Happenings

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.

Alexander Apóstol: Contrato Colectivo Cromosaturado

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Alexander Apóstol
Contrato Colectivo Cromosaturado
January 25 – March 8, 2014
Mor-Charpentier
Paris, France

Alexander Apóstol (1969) was born in Barquisimeto, Venezuela. Currently lives and works between Caracas and Madrid.

His work has been featured in numerous major solo and group exhibitions—in Spain, at the Museo de Arte Contemporáneo de Castilla y León, the Centro Galego de Arte Contemporáneo, the Casa de América, the Palau de La Virreina, and the Fundación Telefónica; in Venezuela, at the Museo de Arte Contemporáneo Sofía Imber, the Sala Mendoza, and the Museo Alejandro Otero; and in the United States at the Museo del Barrio, and the Art Museum of the Americas Society. His work has been presented in museums throughout South America, including the Museo de Arte de Lima, Peru; the Centro Cultural Recoleta and the Centro Cultural San Martín in Argentina; the Centro Nacional de las Artes and the Centro de la Imagen in Mexico; and the Museo de Arte y Diseño Contemporáneo de Costa Rica, among other venues.

Apóstol’s work has been represented in many international art fairs and events, including the Prague Biennial (2003 and 2005), the Cuenca Biennial in Ecuador (2004), the Istanbul Biennial (2003), Printemps de Septembre in Toulouse, France (2003), the São Paulo Biennial (2002), PhotoEspaña in Madrid (2003), FotoFest in Houston, U.S.A. (2002), the Noorderlicht Photofestival in Groningen, the Netherlands (2002), the Havana Biennial (1997), and the Bienal de Barro de América in Caracas (2001).

Apóstol’s work has been featured in a variety of books, among them: Vitamin PH (Phaidon, 2006), Art Photography Now (Thames and Hudson, 2005), Blink (Phaidon, 2002), Digital Art (Thames and Hudson, 2003), Mapas Abiertos (Lunwerg, 2003), Image and Memory: Photography from Latin America (University of Texas Press, 1997). Articles discussing his work have appeared in magazines and newpapers such as Aperture, Art Nexus, Beaux Arts Magazine, Artforum, European Photography, Art in America, Lápiz, Atlantica, Extracamara, and the New York Times. In 2004, Apóstol was the recipient of the first prize at the VIII International Cuenca Biennial in Ecuador. He was an artist in residence at the Casa de America, Madrid, during 2002. In 2003, Apóstol was awarded Spain’s Endesa Scholarship for Contemporary Art.

Richard Garet: BioDerivas

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Artists: Richard Garet, Barbara Held and Yapci Ramos

BioDerivas
December 13, 2013 – February 14, 2014
Museo de la Naturaleza y el Hombre, Tenerife, Spain

The common link between the first Cabinet of Curiosities of the Renaissance, the Natural History of the seventeenth century and modern research today is the exhibition of objects kept imploring the public to enjoy the experience of the new. The proposal presented to the creators BioDerivas Richard Garet, Barbara Held and Yapci Ramos is closely related to the mission of the museum. Here, in their eagerness to see the world around them, they use technology to capture and display images and sounds that allow re-contextualize our own perception of the world.

The work of Garet, Held and Ramos, both individually and as a whole, highlights the importance of perception through careful listening, focused look and the complex process of human perception, creating a micro-habitat in the museum active exploration rewards and offers thoughtful contemplation for the understanding of the world around us through the senses of sight and hearing.

BioDerivas contrasts the different and unknown to the common, everyday, expanding, thus our knowledge of sound and image within our ecosystem and across the boundaries of language to help understand the complexity of the natural environment.

Richard Garet, Adán Vallecillo, Sergio Vega & Luis Roldán: Biennial of Contemporary Art of Cartagena de Indias

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The First International Biennial of Contemporary Art of Cartagena de Indias
#1: Cartagena
February 7–April 7, 2014
Cartagena de Indias, Colombia

#1: Cartagena is an issue-oriented project with works spread throughout the historic district. #1: Cartagena reflects on the cultural traditions of the people, the history and the deep connections to the colonial past, as well as encompassing literature, cinema, music, dance and crafts. The Biennial focuses on the idea of presence in its multitude of meanings, conveying how the past continues with us in the present. Structured as a hypertext, the macro project of the Biennial proposes a discontinuous journey through nine locations, each one presenting a multiplicity of narratives and memories. This structure also promotes the re-signification of the city as a monument. The viewer decides their own itinerary, making links from one space to another, stopping here and there to look at the city-monuments, and endowing their chosen circuit with the power, excitement and soul of the city. This personal journey gives meaning to the macro text: the Biennial and its exhibitions, site-specific projects, performances, film program and lectures.

Founded in 1533, Cartagena de Indias is a colonial town located in the center of the northeastern coast of Colombia. Surrounded by the Caribbean Sea, Cartagena has received a unique and interesting confluence of influences over its 500-year history that include pre-Columbian native Aboriginal, Spanish, African and Arab cultures. It is rich in multicultural folklore, and widely considered to be one of the most beautiful cities in the Caribbean.

The Biennial´s Artistic Director is international curator and writer Berta Sichel. For this project, she worked with three co-curators: Bisi Silva, the Center for Contemporary Art, Lagos; Barbara Krulik, independent curator; and Paul Willemsen, film scholar. She also consulted with critics and other curators in the formation of the Biennial.

#1: Cartagenainternational exhibition
Suzanne Anker, Eduardo Abaroa, Helena Almeida, Julieta Aranda, Maria Jose Arjona, Charles Atlas, Radcliffe Bailey, Rosa Barba, Perry Bard, Yto Barrada, Lothar Baumgarten, Terry Berkowitz, Janet Biggs, Anna Boghiguian, Francois Bucher, Trisha Brown, Fernando Bryce, Anna Camner, Peter Campus, Nuria Carrasco, Nick Cave, Willie Cole, Bill Culvert, Elena del Rivero, William Engelen, Nezaket Ekici, Richard Garet, Ximena Garrido-Leca, Justine Graham, Asta Gröting, Federico Guzman, Romuald Hazoume, Diango Hernandez, Kirsten Heshusius, Sheila Hicks, Maria Teresa Hincapie, Candida Höfer, Katie Holten, Shirazeh Houshiary, Satch Hoyt, Marine Hugonnier, Jesper Just, Clemencia Labin, Dana Levy, Ligorano/Reese, Christiane Löhr, Inés Lombardi, Oswaldo Maciá, Lucía Madriz, Marcellvs L., Jenny Marketou, Billy Martin, Julie Mehretu, Zwelethu Methethwa, Marta Minujín, Guillermo Mora, Carlos Motta, Beth Moyses, Maria Nepomuceno, Lorraine O’Grady, Emeka Ogboh, Uche Opka-Iroha, Kristin Oppenheim, Trevor Paglen, Guillermo Paneque, Periferica, João Penalva, Libia Posada, Freya Powell, Khalil Rabah, Jessica Rankin, Luis Fernando Ramirez, Alvaro Restrepo and El Colegio de Cuerpo, Steven Roden, Lotty Rosenfeld, Ruby Rumié, Eduardo Sarabia, Carlos Schwartz, Teresa Serrano, Hassan Sharif, Yinka Shonibare, Kimsooja, Philip Taaffe, Tallur L.N., Alison Elizabeth Taylor, Mickalene Thomas, Ana Torfs, Adán Vallecillo, Raúl Gómez Valverde, Sergio Vega, Anton Vidokle, Leo Villareal, Bill Viola, Stephen Vitiello, Gijs van Bon, Svetlin Velchev, Friedemann von Stockhausen, Pawl Wojtaski, Ming Wong, Betty Woodman, Yin Xiuzhen, Suda Yoshihiro, Dolores Zinny and Juan Maidagan

Imperfect Idler or When Things DisappearColombian artists exhibition
Felipe Arturo, Jaime Avila, Andrés Felipe Castaño, Colectivo Octavo Plastico (Roberto Carlos Pérez, Ana Victoria Padilla, and Emanuel Julio Pinilla), Nicolás Consuegra, Wilson Díaz, Julián Dupont, Juan Manuel Echavarría, Clemencia Echeverri, Adrián Gaitán, Elías Heim, Leonardo Herrera, Juan David Laserna, Verónica Lehner, Diego Mendoza, Ana Maria Millan, Óscar Muñoz, Oscar Murillo, José Olano, Juan Obando, Bernardo Ortiz, Juan Peláez, María Fernanda Plata, Luis Roldan, Miguel Angel Rojas, Maria Isabel Rueda, Wilger Sotelo, Paola Tafur, Pablo Gomez Uribe

Jaime Tarazona: Gestos Urbanos | Urban Gestures

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Artists: Juan Fernando Herrán, Kevin Simón Mancera, and Jaime Tarazona

Gestos Urbanos | Urban Gestures
January 16 – February 22, 2014
Johannes Vogt
NY, USA

Johannes Vogt Gallery is pleased to present Gestos Urbanos | Urban Gestures, featuring works by three Colombian artists, Juan Fernando Herrán, Kevin Simón Mancera, and Jaime Tarazona. The works brought together for this show offer a range of approaches, from drawing to sculpture to overpainted etchings. Each artist alludes to an overlaying of historical and contemporary urbanism as a structure that binds inhabitants to territories, be it through architecture, public spaces, or local news.

Jaime Tarazona (b. 1973) presents the viewer with a series of interventions into historic etchings of scenic landscapes. Abstractions of seemingly impossible modernist structures hover over antique images of continental Europe creating a beautiful and subtle bond with the grounding content. Tarazona addresses notions of historical progress alongside the ultimate failure of Latin American modernism. His architectonic proposals exist somewhere between seriality and the original and their status as potentials squarely locates them at the collapse of art, architecture and design.

Richard Garet: f(glitch)

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Artists: Richard Garet, Robert Henke, Emma McNally, David Linton, Phoenix Perry, Bethany Shorb

f(glitch)
February 10th – March 29th
Simon Center for Geometry and Physics
Stony Brook University, Stony Brook, NY, USA

Noise. Error. Glitch.

The ideal held up for digital technology is frictionless functionality. But systems have bugs, communication is riddled with distortion and channels are often noisy. Error is not a rare occurrence, but a given. Glitch, broadly defined, introduces unintentional events, artifacts, and interruptions. It can be visual or sonic; it can be imperceptible at ordinary levels. There are glitches in programming, in communication, in architecture and infrastructure. But these errors can be illuminating, creative and productive. Glitch can make our systems stronger and more robust. Distortion can be aesthetically vibrant and revealing.Glitch reminds us that noise can be something to be embraced rather than eradicated and that the unexpected is often unexpectedly useful.
 
(f) Glitch, or The Function of Glitch, is the fourth in a series of events produced by cDACT that interrogate central concepts of digital culture—sound, space, data, and now error and noise.Glitches are a glimpse into the hidden world of technology, exposing the seams in our digital infrastructure.