Happenings

Artists: Mira Schendel, Liliana Porter, Antônio Dias, Luis Camnitzer, Anna Maria Maiolino, Guillermo Deisler, Nelson Leirner, Margarita Paksa, Marta Minujín, Helio Oiticica, Ana Mendieta, Guillermo Kuitca, Julio Galán, Marcia Schvartz, Pepe Fernández (José María Fernández), Pablo Suárez, José Bedia Valdés, Marcelo Pombo, Alejandra Seeber, Liliana Porter, Liliana Maresca, Sergio Avello, Feliciano Centurión, Omar Schilliro, Andrés Toro, Los Carpinteros, Allora & Calzadilla, León Ferrari, Jorge Gumier Maier, Jorge Macchi, Mondongo, Anna María Maioilino, Artur Lescher, Waltercio Caldas, Iran do Espirito Santo, Mariano Dal Verme, Ramsés Larzábal, Lucio Dorr, Oscar Bony, Tomás Saraceno, Fabio Kacero, Leo Battistelli, Artur Lescher, Daniel Joglar, Tomás Espina, Víctor Grippo, Ernesto Neto, Alfredo Jaar, Fernando Brizuela, Adriana Bustos, Tomás Espina, Oscar Muñoz, Alejandro Cesarco, Víctor Grippo, Cristina Piffer, Francis Alÿs, José Carlos Martinat, León Ferrari, Miguel Angel Ríos, Fernando Bryce, María Teresa Ponce, Colectivo Sociedad Civil, Matías Duville, Eduardo Stupía, Pablo Siquier, Gachi Hasper, Cristina Schiavi, Mónica Giron y Gabriel Baggio.

Encuentros / Tensiones. Arte latinoamericano contemporáneo. Colección Malba + Comodatos
October 18 – February 10, 2014
Museo de Arte Latinoamericano de Buenos Aires
Buenos Aires, Argentina

Un nuevo recorrido por el arte latinoamericano contemporáneo, a través de una selección de más de 100 obras pertenecientes al acervo del museo y un conjunto de comodatos. Se incluyen pinturas, dibujos, objetos, instalaciones y videos de 60 destacados artistas latinoamericanos.

Encuentros /Tensiones está organizada en siete núcleos, reunidos por afinidades temáticas y formales. Se inicia con una serie de piezas centrales del conceptualismo latinoamericano de fines de los años 60 –que retoma la cronología de la puesta actual de la colección permanente- y llega hasta nuestros días.

En el marco de esta exposición, Malba presenta la incorporación de seis nuevas piezas a su patrimonio de los artistas Ana Mendieta (Cuba) Ernesto Neto (Brasil), Oscar Muñoz (Colombia), Alfredo Hlito (Argentina, en la sala 2 del primer piso), Pablo Suárez (Argentina) y la dupla Jennifer Allora & Guillermo Calzadilla (Puerto Rico), gracias a las compras y donaciones gestionadas por el Comité de Adquisiciones.

Con Encuentros /Tensiones, Malba ratifica su misión de coleccionar, conservar, estudiar y difundir el arte latinoamericano desde principios del siglo XX hasta la actualidad. “Reafirmamos el compromiso del museo con la promoción del arte de la región, a través de la constante ampliación del acervo y de la exhibición y puesta en valor de los principales artistas de la región”, afirma Eduardo F. Costantini, fundador y presidente de Malba.

Encuentros / Tensiones

Los debates actuales sobre el arte contemporáneo ponen en tensión las relaciones entre lo local y lo universal. Hoy se considera obsoleta la noción eurocéntrica del arte y se habla de un quiebre del proyecto de globalización, acentuándose los rasgos de regionalidad cultural. En relación a la producción artística, América Latina es una región con características que la identifican, pero también con culturas locales bien definidas.

El espacio de la exposición fue organizado según ejes conceptuales, puntos de contacto, pero también según tensiones o discordancias entre el inicio del arte contemporáneo latinoamericano y el arte actual, y entre postulados artísticos diversos. Se intenta mostrar las continuidades o herencias, pero también las dislocaciones, controversias, reacciones y cambios.

Núcleos y artistas

Conceptualismos – Mira Schendel, Liliana Porter, Antônio Dias, Luis Camnitzer, Anna Maria Maiolino, Guillermo Deisler, Nelson Leirner, Margarita Paksa, Marta Minujín, Helio Oiticica, Ana Mendieta

Los años 80, el posmodernismo – Guillermo Kuitca, Julio Galán, Marcia Schvartz, Pepe Fernández (José María Fernández), Pablo Suárez, José Bedia Valdés

Neo Dadá – Marcelo Pombo, Alejandra Seeber, Liliana Porter, Liliana Maresca, Sergio Avello, Feliciano Centurión, Omar Schilliro, Andrés Toro, Los Carpinteros, Allora & Calzadilla, León Ferrari, Jorge Gumier Maier, Jorge Macchi, Mondongo

Nuevos minimal – Anna María Maioilino, Artur Lescher, Waltercio Caldas, Iran do Espirito Santo, Mariano Dal Verme, Ramsés Larzábal, Lucio Dorr, Oscar Bony, Tomás Saraceno, Fabio Kacero

Transformación de la materia – Leo Battistelli, Artur Lescher, Daniel Joglar, Tomás Espina, Víctor Grippo, Ernesto Neto

Violencias – Alfredo Jaar, Fernando Brizuela, Adriana Bustos, Tomás Espina, Oscar Muñoz, Alejandro Cesarco, Víctor Grippo

Geopolítica – Cristina Piffer, Francis Alÿs, José Carlos Martinat, León Ferrari, Miguel Angel Ríos, Fernando Bryce, María Teresa Ponce, Colectivo Sociedad Civil

También se exhibirán en la galería del segundo piso piezas de los artistas Matías Duville, Eduardo Stupía, Pablo Siquier, Gachi Hasper, Cristina Schiavi, Mónica Giron y Gabriel Baggio

Emilia Azcárate

Liminal
February 13- March 22, 2014
Henrique Faria Fine Art
New York, NY, USA

The works belonging to the series of the Gohonzon are highly complex, since their composition is articulated as an interpretation both of symbology and inconography on the basis of a structuring of the original Gohonzon. The Gohonzon is considered as equivalent to the Treasure Tower, an allegorical tower described in the Lotus Sutra that emerges from the center of the earth during the ceremony of the air to represent our potential for spiritual illumination or Buddhahood. The artist is especially fascinated by this tower, and combines its allegory with the form in which she recreates the Gohonzon, which is constructed in an abstract fashion out of compositions of circles that are associated and superimposed.

The Practicables, Postales, and the Gohonzon series can be read as an abstract articulation of the intangible process of awakening the Buddha inherent and latent inside us. According to the artist, they lay emphasis on the transit from the Nam-Myoho-Renge-Kyo to reality, from effect to cause and vice versa. All these works share the concept that every moment of every day encloses an eternity of concentrated value. Their singularity lies in their rootedness in the artist’s life, offering us a personal, intimate, and private experience that might be described as profoundly human. These three series are now brought together on the occasion of the exhibition at Henrique Faria Fine Art, the motive for this publication, giving us an opportunity to appreciate this vital conductive thread in the work of Emilia Azcárate.

Extract from Cecilia Fajardo-Hill, “Full Emptiness and / or the Inconclusive Infinite”, in Emilia Azcárate, Liminal, Madrid: Turner, 2014

Pedro Tyler

Galpón del Molino – Pueblo Garzón
February 1 -7, 2014
Galería del Paseo
Punta del Este, Lima, Peru

Refernces to measure are primarily a distraction, the implicit agreement on what is calculated, is an allegory. Imperfection is the artist’s vast territory; imposing to it a form is his challenge. Tyler lets the mind loose mocking accuracy. Pedro uses measuring instruments as a simple and recognizable way to support his inner world.

Artists and collectors: Alair Gomes, Alex Carvalho, Alexandre da Cunha, Alexandre Maïa, André Renaud, Angelo Venosa, Artur Kjá, Ayrson Heráclito, Beatriz Pimenta, Bete Esteves, Chico Fernandes, Chinese Cookie Poets, Claudia Hersz, Coletivo Praça XV, Crocco + Ogro, Daniela Seixas, Danielle Fonseca, Dario Escobar, Dea Lellis, Demian Jacob, Coleção Eduardo Yndyo Tassara, Eugênio Latour, Fabiano Rodrigues, Fábio Birita, Fabio Flaks, Fábio Tremonte, Gary Hill, Guga Ferraz e Marcio Arqueiro, Guilherme Peters, Guilherme Teixeira, Hannes Heinrich e Raquel Schembri, Igor Vidor, James Oatway, Jeffrey Vallance, Jonas Arrabal, Laura Andreato, Marcos Bonisson, Nelson Leirner, Nena Balthar, Olafur Eliasson, Oriana Duarte, Raphael Zarka, Coleção Ricardo Fainziliber, Coleção Rico de Souza, Russell Crotty, Sesper, Shaun Gladwell, Silvana Mello, SKATEISTAN / Rhianon Bader, Steve Miller, Tiago Carneiro da Cunha, Tito Rosemberg, Tracey Moffatt, Virgilio Lopes Neto, Wilbor, Zanini de Zanine

Slide <Surf Skate>
Curator: Raphael Fonseca
Januray 14 – April 27, 2014
Museu de Arte do Rio
Rio de Janeiro, Brazil

In a 1971 newspaper one sees a man with legs flexed and trunk bent forward. Under his body, a surfboard and sea foam. “In sliding, a sensation of vertigo”, reads the caption that accompanies the photo. The title of the piece? “And the waves were mastered.” If we leaf through the pages of other publications from the same period, we’ll also come across attempts to master the geometry of concrete. Skateboarding on the handrails of commercial buildings, in private condominiums and in empty pools, seen as potential spaces for new moves.

Surfing and skating are the North and South of this exhibit. Both sports are viewed from a historical perspective, but without the pretense of being exhaustive. Information and images were selected from a temporal arch that goes from 1778, when the first drawings were made of native Hawaiians surfing, to public discussions in Brazil on the role of these activities.

It’s worth reflecting on the artistic dimension raised by these different ways of exploring space. Would it be possible to affirm that some artists have such a strong existential relation with surfing or skating to the point of making them central elements in their artistic language? It certainly looks that way.

Aside from situations in which the dance of movements appears in its literalness, other artistic propositions treat visuality in a more oblique manner; board and deck can be seen as sculptural forms, just as the waves of the sea and the waiting are flanked by the loud spread of papers pasted over the surfaces of the cities. The gaze can also be cast on the one who rides: who are these skaters and surfers? Is there space for the multicultural representation of archetypes? How to interpret the many self-portraits in dialogue here?

It’s importante to recall, in conclusion, a few words spoken by the skater and collector Eduardo Yndyo: “Everything that slides mesmerizes. If the sliding can be controlled, there’s passion.” Let’s be fascinated, therefore, by these stories and try to control them in our memories until we experience the only certainty of the slide: the wipeout.

Artists: Adel Abdessmed, George Afedzi Hughes, Gustavo Artigas, Chris Beas, Mark Bradford, Miguel Calderon, Mary Ellen Carroll, Carolyn Castaño, Petra Cortright, Stephen Dean, Dario Escobar, Leo Fitzmaurice, Generic Art Solutions, Douglas Gordon, Andreas Gursky, Hassan Hajjaj, Lyle Ashton Harris, Satch Hoyt, Nelson Leirner, Nery Gabriel Lemus, Alon Levin, Amitis Motevalli, Antoni Muntadas, Oscar Murillo, Philippe Parreno, Paul Pfeiffer, Robin Rhode, Ana Serrano, Dewey Tafoya, Andy Warhol, Wendy White, Kehinde Wiley

Fútbol: The Beautiful Game
February 2 – July 20, 2014
LACMA
Los Angeles, CA, USA

The exhibition examines football—nicknamed “the beautiful game” by one sports commentator—and its signficance in societies around the world. As a subject, football touches on issues of nationalism and identity, globalism and mass spectacle, as well as the common human experience shared by spectators from many cultures. Celebrating the sport on the eve of the 2014 World Cup in Brazil, the exhibition includes approximately thirty artists from around the world who work in video, photography, painting and sculpture. Two room-sized video installations—Zidane: A 21st Century Portrait, by the artists Philippe Parreno and Douglas Gordon, and Volta by Stephen Dean—anchor the exhibition. Other works by artists including Miguel Calderon (whose 2004 video Mexico v. Brasil represents a 17-0 victory for Mexico), Robin Rhode, Kehinde Wiley, and Andy Warhol provide a sense of the miraculous possibilities of the sport as universal conversation piece.