Abstraction in Action Fredy Alzate https://abstractioninaction.com/artists/fredy-alzate/

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January 11, 2017 Claudia Fernández https://abstractioninaction.com/artists/claudia-fernandez/

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.

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January 11, 2017 Adán Vallecillo https://abstractioninaction.com/dialogues/adan-vallecillo-dialogue/ January 11, 2017 Karina Peisajovich https://abstractioninaction.com/dialogues/karina-peisajovich-dialogue/ January 11, 2017 Rafael Lozano-Hemmer https://abstractioninaction.com/artists/rafael-lozano-hemmer/

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.

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December 27, 2016 Cecilia Fajardo-Hill https://abstractioninaction.com/dialogues/forum/cecilia-fajardo-hill-dialogue/ December 21, 2016 Emilia Azcarte https://abstractioninaction.com/dialogues/chain-of-questions/emilia-azcarte-dialogue/ December 13, 2016 Mercedes Elena González https://abstractioninaction.com/artists/mercedes-elena-gonzalez/

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.


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.

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September 27, 2016 “Ricardo Rendón – Vazio Contido / Contained Emptiness” https://abstractioninaction.com/contexts/ricardo-rendon-vazio-contido-contained-emptiness/

Screenshot 2014-02-04 16.20.36

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.”

Screenshot 2014-02-04 16.25.04

To download the full catalogue, click here

September 26, 2016 Mariángeles Soto-Díaz https://abstractioninaction.com/dialogues/chain-of-questions/mariangeles-soto-diaz-dialogue/ August 26, 2016 Daily Abstractions: Body-Nature/Home-Street https://abstractioninaction.com/exhibitions/pacific-standard-time-daily-abstractions/

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

August 9, 2016 Alejandro Londoño https://abstractioninaction.com/dialogues/chain-of-questions/alejandro-londono-dialogue/ July 12, 2016 Vargas-Suarez Universal https://abstractioninaction.com/artists/vargas-suarez-universal/

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.

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July 8, 2016 Ana Maria Tavares https://abstractioninaction.com/artists/ana-maria-tavares/

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June 1, 2016 Jaime Tarazona https://abstractioninaction.com/dialogues/chain-of-questions/jaime-tarazona-dialogue/ May 18, 2016 Amadeo Azar https://abstractioninaction.com/dialogues/chain-of-questions/amadeo-azar-dialogue/ March 24, 2016 Pachi Giustinian https://abstractioninaction.com/artists/pachi-giustinian/


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March 22, 2016 Pia Camil https://abstractioninaction.com/dialogues/chain-of-questions/pia-camil-qa/ March 15, 2016 Felipe Mujica https://abstractioninaction.com/dialogues/chain-of-questions/felipe-mujica-qa/ March 15, 2016 Ricardo Rendón https://abstractioninaction.com/dialogues/chain-of-questions/ricardo-rendon-qa/ March 15, 2016 Emilia Azcarate, Magdalena Fernandez, Ximena Garrido-Lecca: MDE 15 Medellín https://abstractioninaction.com/happenings/emilia-azcarate-magdalena-fernandez-ximena-garrido-lecca-mde-15-medellin/


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.


  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
January 29, 2016 Alexander Apóstol, Clarissa Tossin: Customizing Language https://abstractioninaction.com/happenings/alexander-apostolclarissa-tossin-customizing-language/


Artists: Alexander Apóstol, Mely Barragán, Beatriz Cortez, Marcos Ramírez ERRE, Regina José Galindo, Luis G. Hernández, Camilo Ontiveros, Rubén Ortiz-Torres, Gala Porras-Kim, and Clarissa Tossin.

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.

January 29, 2016 Anibal Vallejo: TRANSBORDER https://abstractioninaction.com/happenings/anibal-vallejo-transborder/


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

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)



January 11, 2016 Nicolás Robbio https://abstractioninaction.com/artists/nicolas-robbio/

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December 16, 2015 Ali Gonzalez https://abstractioninaction.com/artists/ali-gonzalez/

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December 16, 2015 Giancarlo Scaglia https://abstractioninaction.com/artists/giancarlo-scaglia/

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December 15, 2015 Ronny Quevedo https://abstractioninaction.com/artists/ronny-quevedo/

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December 14, 2015 Emilia Azcárate, Emilio Chapela, Horacio Zabala: América https://abstractioninaction.com/happenings/emilia-azcarate-emilio-chapela-horacio-zabala-america/


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.

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


December 7, 2015 André Komatsu https://abstractioninaction.com/artists/andre-komatsu/

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December 3, 2015 Omar Barquet, Pablo Rasgado, Ana Tiscornia, Ishmael Randall Weeks: A Sense of Place https://abstractioninaction.com/happenings/omar-barquet-pablo-rasgado-ana-tiscornia-ishmael-randall-weeks-sense-place/


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.

December 3, 2015 Soledad Arias: The Weight of Light https://abstractioninaction.com/happenings/soledad-arias-weight-light/


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.

December 3, 2015 Horacio Zabala: Dark Mirror https://abstractioninaction.com/happenings/horacio-zabala-dark-mirror-2/


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
December 2, 2015 Clemencia Labin https://abstractioninaction.com/artists/clemencia-labin/

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December 1, 2015 Inés Raiteri https://abstractioninaction.com/artists/ines-raiteri/

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December 1, 2015 Alice Quaresma: Coleções 10 https://abstractioninaction.com/happenings/alice-quaresma-colecoes-10/


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.

November 25, 2015 Ricardo Rendón: Equilibrio y concentración https://abstractioninaction.com/happenings/ricardo-rendon-equilibrio-y-concentracion/


Artist: Ricardo Rendón

Equilibrio y concentración
November 21 – December 18, 2015
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

November 25, 2015 Sandra Gamarra: Grafización https://abstractioninaction.com/happenings/sandra-gamarra-grafizacion/


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.

November 24, 2015 Sandra Gamarra: Paisaje entre comillas https://abstractioninaction.com/happenings/sandra-gamarra-paisaje-entre-comillas/

Gamarra_Landscape in Quotation Marks_Main room _08

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

November 24, 2015 Adán Vallecillo: Earthworks https://abstractioninaction.com/happenings/adan-vallecillo-earthworks/


Artist: Adán Vallecillo

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.

November 24, 2015 Sandra Nakamura: Una razón superficial https://abstractioninaction.com/happenings/sandra-nakamura-una-razon-superficial/


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.

November 24, 2015 Kirin, Macaparana, Sclavo, Stupía: El color de los sueños https://abstractioninaction.com/happenings/kirin-macaparana-sclavo-stupia-el-color-de-los-suenos/

Fidel Sclavo- Mixta sobre papel -36 x 36 cm.- año 2012

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.

November 24, 2015 Cipriano Martínez: Woven Cities https://abstractioninaction.com/happenings/cipriano-martinez-woven-cities/


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.

November 24, 2015 Eduardo Stupia: Cenas de uma Viagem https://abstractioninaction.com/happenings/eduardo-stupia-cenas-de-uma-viagem/


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.

November 20, 2015 Jesús Matheus: Neoglifos https://abstractioninaction.com/happenings/jesus-matheus-neoglifos/

•Invitación Leufert3

Artist: Jesús Matheus

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

Solo show by artist Jesús Matheus


November 20, 2015 Ana Tiscornia: Des-habitaciones https://abstractioninaction.com/happenings/ana-tiscornia-des-habitaciones/


Artist: Ana Tiscornia

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.


November 20, 2015 Alexander Apóstol, Carla Arocha & Stephane Schraenen: BIG https://abstractioninaction.com/happenings/carla-arocha-stephane-schraenen-big/


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

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

Ocho piezas de gran formato componen la muestra que está tejida por lo efímero y las imposibilidades. Alexander Apóstol, Carla Arocha-Stéphane Schraenen, Miguel Braceli, Alberto Cavalieri, Arturo Herrera, Suwon Lee, Víctor Lucena y Alfredo Ramírez son los nueve creadores –cuatro de ellos no residen en el país– que dan forma a la muestra que cuenta con la curaduría de Miguel Miguel.

La exposición abre con una pieza de Ramírez, quien continúa trabajando sobre el cuerpo humano. Esta vez el artista presenta Tercero excluido, una progresión helicoidal de piezas fabricadas con una aleación de hierro y acero.

“Hacer las obras cuesta 10 veces más que antes, no solo en dinero sino en esfuerzo para conseguir los materiales. Hay que negociar en cada esquina, pero es algo que sigo haciendo con mucho placer”, indica el creador.

Entretanto, del techo de la sala cuelga una inmensa viga, anudada, presentada por Alberto Cavalieri con el título Estructural IPN-200.

“Esta obra resume varios códigos formales de mi propuesta artística, que es darle características que no corresponden a las formas ni a los materiales de los objetos que utilizo”, indicó el artista, quien piensa que en el país el arte continúa vivo a pesar de las dificultades para desarrollar las investigaciones.

Arturo Herrera creó el mural Victoria, que ocupa toda una pared. En magenta y verde establece un diálogo entre el interior de la sala y el jardín del Centro de Arte Los Galpones. En la pintura, las formas confunden su apariencia entre lo orgánico y lo abstracto.

El más joven de la muestra es Miguel Braceli, quien en esta exposición presenta Horizontes, una serie de 28 fotografías realizadas durante un performance de participación colectiva en Catamarca, Argentina, en las que una tela blanca es afectada por el viento del valle y esta, a su vez, modifica el paisaje.

“Algo que descubrí luego son las dos líneas que se van dibujando. Una que hace la tela, donde el tiempo y la velocidad cambian constantemente, y el horizonte que se ha edificado por miles de siglos en el tiempo. Esa lectura, esas dos velocidades, esos cambios y el contraste entre lo efímero y lo estático, y cómo ambas son productos de la naturaleza”, aseguró Braceli.

Para Miguel Miguel, el curador de la muestra, BIG tiene carácter museístico: “Tenemos el deber de contribuir. Nunca una galería sustituirá a un museo, pero tenemos la responsabilidad y el compromiso con el arte venezolano”.

La muestra se completa con Marauder, una pieza elaborada por Carla Arocha y Stéphane Schraenen; What I’m Looking For de Alexander Apóstol; la serie fotográfica Caracas crepuscular de Suwon Lee y Space Shock Dimension TAU (09) de Víctor Lucena.

Karla Franceschi C.


November 10, 2015 Carla Guagliardi: Skulptur https://abstractioninaction.com/happenings/carla-guagliardi-skulptur/

Screenshot 2015-10-26 15.46.40

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.

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.

November 10, 2015 Rodolfo Edwards https://abstractioninaction.com/artists/rodolfo-edwards/

Selected Biographical Information

Education / Training

Prizes / Fellowships

Solo Exhibitions

Group Exhibitions



November 10, 2015 Aníbal Vallejo https://abstractioninaction.com/artists/anibal-vallejo/

Selected Biographical Information

Education / Training

Solo Exhibitions

Group Exhibitions



November 10, 2015 Fernando Prieto https://abstractioninaction.com/artists/fernando-prieto/

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

Prizes / Fellowships

Solo Exhibitions

Group Exhibitions


November 10, 2015 Alexander Apostol, Elena Damiani, Aníbal López: Project 35: The Last Act https://abstractioninaction.com/happenings/alexander-apostol-elena-damiani-anibal-lopez-project-35-last-act/


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.

November 5, 2015 Ximena Garrido-Lecca: Solo show https://abstractioninaction.com/happenings/ximena-garrido-lecca-solo-show/


Artist: Ximena Garrido-Lecca

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

Solo show by Ximena Garrido-Lecca.


November 5, 2015 Elena Damiani, Ivelisse Jiménez, Lucia Koch, Amalia Pica, and Adán Vallecillo: Displaced Images / Images in Space https://abstractioninaction.com/happenings/displaced-images-images-in-space/


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


November 4, 2015 Carla Arocha & Stephane Schraenen: Landscape and Spacing https://abstractioninaction.com/happenings/carla-arocha-stephane-schraenen-landscape-spacing/


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

Landscape and Spacing
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.



November 4, 2015 Emilio Chapela: Cavalo de Pau https://abstractioninaction.com/happenings/emilio-chapela-cavalo-de-pau/


Artist: Emilio Chapela

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

Emilio Chapela apresenta uma seleção de obras que refletem sobre temas relacionados com a instabilidade, a fragmentação e a descontinuidade que tem caracterizado os países da América Latina ao longo de sua história. Através de uma investigação escultórica, o artista demonstra uma América acidentada, discorre sobre temas políticos instáveis e sistemas econômicos falidos; um continente complexo em sua geografia, dependente de petróleo e exaurido pela corrupção. O artista utiliza vassouras, cavalos de brinquedo e outros materiais banais para construir mapas que desenham algumas das mais conflituosas e irregulares fronteiras das Américas. Com tambores de petróleo constrói esculturas que se acomodam precariamente de forma orgânica dentro do espaço da galeria. Segundo o artista “O Petróleo tem sido uma fonte de riqueza e desenvolvimento para os países da América Latina, mas as consequências de sua exploração tem sido fonte de desconstrução política e corrupção”. Finalmente o artista incorpora a exposição uma série de objetos e obras que tocam temas relacionados com a geografia do mundo e do Brasil. A obra de Emilio Chapela tem um estreita relação com o político e o econômico, no entanto, no campo escultórico dialoga (por vezes em sentido contrário) com artistas abstratos como Carl Andre, Ellsworth Kelly , Christo e outros.
November 2, 2015 Christian Camacho: Como fantasmas que vienen de las sombras… https://abstractioninaction.com/happenings/christian-camacho-como-fantasmas-que-vienen-de-las-sombras/


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
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.

November 2, 2015 Marcius Galan: Planta / Corte https://abstractioninaction.com/happenings/marcius-galan-planta-corte/


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); 8a Bienal do Mercosul, Porto Alegre, Brasil (2011); 29aBienal 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

October 28, 2015 Arocha + Schraenen, Elena Damiani, Jorge Pedro Núñez & Sergio Vega: The Devil is in the details https://abstractioninaction.com/happenings/arocha-schraenen-elena-damiani-jorge-pedro-nunez-sergio-vega-devil-details/


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

October 28, 2015 Darío Escobar, Patrick Hamilton: Pero no soy fotógrafo https://abstractioninaction.com/happenings/dario-escobar-patrick-hamilton-pero-soy-fotografo/


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.

October 27, 2015 Eduardo Costa: Acciones en la calle https://abstractioninaction.com/happenings/eduardo-costa-acciones-en-la-calle/

Screenshot 2015-10-26 15.34.20

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: SiteDrift, and DebrisSite 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.

October 27, 2015 Erica Muralles Hazbun: Cualquier otra realidad https://abstractioninaction.com/happenings/erica-muralles-hazbun-cualquier-otra-realidad/


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.

October 26, 2015 Andrea Canepa: El público https://abstractioninaction.com/happenings/andrea-canepa-el-publico/


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.

October 26, 2015 Horacio Zabala: Dark Mirror https://abstractioninaction.com/happenings/horacio-zabala-dark-mirror/


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

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.

October 14, 2015 Gabriel Sierra: Numbers in a Room https://abstractioninaction.com/happenings/gabriel-sierra-numbers-room/


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).

October 14, 2015 Elena Damiani: Testigos: un catálogo de fragmentos https://abstractioninaction.com/happenings/elena-damiani-testigos-un-catalogo-de-fragmentos/


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.

October 9, 2015 Paula de Solminihac: Los nombres Secretos https://abstractioninaction.com/happenings/paula-de-solminihac-los-nombres-secretos/


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
Masstricht, The Netherlands

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.


October 9, 2015 Óscar Abraham Pabón https://abstractioninaction.com/artists/oscar-abraham-pabon/

Selected Biographical Information

Education / Training

Prizes / Fellowships

Solo Exhibitions

Group Exhibitions




October 9, 2015 Pia Camil, Nicolás Consuegra, Elena Damiani, Ximena Garrido-Lecca, Amalia Pica, Pablo Rasgado, Gabriel Sierra and Clarissa Tossin: United States of Latin America https://abstractioninaction.com/happenings/united-states-latin-america/


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.

October 6, 2015 Marco Maggi: Unfolding https://abstractioninaction.com/happenings/marco-maggi-unfolding/


Artist: Marco Maggi

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.

October 6, 2015 Martin Pelenur: Primordial Meditations https://abstractioninaction.com/happenings/martin-pelenur-primordial-meditations/

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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.

Claudio Vera’s newest body of work is intensely contemporary and sensual, evolving seamlessly from his most recent series of wooden sculptures. Vera’s works on paper are created through a similar, physically intensive process of carving blocks of wood; however, instead of sculpting the artist deconstructs flat wooden surfaces and turns them into topographies, territories, physical maps, where we can wander endlessly. Vera has consciously altered his medium of choice – a conceptual reflection on deliberate transformation that exists in the structures of nature, the cosmos, and the ideas of contemporary science explored by humankind. Vera’s roots are linked to the Latin American tradition of the “School of the South,” as the artist studied for many years under one of Joaquín Torres García’s most famous pupils, Julio Alpuy. Like his teacher, Vera’s work embraces and dissolves boundaries, revealing an intimate relation between mankind and the natural world, derived from a deep understanding of organic structures and systems.Martin Pelenur’s newest body of work manifests itself through his use of paint and other synthetic mediums on paper: some forms are painted dense and heavy on the surface, thick with pigment, yet others take on fragile and crystalline structures that seem to emulate the delicate nature of inner thought. Still more, a final group of works are made with commercial packaging tape arranged in lattice form on paper. Each variation of Pelenur’s work shows a progressive creation of simple forms via the human mind. In 2006, the artist started his own self-promoted “Pelenur Scholarship,” based out of his studio Ciudad Vieja – translated as “Old City.” Pelenur’s approach to scholarship is untraditional, and his actions in doing so become an extension of his ongoing practice as an artist who explicitly devotes himself to the research of painterly materials and their collaboration with the “mental drift” that is an integral part of the evolution of society. For Pelenur, the act of painting is an experiment in thought and the inner human discourse that is methodic and repetitive when studied in depth. Even more so, perhaps his superficially manufactured scholarship is reflected in his preferred use of synthetic materials, as opposed to organic, when exploring the progressive nature of human thought.
October 2, 2015 Carla Arocha and Stéphane Schraenen: The Gap https://abstractioninaction.com/happenings/carla-arocha-stephane-schraenen-gap/


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.

October 2, 2015 Mario Navarro: Aesthetical Irregularities https://abstractioninaction.com/happenings/mario-navarro-aesthetical-irregularities/


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.

September 25, 2015 Amadeo Azar: La tormenta que imaginamos https://abstractioninaction.com/happenings/amadeo-azar-la-tormenta-que-imaginamos/


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.
September 25, 2015 Monochrome Undone https://abstractioninaction.com/projects/monochrome-undone/

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.

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.

Para comprae el libro haz clic aquí.

September 25, 2015 Elena Damiani: All the World’s Futures https://abstractioninaction.com/happenings/elena-damiani-worlds-futures/


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.

September 24, 2015 Alexander Apostol, Leyla Cárdenas, Nicolás Consuegra & Elena Damiani: En y Entre Geografías https://abstractioninaction.com/happenings/alexander-apostol-leyla-cardenas-nicolas-consuegra-elena-damiani-en-y-entre-geografias/


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.

September 24, 2015 Felipe Mujica: Two-person exhibition https://abstractioninaction.com/happenings/felipe-mujica-two-person-exhibition/

Screenshot 2015-09-22 16.28.49

Artists: Felipe Mujica and Herbert Weber

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

Two-person exhibition.

September 23, 2015 Magdalena Fernández: Solo show https://abstractioninaction.com/happenings/magdalena-fernandez-solo-show/

Screenshot 2015-09-22 16.11.53

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.
September 22, 2015 Nuno Ramos: Houyhnhnms https://abstractioninaction.com/happenings/nuno-ramos-houyhnhnms/


Artist: Nuno Ramos.

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.

A exposição apresentará ao público ainda esculturas como a CavaloporPierrô e a Casaporarroz, além de réplicas destas obras fundidas em bronze e alumínio e vídeos dirigidos por Nuno Ramos e Eduardo Climachauska. As duas são conhecidas como ‘dádivas’, conceito antropológico usado por Nuno e desenvolvido por Marcel Mauss que fala sobre trocas em sociedade que não visam lucro. “Uma troca maluca, assim como a exposição, que é exatamente um intercâmbio de elementos, sem que haja necessariamente uma equivalência entre eles. Trabalhos que, em diálogo uns com os outros, sugerem o acúmulo de significados”, disse Nuno Ramos.
September 21, 2015 Iosu Aramburu: Modernidad Histérica https://abstractioninaction.com/happenings/iosu-aramburu-modernidad-histerica/


Artist: Iosu Aramburu

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

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.

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.

September 21, 2015 Nicolás Gómez: Parque estacionario https://abstractioninaction.com/happenings/nicolas-gomez-parque-estacionario/


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.

September 18, 2015 Elena Damiani, Amalia Pica: Future Light: Escaping Transparency https://abstractioninaction.com/happenings/elena-damiani-amalia-pica-future-light-escaping-transparency/


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.

September 18, 2015 Esvin Alarcón Lam: Línea de horizonte, o la tensión en múltiples puntos https://abstractioninaction.com/happenings/esvin-alarcon-lam-linea-de-horizonte-o-la-tension-en-multiples-puntos/


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.

September 17, 2015 Diana de Solares: El ojo que ves no es… https://abstractioninaction.com/happenings/diana-de-solares-el-ojo-que-ves-es/


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.
September 17, 2015 Christian Camacho Reynoso: Noche y dibujo https://abstractioninaction.com/happenings/christian-camacho-reynoso-noche-y-dibujo/


Artist: Christian Camacho Reynoso

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

a diferencia de la pintura, no requiere de luz; a diferencia de la escultura, no requiere de espacio.

Una plática sobre los vínculos posibles entre el dibujo y la noche, acompañada de la activación de una pieza reciente.

September 16, 2015 Ricardo Alcaide: Not Much Further https://abstractioninaction.com/happenings/ricardo-alcaide-much/


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.

September 16, 2015 Lucila Amatista: Vida Primaria https://abstractioninaction.com/happenings/lucila-amatista-vida-primaria/


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

September 15, 2015 Marco Maggi: Drawing Attention https://abstractioninaction.com/happenings/marco-maggi-drawing-attention/


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.

September 15, 2015 Octavio Abúndez: El futuro no es lo que solía ser https://abstractioninaction.com/happenings/octavio-abundez-el-futuro-es-lo-que-solia-ser/


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.


September 14, 2015 Diana de Solares & Tepeu Choc: La desintegración de la forma https://abstractioninaction.com/happenings/diana-de-solares-tepeu-choc-la-desintegracion-de-la-forma/


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.”


September 14, 2015 Vicente Antonorsi https://abstractioninaction.com/artists/vicente-antonorsi/

Selected Biographical Information

Education / Training

Prizes / Fellowships

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Group Exhibitions


September 14, 2015 Sandra Nakamura: Analogías temporales https://abstractioninaction.com/happenings/sandra-nakamura-analogias-temporales/


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.

August 28, 2015 Alexander Apóstol: Yamaikaleter https://abstractioninaction.com/happenings/alexander-apostol-yamaikaleter/


Artist: Alexander Apóstol

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.

August 28, 2015 Lucía Pizzani https://abstractioninaction.com/artists/lucia-pizzani/

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

Prizes / Fellowships

Solo Exhibitions

Group Exhibitions



August 28, 2015 Guido Ignatti: Vista interior de una cámara https://abstractioninaction.com/happenings/guido-ignatti-vista-interior-de-una-camara/


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?

August 26, 2015 Raquel Rabonivich: Collaborative Performance https://abstractioninaction.com/happenings/raquel-rabonivich-collaborative-performance/

Emergences 9, Port Ewen, low tide

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



. 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.
August 26, 2015 Jaime Ruiz Otis: XIX Bienal Plástica de Baja California https://abstractioninaction.com/happenings/jaime-ruiz-otis-xix-bienal-plastica-de-baja-california/


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).


August 25, 2015 Luis Roldán: Rompecabezas https://abstractioninaction.com/happenings/luis-roldan-rompecabezas/


Artist: Luis Roldán

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).

August 25, 2015 Esvin Alarcón Lam https://abstractioninaction.com/artists/esvin-alarcon-lam/

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

Prizes / Fellowships

Group Exhibitions



August 24, 2015 Camilo Leyva https://abstractioninaction.com/artists/camilo-leyva/

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

Prizes / Fellowships

Solo Exhibitions

Group Exhibitions


August 21, 2015 Mario Navarro: Salon ACME https://abstractioninaction.com/happenings/mario-navarro-salon-acme/


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.

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.


August 20, 2015 Amadeo Azar: Name It by Trying to Name It https://abstractioninaction.com/happenings/amadeo-azar-name-trying-name/


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.

August 20, 2015 Miguel Rothschild: XXI. Rohkunstbau – Apokalypse https://abstractioninaction.com/happenings/miguel-rothschild-xxi-rohkunstbau-apokalypse/


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.

August 19, 2015 Chiara Banfi & Marcius Galan: Exposição de Acervo 2015 https://abstractioninaction.com/happenings/chiara-banfi-marcius-galan-exposicao-de-acervo-2015/


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.

August 19, 2015 Pier Stockholm https://abstractioninaction.com/artists/pier-stockholm/