / 2012”, 2011, Mixed media on plastic, 60 x 200 cm. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “View of the Ducal Palace in Venice, Canaletto, 1755”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “Cuadrado Negro sobre fondo Blanco, Malevich, 1914”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “Une Baignade a Asnieres, Seurat, 1884”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “Honduras Lottery Co, Frank Stella, 1936”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “No Title (But the Sand), Raymond Pettibon, 2011”, 2015, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 63 cm. Sayago & Pardon Collection. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “GOOGLE OCEAN”, 2014, Series: TCT SESSIONS, Digital print, 86 x 114 cm. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “GOOGLE OCEAN” (Detail), 2014, Series: TCT SESSIONS, Digital Printing, Screen Printing and Engraving Laser, Variable dimensions. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “NOORDWIJK (52°14’01.81″ N 4°27’41.83″ E)”, 2015, Series: EL PAISAJE DOMÉSTICO, Acrylic paint and polycarbonate alveolar sheet, 105 x 165 cm. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “El tribunal de los Uffizi, Johann Zoffany, 1778 / Les Jardiniers, Caillebotte, 1877”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 91 cm. Sayago & Pardon Collection. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “La muerte de Marat, Jacques Louis David, 1793 / The Feast in the House of Simon, El Greco, 1608-14”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 91 cm. Sayago & Pardon Collection. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “The Unicorn, Lascaux Cave, 15.000 bC / Inocencio X, Diego Velazques,1650”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 91 cm. Sayago & Pardon Collection. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “JAN. 10, 1920”, 2015, Series: ON / OFF KAWARA, Acrylic and lacquer on canvas, 70 x 90 cm. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “Transplante de Corazón”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “Tren Maglev”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “Big Data” (Detail), 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, Variable dimensions. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “B.A Concorde”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “360° Burj Khalifa”, 2015, Series: Small Data, Acrylic, adhesive vinyl and LED light, 26,7 x 30,5 x 18 cm. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “La Romería de San Isidro, Goya, 1822 / Napoleón en el trono Imperial, JAD Ingres, 1806 / Las Grandes Bañistas, Cezanne, 1898-1905”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 147 cm. Sayago & Pardon Collection. Photo courtesy of the artist.

Alejandro Londoño Urdaneta, “Color Study for Homage to the Square, Joseph Albers, ? / Clara the Rhinoceros, Jean-Baptiste Oudry, 1749 / El jardín de las delicias, El Bosco, 1504”, 2014, Series: Historia Universal de la Pintura, Dot Matrix print on canvas, 45 x 147 cm. Sayago & Pardon Collection. Photo courtesy of the artist.

Translated from Spanish

My work aims to explore, more than a medium or a technique, a historic moment, a moment in which information technologies appear to appropriate the world in order to make the limits between reality and fiction vanish. With the appearance of “new media”, and especially with the appearance of the computer, the complex circuit of the sign has collapsed. We have become immersed in a murky vat in which signified and signifier have lost all connection: signifiers, ubiquitously embodied through zeros and ones, complex and inaccessible, colliding with significances that are impossible to read through the tactile universe.

The source material for my work always seems to be related to codes and numbers, with algorithms, with complex computerized translations. Maybe this concern springs from a continually less tangible world, a world with a growing scarcity of materiality, a world that offers fiction and simulation as a synonym of progress. From an artistic perspective, particularly through material plasticity, I aim to revindicate the object from a world that has occupied itself with reducing human achievements and possessions into microscopic silicon devices incapable of discoursing by themselves. The gestures and processes present in my work, like the materials that I use, are mere signs that seek to empty the content from any attempts to reproduce realities through mechanisms that are external to the body itself.

Departing from the guidelines of the “conceptual art” of Sol Lewitt, in which the idea is the driving force for the artwork, I have developed different series and projects that attempt to exhaust the formal possibilities within a specific grouping of conceptual elements. All are desperate and aimless attempts to materialize information already codified in Bits, “inexistent” information depending on hypercomplex hyperstructures, fragile and volatile information stored in practically inaccessible electromagnetic cracks. While the universe tries to digitalize, every moment with more intensity and technology, the analog world, I try to recover, every time with more resignation, those memories that we forget in the digital era.

Mi trabajo pretende explorar, más que un medio o una técnica, un momento histórico, un momento en el que las máquinas informáticas parecen apropiarse del mundo para así desvanecer los límites entre la realidad y la ficción. Con la aparición de los “nuevos medios”, y  especialmente con la aparición del ordenador, el complejo circuito del signo se ha desgarrado y nos hemos visto inmersos en un lodazal en el que significado y significante han perdido cualquier conexión: significantes, por doquier encarnados por ceros y por unos, complejos e inaccesibles, chocando con significados imposibles de leer desde el universo táctil.

La materia prima de mi trabajo parece estar siempre relacionada con códigos y con números, con algoritmos, con complejas traducciones computarizadas. Tal vez esa preocupación surja de un mundo cada vez menos tangible, un mundo de creciente escasez de materialidad, un mundo que ofrece ficción y simulación como sinónimo de progreso. Desde una perspectiva artística, particularmente desde la plástica, pretendo reivindicar el objeto de un mundo que se ha encargado de reducir los logros y las posesiones humanas en microscópicos dispositivos de silicio incapaces de discursar por sí mismos. Los gestos y los procesos presentes en mi trabajo, así como los materiales que utilizo, son meros signos que buscan vaciar de contenido cualquier intento por reproducir realidades a través de dispositivos externos al cuerpo mismo.

Partiendo del concepto de “arte conceptual” de Sol Lewitt, concepto en el que la idea es el motor de la pieza artística, he desarrollado diferentes series y proyectos que pretenden agotar las posibilidades formales dentro de un conjunto específico de elementos conceptuales. Todos son intentos desesperados y sin propósito por materializar información ya codificada en Bits, información “inexistente” dependiente de hiperestructuras hipercomplejas, información frágil y volátil almacenada ranuras electromagnéticas prácticamente inasequibles. Mientras el universo intenta digitalizar, cada vez con mayor esfuerzo y tecnología la información del mundo análogo, yo intento recuperar, cada vez con más resignación, aquellos recuerdos que olvidamos en la era digital.

Selected Biographical Information

Education / Training

• 2008-2012: Universidad de Los Andes, Bogotá, Colombia.

Prizes / Fellowships

•  2012: Tesis de Grado Meritoria, Universdiad de Los Andes, Bogotá, Colombia.

Solo Exhibitions

• 2015: “Small Data”, SGR Galería, Bogotá, Colombia.
• 2014: “Historia Universal de la Pintura”, Pinta Miami 2014 (SGR Solo Show), Miami, USA.
• 2014: “Historia Universal de la Pintura”, Odeón, Feria de Arte Contemporáneo 2014 (SGR), Bogotá, Colombia.

Group Exhibitions

• 2015: “Hiatos”, Salón Comunal, Bogotá, Colombia.
• 2015: “Paralelo“, SGR Galería / Lokkus Arte Contemporáneo, Medellín, Colombia.
• 2015: “Historia Universal de la Pintura (Ik Projects)“, Art Lima 2015, Lima, Peru.
• 2014: “Arte a las 7 en la 127”, Centro Cultural Reyes Católicos, Bogotá, Colombia.
• 2013: “La Feria Del Millón 2013“, Centro Creativo Textura, Bogotá, Colombia.
• 2013: “Hasta El Gato”, Galería El Garaje, Bogotá, Colombia.
• 2013: “Proyecto Tesis 2013”, Museo de Arte Contemporáneo Minuto de Dios, Bogotá, Colombia.
• 2012: “Al Final del Espejo (Proyectos de Grado)”, Universidad de Los Andes / Centro Creativo Textura, Bogotá, Colombia.
• 2012: “La Última Ceba”, Universidad de los Andes, Bogotá, Colombia.
• 2011: “Pajita en Boca”, M.I.A.M.I, Bogotá, Colombia.
• 2010: “Primer Encuentro de Arte Portátil”, Billares Londres , Bogotá, Colombia.

Collections

• Sayago & Pardon Collection, California, USA.
• Colección Art Nexus, Bogotá, Colombia.
• Colección Mali, Lima, Peru.

Links

• Cultura Digital
• Departamento de Arte-Universidad de los Andes
• YouTube
• Vice

• Artists

Artists: Conrad Bakker, Constantin Boym, Kendell Carter, Jordi Colomer, William Cordova, Elmgreen & Dragset, Fernanda Fragateiro, Terence Gower, Brian Jungen, Olga Koumoundouros, Jill Magid, Iñigo Manglano-Ovalle, Dorit Margreiter, Josiah McElheny, Edgar Orlaineta, Gabriel Sierra, Simon Starling, Clarissa Tossin, Barbara Visser, and James Welling.

MetaModern
May 30 – August 30, 2015
Scottsdale Museum of Contemporary Art
Scottsdale, AZ, USA

The fresh and provocative artworks presented in MetaModern refer literally and conceptually to modernist design objects of the mid-century. These historic objects have gained the status of icons. It is a testament to their enduring power that they now catalyze a generation of artists too young to have experienced modernism firsthand.

The notion of modernist design and architecture had its genesis in Europe, particularly during an intense decade of experimentation at the Bauhaus beginning in Weimar, Germany, in 1919. Function and utility were the school’s ethos, while the use of modern materials, honesty of form, and an embrace of abstraction were its hallmarks. World War II shifted the activity to this side of the ocean, as European practitioners, including Walter Gropius, Ludwig Mies van der Rohe, and Richard Neutra emigrated to the United States and joined the faculties of American architectural schools. Modernism was held as truth by the generations of students they trained: emerging in the 1960s and ’70s, these young designers felt they had arrived at a place beyond style. Modernism was the pure and true mode in which to design everything from typography to furniture to architecture.

When architects, those removed by several generations from the birth of modernism, came to maturity as designers––Frank Gehry, Charles Moore, and Robert Venturi––they challenged all that modernism had embraced. Their vocabulary included fanciful embellishment, applied color, decorative patterning, and references to historical styles.

Now, over 90 years after the revolution at the Bauhaus, modernism continues to spark a passion in designers and collectors. The prices of signature objects of the classic modernist era are soaring, and its buildings are being restored and valued as historical monuments. Although vintage Eames rockers have been integrated into contemporary high-end living rooms, they are quite different in these new eclectic contexts. Similarly, artists who incorporate iconic modernist designs in their work today often produce recombinations and modifications that result in an entirely unique mix––or meta, meaning beyond, changed, self-referential, and abstracted from another concept. Using classic elements in new configurations, these artists are making original works of art that comment on the claims of the past in light of the complexities of the present.

The artists in this exhibition, most of whom were born in the 1960s, adopt the actual vocabulary of the modern movement to question the content of its style and its relationship to history. Their work challenges the tenets of modernism head on. Often ironic and witty, the works in this exhibition offer a thoughtful critique of innumerable issues that extend across the fields of design and history.

• Happenings

Artists: Ana Bidart, Linus Bill + Adrien Horni, Jonathan Callan, Jacob El Hanani, Dario Escobar, and Julianne Swartz.

Summer Hang
Through August 12, 2015
Josée Bienvenu
New York, USA

Ana Bidart explores the possibilities and more so, the impossibilities of drawing. She brings found objects together in space and across time, and her works establish a tangible record of ephemeral relationships encountered. With Disappointment she reconstitutes meaning in the potential interaction between a compass, that does not draw, and a coiled wire, that is precariously suspended.

Swiss artists Linus Bill and Adrien Horni create collages and paintings with powerful aesthetics, bold gestures and brave dimensions. Bill and Horni produce work by assembling smaller collages, which later become part of a larger collage. They only determine a final result after countless trials and manipulations to the images (physically and digitally). With NY P.5 TL, the pair continues their ongoing explorations of process, form, and presentational strategy by combining inkjet printing, silkscreen, painting, drawing, and assemblage.

Jonathan Callan explores the relationship of disembodied knowledge to embodied experience and materiality, working with publications – books, maps, and photographs – as a source material.Entertaining is made up of 72 separate pages from a cookbook, isolating a single dish or ingredient on each page and removing everything else with sandpaper. Together the dishes (though legible as food when close up) appear as strange planets or discs in space. Some of the dishes are isolated and then completely removed, leaving a ghostly blank. Along with all the pieces where a single aspect of a page is highlighted, Entertaining explores the illustrative notion of the self, the removal of context and the substitution of a painterly space. In fact the background can often seem rendered with pastel or even fresco, and Callan likes to think of Entertaining as a composition of drawings.

Jacob El Hanani’s work draws upon the tradition of micrography in Judaism, a technique utilized in decoration and transcribing holy texts. El Hanani creates highly intricate works, like Circle and Line, through the painstaking repetition of minuscule marks repeated thousands of times using ink on paper or canvas. He draws these images without magnification; in order to reduce eyestrain, he rests every ten minutes. The end result is a work of extraordinary detail that appears to be a pattern from a distance, and speaks of the passage of time and the link between the microscopic and the infinite.

Dario Escobar is renowned for his sculptural re-contextualization of everyday objects. His work explores concepts of cultural and historical hybridity ultimately attempting to reexamine Western art history from a Guatemalan perspective.  Reticula, part of Dario Escobar’s “ultramoderno” project commenting on the failed utopia of modernism in Central America, 50 pool triangles made in Taiwan becomes a relief, and its composition follows a modern grid. Escobar’s work, characterized by the use of materials charged with historical and symbolic meaning, is articulated in a minimalist language like in Yellow Composition, a linseed oil drawing, and the wall sculpture.

Julianne Swartz’s sound works explore the entanglement of subjectivities and sensations through multilayered arrangements. In Alma’s Blanket Israel, sounds are harvested from the everyday: fragments of recordings from people, nature, instruments and environments. Some are intimate, some generic, some identifiable, and some obscure. These sounds, entwined together, weave in and out of aural focus to make a symphonic collage. The dense textile of woven and knotted, colored electrical wires, forms a series of functional circuits that distribute four channels of sound to the numerous speakers interleaved in the weaving.

• Happenings

Translated from Spanish

As an artist, I develop my work through an investigation of the histories and decorative elements of textiles and through the meticulous techniques of sewing, knitting, weaving, threading, and knot making. Thus I pay tribute to cultural contributions made by women and to the feminine esthetic.

Through the flexibility of my works I want to express life, the interconnection of beings and their adaptation to the environment. I achieve this flexibility through the interweaving of hundreds of small pieces in which the contrasts of rigidity-opacity and elasticity-translucency commingle.

My pieces are accumulations built to achieve the maximum possible size or density with the least amount of material. I work with small, serial units: clay forms, scales, seeds, and industrial objects like buttons, bolts, hoses, and cloth.

The final result is similar to a rug or carpet. Due to its flexibility, I can exhibit it in many different ways. For me it is important that the spectator can and will manipulate it and play with it freely to create an infinity of forms.

While my works are conceived as abstract objects derived from mathematical and geometrical calculations, the final result (texture, irregularity of the manual weaving and weight) evokes living beings in repose.

Como artista, investigo y centro mi trabajo en una constante revisión de las tramas y los elementos decorativos de los textiles y las meticulosas técnicas de cosido, bordado, tejido, ensartado y anudado. Es un tributo y reconocimiento al aporte cultural y estético femenino.

A través de la flexibilidad de mis obras quiero expresar la vida, las interconexiones de los seres y la adaptación al medio ambiente. Esta flexibilidad se logra mediante el entretejido de cientos de pequeñas piezas en las que conviven los contrastes de rigidez-opacidad y elasticidad-translucidez.

Mis piezas son acumulaciones estructuradas por el principio de lograr el mayor tamaño o densidad posible con la menor cantidad de material. Trabajo con pequeñas unidades seriadas: modelados en arcilla, escamas, semillas, y objetos industriales como botones, tuercas, mangueras y tela.

El resultado final es similar a un tapiz o alfombra. Su condición maleable me permite exhibirlo de diversas maneras. Para mí es importante que el espectador quiera y pueda manipularlo, jugar con él libremente y crear infinidad de formas.

Si bien mis piezas están concebidas como objetos abstractos y parten de cálculos matemáticos y geométricos, su resultado final (textura, irregularidad del tejido manual y peso) evoca a seres vivos en reposo.

Selected Biographical Information

Education / Training

• 1996-2000: Museology, Central University of Venezuela, Caracas, Venezuela.
• 1980-1986: Bachelor of Arts, Central Universitu of Venezuela, Caracas, Venezuela.

Solo Exhibitions

• 2015: “Paper & Knowledge Dualities”, Tatiana Pages’ Gallery, New York, USA.
• 2014: “Pliegues”, Espacio 5 Galería, Valencia, Venezuela.
• 2013: “Ablandando hasta el agua”, Galería D’Museo, Caracas, Venezuela.
• 2011: “[in] material [trans] material”, La Librería, Sala Mendoza, Caracas, Venezuela.
• 2009: “Embebidas”, Faría+Fábregas Galería, Caracas, Venezuela.
• 2008: “Flexible Sculpture”, Mawson Gallery, Canberra, Australia.
• 2007: “nu-dos”, Galeria Forum, Lima, Perú.
• 2007: “Acumulaciones. Diálogos visuales de Vicente Antonorsi e Isabel Cisneros”, Sala TAC, Caracas, Venezuela.
• 2005: “Hiladillas”, La Librería, Sala Mendoza, Caracas, Venezuela.
• 2005: “Maracapana”, Galería Art Nouveau, Maracaibo, Venezuela.
• 1990: “Entornos de la Fiesta”, La Librería, Sala Mendoza, Caracas, Venezuela.

Group Exhibitions

• 2014: “LXVII Salón Arturo Michelena”, Ateneo de Valencia, Valencia, Venezuela.
• 2013: “Gyeonggi International Ceramic Biennale”, Icheon CeraMIX Creative Centre, Icheon, Korea.
• 2010: “XXXVII Salón Nacional de las Artes del Fuego”, Galería Universitaria Braulio Salazar, Valencia, Venezuela.
• 2006: “Ágora de Fuego, Cerámica contemporánea de Venezuela y Colombia”, Biblioteca Luis Ángel Arango, Bogotá, Colombia.
• 2009: “Bienal Nacional de Escultura Francisco Narváez”, Museo de Arte Contemporáneo Francisco Narváez, Porlamar, Venezuela.

Publications

Collections

• Fundación Banco Mercantil, Caracas, Venezuela.
• Ateneo de Valencia, Valencia, Venezuela.
• Galería Universitaria de Arte Braulio Salazar, Valencia, Venezuela.

• Artists

For many years I have been investigating the ineffable nature of things, objects, words, thoughts. My art has always been informed by an underlying awareness of the concealed and ephemeral aspects of existence that we don’t see or that appear to be invisible. Through the processes I have explored, I try to reveal how that which has been concealed emerges into view. Art is for me making visible the invisible. In working across mediums for the last fifty years, I go to the unknown in order to know. I go to the dark to see the light.

Traducido del inglés

Durante muchos años, he estado investigando la naturaleza inefable de las cosas, los objetos, las palabras, los pensamientos. Mi arte siempre ha sido informado por una conciencia subyacente de los aspectos ocultos y efímeros de la existencia que no vemos o que parece ser invisible. A través de los procesos que he explorado, trato de mostrar cómo lo que se ha ocultado surge a la vista. El arte es para mí hacer visible lo invisible. Al trabajar en distintos medios durante los últimos cincuenta años, me voy hacia lo desconocido con la finalidad de conocer. Voy a la oscuridad para ver la luz.

Selected Biographical Information

Education / Training

• 1958-1959: The University, Edinburgh, Scotland.
• 1956-1957: Atelier André Lhote, Paris, France.
• 1956: La Sorbonne, Paris, France.
• 1950-1953: Universidad de Córdoba, Córdoba, Argentina.

Prizes / Fellowships

• 2011-2012: Lee Krasner Award for Lifetime Achievement, The Pollock-Krasner Foundation, New York, USA.
• 2006: The Pollock-Krasner Foundation Grant, The Pollock-Krasner Foundation , New York, USA.
• 2001: The Pollock-Krasner Foundation Grant, The Pollock-Krasner Foundation , New York, USA.
• 1995: Individual Artist Grant for Works on Paper, New York State Council on the Arts, New York, USA.
• 1992: National Endowment for the Arts U.S./France Fellowship, National Endowment for the Arts, Washington, D.C., USA.
• 1991: National Endowment for the Arts Visual Arts Fellowship, National Endowment for the Arts, Washington, D.C., USA.
• 1986: Artists Space Grant, Artists Space, New York, USA.
• 1980: Artists Space Grant, Artists Space, New York , USA.
• 1978: CAPS Fellowship Grant, Creative Artists Public Service , New York, USA.
• 1964: Beca del Fondo Nacional de Las Artes, Fondo Nacional de Las Artes, Buenos Aires, Argentina.

Solo Exhibitions

• 2014: “Gateless Gates“, Y Gallery, New York, USA.
• 2009: “River Library  (The Poetics of Water)”, 10th International Cuenca Biennial, Cuenca, Ecuador.
• 2008: “Raquel Rabinovich: River Library”, Fundación Alon, Buenos Aires, Argentina.
• 2000: “Light Unworn: New Paintings by Raquel Rabinovich”, Trans Hudson Gallery, New York, USA.
• 1998: “Enfolded Darkness: Recent Drawings by Raquel Rabinovich”, Trans Hudson Gallery, New York, USA.
• 1996: “Raquel Rabinovich: Drawings 1978-1995”, INTAR Gallery, New York, USA.
• 1990: “Chhodrtens – Recent Work by Raquel Rabinovich (in conjunction with Beyond the Surface)”, Americas Society, New York, USA.
• 1986: “Invisible Cities: Sculpture and Drawings by Raquel Rabinovich”, Bronx Museum of the Arts, New York, USA.
• 1983: “TheThe Map Is Not the Territory (in conjunction with New Spaces)”, Center for Inter-American Relations, New York, USA.
• 1981: “Raquel Rabinovich: Esculturas – Dibujos 1981”, Galería Garcés Velásquez, Bogotá, Colombia.
• 1980: “Shelter”, Institute for Art and Urban Resources at P.S.1, Long Island City, NY., USA.
• 1979: “Cloister, Crossing, Passageway, 1.32”, The Jewish Museum Sculpture Court, New York, USA.
• 1974: “Raquel Rabinovich: Painting, Collage, Sculpture”, Heckscher Museum of Art, Huntington, NY, USA.
• 1963: “La oscuridad tiene su luz”, Galería Rioboo, Buenos Aires, Argentina.
• 1960: “First Exhibition in England of Paintings by Raquel Rabinovich”, Leicester Galleries, London, England.

Group Exhibitions

• 2015: “Empire of Dirt”, Paul Robeson Galleries, Rutgers State University of New Jersey, New Brunswick, NJ, USA.
• 2014: “Feral Objects”, CREON, New York, USA.
• 2013: “LINE & FORM”, MARC STRAUS, New York, USA.
• 2013: “Sofia International Paper Art Biennial 2013”, Amateras Foundation, Sofia, Bulgaria.
• 2012: “One of a Kind II – “Unbound” –An Exhibition in Three Chapters”, Dalhousie Art Gallery, Halifax, Nova Scotia, Canada.
• 2011: “Hudson River Contemporary: Works on Paper”, Boscobel Exhibition Gallery, Garrison, NY, USA.
• 2011: “Sticks and Stones”, Lehman College Art Gallery, New York, USA.
• 2010: “Marks that Matter, Contemporary Drawing in the Hudson Valley”, Ulster State University of New York, Stone Ridge, NY, USA.
• 2008: “Selection of Works from the Haim Chanin Collection”, Haim Chanin Fine Arts, New York, USA.
• 2007: “Minimal Interference in collaboration with Lucio Pozzi”, BCB Art Gallery, Hudson, NY, USA.
• 2004: “Art on Paper 2004”, Weatherspoon Art Museum, The University of North Carolina at Greensboro, Greensboro, NC, USA.
• 2004: “Voces y Visiones: Highlights from El Museo del Barrio’s Permanent Collection”, El Museo del Barrio, New York, USA.
• 2003: “Imaging the River”, Hudson River Museum, Yonkers, NY, USA.
• 2003: “Sticks and Stones”, Collaborative Concepts, Beacon, NY, USA.
• 2002: “Miami Currents”, Miami Art Museum, Miami, Fl, USA.
• 2002: “Blobs, Wiggles, and Dots, Webs and Crustillations”, Blobs, Wiggles, and Dots, Webs and Crustillations, The Work Space, New York, USA.
• 2001: “New Acquisitions”, Miami Art Museum, Miami, Fl, USA.
• 2000: “Re-Aligning Vision: Alternative Currents in South American Drawing”, El Museo del Barrio, New York, USA.
• 1995: “Presence/Absence”, Trans Hudson Gallery, Jersey City, NJ, USA.
• 1994: “The Persistence of Abstraction: American Abstract Artists”, Oceanville, NJ, USA.

Publications

• Nelly Perazzo, Historia general del arte en la Argentina, Tomo XI (Escultura argentina 1965-2000)  (Buenos Aires:  Academia Nacional de Bellas Artes),  263-264.
• David Levi Strauss, In Praise of Darkness, From Head to Hand: Art and the Manual  (New York: Oxford University Press), 66-69.
• Julian P. Herzberg, Raquel Rabinovich: Antología del lecho de los ríos/Anthology of the Riverbeds (Buenos Aires: Editorial Fundación Alon ).
• Ann Philbin, 560 Broadway: A New York Drawing Collection at Work, 1991-2006 (New York: New York and Yale University Press), 137.
• Linda Weintraub with Skip Schuckmann, EnvironMentalities: Twenty-two Approaches to Eco-Art, Avant-Guardians: Textlets in Art and Ecology.  (Rhinebeck, NY: Artnow Publications), 141-144.
• Hedwig Brenner, Judische Frauen in der bildenden Kunst II  (Hartung-Gorre Verlag ), 275-276.
• Erin Aldana, St. James Guide to Hispanic Artists (New York: St. James Press), 485-488.
• Linda Weintraub and George Quasha, Raquel Rabinovich, The Dark Is the Source of Light (Barrytown, NY: Station Hill Arts).
• Peter Bellamy, The Artist Project: Portraits of the Real World / New York Artists 1981-1990 (New York: IN Publishing), 184.
• German Rubiano Caballero, La Escultura en América Latina (Siglo XX) (Bogotá: Ediciones de la Universidad Nacional de Colombia).
• Damián C. Bayón, Aventura Plástica de Hispanoamérica (México City:  Breviarios del Fondo de Cultura Económica), 161.
• Ann McCoy, “The Artful Recluse: Painting, Poetry, and Politics in the 17th-Century China”, The Brooklyn Rail, May, 2013.
• Julia P. Herzberg, “Raquel Rabinovich: Stone Sculptures”,  ARTE!Brasileiros, March, 2011, 66-70.
• Robert C. Morgan, “Raquel Rabinovich: Fluid Equilibrium”, Sculpture, December, 2010,  48-49.
• Luisa Valenzuela, “Palabras de agua”, Perfil, June 14, 2009.
• William Zimmer, “Out of the Water, Inspiration”, The New York Times, Dec. 28, 2003.
• Nicole Krauss, “Raquel Rabinovich at Trans Hudson”, Art in America, July, 1999.
• William Zimmer, “Beyond the Surface”, Arts Magazine, October, 1990.
• Grace Glueck, “Critics’ Choices”, The New York Times, October 19, 1986.
• Amei Wallach, “Contemplating What Is Beyond What We See”, Newsday, March 10, 1983.
• John Stringer, “Raquel Rabinovich: De lo mítico a lo actual”, Arte Informa , 1983, 12.
• George R. Collins, “Raquel Rabinovich”, Arts Magazine, February, 1983, 4.
• Grace Glueck, “There’s New Sculpture Under the Sun All OverTown”, The New  York Times, August 3, 1979.
• John Gruen, “Raquel Rabinovich”, The Soho Weekly News, February, 1975.
• Jeanne Paris, “Jeanne Paris, Refines Her Art: Raquel Rabinovich Exhibit at Heckscher”, Long Island Press, February 3, 1975.
• Amei Wallach Her Fragile Art Arises from Wisps of Dreams Newsday, June 24, “Her Fragile Art Arises from Wisps of Dreams”, Newsday, June 24,1973.
• Jacqueline Barnitz, “Raquel Rabinovich at Benson, Bridgehampton”, Arts Magazine, September-October, 1970.

Collections

• The Museum of Fine Arts, Houston, Texas, USA.
• Whitney Museum of American Art  , New York, USA.
• Argentine Banking Corporation, New York, USA.
• Arkansas Art Center, Little Rock, Arkansas, USA.
• The Blanton Museum of Art at the University of Texas Austin,  Austin, Texas, USA.
• Fondo Nacional de las Artes, Buenos Aires, Argentina.
• Foundation for Contemporary Arts, New York, USA.
• Miami Art Museum, Miami, Florida, USA.
• Museo de Arte Morderno, Buenos Aires, Argentina.
• Museo Genaro Perez, Cordoba, Argentina.
• World Bank Fine Art Collection, Washington, D.C., USA.
• Museo Emilio Caraffa, Cordoba, Argentina.
• City of Phoenix, Phoenix, Arizona, USA.
• National Gallery of Art, Sofia, Bulgaria.
• Reading Public Museum, Reading, Pennsylvania, USA.
• Museo de Arte Abstracto, Zacatecas, Mexico.
• Museo de Arte Moderno, Bogota, Colombia.
• Museo del Barrio, New York, USA.
• San Francisco Museum of Modern Art, San Francisco, California, USA.
• The Bronx Museum, New York, USA.

Links

• World Literature Today
• 2015, Y Gallery: Exhibition showcasing works from series River Library and Gateless Gates.
• 2014, Ann McCoy, “IN CONVERSATION: Raquel Rabinovich with Ann McCoy.” Brooklyn Rail Interview, Brooklyn, NY, USA, November. P. 27, 28, 29. Interview on the occasion of solo exhibition at Y Gallery.
• 2014, Rachel Cole Dalamangas, INTERVIEW: ON THE NATURE OF ART & THE ART … – Zingmagazine Raquel Rabinovich on the invisible world, slowing down & mud as aesthetic” (Interview by Rachel Cole Dalamangas for Zingmagazine), NY, USA.
• 2014, Raquel Rabinovich’s Paradoxes.com, Essay by Alex Bacon, “Gateless Gates” exhibition, Y Gallery New York.
• 2014, Chronicles of Time, 2002 and 2013.com. Essays by Linda Weintraub on sculpture installations “Emergences” alongside Hudson River.
• 2014, Sculpture and Dance Collaboration, 2014.com. Video documenting sculpture and dance collaborationsRaquel Rabinovich/Julie Manna, Hudson River.
• 2013, Emergences Video, 2013.com. Documentary: stone sculpture installations along the shores of Hudson River.
• 2009, Cuenca Biennial Video, 2009.com. Documentary: exhibition sculpture installation/drawings “River Library” 10th International Cuenca Biennial, Ecuador.
• 2000, Time of the Gazing: A Glance at Raquel Rabinovich, 2000.com. Documentary of Raquel’s work, including interviews with the artist and others.

• Artists

Artist: Jorge Pedro Núñez

Fantasy
August 6, 2015
Ignacio Liprandi Arte Contemporáneo
Buenos Aires, Argentina

…La tecnología historiográfica también nació con una distorsión inicialmente politizada: la convención de las periodizaciones de la historia se tomó prestada de la historiografía política y así se tradujo en la museología moderna. Los últimos trabajos de Jorge Pedro Núñez (Caracas, 1976) ponen en cuestión la lógica misma del museo. El marco o la vitrina, modalidades convencionales del parergon, de la delimitación del campo que contiene el signo artístico en su interior, son utilizados como un espacio de confrontación entre elementos históricos concatenados….

Manuel Sagade

• Happenings

Artist: Barbarita Cardozo

Tigersprung
July 16- August 23, 2015
Museo Iglesia Santa Clara
Bogotá, Colombia

Esta exposición parte de una revisión a las colecciones del traje del siglo XVIII y XIX de algunos museos de la ciudad y el concepto Tigersprung de Walter Benjamín, que propone una mirada a los trajes de la época, para abordar de manera contemporánea temáticas propias de la moda: el vestuario, el accesorio y la imagen. La exposición presenta un recorrido por trajes creados por Cardozo, en colaboración con la diseñadora de modas Olga Piedrahíta; accesorios históricos de las colecciones del Museo Colonial, Museo de la Independencia – Casa del Florero y de colecciones privadas de moda; y acuarelas inspiradas en las acuarelas de usos y costumbres.

• Happenings

Artists: Emilia Azcárate, Artur Barrio, Jacques Bedel, Coco Bedoya, Luis F. Benedit, Paulo Bruscky, Jorge Caraballo, Sigfredo Chacón, Emilio Chapela, Guillermo Deisler, Mirtha Dermisache, Anna Bella Geiger , León Ferrari, Jaime Higa, Eduardo Kac, Leandro Katz, Guillermo Kuitca, David Lamelas, Marie Orensanz , Clemente Padín, Claudio Perna, Federico Peralta Ramos, Dalila Puzzovio, Juan Pablo Renzi, Osvaldo Romberg, Juan Carlos Romero, Eduardo Santiere, Mira Schendel, Pablo Suarez, Horacio Zabala, and Carlos Zerpa.

Grafías y ecuaciones
June 1 – August 5, 2015
Henrique Faria Buenos Aires
Buenos Aires, Argentina

¿En qué momento una letra se convierte en una figura, un garabato en un signo, una línea en un significante, una imagen en una palabra, un poema en un dibujo, una consigna política en una afirmación de lo sensible? ¿En qué momento, en qué preciso momento, nuestra percepción se disloca para entrar en una zona de turbulencia en la  que se entreveran signos y figuras? Grafías y ecuaciones es una exploración en las obras de artistas que transitaron por esa zona de turbulencia donde las divisiones convencionales entre palabra e imagen ya no funcionan.

Las grafías de las obras que se exhiben en esta exposición son también ecuaciones: equivalencias y analogías que hace la imaginación para encontrarse con la diferencia, lo irreductible o el sinsentido en un laberinto de trazos metafísicos, políticos o plásticos. Sea como medición previa para cualquier obra, sea como traducción irrisoria o paródica, sea como pasaje de un sistema a otro, la diferencia entre signo lingüístico e imagen visual colapsa para dar lugar a un campo experimental que nos impulsa a una indagación por el Sentido y, al mismo tiempo, a una exploración de los sentidos.

Gonzalo Aguilar

• Happenings

Artists: Bas Jan Ader, Carlos Amorales, Joseph Beuys, Monica Bonvicini, Stefan Brüggemann, Jeff Burton, Anne Collier, Jose Dávila, Moyra Davey, Carroll Dunham, Gardar Eide Einarsson, Olafur Eliasson, Tracey Emin, Cerith Wyn Evans, Claire Fontaine, Garea, Gelitin, Liam Gillick, Felix González Torres, Thomas Hirschhorn, Jim Hodges, Jenny Holzer, Roni Horn, Dennis Hopper, On Kawara, Mike Kelley, Martin Kippenberger, Gabriel Kuri, Abigail Lane, Gonzalo Lebrija, Jesús León, Robert Longo, Sarah Lucas, David Lynch, John McCraken, Sarah Morris, Ugo Mulas, Luis Felipe Ortega, Jorge Pardo, Liliana Porter, Richard Prince, Tobias Rehberger, Daniela Rossell, Thomas Ruff, Alan Saret, Hedi Slimane, Dash Snow, Mungo Thomson, Wolfgang Tillmans, Rirkrit Tiravanija, Luis Emilio Valdés Rodríguez, John Waters, Ricardo Rendón, and many more.

In Girum Imus Nocte et Consumimur Igni
July 11 – October 4, 2015
Fundación Jumex Arte Contemporáneo
Mexico City, Mexico

Con más de cien obras de la Colección Jumex, In Girum Imus Nocte et Consumimur Igni explora varios acercamientos a la curaduría que nos ayudarán a entender las elecciones implícitas en los actos de formar yactivar una colección de arte. Además de participar en la selección de obras para la exposición, los artistas Bernadette Corporation, Nicolas Ceccaldi y Peter Wächtler también fueron comisionados para crear piezas inspiradas en obras de la Colección Jumex.

• Happenings

Artists: Paweł Althamer, Julieta Aranda, Matthew Barney, Kevin Beasley, John Bock, Carol Bove, Ernesto Caivano, Mariana Castillo Deball, Maurizio Cattelan, Trisha Donnelly, Shannon Ebner, Simon Fujiwara, Ellie Ga, Gerard & Kelly, Simryn Gill, Felix Gonzalez-Torres, Rachel Harrison, Camille Henrot, Juliana Huxtable, Rashid Johnson, Matt Keegan, Agnieszka Kurant, Mark Leckey, Lee Bul, Zoe Leonard, Glenn Ligon, Sharon Lockhart, Nate Lowman, Mark Manders, Ryan McGinley, Josephine Meckseper, Zanele Muholi, Iván Navarro, Catherine Opie, Gabriel Orozco, Laura Owens, Katie Paterson, R. H. Quaytman, Natascha Sadr Haghighian, Xaviera Simmons, Taryn Simon, Alexandre Singh, Agathe Snow, Ryan Trecartin, Danh Vo, Sharif Waked, Jonas Wood, and Haegue Yang.

Storylines: Contemporary Art at the Guggenheim
June 5 – September 9, 2015
Guggenheim Museum
NYC, NY, USA

Visual art has always been closely associated with storytelling. In Western culture, painting and sculpture initially evolved to illuminate narratives of religion, patronage, and power. Over the centuries, genre scenes, still lifes, and portraits—often created as intricate allegories for religious or historical subject matter—became popular as the narrative role of art expanded. In the twentieth century, with the advent of abstraction as a radical break with the past, many artists associated with the avant-garde rejected the figurative and, hence, eliminated explicit narrative content. In the United States and Europe, this tendency culminated during the 1960s and 1970s in Minimal painting and sculpture that foregrounded geometric abstraction and in Post-Minimalism’s examination of process and materiality. The 1980s witnessed a resurgence of figurative art, much of which harked back to expressionistic styles of the 1920s and 1930s.

During the 1990s, a generation of younger artists embraced the concept of storytelling to articulate the politics of identity and difference, investing both abstract and representational forms with narrative content. Storylines opens with key examples from that decade, which serve as thematic anchors and highlight the museum’s own exhibition history. Most of the works on view, however, were created after 2005 and offer an expansive view of the new paradigms for storytelling forged during the past ten years to communicate ideas about race, gender, sexuality, history, and politics, among other trenchant themes.

Bringing together over one hundred works from the Guggenheim’s contemporary collection, Storylines examines the diverse ways in which artists today engage narrative through installation, painting, photography, sculpture, video, and performance. For these artists, storytelling does not necessarily require plots, characters, or settings. Rather, narrative potential lies in everyday objects and materials, and their embedded cultural associations. In projects created through extensive research, acts of appropriation, or performance, the artists in Storylines uncover layers of meaning, turning to individual experience as a means of conveying shared stories, whether real or fictional.

The recent narrative turn in contemporary art cannot be separated from the current age of social media with its reverberating cycles of communication, dissemination, and interpretation. Seemingly every aspect of life is now subject to commentary and circulation via digital text and images. These new narrative frames highlight the roles that each of us can play as both author and reader, foregrounding the fact that meaning is contingent in today’s interconnected and multivalent world. As a means of celebrating this dynamic, the museum has invited writers to contribute reflections—in prose or poetry—on selected works in Storylines. Engaging the rich historical relationship between literature and art, the resulting polyphony signals the diverse interpretive potential that lies within each object on display. Visitors may access these texts using the Guggenheim app or in booklets located throughout the museum.

• Happenings

Artists: Brígida Baltar, Carlito Carvalhosa, Fabiana de Barros & Michel Favre, José Damasceno, Laura Vinci, Marcius Galan, Marcos Chaves, Paola Junqueira, Paulo Vivacqua, Waltercio Caldas, Anthony McCall, Ben Vautier, Bruce Nauman, Ceal Floyer, François Morellet, James Turrell, Keith Sonnier and Ryan Gander.

Inmaterialidade
Curated by Adon Peres and Ligia Canongia
July 2 – September 27, 2015
SESC Belenzinho (Leste)
Belem, Brazil

A mostra de arte contemporânea traz diferentes artistas cujos trabalhos evocam a desmaterialização, a sublimação da matéria, ou, artistas que têm o impalpável como elemento principal do trabalho – som, luz, ar, palavra.

• Happenings

Artist: Lucia Koch

Lucia Koch, let there be a set X
July 10 – September 4, 2015
Christopher Grimes Gallery
Santa Monica, CA, USA

Throughout her career Lucia Koch has become known for her interventions within existing architecture, either through her use of sculpture, photography, video or colored filters. In this, her second exhibition with the gallery, she will intersect the entire space with a gradient printed on fabric — something that moves in space but is constant, subtle, transformative and never repeating. In addition, ordinary windows will be replaced with colored panels disrupting one’s expectation, and images of small, empty containers enlarged to architectural scale disassociate the photographs from their references and challenge how we relate to space. Through all of these strategies, Koch elevates basic elements of architecture to effect change in one’s immediate atmosphere and physical surroundings.

Lucia Koch (b. 1966, Porto Alegre, Brazil) lives and works in São Paulo, Brazil. She has recently participated inProspect 3, New Orleans, LA (2015), curated by Franklin Sirmans; Cruzamentos: Contemporary Art in Brazil, Wexner Center for the Arts, Columbus, OH (2014); A Sense of Place, Pier 24 Photography, San Francisco, CA (2014); and Re-emerge: Towards a New Cultural Cartography, 11^th Sharjah Biennial, United Arab Emirates (2013). She has been included in the 11th Biennale de Lyon, France (2011); 27th Bienal de São Paulo, Brazil (2006); 2nd, 5th and 8th editions of the Mercosul Biennial in Porto Alegre, Brazil (1999, 2005 and 2011); and the 8th Istanbul Biennial, Istanbul, Turkey (2003). Her work has been included in such exhibitions as, Another Place, Museum of Modern Art of São Paulo, Brazil (2011), andWhen Lives Become Form, Yerba Buena Center for Arts, San Francisco, CA (2009), which was also on view at Contemporary Art Museum, Tokyo, Japan (2008). Koch’s work is in the collections of such institutions as Los Angeles County Museum of Art, CA; Pinacoteca do Estado de São Paulo, Brazil and Museu de Arte Moderna de São Paulo, Brazil, among others. In 2016 she will be the subject of a solo exhibition at the Museum of Modern Art, Rio de Janeiro, Brazil.

• Happenings

Artist: Barbarita Cardozo

Tigersprung
July 16 – August 23, 2015
Museo Iglesia Santa Clara
Bogotá, Colombia

Para Benjamin, las arcadas, como objeto histórico significativo e “imagen del deseo y del sueño del colectivo”,xiv son también el Jano de doble rostro: lo que él llama la “ambiguedad de las arcadas”xv las transforma en lo que, en el sugerente término empleado por su asociado y comentarista Theodor Adorno, es una “imagen dialéctica”,xvi apuntando en dos direcciones al mismo tiempo y expresión tanto de la opresión (por la ideología del consumismo) y de la liberación (dentro de la utopía de la abundancia).

Christopher Rollason

• Happenings

Artists: Alejandra Avilés, Gabriel Boils, Virginia Colwell, Rodolfo Díaz Cervantes, Miguel Fernández de Castro, Helena Fernández Cavada, Renato Garza, Sonia Hedstrand, Gonzalo Lebrija, Gabriel de la Mora, Víctor Lerma y Mónica Mayer, Carla Rippey, Ling Sepúlveda.

Tres pies: el enigma de la sucesión. Envejecimiento y retiro
Curaduría: Víctor Palacios y Felipe Zúñiga
June 20 – September 20, 2015
Casa del Lago
Mexico City, Mexico

Exposición colectiva que aborda desde distintas perspectivas artísticas, la experiencia humana del envejecimiento y el retiro. ¿Qué sucede cuando llegamos a esa edad? ¿En qué ocupan su tiempo las personas jubiladas? ¿Es el retiro una medida económica más que humana? ¿Cómo moldea ésta nuestro presente y nuestra visión del futuro?

Foto cortesía de Gabriel de la Mora

• Happenings

Artist: Guido Ignatti

Sistemas de recuperación de la catástrofe
July 7 – August 7, 2015
Nora Fisch Arte Contemporáneo
Buenos Aires, Argentina

La instalación de Guido Ignatti presenta una serie de macetas caídas y rotas, como símbolo de un auge venido a menos, sus plantas con destino incierto están ahora sometidas a una serie de medidas para su recuperación, sostenidas por sistemas de alambres y flejes que las erigen nuevamente. Vienen acompañadas por instructivos para su multiplicación por sistema de esquejes. Las piezas que componen esta instalación funcionan como una metáfora del momento posterior a una tragedia y las posibilidades de recuperarse por medio de un tratamiento que circunstancialmente podría ser traumático. Cada pieza es una obra viva y en cierto modo performática, que se completa con un plan de acción tendiente a la supervivencia de la especie. Esta muestra es una precuela ya que se va a realizar en una escala mayor en el contexto de una exhibición individual de Ignatti en el Museum of Contemporary Art de Denver, Colorado, Estados Unidos, donde el artista presentará cuatro grandes instalaciones a mediados del 2016.

• Happenings

Artist: Jaime Ruiz Otis.

Coordenadas/Frecuencias/Fisuras
July 11 – August 22, 2015
Arróniz Arte Contemporáneo
Mexico City, Mexico

Por más de diez años, Jaime Ruiz Otis ha empleado como método de trabajo la exploración de los contenedores de residuos industriales en las maquiladoras de Baja California. Como resultado, este artista ha conformado una vasta y heterogénea colección de objetos y materias primas con los que produce su obra. Entre estos materiales se encuentran miles de calcomanías utilizadas para identificar las características de aparatos electrónicos y de cómputo, cuyos sobrantes o series defectuosas son desechados en grandes volúmenes.

Una característica constante en la obra de Ruiz Otis ha sido la identificación de los momentos en que la eficiencia de los procesos mecánicos e industriales es interrumpida: la mano humana, aunque invisible, se vuelve necesaria. Sin embargo en Coordenadas / Frecuencias / Fisuras, en vez de observar el accidente, este artista mecaniza sus propios movimientos y labor compositiva intuyendo patrones visuales derivados de las características de cada calcomanía. Este ejercicio de repetición constituye un mantra del que se despliegan formas caleidoscópicas y juegos ópticos variables, de acuerdo con las distancias y perspectivas desde las que se aprecien.

• Happenings

Artists: Waltercio Caldas, Lygia Clark, Raymundo Colares, Adriano Costa, Alexandre da Cunha, Amílcar de Castro, Willys de Castro, Antonio Dias, Marcius Galan, Fernanda Gomes, Jac Leirner, Rodrigo Matheus, Paulo Monteiro, Hélio Oiticica, Lygia Pape, Mira Schendel, Tunga, and Erika Verzutti.

Empty House Casa Vazia
Jun 27 – August 28, 2014
Luhring Augustine
NYC,  NY, USA

• Happenings

Artist: Gabriel Acevedo Velarde.

Pasillo de documentos e imágenes promocionales
July 7 – August 14, 2015
80m2 Livia Benavides
Lima, Peru

“Cuando las puertas del ascensor se abrieron en el piso 22, no podía ubicar la relación entre este hall y la posición del edificio respecto a la entrada. De hecho, olvidé por unos instantes cómo había llegado ahí. La panorámica de la ciudad soleada entraba por amplias ventanas levemente cubiertas de polvo reluciente. ¿Era este el ministerio desde donde se podía ver el mar a lo lejos? ¿Era aquí donde estaban los estudios del primer canal de televisión? “Por aquí, por favor”, me dice el encargado.

Hay un espacio en común entre el mundo de deseos subjetivos y la experiencia de las instituciones modernas, como el estado o el museo. Es un estado de “quasi-escenografía” en donde estas dos dimensiones se distorsionan mutuamente. Ahora, por ejemplo, tuve varios encargos: concebir la imagen institucional del canal de televisión estatal, diseñar la portada de un libro sobre un caso histórico de corrupción y hacer una exposición individual. Hace unos días, mientras corría al lado del mar, pensaba que todo esto demandaba simultáneamente responsabilidad ciudadana y un enfoque personal.

Mientras el encargado me llevaba a través de pasillos de oficinas cerradas, yo trataba de grabar en la memoria todo lo que veía. Esos segundos se convirtieron en horas, días, tal vez años de imágenes, algunas vívidas, otras filtradas por casets de VHS o Betamax. En algún momento mi sonrisa se detuvo frente a la cara del Jefe de Personal, que me dijo que no, no se puede. Gracias de todas maneras, respondí sin dejar de sonreír, pues sabía que en realidad no necesitaba su permiso. Sólo quería conocer el edificio por dentro.” – G.A.V

• Happenings

Artists: Claudia Alvarez, Afruz Amighi, Rina Banerjee, Christian Ruiz Berman, Sanford Biggers, Cui Fei, Leonardo Drew, Rashawn Griffin, Rachel Eliza Griffiths, Wenda Gu, Ginny Huo, Tamiko Kawata, Iván Navarro & Courtney Smith, Kambui Olujimi, Cecilia Paredes, Soo Sunny Park, Yinka Shonibare, Nari Ward, and Ishmael Randall Weeks.

New Ways of Seeing: Beyond Culture
May 10 – July 12, 2015
Dorsky Gallery – Curatorial Programs
Long Island City, NY, USA

New Ways of Seeing: Beyond Culture features works by emerging and seasoned artists of African/ African American, Asian/Asian American, Latino/ Hispanic, and Middle Eastern heritages who are changing and expanding the vocabulary and agendas of the art world by injecting ideas from their world cultures and experiences. These proactive artists utilize materials and imagery in innovative ways that address themes including race, gender, ritual, craft, and language. Their materials often challenge existing associations and subvert expectations. They break down barriers to create new mythologies. Their works conflate the local and global, past and present, fact and fiction. These artists are “transcending the limits of individual cultures.”1

The phrase “New Ways of Seeing” acknowledges that many past and present interpretations of culture are flawed, incomplete, or even false. As we know, scholars from ancient to Post-Colonial and Postmodern times had different views and agendas, often excluding women. In another direction, cultures borrow from, adapt, and change each other in myriad ways.

• Happenings

Artist: Ricardo Alcaide

One Phenomenon Among Others
July 4 – 25, 2015
Baró Jardins – Baró Gallery
Sao Paulo, Brazil

Com base na experiência e percepção de como a sociedade funciona e lida com os problemas causados pelas condições de vida modernas nas grandes cidades, o trabalho recente de Ricardo Alcaide tem criado diferentes paralelos entre a combinação de princípios da arquitetura modernista com a precariedade que se manifesta na vida cotidiana, revelando o progresso na sociedade como vago, perdendo rapidamente a sua forma.

Em sua terceira exposição na galeria Baró, One Phenomenon Among Others (Um fenômeno entre outros), Ricardo Alcaide apresenta suas mais recentes pinturas realizadas sobre paneis de MDF com tinta industrial. No processo, o artista constrói estruturas temporárias de madeira sobre o suporte para criar limites e divisões que conformam a composição, posteriormente removidas. Trata-se neste caso de uma aproximação fictícia de partes de mobiliário desmanchado que retém a memoria da estrutura já inexistente. Eis aqui um “ato de desconstrução” no processo real que conta como o ponto mais relevante deste trabalho. A recriação abstrata revela esta descontrolada e imprecisa condição e reflete  – novamente – sobre a falência do progresso associado com a estética moderna dentro de seu discurso. O resultado pode ser percebido formalmente como pura abstração com possíveis leituras do neoconcretismo, mas o que reside por trás disso são anedotas e formas simbólicas da dura realidade de hoje e de seu “progresso” subdesenvolvido.

• Happenings

Artist: Bernardo Ortiz

180615
June 18 – July 31, 2015
Casas Riegner
Bogotá, Colombia

En varios de sus escritos Gilles Deleuze dejó consignado que el pensamiento se produce a partir de un campo de posibilidades, de allí se deriva lo que denominó “la imagen del pensamiento”: aquello que nos permite hacerlo visible o enunciable. De forma similar, Bernardo Ortiz busca develar en su obra soportes y recursos que posibilitan la experiencia visual: la imagen como resultado de una amalgama de soluciones técnicas y materiales — como texto hecho de capas— se hace presente en dibujos, instalaciones e intervenciones.

Para 180615, su más reciente exposición individual en Casas Riegner, Ortiz continúa explorando entre posibilidades o límites que, de forma particular, se hacen evidentes en el arte: lo perceptible y lo imperceptible, lo reproducible y lo irreproducible, lo actual y lo potencial, lo real y lo ficticio. Haciendo uso de soluciones formales que van desde sobreponer dibujos, intervenir los soportes con distintas capas de gouache o perforaciones, contrastar colores afectando la legibilidad de las palabras, o reuniendo trazos hechos a mano con impresos — al igual que trazos precisos con pinceladas despreocupadas— el artista busca acercar lo conceptual a lo material. De tal forma, la muestra compone una narrativa marcada por gestos, referencias y acentos, que además emplea como recurso la ruptura de escala, ubicando dibujos de gran tamaño sobre diferentes soportes como una gran estructura en madera de balso.

De forma particular, en 180615 también están presentes técnicas en desuso como la digitalización de imágenes en TeX (1) y las impresiones heliográficas, métodos que enfatizan la cualidad fotográfica de la imagen y aluden a procesos obsoletos que evidencian sus límites: tanto la fotografía, la pintura, el dibujo como la proyección, están compuestas por unidades mínimas. Así, la reproducción, la copia, el dibujo del dibujo o la foto del dibujo, convergen borrando los límites entre técnicas, conceptos y discursos.

Si a cada época han correspondido diversas formas de producir una imagen, Ortiz se da a la tarea de crear instantáneas en las que se hacen perceptibles sus mecanismos. Después de todo, la experiencia visual, que muchas veces parece reducida a la imagen, es el producto de un complejo sustrato.

Bernardo Ortiz (Bogotá, 1972) estudió Artes Plásticas, Filosofía y Literatura. Ha realizado muestras individuales en Bogotá, São Paulo y Sevilla, y ha participado en renombradas exposiciones internacionales entre las cuales se destacan: II Biennale d’Art Contemporain de Lyon, Lyon, Francia (2011); Air de Lyon, Fundación Proa, Buenos Aires, Argentina (2011); 30 Bienal de São Paulo, São Paulo, Brasil (2012); Prix Canson Nominees Exhibition, Petit Palais, París, Francia (2013); Marking Language, Drawing Room, Londres, Inglaterra (2013); 11 Bienal de Monterrey, Monterrey, México (2014); y 12 Bienal de Cuenca (2014).  Su obra hace parte de importantes colecciones como la del Museo de Arte Moderno de Nueva York, Tate Modern (Londres), Deutsche Bank (Frankfurt), Colección Patricia Phelps de Cisneros (Nueva York), Centre National des Arts Plastiques (CNAP, París) y Kadist Art Foundation, (París).

(1) Software de diseño gráfico de gran popularidad en la década del 70 para digitalizar imágenes.

• Happenings

Artists: Gaspar Acebo, Marcolina Dipierro, Bruno Dubner, Sofía Durrieu, Bruno Gruppalli, Julián León Camargo, Guido Ignatti, Kirsten Mosel, Andrés Sobrino, Carola Zech.

About Line
July 3, 2015
Espacio Kamm
Buenos Aires, Argentina

Group show.

• Happenings

Marco Maggi
Into Whiter Space

June 13, 2015 – April 1, 2016
SPACE, Irvine, CA

The Sayago & Pardon Collection is proud to present Into Whiter Space, a project of Abstraction in Action. Marco Maggi’s Into Whiter Space, 2015 is a site-specific installation at SPACE, Sayago & Pardon’s headquarters located in Irvine, California. Into Whiter Space was produced in the context of the exhibition Monochrome Undone, opening at SPACE October 24, 2015.

Into Whiter Space alludes to the purist and conclusive modern idea of a uniform white painterly surface of the monochrome.  The piece is proposed as a sort of textured and irregular, but delicate, skin on two large facing walls. These walls are intervened with hundreds of small white stickers cut in different shapes. The artist comments:  “…around them [are] more and more stickers, like growing towns to build a big city [L.A.?] or adding letters, sentences, paragraphs, chapters to write a novel. Homeopathic process, constructing or demolishing syntax.”

The artist aims not only for us to slow down, but to lose our daily sense of purpose while observing the work.  Our eyes make sense of the world through the interaction of the focal and the peripheral visions. Whereas the focal allows us to focus on details and represents our conscious vision, the peripheral helps us to organize space and encompass shadow to create context. Through one pragmatic act of seeing, Marco Maggi’s Into Whiter Space can neither be apprehended in its totality, nor its many details. The complex, structured, yet unpredictable surface challenges a deliberate single-minded gaze for us to discover a freer, slower, and broader way of seeing.  Maggi’s monochrome does not function as a blank purified space of order and control; instead it is paradoxically unsubordinated and it denaturalizes the conceptual neutrality associated to white. Time slows down and totality is not possible. Into Whiter Space will have a second life, as a digital platform on Abstraction in Action. The Internet will provide an intimate experience allowing the particularities of every cutout to be explored in detail while the whole still remains elusive.

—

• Projects

Artists: Kim Allen, Kari Altmann, Marcela Armas, Jeremy Bailey, Diego Berruecos, Zach Blas, Mariana Castillo Deball, Marcelo Cidade, Donna Conlon and Jonathan Harker, Sterling Crispin, Debora Delmar Corp., de_sitio, Claudia Fernández, Francisco Fernández, Radamés “Juni” Figueroa, LaToya Ruby Frazie, Melissa Furness, Coco Fusco, Marcius Galan, Anna Bella Geiger, Cristóbal Gracia, David Hartt, Karl Haendel, Sarah Anne Johnson, André Komatsu, Robert Longo, Jorge Macchi, Laleh Mehran and Chris Coleman, Erick Meyenberg, Adam Milner, Nuria Montiel and Fernando Palma, Daniel Monroy Cuevas, Aliza Nisenbaum, Fernando Ortega, Bernardo Ortiz, Adam Pendleton, Tania Pérez Córdova, Jorge Satorre, Joaquín Segura, Matt Scobey, Skawennati, Eduardo Terrazas, and Ryan Trecartin.

NOW!
July 14–August 30, 2015
2015 Biennial of the Americas
Denver, CO, USA

The 2015 Biennial of the Americas is the third iteration of this international festival of ideas, art and culture in Denver, Colorado. The theme of the 2015 Biennial of the Americas is NOW! Today we stand on shifting ground, with one foot in a new geological era and one foot lingering on the structures of the past. The 2015 Biennial of the Americas will dive deep into our present circumstances, seeking to understand contexts, conditions, and challenges across the western hemisphere today.

Artistic program
Artists featured in the 2015 Biennial of the Americas from North, South and Central America and the Caribbean create visual art, music and dance in response to current issues and questions. They address specific situations where they live, as well as concerns shared across borders such as violence, environmental issues, technology, and social justice. Mexico City will form a particular focus in the program following the Biennial of the Americas Mexico City Summit held in June 2014.

Program highlights
The artists in the central exhibition of the Biennial of the Americas, Now? NOW! at the Museum of Contemporary Art Denver capture complexities of now in the Western Hemisphere. The exhibition Oíd el Sueño de una Palabra / Listen to the Dream of a Word at the Biennial Pavilion in Downtown Denver results from a collaboration facilitated by Mexico City curatorial collective de_sitio. They invited a group of practitioners from different disciplines to interact with Museo Comunitario del Valle de Xico, a small, yet exemplary community organization in a marginal outskirt southeast of Mexico City. Vis-à-vis: Biennial Ambassadors Residency Exhibition at McNichols Civic Center features four ambitious new projects by artists Matt Scobey (US), Melissa Furness (US), Cristóbal Gracia (Mexico) and Daniel Monroy Cuevas (Mexico) developed through the 2015 Biennial Ambassadors Program. Aimed at nurturing creative links and deepening artistic dialogue across the Americas, the program focused for 2015 on connecting Denver and Mexico City through a series of ten-week residency exchanges run by contemporary art organizations ArtPlant and SOMA. Major public commissions by Mexico-based artists Erick Meyenberg and Marcela Armas examine the connection between Denver’s present, past and future.

Opening week festival and arts professional preview
July 14 to 19, all-day programming precedes evening symposia, and late night events celebrate the opening of Biennial venues. New this year is the Biennial Pavilion, a site for talks, workshops and performances, programmed with events throughout the summer.

Other highlights include a week-long residency of public performances and workshops by Brazil’s Companhia Urbana de Dança, presented in collaboration with the Newman Center for the Performing Arts, and a rare presentation of Matthew Barney’s latest film, River of Fundament, co-presented by the Clyfford Still Museum and Denver Art Museum. Biennial Night @ Civic Center, a major outdoor music and performance festival, features appearances by Jeremy Bailey (Canada), Black Violin (US), Wonderbound (US), and others.

The Artistic Director and Curator of the 2015 Biennial of the Americas is Lauren A. Wright.

Image: Robert Longo, Full-Scale Study for Five Rams (Ferguson, Hands Up: November 30, 2014), 2015. Charcoal on unique digital pigment print in 3 parts, 104 x 150 inches. Courtesy the artist and Metro Pictures, New York.

• Happenings

Artist: Francisco Ugarte

Paisaje Sugerido
May 15 – July 3, 2015
Curro y Poncho
Zapopan, Jalisco, Mexico

The exhibited pieces have an interest in documenting changes within the natural environment in a specific time frame. Therefore, they are not meant to be observed necessarily from beginning to end, but to be seen like a scene through a vain.

Francisco Ugarte’s work is based on the grounds of architecture, mainly during the creative process: the proposal is generated from a deep focus in the environment, and a subsequent response to it. Using a variety of media including site-specific interventions, video, installation, sculpture and drawing, his work can be understood as a phenomenological exercise in which reality is comprehended through contemplation and perception of things.

• Happenings

Artist: Rosario López Parra.

Los Acueductos
July 5 – November 6, 2015
La Oficina del Dcotor, Casas Riegner
Bogotá, Colombia

Este proyecto desarrollado a partir de un archivo fotográfico de obras de ingeniería civil, “se basa en el poder de la fotografía como documento, pero también como objeto escultórico. Es decir, las fotografías recuperadas, independientemente que fueran obras de ingeniería sanitaria, proponen una apertura en el pensamiento contemporáneo de la escultura. Se leen como obras tridimensionales de gran envergadura que trascienden su funcionalidad y, en su emplazamiento, señalan un territorio apropiado y fragmentado del paisaje circundante”.

• Happenings

Artists: Marcolina Dipierro and María Carballo.

Acuerdo Formal
June 2 – July 10, 2015
Fondo Nacional de las Artes
Buenos Aires, Argentina

En una fotografía existe la tensión que proviene del no saber qué viene antes o después, uno está suspendido en la ficción de ese instante único, atrapado en el medio de algo que se hace y se deshace.

‘Acuerdo Formal’ es una imagen que refleja este instante precisamente. La sala parece estar multiplicándose ocultamente hasta que entramos y presenciamos su estado congelado en disyuntiva. Como un cristal de hielo cuyos dos elementos se ordenan radicalmente con el aumento de la presión, así la arquitectura de la misma se expande en una acumulación geométrica de tabiques y goma, una configuración que es sólo una de sus posibilidades infinitas.

Construímos pisos para sostener las paredes que nos circundan y cortamos agujeros para movilizarnos entre ellas. Dipierro y Carballo toman estos elementos estructurales, los componentes básicos de todo recinto arquitectónico, como su punto de encuentro. La sala tradicional es por definición un espacio neutro o “no espacio” que permite que los observadores se absorban en una obra de arte sin sentirse conscientes de una restricción física. Las artistas responden precisamente a este modelo familiar y lo invierten. Mediante la réplica meticulosa del piso y paredes como únicos materiales, nos presentan un espacio compuesto solamente de su arquitectura, enfatizando la materialidad de aquello que normalmente se ignora.

Al toparse con los tabiques y tener que esquivar los desniveles del piso, somos conscientes de que la narrativa de la instalación se relaciona con nuestros cuerpos y cómo nos trasladamos por ella.

Vemos cómo una simple operación arquitectónica puede hacernos reconsiderar una sala familiar y darnos una textura diferente de aire, luz, y sonido.

-Claudia Cortinez

• Happenings

Artists: Roberto Aizenberg, Nicanor Araoz, Marcela Astorga, Hugo Aveta, Nicolás Bacal, Ernesto Ballesteros, Eduardo Tomás Basualdo, Diego Bianchi, Joaquín Boz, Marcelo Brodsky, Eugenia Calvo, Gabriel Chaile, Nicola Costantino, Ariel Cusnir, Julián D’Angiolillo, Flavia Da Rin, Marina De Caro, Andrés Denegri, Mirtha Dermisache, Sebastián Diaz Morales, Matías Duville, Leandro Erlich, Tomás Espina & Martin Cordiano, León Ferrari, Ana Gallardo, Alberto Goldenstein, Gabriela Golder, Max Gómez Canle, Sebastián Gordin, Jorge Gumier Maier, Luján Fúnes, Graciela Hasper, Carlos Herrera, Carlos Huffmann, Roberto Jacoby, Magdalena Jitrik, Fabio Kacero, Guillermo Kuitca, Fernanda Laguna, Luciana Lamothe, José Luis Landet, Martín Legón, Catalina León, Donjo León, Marcos López, Jorge Macchi, Adriana Minoliti, Marta Minujín with Mark Brusse, Guillermina Mongan, Margarita Paksa, Esteban Pastorino, Marcelo Pombo, Santiago Porter, “Middle School Liliana Maresca Project” (Lorena Bossi, Ariel Cusnir, Sebastián Friedman, Leandro Tartaglia, Dani Zelko) with the students of highschool n°44 of La Cava de Fiorito, Pablo Reinoso, Marisa Rubio, Mariela Scafati, Pablo Siquier, Elisa Strada, Eduardo Stupía, Pablo Suárez, Luis Terán, Valeria Vilar, and Adrián Villar Rojas.

My Buenos Aires
June 20 – September 20, 2015
Maison Rouge
Buenos Aires, Argentina

My Buenos Aires at la maison rouge continues a series of exhibitions that showcases the art scene in cities worldwide. The series was launched in summer 2011 with Winnipeg, Canada, followed in 2013 by Johannesburg, South Africa. Some regret what they see as a “standardized” art world, laying the blame at globalization’s door, and so this seemed the opportune moment to look at centres of creativity which, though out of the spotlight, enjoy a thriving art scene of works infused with the city, its territory, history and myths.

Buenos Aires, a mystery reinvented

A mirror city, established twice (in 1536 and then again in 1580), “Our Lady of the Fair Winds” stands on Río de la Plata, the “silver river” that gave the country its name. Buenos Aires extends over two hundred square kilometres and is home to three million porteños (“port-dwellers” in Spanish). The Greater Buenos Aires conurbation has a population of fifteen and a half million, making it Latin America’s third most-populated agglomeration after Mexico City and São Paulo.

Described by Malraux as “the capital of an empire that never existed”, Buenos Aires fuels many fantasies. The mere mention of tango or beef, of Borges or Maradona, of Argentinean beauties will plunge anyone, even someone who has never set foot in the city, into dreamy nostalgia.

The visual and cultural familiarity that greets a European visitor can disappoint those in search of instant exoticism and pre-packaged emotions. Yet this is precisely where its power of seduction lies; in the (un)acquaintance of what we find when we peel away the masks of this tentacular city, which in 1914 was home to as many immigrants as Argentineans and where still today 40% of its residents were born elsewhere.

Buenos Aires is a child of immigration, whether voluntary or forced; a city haunted by absence. To live there is to accept estrangement and to overcome loss. Hardly surprisingly then, Buenos Aires shares New York’s love of psychoanalysis, and has one therapist for 120 inhabitants.

Seductive, Buenos Aires is no less sombre. It bears the stigmata of violence endured, of uprooting, dictatorship and the mourning of the many disappearances including, since the financial and economic crisis of 2001, that of its own image as a “major European power” that would inexplicably have alighted on the American continent.

The public protests that arose following the 2001 crisis have shown a capacity for counterpower that has no equivalent in the history of modern nations. Even in the throes of crisis, strikes and the pillaging of recent decades, Argentineans continue to wield sarcasm, dark humour and irony as a remedy against resignation.

A chameleon city, Buenos Aires comes with all the accoutrements of a modern conurbation – urban violence, air and noise pollution – yet behind the jacarandas that line its avenues it conserves the extraordinary capacity to reinvent itself and to reveal, unabashedly and sometimes even brutally, the pressing need to live better.

An artistic community that stand together

Authors and actors from all disciplines have in them this extraordinary and also determined capacity for reinvention. In the visual arts, decades of crisis and “getting by” have at least forged a community of artists who, irrespective of rivalries and conflicting views, face adversity as one.

Artists have responded to the lack of infrastructures and learning opportunities by throwing open their studios, hosting charlas (group discussions) where ideas can be brought out into the open. Those who do manage to enter the global art market willingly put their own money into supporting local creation. The grant endowed by painter Guillermo Kuitca, for example, gave an entire generation of artists between 1991 and 2011 access to a studio, and to critical and technical support with which to develop their work. Bola de nieve (“snowball”), a free website set up in 2005 by Ramona magazine, is a database of images where each artist invites another, thereby forming an endless chain. 1,135 artists now show their work there. In a similar spirit, an artist might often recommend visiting another artist’s studio, even when this means putting off visits to his or her own studio to another day.

A compelling movement

In the space of a few years, the map of Buenos Aires contemporary art has undergone substantial transformation to become more evenly spread between the city’s various neighbourhoods. Little by little, the art scene is moving away from the centre. Ruth Benzacar’s gallery, now in its fiftieth year, is leaving the historic Calle Florida for new premises west of the Palermo neighbourhood. New venues are opening in the north, such as Hotel de Inmigrantes. Further north still, the Haroldo Conti Memorial Cultural Centre includes a sculpture park that pays tribute to the men and women who disappeared during the dictatorship, and a cultural centre showing contemporary art. Di Tella, a private university with a famous past, launched an experimental research programme in 2010 under the directorship of the historian and curator Inés Katzenstein. To the south of the city, new director Victoria Noorthoorn is revolutionising the Buenos Aires Modern Art Museum (MAMBA).

The microcentro remains the city’s nerve centre at the heart of its history, and is still the site of numerous art venues, including the Fundación Osde, and galleries. The disgruntled still march on Plaza de Mayo while artists have begun to install works under the obelisk. This reconfiguration of Buenos Aires’ art venues symbolises a city that is gaining momentum, spreading its wings ready to fly. The direction it will take remains to be seen.

Cultural Policy

The city’s Culture Department is behind a number of initiatives which support this quality cultural provision.

The Patronage Law has forged stronger ties between business and the worlds of art and culture by encouraging the private sector to become involved with projects of cultural significance for the city. In a similar vein, thanks to the creation and development of the city’s southern zone (Polo Sur), artists have been able to revive parts of Buenos Aires which for decades languished outside the main exhibition circuits. Initiatives such as the arts district (Distrito de las Artes), the art factory (Usina del Arte), and numerous theatres, cultural centres and exhibition spaces have breathed new life into the south of the city whose industrial landscape now offers something new.

For several years, the successful Tandem programme has enabled art and culture taking place in Buenos Aires to resonate with comparable projects in other capital cities around the world, including Madrid, Amsterdam, Medellín and Paris.

Taking art into public spaces, installing sculptures in the city’s squares, organising open-air performances, launching new circuits such as in Calle Florida or the Borges Xul Solar walking tour… these and other initiatives illustrate the fusion between tradition and modernity, and show how new generations are embracing the city and its mythology.

My Buenos Aires, the exhibition

My Buenos Aires runs counter to the romantic vision of Buenos Aires. Paula Aisemberg and Albertine de Galbert seek to offer visitors to la maison rouge neither a portrait of the city nor a “who’s who” of Argentinean artists, but rather a sensation, an experience of the dynamics at work in the Argentine capital.

The exhibition moves back and forth between political and private, public space, the domestic and the unconscious, exploring themes such as instability, tension and explosion, masks, encryption and the strange.

Along their way, visitors will encounter remnants of facades, mutant scaffoldings, car bonnets, motorway junctions, burned-out houses and headless statues. They will decipher coded languages to the gentle sway of the music rising from the city and the whir of fans. When night falls, they can settle onto an old sofa and listen to a raspy tango, pick their way through the patched-up ruins of a kitchen that’s acting as though nothing was wrong, or study their reflection in the black ink of a white marble basin. They will sink into a waking dream inhabited by strangely unnerving doubles and faceless people falling from the sky, only to wake in the muffled folds of a stucco wedding cake.

With more than sixty artists working in all media, from installation to painting, sculpture, video and photography, four generations are represented. Established names such as León Ferrari, Guillermo Kuitca or Jorge Macchi will join others to be discovered. More than 15 of them will travel to Paris to work on in situ installations.

My Buenos Aires is an invitation to plunge into the mystery of Buenos Aires without attempting to resolve it, and to experience the unsettling strangeness of its multiple personalities.

• Happenings

Artist: Dario Escobar

En otro orden / Another Order
June 25, 2015
The 9.99 Gallery
Guatemala City, Guatemala

“En otro orden” consists of nine sculptures, four paintings and ten drawings. The sculptures are presented in dialogue with American minimalist sculpture, not as a continuation of it, but as an exploration of its aesthetics and its socio-economic structure from an artistic and intellectual space. Escobar sculptures contrast with the austere minimalist works by inserting the industrial object, which had a fairly significant presence in contemporary sculpture in the 1990s

Minimalism was born in the sixties and is geographically focused on the island of Manhattan, New York. A purely American movement, Minimalism refers primarily to a type of sculpture or three-dimensional works made beginning in the1960, which emphasize the abstract and downplay the expressive, avoiding any embellishment or decoration. Among the most renowned exponents are Donald Judd, Ron Bladen, and Tony Smith who exploited industrial mass production and Carl Andre, Dan Flavin, and Robert Morris who chose to present the objects, as they were indistinguishable from found objects, generating an art that could be classified as non-art because of its aesthetic ambiguity.(1) Both currents show a preference for the object’s lack of content.

The sculptures in “En otro orden” identify with both developments and especially with the work of Donald Judd and Carl Andre. Still Life No. 4, Still Life No. 7, and Equilibrio No. 1, made from fabricated materials such as steel, plywood, and rubber, identify with the current represented by Judd. Judd’s preference for putting distance between him and the object by refusing to produce them himself was initially strongly criticized.(2) However, this position is now quite common and is inherent in the works of Escobar mentioned herein. For Judd it was a way of maintaining control over the material(3) and so it is for Escobar. But Escobar contaminates the minimalist spirit of his work with the addition of industrially manufactured objects that are easily recognizable as basketballs and baseballs. Escobar does not show the material in a “pure” state as would Judd but introduces a Duchampian gesture: the easily identifiable found object.

The Duchampian readymade is also evident in the works that have a closer relationship with the austere sculpture of Andre. Equilibrio No. 2, Untitled No. 1, Untitled No. 2, and Untitled No. 3 are made of wood beams and thick wood pieces in different sizes that rest directly on the floor, as is characteristic of Andre’s work. They are examples of a type of unadulterated sculpture. Their genesis is wood that Escobar found in a local sawmill and used as is, changing its configuration by rigging beams and square blocks in a vertical or horizontal orientation. The presence of basketballs and soccer balls balancing precariously on a fairly sophisticated play of balance is amusing and contrasts with the severity and lack of expressiveness of the wood. The spherical shapes temper the rigidity of the straight lines.

The same applies to Balance No. 3, the only work that is made of square steel plates. The 25 steel plates form a grid measuring 98 7/16 x 98 7/16 inches in the style of Andre, but unlike Andre’s grids, which tend to rest flush with the floor and were meant to be walked on, Escobar fragmented the grid by placing tennis balls under it. The balls subvert the geometry of the work by allowing a glimpse of the negative spaces beneath it; its hard surface is turned into a kind of false floor that precludes a direct physical relationship with the work because one cannot stand firmly on it.

Untitled No. 1 is an atypical work within the exhibition because its forms lack the exactness of the other works. The irregularity of the hoe handles reveal their hand-made origin: a found object used by Escobar to create a work which, despite its uniqueness, it has a relationship with Minimalism in the use of the repetition of forms. The incorporation of a baseball at the base of each vertical element accentuates its physical imperfection, makes it unstable, and adds to its anthropomorphic appearance because it resembles an animal’s leg. Untitled # 1 leans against the wall with the top of the hoe handles forming a straight horizontal line that contrasts with the bottom, which seems undulating and disorderly. While for Andre the transformation of the materials was unnecessary and the use of raw unadulterated materials essential in his questioning of what and who makes a work of art, Escobar is determined to destabilize again and again these and other principles of Minimalism from a non-hegemonic perspective and in relation to more recent artistic trends.

The exhibition is completed by ten drawings made with cinnabar pigment and graphite on paper and four small paintings on wood. The series entitled Dibujo que no obedece al contorno No. 1-10 (Drawing that does not obey the contour No. 1-10) shows solid geometries that do not fit into similar forms that are barely glimpsed due to the delicacy of the graphite line. Their solidity and forms have a certain kinship with certain sculptures by Tony Smith, as they do not easily reveal themselves but require time and attention as any work that is based on visual perception. The use of cinnabar pigment, employed by the Maya in ceramic painting, bestows them a unique and valuable attribute for the rarity of the material and its use in contemporary art. As their titles indicate Construcción Modular No.1-4 (Modular Construction No. 1-4) are geometric paintings that reflect the interest Escobar has for abstraction, usually expressed in his drawings, but continued in a series of paintings with movable panels begun in 2010. Close to Frank Stella’s objective paintings of the sixties, these works embrace geometry in order to eliminate the potential narrative of painting.(4)

The works in “En otro orden” openly converse with the American Minimalist movement and especially with its two pillars—Donald Judd and Carl Andre. With this Escobar attempts to open a dialogue that is pending in Central America, and certainly in Guatemala since the cultural disruption caused by the armed conflict that began in the sixties. It also tries responding with humor and perhaps a dose of boldness to an artistic expression that is characterized by a severe and plain aesthetic and to rethink, half a century later, the relationship that exists between the artist and the subject from Escobar´s own perspective.

(1) Kenneth Baker, Minimalism: Art of Circumstance (Abeville Modern Art Movements). New York: Abeville Press, 1988. p9.

(2) Ibid. p58.

(3) Ibid. p58.

(4) Ibid. p34.

• Happenings

Artist: Alice Quaresma

Além (Beyond)
Curated by Mario Gioia
Fauna Galeria
São Paulo, Brazil

The current exhibit of Alice Quaresma is one of the most interesting ones, not only for its unstable and migrant character in the photographic process, but also for embodying, in a poetic and unique way, some pungent issues to the contemporary artist. In particular, we can highlight those that lean towards relationships, identity issues, uprooting, sense of permanence and displacement, among other powerful traits within her work.

In the Além (Beyond) exhibit, which represents a new debut for Fauna Gallery, now located in Vila Mariana _ a special locus within São Paulo art circuit _ the artist based in New York and who had much of her art education in London shows a series of photographs in which the boundaries and definitions of this language are consciously stretched, but do not fail to establish themselves within the photographic field. They are certainly expanded, since Quaresma seems to aim for what she refers to as “photo-objects”, while taking advantage of painting, drawing, collage and three-dimensional elements.

“The non-object designation is entirely appropriate to my work. […] There are certain types of artworks that belong to the same family. My work is neither architecture, nor sculpture or painting in the old sense “1, declared Hélio Oiticica (1937-1980) to Vera Martins in 1961. Mentioning the name of Oiticica, a reference in the Brazilian Neoconcretism, comes in handy in Quaresma´s visual and conceptual research for being a paradigm in this blur of boundary of means and pillar of art and languages, expanding the resonance of the national constructive project and, to this date, still influential to new generations of artists here (in Brazil).

It is now relevant to tell a little about Alice Quaresma’s journey. Graduated in painting in London, she began to experiment with photography in college, and then went through a phase of self-portraits and other phases of still life in the studio setting, with equipment and strategies focused on an impeccable technique. Later she got back to painting and, from there, managed to deconstruct her own photographic process using elements of other plastic arts and visual researches, guided by a formal detachment.

It is almost under an aegis of crisis _ seen not in the negative sense, but as a propeller for something new to be experienced and discovered under new prisms _ Quaresma’s journey is being built, and now unfolds in a persistent unease about what is photographic _ in a time of overflown circulation of this mean (photograph), something that brings ubiquity but also increasingly rarefied quality of its specificities _ and how it can be covered by subjectivity and a less tenuous presence.

“I am interested in dealing with time; but overlapping it, not linearly. When you see a blurred picture, it is simply the record of time in one click (only one image)”, she says. “Then the paint and many other materials that I have been using on my photographic images come in. I will always use materials, which I have not yet tested. At the moment, I have been using a lot of paint, oil sticks and colored tape.”

Then a more experimental approach comes in, as advocated by Oiticica and his peers, and that helps Quaresma in building a particular path, in which there were times when Demand, Hofer and Becher were decisive, but they stand just as some of the modules that constitute her work. “These interferences deal with the possibility of bringing casual traits. Hand Gestures bring more intuition and less control. The materiality brings moments of surprise by enriching the texture over the flatness of the photo paper.”

And there is this feeling of being a foreigner, from continuously dealing with the idea of not belonging and with the careful, yet not painful, construction of an affectionate memory, which can have great concreteness links, but also, only in images and records, something evanescent, undone. In this sense, they gain importance in Além artworks, such as: Encontro, Mudanças do Tempo e Vestígios (Encounters, Time Changes and Traces); which the titles reveal much of her indicial temporality in collapse. This is something that was already noticeable in her previous project, such as Raízes (Roots, 2013) _ blurred ocean, vigorous vegetation massifs now portrayed in black and white, once glorious public and private buildings and, at the time of the authorial registration, less solid and robust.

Moving against the almost incessant reproduction quality of the photo medium, Alice Quaresma’s unique creations seem to unveil, therefore, a new territory, to “beyond”. And here they echo in the inescapable collage thought of the Italian Luigi Ghirri (1943-1992): “Many […] have seen or considered these photographs as photomontages; just like I would call them, instead of photodémontage. To a large extent, the reality is increasingly transformed into a colossal photograph, and the photomontage has already happen; it is in the real world” ².

Mario Gioia, June 2015

1. OITICICA FILHO, Cesar, COHN, Sergio, VIEIRA, Ingrid (org.). Encontros – Hélio Oiticica. Azougue, Rio de Janeiro, 2009, p. 25.
2. FABIANI, Francesca, GASPARINI, Laura, SERGIO, Giuliano, NOGUEIRA, Thyago (org.). Luigi Ghirri – Pensar por Imagens. Instituto Moreira Salles, São Paulo, 2013, p. 68

• Happenings

Artist: Clarissa Tossin

Unmapping the World -Book release & Conversation with Michael Ned Holte
June 13, 2014
Samuel Freeman Gallery
Los Angeles, CA, USA

Unmapping the World is organized around a set of works produced by Clarissa Tossin over a period of five years during artist residencies, and commissioned by Brazilian and North American art institutions. These works manifest the development of a poetics that employs a wide range of strategies in order to address contemporary issues. Tossin’s objects, videos, and installations explore a broad and intricate spectrum of desires, impasses, and utopias, while also establishing their own expressive logic, above and beyond these topics.

Driven by the curiosity of the artist-anthropologist, Tossin’s works are formed through analysis of the politics of space and urban spaces, as well as interrogations into the mappings and discourses of power, relationships of consumption and identity, circulations of symbols and ideas, and the role of architecture—particularly that of Brasília, a modernist monument that she has come to call ‘home.’

The book is bilingual, in English and Portuguese, and includes texts by Moacir dos Anjos, Michael Ned Holte, and Guilherme Wisnik. The publication has been made possible by a fellowship from the California Community Foundation.

• Happenings

Artists: Omar Barquet, Mauro Giaconi, and José Luis Landet.

Amplificar
May 30 – July 16, 2015
Document Art
Buenos Aires, Argentina

La simplicidad de la existencia: su agitación, su inquietud, su pena y su gozo, su espesor, su densidad, su cosa extensa, su tiempo convulso, desunido, su indisciplina, sus farfulladas, su inconciencia visceral y su lucidez no menos clavada al cuerpo… ̈Jean-Luc Nancy (1940).

Los artistas Omar Barquet (México), Mauro Giaconi y José Luis Landet (Argentina) se reúnen para plantear nuevamente una experiencia abierta, donde conceptos como paisaje, lenguaje y entorno son algunas de los ejes temáticos que traman esta propuesta.Ubicando al espectador como potencial protagonista y generando un espacio-terreno de juego, donde una serie de dispositivos lúdicos y simbólicos se disponen para ser activados, Barquet, Giaconi y Landet buscan desde la acción física e interactiva, amplificar el debate sostenido a larga distancia en forma de cadáver exquisito a través de medios de comunicación digitales.

• Happenings

Artists: Felipe Mujica, Margarita Azurdia, Jorge González, Ana Maria Millan, Javier Tellez and Johanna Unzueta.

A reherasal by Felipe Mujica and Johanna Unzueta
June 10, 2015
ISCP -International Studio & Curatorial Program
Brooklyn, NY, USA

Artists and Beta-Local collaborators Felipe Mujica and Johanna Unzueta will present original artworks and documentation of work by Margarita Azurdia, Felipe Mujica, Jorge González, Ana Maria Millan, Javier Tellez and Johanna Unzueta in ISCP’s exhibition galleries. The exhibition will reveal contrasts between Geometric Abstraction, with its idealistic and formalist characteristics, and more personal, exotic and political forms of expression. Works include a video of a flying body crossing the US-Mexico border in a semi-circle trajectory, a ceramic turtle resting over a neo-geo-style cube, and a group of photographs of Minimal-like sculptures and paintings with the artist fashionably posing next to them, among others. This presentation is a prelude “test-drive” or “rehearsal” for an exhibition scheduled for later this year in Santiago, Chile at Die Ecke Arte Contemporáneo.

• Happenings

Artists: Esvin Alarcón Lam, Ricardo Alcaide, Darío Escobar, Gianfranco Foschino, Juan Fernando Herrán, Harold Mendez, Gabriel de la Mora, Ronny Quevedo, and Ana Maria Tavares.

Líneas de la Mano
May 12 – July 3, 2015
Sicardi Gallery
Houston, TX, USA

Featuring artists from Brazil, Chile, Colombia, Ecuador, Guatemala, Mexico, and Venezuela, Líneas de la mano (lines of the hand, lifelines) takes as its premise the idea that geometries connect the quotidian moments of our daily lives. Indeed, a line connects two points, A and B, start and finish, end and beginning; lines are defined by this function of connection, even as they continue to move past the points they connect

The artists in the exhibition use the languages and conceptual frameworks of modernism and abstraction to suggest poetic connections: between people, between historical referents, between political experiences, and between places. The line as connector becomes a way of skillfully addressing fraught histories, and of weaving a set of relationships. Líneas de la mano also considers the tactility of each object. The works exhibited demonstrate a strong relationship to materials and their histories, from the scrap metal of Guatemalan buses, to the thick, sooty texture of an archival photograph transferred to aluminum, to the fabric retrieved from vintage radio speakers.

The exhibition title playfully alludes to palmistry; the connection is meant to highlight the actions of the hand, implicit in the creation of the work. Astrologer, numerologist, clairvoyant, and palm-reader Cheiro (William John Warner, 1866-1936) writes, “the hand… denotes the change going on in the brain, even years before the action of the individual becomes the result of such a change.”  Read in a different context, it is a compelling statement about the artistic process.

• Happenings

Artists: Cecilia Biagini, Verónica Calfat, Ignacio Fanti, Pachi Giustinian, Mimi Laquidara, Martina Quesada, and Agustina Quiles.

La fuerza débil
Curadora: Silvia Gurfein
June 2 – July 10, 2015
Fondo Nacional de las Artes
Buenos Aires, Argentina

Dentro del marco del Ciclo Recorridos Descentrados, se presenta la muestra “La fuerza débil” curada por Silvia Gurfein.

Imagen: Cecilia Biagini, “Multiplicidad potencial”, 2012, Pintura vinílica sobre madera, 48 x 57 x 10 cm.

• Happenings

Artist: Mauro Giaconi

Estado fallido (État défaillant)
May 15 – June 20, 2015
Bendana Pinel Art Contemporain
Paris, France

Siendo el dibujo su principal medio de investigación, expandiéndolo hacia la escultura, hacia el video y la instalación, Giaconi presenta en “estado fallido” una serie de obras que se desprenden de sus últimos años de investigación artística, donde la destrucción y la reconstrucción son un constante mantra que modifica, redefine y excava el entorno subjetivo del artista.

La arquitectura, el cuerpo, las fronteras y la memoria son algunas aristas de un bloque de obras con el que Giaconi se propone hacer foco en la tensión entre conceptos opuestos, reflexionando y desdibujando los límites entre construcción y destrucción, peso y levedad, nacimiento y muerte, sueño y despertar. Borroneando sus bordes, desgastándolos, modificándolos, es como Giaconi rasca y busca instancias liberadoras, energías redentoras, instantes de fe.

El termino “estado fallido” es acuñado por periodistas y politólogos para referirse a un estado soberano en crisis que deja de cumplir con las garantías básicas y que presentan un evidente fracaso social, político, y económico. Giaconi utiliza este termino fundiéndolo con su significado con literal, con la falla, con el estado de error, de accidente, de residuo, generando reflexiones en torno a la permanencia, a la vida y a la muerte.

Estado fallido, estallido de abrazos.

dibujar la piedra, desdibujar los muros

que son de todos, como los errores

cada quién que junte sus cenizas

que levante su propia fortaleza

donde quiera

donde quepa

para todos.

Estado fallido, muertos sin cuerpo.

nadie merece tumbas vacías

son llantos tan anchos que se muerden la cola.

desdibujemos el estado, el confort.

desdibujemos la patria

una para cada quien

donde quepa

para todos.

m.g.

• Happenings

Ana Belén Cantoni
The Soft Gesture

The Wooden Floor
Santa Ana, California

The Soft Gesture, a commission by the Sayago & Pardon collection, is the title of a large-scale installation by Colombian artist Ana Belén Cantoni, created specifically for The Wooden Floor, Santa Ana, CA. Inspired by the students’ testimonies of how art and dance empower their everyday lives, Cantoni evokes the human body and its potential for individual growth within communal coexistence by the usage of simple materials that remind the cycles and processes of transformation through movement (cloth and wooden clothespins, as well as ink and graphite on cotton). The Soft Gesture is a vision towards the awakening of primal associations and the creation through physical connections.

Download the catalogue here.

—

El gesto suave, una comisión de arte de la colección Sayago & Pardon, es el título de la instalación a gran escala de la artista colombiana Ana Belén Cantoni, creada específicamente para The Wooden Floor, una organización sin fines de lucro que capacita a jóvenes de bajos ingresos a través del baile y programas académicos y familiares en Santa Ana, California. Inspirada por los testimonios de los estudiantes sobre cómo el arte y la danza estimulan sus vidas diarias, Cantoni evoca el cuerpo humano y el potencial de crecimiento individual dentro de un entorno comunitario a través de la utilización de materiales comunes (tela y pinzas de madera, así como tinta y grafito sobre papel de algodón) que nos recuerdan los ciclos y procesos de transformación a través del movimiento. El gesto suave sugiere asociaciones primarias por medio del color (rojo y negro) al tiempo de invocar las fuerzas creativas de conexión física y social.

Descarga el catálogo aquí.

• Projects

Artist: Richard Garet

Sounds of Times Square
June 1 – 30, 2015
Times Square Arts
NYC, NY, USA

For this “Midnight Moment” project Richard Garet proposes to use sounds captured from the area of Times Square as a tool to generate a visualization of the sonic environment. Then the artist will remove the audio leaving just the moving image signal creating an experience of sound through vision that would change and pulsate according to the properties of the sonic composite. The viewer then is pulled into lavish landscapes of continually reconfigured color and mood.

“In my processes establishing the material is key, and from there it becomes a reductive process where a vast number of possibilities and outcomes are explored until the work reaches proper momentum, purpose, and significance. Moreover, objectifying the ordinary and reinventing the character of found mundane things in life is very interesting to me.” -Richard Garet

Click here to see video

More info here

• Happenings

Artist: Clarissa Tossin

How does it travel?
May 29, 2015
Samuel Freeman Gallery
Los Angeles, CA, USA

How does it travel? brings together photographs, sculptures, prints, and site-specific works that analyze movements and their resulting displacements and transformations. She tracks materials, ideologies, and bodies that travel by foot, by car, by plane, and by her own hand. Using two primary nodes, Brazil and the United States, Tossin finds generative ground in transpositions that yield compelling misregistrations.

• Happenings

Artist: Gabriel Sierra

el título de la exposición cambia a cada hora
May 3 – June 28, 2015
The Renaissance Society
University of Chicago
Chicago, IL, USA

His project consists of a group of constructions to stand in or to walk over, which relate abstractly to the idea of inhabiting different moments of space and time. The exhibition features a cyclical title that changes hourly:

10:00 am    Monday Impressions. 

11:00 am    How the Outside Leaks into the Room.

12:00 ­pm    Smells Like 100 Years Old.

1:00 pm     The Room Is in My Eye. The Space under My Body.

2:00 pm     In the Meantime, (This Place Will Be Empty after 5:00 pm).

3:00 pm     An Actual Location for This Moment.

4:00 pm     Few Will Leave Their Place to Come Here for Some Minutes. 

5:00 pm     Did You Know Who Built Your House? 

Sierra is intrigued by the language of man-made objects and the dimensions of the spaces in which we live, work, and think. His practice employs a variety of techniques – from sculpture and spatial interventions to performance and texts – to examine how the human body functions in relation to its environment. Trained in architecture and design, and drawing on the history of Latin American Modernism, Sierra connects the perception of forms and materials to the construction of language, communication, and knowledge.

Sierra’s installation at the Renaissance Society features materials (for example, wood, stones, and plant matter) that have been isolated from their usual geographic situations, processed and domesticated for the context of the exhibition. By inviting visitors to walk over and among the constructions with no determined path, the artist sets up a series of areas that refer to the transitional space of the antechamber. They are not destinations in themselves, but passages of experience leading from one to another, momentary neutral zones.

The exhibition’s title will change every hour to frame the specific moment in which the visitor experiences the work. Like the various constructions Sierra offers, this shifting title experiments with the ways in which environments, and the exhibition in particular, are perceived across time.

An exhibition catalogue featuring essays by Douglas Fogle and Irene V. Small and documentation of the installation is forthcoming.

Gabriel Sierra (born 1975, San Juan Nepomuceno, Colombia) lives and works in Bogotá. Recent solo exhibitions include ggaabbrriieellssiieerrrraa at Kurimanzutto, Mexico City, Mexico (2013) and Thus Far at Peephole, Milan, Italy (2013). His work has been included in numerous group exhibitions, including Do Objeto para o Mundo, COLEÇÃO INHOTIM, Itaú Cultutal, São Paulo (2015),Guggenheim UBS MAP Global Art Initiative: Latin America, Guggenheim Museum, New York (2014), Impulse, Reason, Sense, Conflict at Cisneros Fontanals Art Foundation, Miami (2014) and The 2013 Carnegie International, Pittsburgh (2013).

• Happenings

Artists: Angela Ferreira, Arnaldo Antunes, Catarina Botelho, Chelpa Ferro, Chiara Banfi, Gabriela Albegaria, Guto Lacaz, Kiluanji Kia Henda, Maimuna Adam, Mauro Pinto, O Grivo, and Susana Gaudêncio.

As Margens dos Mares
May 8 – August 2, 2015
Sesc Pinheiros
Sao Paulo, Brazil

Com curadoria de Agnaldo Farias, a mostra reúne doze artistas de Angola, Brasil, Moçambique e Portugal, a fim de apresentar uma parcela da produção contemporânea destes países lusófonos. Os trabalhos apresentam interseções entre as artes visuais e a música, refletem sobre questões como memória, espaço e arquitetura por meio de instalações, fotografias, vídeos e objetos.

Um encontro entre artistas expoentes de Angola, Brasil, Cabo Verde, Guiné-Bissau, Moçambique e Portugal que busca apresentar por meio das artes visuais e da música uma expressão da cultura contemporânea destes países lusófonos: este é o horizonte de “As Margens dos Mares”, projeto que ocorre no Sesc Pinheiros entre 8 de maio e 2 de agosto com curadoria do crítico de arte e professor da FAU-USP Agnaldo Farias e direção musical do guitarrista, compositor e produtor norte-americano Lee Ritenour.

Realizada pelo Sesc e idealizada pela Sociedade Cultural Arte Brasil, a iniciativa reunirá uma exposição com obras de doze artistas que refletem sobre questões como memória, espaço e arquitetura a partir de instalações, fotografias, vídeos e objetos, além de encontros musicais inéditos com a presença de músicos dos países convidados. “A diluição dos contornos rígidos que, um dia, estabeleceram fronteiras entre linguagens artísticas expandiu caminhos para criadores. Imagens, sons, toques, cheiros e gostos hoje se misturam em composições sinestésicas que proporcionam reflexões sobre inquietações contemporâneas – esta profusão de experiências sensíveis constitui a linha mestra d’As Margens dos Mares”, explica o diretor regional do Sesc São Paulo, Danilo Santos de Miranda. “O projeto nasceu de uma música aparentada às jam sessions jazzísticas, nas quais instrumentistas de origens diversas entram em sintonia pela linguagem dos sons, timbres e ritmos”, conta Carmen Ritenour, diretora-fundadora da Sociedade Cultural Arte Brasil. “Suas marcas são a colaboração entre artistas consagrados e a oferta de diversas manifestações criativas ao público”, completa a diretora geral da iniciativa. ARTES VISUAIS.

A exposição, localizada no segundo andar do Sesc Pinheiros, contará com obras de Arnaldo Antunes, Guto Lacaz, Chelpa Ferro, Chiara Banfi e O Grivo (Brasil); Ângela Ferreira, Maimuna Adam e Mauro Pinto (Moçambique); Catarina Botelho, Gabriela Albergaria e Susana Gaudêncio (Portugal) e Kiluanji Kia Henda (Angola). “As instalações predominam e a música, incluindo ruídos, atua como elemento agregador da exposição, atravessando-a de ponta a ponta”, define o curador Agnaldo Farias, cujo trabalho é voltado ao rompimento das barreiras entre linguagens artísticas.

Ações educativas e programação integrada com debates, oficinas, intervenções e exibições de filmes enriquecem o período expositivo, de 8 de maio a 2 de agosto. Para o curador da exposição, Agnaldo Faria a mostra é um diálogo sinestésico. “São 12 trabalhos artísticos de Angola, Brasil, Moçambique e Portugal, que interagem no espaço de ‘As Margens dos Mares’. As instalações predominam, e a música, incluindo ruídos, atua como elemento agregador da exposição, atravessando-a de ponta a ponta”, define o curador que busca por obras que nascem do rompimento das barreiras entre linguagens artísticas. A noção de sinestesia e o estímulo de mais de um sentido norteou as escolhas da curadoria.

• Happenings

Artists: Magdalena Atria, Ricardo Rendón, Mariángeles Soto-Díaz, Rubén Ortiz Torres, and Antonio Muñiz.

Multifarious Abstraction
Curated by Cecilia Fajardo-Hill
June 20 – July 25, 2015
Fabien Castanier Gallery
Culver City, CA, USA

Multifarious Abstraction is an exhibition that questions traditional understanding of the nature of abstraction as a modern field separate from reality. The five artists participating in Multifarious Abstraction present conceptually challenging, loaded and sometimes political explorations of abstract vocabularies in art, which point to unique ways to experience and think on contemporary culture. The five artists are from Latin America, where the division between high and low culture is not as central or as marked as in The United States and Europe. The abstraction proposed here moves away from modernist utopian ideals and pure aesthetics, to dialogue with industrial and popular culture, daily life, inner struggle, politics and gender.

Magdalena Atria is exhibiting free abstract compositions entirely made with plasticine. The artist, who has developed an extensive oeuvre with this material, addresses painting through a material which is malleable, fragile, common and familiar, to produce slowly complicated surfaces that embody “tension between the rational and the emotional, between the personal and the collective, between the existential and the banal, the formal and the symbolic.” Atria attempts to connect the ideal, manifested through abstraction, with the daily and existential dimensions of concrete reality.

Antonio Muñiz is an artist who explores by an intuitive method ways to free the mind and perception from predetermined responses. He employs fumage, a technique for producing organic forms with a burning candle at varying angles and distance from the canvas, thus creating an uncontrolled compositional structure. Muñiz pursues the “gray area”, a multidimensional space that is both symbolic and psychological and deconstructs conditioning dualities such as black/white, outsider/insider, and right/wrong. The artist states: “The gray area is a non-judgmental, non-linear space where we allow ourselves to interact with our environment, breaking free of duality and of conditioned responses.”

Ricardo Rendón’s work is informed by his interest in traditional trades and materials, which are for the artist places of “creative learning”. He states: “My work is presented as a system of questioning of the creative practice, of the execution, productive realization and notion of work.” His mediums range from industrial materials, to sand paper, felt and leather; and his techniques from perforating, cutting, nailing, grinding, sanding, gluing, to welding. For Multifarious Abstraction, the artist exhibits work from the two series: Work Area and Lighting Circuits, with materials such as copper and industrial felt. He transforms a plumber’s purposeful and precise procedure for joining copper tubes into the method for creating free standing sculptures which reflect both on traditional knowledge and on contemporary art’s expansive possibilities.

Mariángeles Soto-Díaz uses the language of abstraction as a way to materialize and connect ideas. Her work explores critically the legacies of modernism, echoing the particular modern historical traditions of Venezuela in dialogue with modernity and abstraction in contemporary culture. For this exhibition she will be showing the site-specific installation The Pink Elephant in the Room, to insert into the White Cube the discussion of gender and racial inequality in the art world. As the artist explains: “The Pink Elephant in the Room addresses the ‘invisibility’ of these issues through indulging in the color pink as a feminist statement while also re-signifying upon the language of abstract painting.”

Rubén Ortiz-Torres is a multidisciplinary artist who goes back to the late 1980s. His work, whether it be photographs, paintings, movies or sculptures, is informed by a hybrid and original combination of popular and mass culture. One of the key references in his work is the low rider and car industry cultures. In his recent work, he experiments with the auto industry’s most recent advances in car paint. For example, his piece Womb Envy (2014), is made with urethane and thermochromic paint and high-density foam. This orange piece in the shape of a pregnant tummy, when touched with your fingers, becomes marked temporarily in yellow on the work’s surface. His black Mexican and American flags made with urethane and chromo-luminescent paint, exhibited in the show, refer on the one hand to modern issues of anarchist ideology, and on the other, to how these national symbols, especially in the context of recent events in Mexico and the USA (The Baltimore riots), may allow the political minority standpoints in contemporary society to be embodied.

Cecilia Fajardo-Hill is a British/Venezuelan art historian and curator. Fajardo-Hill specializes in modern and contemporary art with a focus in Latin American art. She has a PhD in Art History from the University of Essex, England, and an MA in 20th Century Art History from the Courtauld Institute of Art, London, England. From 2005- 2008, Fajardo-Hill served as Director and Chief Curator for CIFO and the Ella Fontanals-Cisneros Collection, and from 2009-2012 served as Chief Curator at the Museum of Latin American Art (MOLAA) in Long Beach, CA. Presently, Fajardo-Hill is guest curator at the Hammer Museum, the Chief Curator of the Sayago & Pardon Collection and Abstraction in Action, and a visiting scholar at the UCLA Chicano Studies Research Center. She is currently based in Los Angeles, CA.

• Happenings

Artists: Jenny Patricia Ariza, Jonathan Blanco, Nicolás Cadavid, Jennifer Cristancho, María Angélica Martínez, Rafael Prada, Rafael Valenzuela, Luis Carlos Reyes, Freddy Saúl Serrano, and Rossely Ramírez Villamizar.

Remembranza
Curated by Plegable Colectivo (Barbarita Cardozo y Laura Lucia Serrano)
May 8-29, 2015
Centro Cultural del Oriente
Bucaramanga, Colombia

Remembranza” es la segunda curaduría de Plegable Colectivo en donde el tema de interés gira en torno a la naturaleza, ésta vez, desde proyectos de artistas emergentes y jóvenes de Santander, que al apuntar a tan amplía variedad de connotaciones de tipo simbólico, conceptual, cultural o histórico, abren un espectro a las diferentes formas en las que nos relacionamos con ella.

Los recorridos mentales y de desplazamiento presentes en la mayoría de las piezas denotan la necesidad del ser humano por contemplar, estudiar, representar, registrar o apropiar la naturaleza.

• Happenings

Artists: Carlos Bissolino, Carlos Baragli, Daniel Callori, Julián León Camargo, Juan Giribaldi, Guido Ignatti, Julim Rosa, Leo Ocello, Luis Ortega, Sofi Quirno, Alejandro Taliano, and Natasha Voliakovsky.

Bonzo
May 16, 2015
Casa Uno
Buenos Aires, Argentina

Bonzo es un proyecto artístico que, gracias al apoyo de Metro Building, se aloja temporalmente en casas que serán demolidas, con el fin de establecer talleres de artistas y generar proyectos autónomos de investigación y experimentación en un tiempo denido por el propio lugar.

Las casas, ya deshabitadas y a la espera de su demolición, serán laboratorio de diversas experiencias. Cada casa albergará una propuesta determinada, y cada propuesta artistas, talleres e hipótesis de trabajo durante el tiempo en que esa casa espera para ser otra cosa.

Bonzo es cada una de las casas y todas a la vez. Cada espacio tendrá autonomía funcional y a su vez formará parte del proyecto total. Cada casa tendrá un núcleo creativo fuerte que será integrado por aquellos que quieran desarrollar un asunto en esa situación determinada, y que podrá incluir a los artistas responsables, a curadores y a invitados especiales que puedan potenciar la propuesta.

El ciclo de trabajo será entre cinco y ocho meses para los artistas que usen las instalaciones como taller/laboratorio y se evaluará cada caso particular en los artistas que propongan una muestra o acción especíca. Antes de la demolición, se harán al menos dos aperturas de cada casa con el fin de mostrar las producciones nales, así como también las que estén en proceso, tanto de los artistas en situación de taller como de los invitados especiales.

Cada nueva casa construida sobre un bonzo tendrá un espacio destinado a mencionar el proyecto que ahí se integró y a los artistas que lo compusieron, enlazando las etapas de la casa, como una transformación del espacio y como una memoria de lo sucedido.

Dependiendo de la propuesta de cada artista, algunos fragmentos u obras completas podrán resguardarse para formar parte del patrimonio del nuevo edificio.

Proyecto curaduría y gestión: Carlos Baragli, Juan Giribaldi y Guido Ignatti.

• Happenings

Selected Biographical Information

Education / Training

• 2003-2004: MA Fine Arts,  Byam Shaw School of Art, Central Saint Martins, London, UK.
• 2001-2002: Post-Graduate Course Fine Arts, Byam Shaw School of Art, Central Saint Martins, London, UK.
• 1997-2001: BA Fine Arts, Universidad Católica del Perú, Lima, Peru.

Prizes / Fellowships

• 2014: Shortlisted for the Future Generation Art Prize, Pinchuk Art Centre, Kiev, Ukraine.
• 2014: Honorific Mention Bienal de Cuenca, Bienal de Cuenca, Cuenca, Ecuador.

Solo Exhibitions

• 2015: “Arquitectura del humo”, 80m2 Livia Benavides, Lima, Peru.
• 2014: “Los Suelos”, MATE, Lima, Peru.
• 2013: “Los Suelos”, Galeria Casado Santapau, Madrid, Spain.
• 2012: “VAMOS”, MIMA, Middlesbrough, UK.
• 2012: “Paisaje Antrópico”, Max Wigram Gallery, London, UK.
• 2011: “El Porvenir”, Mimmo Scognamiglio Arte Contemporanea, Milan, Italy.
• 2010: “The Followers”, Civic Room, London, UK.

Group Exhibitions

• 2014: “Future Generation Art Prize”, Pinchuk Art Centre, Kiev, Ukraine.
• 2014: “Bienal de la Imagen en Movimiento”, BIM, Buenos Aires, Argentina.
• 2014: “Bienal de Cartagena de Indias“, Cartagena de Indias, Colombia.
• 2014: “The 2nd CAFAM Biennale”, The Central Academy of Fine Arts Museum  – CAFAM, Beijing, China.
• 2014: “Ir para Volver”, Bienal de Cuenca, Cuenca, Ecuador.
• 2013: “ICASTICA “, International Biennale of Arrezzo, Arezzo, Italy.
• 2013: “Paraíso en Blanco”, 80m2 Livia Benavides, Lima, Peru.
• 2013: “LARA (Latin American Roaming Art)”, NC ARTE, Bogota, Colombia.
• 2012: “Remesas: flujos simbólicos/ movilidades de capital”, Fundación Telefónica, Lima, Peru.
• 2011: “Newspeak: British Art Now”, The Gallery of South Australia, Adelaide, Australia.
• 2010: “Identity Theft”, Mimmo Scognamiglio Arte Contemporanea, Milan, Italy.
• 2010: “Newspeak: British Art Now”, Saatchi Gallery, London, UK.

Collections

• MALI Museo de Arte de Lima, Lima, Peru.
• PAAM Perez Art Museum, Miami, USA.
• MIMA Middlesbrough Institute of Modern Art, Middlesbrough, UK.
• Kadist Foundation, San Francisco , USA.
• MATE Museo Mario Testino, Lima, Peru.

• Artists

Artist: Chiara Banfi