Happenings provides references on art events, exhibitions, biennales, art fairs and festivals, with a focus on Abstraction in Action artists and post-90s abstraction from Latin America.
Artists: Emilia Azcárate, Artur Barrio, Jacques Bedel, Coco Bedoya, Luis F. Benedit, Paulo Bruscky, Jorge Caraballo, Sigfredo Chacón, Emilio Chapela, Guillermo Deisler, Mirtha Dermisache, Anna Bella Geiger , León Ferrari, Jaime Higa, Eduardo Kac, Leandro Katz, Guillermo Kuitca, David Lamelas, Marie Orensanz , Clemente Padín, Claudio Perna, Federico Peralta Ramos, Dalila Puzzovio, Juan Pablo Renzi, Osvaldo Romberg, Juan Carlos Romero, Eduardo Santiere, Mira Schendel, Pablo Suarez, Horacio Zabala, and Carlos Zerpa.
¿En qué momento una letra se convierte en una figura, un garabato en un signo, una línea en un significante, una imagen en una palabra, un poema en un dibujo, una consigna política en una afirmación de lo sensible? ¿En qué momento, en qué preciso momento, nuestra percepción se disloca para entrar en una zona de turbulencia en la que se entreveran signos y figuras? Grafías y ecuaciones es una exploración en las obras de artistas que transitaron por esa zona de turbulencia donde las divisiones convencionales entre palabra e imagen ya no funcionan.
Las grafías de las obras que se exhiben en esta exposición son también ecuaciones: equivalencias y analogías que hace la imaginación para encontrarse con la diferencia, lo irreductible o el sinsentido en un laberinto de trazos metafísicos, políticos o plásticos. Sea como medición previa para cualquier obra, sea como traducción irrisoria o paródica, sea como pasaje de un sistema a otro, la diferencia entre signo lingüístico e imagen visual colapsa para dar lugar a un campo experimental que nos impulsa a una indagación por el Sentido y, al mismo tiempo, a una exploración de los sentidos.
Artists: Bas Jan Ader, Carlos Amorales, Joseph Beuys, Monica Bonvicini, Stefan Brüggemann, Jeff Burton, Anne Collier, Jose Dávila, Moyra Davey, Carroll Dunham, Gardar Eide Einarsson, Olafur Eliasson, Tracey Emin, Cerith Wyn Evans, Claire Fontaine, Garea, Gelitin, Liam Gillick, Felix González Torres, Thomas Hirschhorn, Jim Hodges, Jenny Holzer, Roni Horn, Dennis Hopper, On Kawara, Mike Kelley, Martin Kippenberger, Gabriel Kuri, Abigail Lane, Gonzalo Lebrija, Jesús León, Robert Longo, Sarah Lucas, David Lynch, John McCraken, Sarah Morris, Ugo Mulas, Luis Felipe Ortega, Jorge Pardo, Liliana Porter, Richard Prince, Tobias Rehberger, Daniela Rossell, Thomas Ruff, Alan Saret, Hedi Slimane, Dash Snow, Mungo Thomson, Wolfgang Tillmans, Rirkrit Tiravanija, Luis Emilio Valdés Rodríguez, John Waters, Ricardo Rendón, and many more.
Con más de cien obras de la Colección Jumex, In Girum Imus Nocte et Consumimur Igni explora varios acercamientos a la curaduría que nos ayudarán a entender las elecciones implícitas en los actos de formar yactivar una colección de arte. Además de participar en la selección de obras para la exposición, los artistas Bernadette Corporation, Nicolas Ceccaldi y Peter Wächtler también fueron comisionados para crear piezas inspiradas en obras de la Colección Jumex.
Visual art has always been closely associated with storytelling. In Western culture, painting and sculpture initially evolved to illuminate narratives of religion, patronage, and power. Over the centuries, genre scenes, still lifes, and portraits—often created as intricate allegories for religious or historical subject matter—became popular as the narrative role of art expanded. In the twentieth century, with the advent of abstraction as a radical break with the past, many artists associated with the avant-garde rejected the figurative and, hence, eliminated explicit narrative content. In the United States and Europe, this tendency culminated during the 1960s and 1970s in Minimal painting and sculpture that foregrounded geometric abstraction and in Post-Minimalism’s examination of process and materiality. The 1980s witnessed a resurgence of figurative art, much of which harked back to expressionistic styles of the 1920s and 1930s.
During the 1990s, a generation of younger artists embraced the concept of storytelling to articulate the politics of identity and difference, investing both abstract and representational forms with narrative content. Storylines opens with key examples from that decade, which serve as thematic anchors and highlight the museum’s own exhibition history. Most of the works on view, however, were created after 2005 and offer an expansive view of the new paradigms for storytelling forged during the past ten years to communicate ideas about race, gender, sexuality, history, and politics, among other trenchant themes.
Bringing together over one hundred works from the Guggenheim’s contemporary collection, Storylines examines the diverse ways in which artists today engage narrative through installation, painting, photography, sculpture, video, and performance. For these artists, storytelling does not necessarily require plots, characters, or settings. Rather, narrative potential lies in everyday objects and materials, and their embedded cultural associations. In projects created through extensive research, acts of appropriation, or performance, the artists in Storylines uncover layers of meaning, turning to individual experience as a means of conveying shared stories, whether real or fictional.
The recent narrative turn in contemporary art cannot be separated from the current age of social media with its reverberating cycles of communication, dissemination, and interpretation. Seemingly every aspect of life is now subject to commentary and circulation via digital text and images. These new narrative frames highlight the roles that each of us can play as both author and reader, foregrounding the fact that meaning is contingent in today’s interconnected and multivalent world. As a means of celebrating this dynamic, the museum has invited writers to contribute reflections—in prose or poetry—on selected works in Storylines. Engaging the rich historical relationship between literature and art, the resulting polyphony signals the diverse interpretive potential that lies within each object on display. Visitors may access these texts using the Guggenheim app or in booklets located throughout the museum.
Artists: Brígida Baltar, Carlito Carvalhosa, Fabiana de Barros & Michel Favre, José Damasceno, Laura Vinci, Marcius Galan, Marcos Chaves, Paola Junqueira, Paulo Vivacqua, Waltercio Caldas, Anthony McCall, Ben Vautier, Bruce Nauman, Ceal Floyer, François Morellet, James Turrell, Keith Sonnier and Ryan Gander.
Inmaterialidade
Curated by Adon Peres and Ligia Canongia
July 2 – September 27, 2015 SESC Belenzinho (Leste)
Belem, Brazil
A mostra de arte contemporânea traz diferentes artistas cujos trabalhos evocam a desmaterialização, a sublimação da matéria, ou, artistas que têm o impalpável como elemento principal do trabalho – som, luz, ar, palavra.
Throughout her career Lucia Koch has become known for her interventions within existing architecture, either through her use of sculpture, photography, video or colored filters. In this, her second exhibition with the gallery, she will intersect the entire space with a gradient printed on fabric — something that moves in space but is constant, subtle, transformative and never repeating. In addition, ordinary windows will be replaced with colored panels disrupting one’s expectation, and images of small, empty containers enlarged to architectural scale disassociate the photographs from their references and challenge how we relate to space. Through all of these strategies, Koch elevates basic elements of architecture to effect change in one’s immediate atmosphere and physical surroundings.
Lucia Koch (b. 1966, Porto Alegre, Brazil) lives and works in São Paulo, Brazil. She has recently participated inProspect 3, New Orleans, LA (2015), curated by Franklin Sirmans; Cruzamentos: Contemporary Art in Brazil, Wexner Center for the Arts, Columbus, OH (2014); A Sense of Place, Pier 24 Photography, San Francisco, CA (2014); and Re-emerge: Towards a New Cultural Cartography, 11th Sharjah Biennial, United Arab Emirates (2013). She has been included in the 11th Biennale de Lyon, France (2011); 27th Bienal de São Paulo, Brazil (2006); 2nd, 5th and 8th editions of the Mercosul Biennial in Porto Alegre, Brazil (1999, 2005 and 2011); and the 8th Istanbul Biennial, Istanbul, Turkey (2003). Her work has been included in such exhibitions as, Another Place, Museum of Modern Art of São Paulo, Brazil (2011), andWhen Lives Become Form, Yerba Buena Center for Arts, San Francisco, CA (2009), which was also on view at Contemporary Art Museum, Tokyo, Japan (2008). Koch’s work is in the collections of such institutions as Los Angeles County Museum of Art, CA; Pinacoteca do Estado de São Paulo, Brazil and Museu de Arte Moderna de São Paulo, Brazil, among others. In 2016 she will be the subject of a solo exhibition at the Museum of Modern Art, Rio de Janeiro, Brazil.
