Abstraction in Action 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 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 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 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 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 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/

unnamed (3)

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 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 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 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 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 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 Emilia Azcárate, Marta Chilindrón, Diana de Solares & Mariela Scafati: Folding: Line, Space & Body https://abstractioninaction.com/happenings/emilia-azcarate-marta-chilindron-diana-de-solares-mariela-scafati-folding-line-space-body/


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Aimé Iglesias Lukin

August 18, 2015 Gabriel Sierra & Clarissa Tossin: MetaModern https://abstractioninaction.com/happenings/gabriel-sierra-clarissa-tossin-metamodern/


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

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

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

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

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

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

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

August 12, 2015 Dario Escobar: Summer Hang https://abstractioninaction.com/happenings/dario-escobar-summer-hang/


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

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

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

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

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

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

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

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

August 12, 2015 Jorge Pedro Núñez: Fantasy https://abstractioninaction.com/happenings/jorge-pedro-nunez-fantasy/


Artist: Jorge Pedro Núñez

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

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

Manuel Sagade

August 6, 2015 Barbarita Cardozo: Tigersprung https://abstractioninaction.com/happenings/barbarita-cardozo-tigersprung-2/


Artist: Barbarita Cardozo

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

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

August 6, 2015 Emilia Azcárate, Sigfredo Chacón, Emilio Chapela, Osvaldo Romberg, Eduardo Santiere & Horacio Zabala: Grafías y ecuaciones https://abstractioninaction.com/happenings/emilia-azcarate-sigfredo-chacon-emilio-chapela-osvaldo-romberg-eduardo-santiere-horacio-zabala-grafias-y-ecuaciones/


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

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

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

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

Gonzalo Aguilar

August 5, 2015 José Dávila & Ricardo Rendón: In Girum Imus Nocte et Consumimur Igni https://abstractioninaction.com/happenings/jose-davila-ricardo-rendon-girum-imus-nocte-et-consumimur-igni/


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

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

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

July 23, 2015 Ivan Navarro: Storylines https://abstractioninaction.com/happenings/ivan-navarro-storylines/


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

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

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.

July 21, 2015 Marcius Galan: Inmaterialidade https://abstractioninaction.com/happenings/marcius-galan-inmaterialidade/


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.

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.

July 21, 2015 Lucia Koch: Solo show https://abstractioninaction.com/happenings/lucia-koch-solo-show/


Artist: Lucia Koch

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

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

Lucia Koch (b. 1966, Porto Alegre, Brazil) lives and works in São Paulo, Brazil. She has recently participated inProspect 3, New Orleans, LA (2015), curated by Franklin Sirmans; Cruzamentos: Contemporary Art in Brazil, Wexner Center for the Arts, Columbus, OH (2014); A Sense of Place, Pier 24 Photography, San Francisco, CA (2014); and Re-emerge: Towards a New Cultural Cartography, 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.

July 16, 2015 Barbarita Cardozo: Tigersprung https://abstractioninaction.com/happenings/barbarita-cardozo-tigersprung/


Artist: Barbarita Cardozo

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

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

Christopher Rollason

July 16, 2015 Gabriel de la Mora: Tres pies: el enigma de la sucesión. Envejecimiento y retiro https://abstractioninaction.com/happenings/gabriel-de-la-mora-tres-pies-el-enigma-de-la-sucesion-envejecimiento-y-retiro/


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

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

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


Foto cortesía de Gabriel de la Mora

July 13, 2015 Guido Ignatti: Sistemas de recuperación de la catástrofe https://abstractioninaction.com/happenings/guido-ignatti-sistemas-de-recuperacion-de-la-catastrofe/


Artist: Guido Ignatti

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

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


July 13, 2015 Jaime Ruiz Otis: Coordenadas/Frecuencias/Fisuras https://abstractioninaction.com/happenings/jaime-ruiz-otis-coordenadasfrecuenciasfisuras/

07.Avoid direct exposure to beam copy

Artist: Jaime Ruiz Otis.

July 11 – August 22, 2015
Arróniz Arte Contemporáneo
Mexico City, Mexico

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

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

July 9, 2015 Marcius Galan: Empty House Casa Vazia https://abstractioninaction.com/happenings/marcius-galan-empty-house-casa-vazia/


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

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

Empty House Casa Vazia is a sculpture exhibition featuring a cross-generational group of Brazilian artists whose works engage the legacy of 1950s Neoconcretism. Challenging the rationalism and universal objectivity of early abstraction, the artists associated with this movement sought a means of expression beyond an object’s immutable formal properties, and embraced a phenomenological, at times participatory, approach in their efforts to expand the vocabulary of sculpture.Empty House Casa Vazia does not aim to tell a genealogical story. Rather, the exhibition forefronts the experiential here-and-now of the works presented, as well as sets the stage for diverse dialogues between iconic historical works and recent statements in contemporary sculpture. These conceptually rigorous and sometimes unassuming works offer critical insight into questions of materiality, tactility, and space. They are drawn together by a shared artistic language that emphasizes an economy of means and, most importantly, by a poetic, often playful sensibility.
July 9, 2015 Gabriel Acevedo Velarde: Pasillo de documentos e imágenes promocionales https://abstractioninaction.com/happenings/gabriel-acevedo-velarde-solo-show/


Artist: Gabriel Acevedo Velarde.

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

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

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

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

July 8, 2015 Iván Navarro & Ishmael Randall Weeks: New Ways of Seeing https://abstractioninaction.com/happenings/ivan-navarro-ishmael-randall-weeks-new-ways-seeing/

Screenshot 2015-07-01 12.33.02

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

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

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

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

July 8, 2015 Ricardo Alcaide: One Phenomenon Among Others https://abstractioninaction.com/happenings/ricardo-alcaide-one-phenomenon-among-others/


Artist: Ricardo Alcaide

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

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

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

July 6, 2015 Bernardo Ortiz: 180615 https://abstractioninaction.com/happenings/bernardo-ortiz-180615/


Artist: Bernardo Ortiz

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

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

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

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

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

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

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

July 6, 2015 Marcolina Dipierro, Bruno Dubner, Guido Ignatti, Julián León Camargo & Carola Zech: About Line https://abstractioninaction.com/happenings/marcolina-dipierro-bruno-dubner-guido-ignatti-julian-leon-camargo-carola-zech-line/


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

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

Group show.

July 1, 2015 Francisco Ugarte: Paisaje Sugerido https://abstractioninaction.com/happenings/francisco-ugarte-paisaje-sugerido/


Artist: Francisco Ugarte

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

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

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


June 26, 2015 Rosario López Parra: Los Acueductos https://abstractioninaction.com/happenings/rosario-lopez-parra-los-acueductos/


Artist: Rosario López Parra.

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

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


June 26, 2015 Marcolina Dipierro: Acuerdo Formal https://abstractioninaction.com/happenings/marcolina-dipierro-acuerdo-formal/


Artists: Marcolina Dipierro and María Carballo.

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

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

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

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

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

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

-Claudia Cortinez

June 26, 2015 Graciela Hasper, Fernanda Laguna, José Luis Landet, Adriana Minoliti, Mariela Scafati, Pablo Siquier & Eduardo Stupía: My Buenos Aires https://abstractioninaction.com/happenings/graciela-hasper-fernanda-laguna-jose-luis-landet-adriana-minoliti-mariela-scafati-pablo-siquier-eduardo-stupia-buenos-aires/


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

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

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

Buenos Aires, a mystery reinvented

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

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

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

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

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

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

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

An artistic community that stand together

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

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

A compelling movement

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

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

Cultural Policy

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

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

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

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

My Buenos Aires, the exhibition

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

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

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

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

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

June 23, 2015 Dario Escobar: En otro orden / Another Order https://abstractioninaction.com/happenings/dario-escobar-en-otro-orden-another-order/


Artist: Dario Escobar

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

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

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

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

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

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

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

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

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

(1) Kenneth Baker, Minimalism: Art of Circumstance (Abeville Modern Art Movements). New York: Abeville Press, 1988. p9.
(2) Ibid. p58.
(3) Ibid. p58.
(4) Ibid. p34.
June 23, 2015 Alice Quaresma: Além (Beyond) https://abstractioninaction.com/happenings/alice-quaresma-alem-beyond/


Artist: Alice Quaresma

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

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

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

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

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

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

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

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

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

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

Mario Gioia, June 2015

  1. OITICICA FILHO, Cesar, COHN, Sergio, VIEIRA, Ingrid (org.). Encontros – Hélio Oiticica. Azougue, Rio de Janeiro, 2009, p. 25.
  2. FABIANI, Francesca, GASPARINI, Laura, SERGIO, Giuliano, NOGUEIRA, Thyago (org.). Luigi Ghirri – Pensar por Imagens. Instituto Moreira Salles, São Paulo, 2013, p. 68
June 18, 2015 Omar Barquet, Mauro Giaconi & José Luis Landet: Amplificar https://abstractioninaction.com/happenings/omar-barquet-mauro-giaconi-jose-luis-landet-amplificar/


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

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

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

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

June 15, 2015 Felipe Mujica: A reherasal by Felipe Mujica and Johanna Unzueta https://abstractioninaction.com/happenings/felipe-mujica-reherasal-felipe-mujica-johanna-unzueta/


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

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

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

June 10, 2015 Ricardo Alcaide, Darío Escobar & Gabriel de la Mora: Líneas de la Mano https://abstractioninaction.com/happenings/ricardo-alcaide-dario-escobar-gabriel-de-la-mora-lineas-de-la-mano/


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

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

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

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

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

June 5, 2015 Ana Belén Cantoni https://abstractioninaction.com/projects/ana-belen-cantoni-projects/

Ana Belén Cantoni
The Soft Gesture

The Wooden Floor
Santa Ana, California

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

Download the catalogue here.

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

Descarga el catálogo aquí.

June 2, 2015 Richard Garet: Sounds of Times Square https://abstractioninaction.com/happenings/richard-garet-sounds-times-square/


Artist: Richard Garet

Sounds of Times Square
June 1 – 30, 2015
Times Square Arts

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

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

Click here to see video

Screenshot 2015-05-26 16.16.04

More info here

May 29, 2015 Clarissa Tossin: How does it travel? https://abstractioninaction.com/happenings/clarissa-tossin-travel/


Artist: Clarissa Tossin

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

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

May 28, 2015 Gabriel Sierra: el título de la exposición cambia a cada hora https://abstractioninaction.com/happenings/gabriel-sierra-el-titulo-de-la-exposicion-cambia-cada-hora/


Artist: Gabriel Sierra

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

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

10:00 am    Monday Impressions. 

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

12:00 ­pm    Smells Like 100 Years Old.

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

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

3:00 pm     An Actual Location for This Moment.

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

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

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

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

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

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

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

May 27, 2015 Chiara Banfi: As Margens dos Mares https://abstractioninaction.com/happenings/chiara-banfi-margens-dos-mares/


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

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

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

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

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

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

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

May 27, 2015 Barbarita Cardozo: Remembranza https://abstractioninaction.com/happenings/barbarita-cardozo-remembranza/


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

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

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

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

May 26, 2015 Guido Ignatti: Bonzo https://abstractioninaction.com/happenings/guido-ignatti-bonzo/


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

May 16, 2015
Casa Uno
Buenos Aires, Argentina

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

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

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

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

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

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

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

May 26, 2015 Chiara Banfi: Fiume achates https://abstractioninaction.com/happenings/chiara-banfi-fiume-achates/


Artist: Chiara Banfi

Fiume Achates
May 14 – June 13, 2015
Silvia Cintra + Box4
Rio de Janeiro, Brazil

Em sua terceira exposição individual na galeria, Chiara irá apresentar dois novos trabalhos. Uma grande instalação feita com pedras de rios e uma série de treze desenhos chamada “Achates”, com pedaços de Ágata incrustadas em partituras musicais. O título da exposição vem justamente do nome de um rio na Sicília, sul da Itália, onde foram encontradas as primeiras pedras de Ágata.

Como toda a questão da obra de Chiara se baseia nas relações possíveis entre música e arte, a artista chegou nas ágatas quando estava pesquisando equipamentos de som e vitrolas. A Ágata ė na realidade um tipo de quartzo, que ė usado nesses equipamentos como um estabilizador. A partir disso, Chiara coloca esse material nas partituras, como se cada mineral tivesse sua própria frequência, vibração e consequentemente som.

Já na instalação “Afluente”, que irá ocupar metade do espaço da galeria, a artista trabalha com pedras de rio compradas em lojas de paisagismo. Essas pedras são cortadas e Chiara cabeia todas com cabos RCA, que foram desenvolvidos na década de 40 para ligar vitrolas mono a amplificadores.

Embora não se trate de uma instalação sonora, fica clara uma sugestão, a memória do som dos rios que essas pedras poderiam carregar.

No dia 23 de maio, durante o CIGA (Circuito de Galerias promovido pela feira Art Rio), Chiara irá fazer na galeria um show com os músicos Domenico Lancellotti e Bruno de Lullo. Juntos eles formam a banda “Dissonambulos” que tem como principal objetivo explorar as diversas sonoridades que saem das esculturas sonoras criadas pela artista, permeando a apresentação com algumas canções que surgem e desaparecem nas ondas do som.

Image: Fiume 11, 2015, from the series Achates, 48x64x5cm, Agata, papel pautado e freijó, unique piece.
May 20, 2015 Marcius Galan: Akakor https://abstractioninaction.com/happenings/marcius-galan-akakor/

Neoarte.net / Soluções fotográficas para o mercado de arte.

Artists: Agnieszka Kurant, David Lamelas, Elena Damiani, Felipe Cohen, Felipe Ehrenberg, Francis Alÿs, Frank & Robbert, Robbert & Frank, João Maria Gusmão + Pedro Paiva, John Smith, Luis Ospina, Marcius Galan, Martin Creed, Nelson Leirner, Pilvi Takala, Raphael Hefti, Stefan Burger, and many more.

Curated by Kiki Mazzucchelli and Maria do Carmo M.P. de Pontes
April 9 – May 23, 2015
Baro Galeria
Sao Paulo, Brazil

The exhibition Akakor looks at acts of charlatanism within the artistic realm.

Image: Installation view
May 20, 2015 Edgar Guzmanruiz: Chiaroscuro https://abstractioninaction.com/happenings/edgar-guzmanruiz-chiaroscuro/


Artist: Edgar Guzmanruiz

May 16 – June 13, 2015
Galerie Weisser Elefant
Berlin, Germany

Für diese Ausstellung fotografiert der aus Kolumbien stammende Edgar Guzmanruiz Personen, die nur von einem Computer-Bildschirm beleuchtet werden, ebenso Stilleben im Licht von iPods. Mit ihren Hell-Dunkel-Effekten sind die Bilder von geradezu barocker Farbigkeit und Stimmung. Und auf diese kommt es dem Künstler vor allem an, als Kontrast zu den modernen Lichtquellen und deren Funktion als Dauerreferenz einer nächsten Generation Ego.

Das Zentrum der Ausstellung bildet ein „Teich“, in dem sich Narziss spiegelt und in sein eigenes Bild verliebt. So von Leidenschaft verzehrt, stirbt er und verwandelt sich in die Blume, die seinen Namen trägt. Damit führt Guzmanruiz immerhin eine Tradition fort, die seit der Renaissance von Künstlern wie Tintoretto, Caravaggio, Poussin und Olaf Nicolai geprägt wurde.

Letzterem kommt die Arbeit insofern nahe, als man sich selbst im künstlichen Teich spiegeln kann, doch besteht dieser aktualisiert aus Flachbildschirmen. Damit thematisiert er die Erkenntnis ganz direkt, dass wir uns verdoppeln in dem Augenblick, in dem wir uns verlieren. Eine Beobachtung neben dem Fotografieren der Porträts erweist, dass jüngere Menschen nicht mehr so lange still sitzen können, bis ein Bild von ihnen erstellt ist. Obwohl sie sich selbst betrachten, sind sie nur an flüchtigen Effekten interessiert.

Dies führt uns – über den Mythos von Narziss hinaus – zu Aktaion, der auf der Jagd nach Wild der Diana begegnet, badend in einem Weiher, und nackt. Zur Strafe für den Frevel verwandelt diese ihn in einen Hirsch. Und der wird sodann gerissen, ausgerechnet von Aktaions eigenen Hunden. Das Schicksal wendet sich gegen den, der es fordert ohne Konsequenzen zu bedenken. In Giodarno Bruno’s Buch der „Heroischen Leidenschaften“ sind die letzten Gedanken des Helden: „So spanne hoch ich die Gedanken jetzt / Zum Ziel. Allein sie wenden sich zurücke / Und reißen mich mit scharfem Biss in Stücke“.

Die Hunde des Aktaion können wir verstehen als die Geister, die man zur Hilfe rief und die doch ins Verderben führen: „und ohne Hoffnung kehrt ihr mir zurück“. – Wobei wir oben auch für den „scharfen Biss“ etwas willkürlich „Blick“ einsetzen könnten. Denn dies ist das Thema dieser Ausstellung: der Blick, der von sich selbst abgewendet überhaupt wieder etwas wie Hoffnung oder zumindest Ausblick eröffnen kann. Alle Technik, die unser Leben erleichtern soll, bleibt nur so weit sinnvoll, als sie humanen Zwecken, ja sagen wir es: Idealen dient.

Ralf Bartholomäus

May 19, 2015 Amadeo Azar, Silvia Gurfein, Ana Tiscornia & Guido Ignatti: Selección de trastienda https://abstractioninaction.com/happenings/amadeo-azar-silvia-gurfein-ana-tiscornia-guido-ignatti-seleccion-de-trastienda/

Screenshot 2015-05-06 15.44.53

Artists: Marcelo Grosman, Sofía Bohtlingk y Alfredo Londaibere, Amadeo Azar, Julián Terán, Guido Ignatti, Silva Gurfein, Lux Lindner, Nicolás Gullotta, Ana Tiscornia and Tiziana Pierri.

Selección de trastienda
May 9 – June 12, 2015
Nora Fisch Arte Contemporáneo
Buenos Aires, Argentina

Group show, selected artists from gallery.

May 19, 2015 Omar Barquet, Pablo Rasgado & Omar Rodríguez-Graham: Pararrayos https://abstractioninaction.com/happenings/omar-barquet-pablo-rasgado-omar-rodriguez-graham-pararrayos/


Artists: Omar Barquet, Pablo Rasgado, Omar Rodríguez-Graham, Javier Areán, Veronica Bapé, Miguel Angel Cordera, Taka Fernandez, Agustín González, Jacqueline Lozano, Javier Pérez, Eric Pérez, Patricl Petterson.

Curated by Christian Barragán
May 27 – July 2, 2015
Embajada de México en Alemania
Berlin, Germany

Group show with contemporary Mexican painters.

May 19, 2015 Cipriano Martínez: Failed Geometry https://abstractioninaction.com/happenings/cipriano-martinez-failed-geometry/


Artist: Cipriano Martínez

Failed Geometry
February 15 – May, 2015
Viloria Blanco Gallery
Miami, FL, USA

Solo exhibition by Cipriano Martínez.

May 19, 2015 Pablo Rasgado: Ellipsis https://abstractioninaction.com/happenings/pablo-rasgado-ellipsis/


Artist: Pablo Rasgado

May 9 – June 6, 2015
Steve Turner Contemporary
Los Angeles, CA, USA

The show features five bodies of work from the last seven years. Rasgado’s works deal with such natural phenomena as gravity, light and energy along with their attendant results—time and ephemerality. He uses a variety of familiar materials—drywall, glass, tape, florescent bulbs, dirt, spiderwebs—to focus on that which is just beyond ordinary perception. In a sense, each work is a clock, recording decay and change over time. Deceptively simple, the works constitute a compendium of phenomena just beyond the grasp of material experience.

Pablo Rasgado (b. Zapopan, Jalisco, Mexico, 1984) has had solo exhibitions at Steve Turner, Los Angeles (2011, 2012 & 2014); Arratia Beer, Berlin (2012 & 2014); OMR, Mexico City (2013); and Museo Experimental El Eco, Mexico City (2011). He has also had work in group exhibitions at CAM Raleigh (2014); The Los Angeles County Museum of Art (2013); Ex Magazzini di San Cassian, Art Collateral Events, 55th Venice Biennale (2013); Herzlya Museum of Contemporary Art, Israel (2013); Museo Carrillo Gil, Mexico City (2012); and Museum of Modern Art, Mexico City (2010). His work is owned by public collections including Wattis Foundation, San Francisco; Perez Art Museum, Miami; Jumex Collection, Mexico City; and The Los Angeles County Museum of Art. He lives and works in Mexico City.

May 8, 2015 Felipe Mujica & Jorge de León: Tocar Madera https://abstractioninaction.com/happenings/felipe-mujica-jorge-de-leon-tocar-madera/


Artists: Akira Ikezoe, Alberto Rodríguez Collía y Andrea Mármol, Buró de Intervenciones Públicas, Elisabeth Wild, Federico Herrero, Felipe Mujica, Jessica Kairé, Jesús “Bubu” Negrón, Johanna Unzueta, Jorge De León, Melvin Laz, Naufus Ramírez-Figueroa, Radamés “Juni” Figueroa, Regina José Galindo, Stefan Benchoam.

Tocar Madera
April 25, 2015
El Aserradero / Proyectos Ultravioleta
Guatemala City, Guatemala

After more than five and a half years and countless collaborations, exhibitions, presentations, excursions, concerts, workshops, lectures, derives, debates, talks, screenings, discussions, performances, bike rides, fairs, encounters and legendary parties, Proyectos Ultravioleta is moving to its new space in zone one of Guatemala City.

This first exhibition in our new home showcases the works of the 15 artists represented by the gallery. In order to mark the occasion, we invite everyone to join us, chase away the bad omens, commend ourselves to favourable luck, and touch wood.

Additionally, there will be amazing burgers by Querido Combo, finger licking Caribbean fusions by Morisoñando, and Guatemala’s finest coffee brewed by Rojocerezo.

Those arriving on their bikes can park inside our lot. Those who would prefer to come by car can park around the corner, on 11 ave (between 20 and 21st street) in front of Agrochina.

So please help us spread the word, and come celebrate with us!


Después de más de cinco años y medio, y un sin fin de colaboraciones, exposiciones, presentaciones, excursiones, conciertos, talleres, charlas, derivas, debates, lecturas, proyecciones, discusiones, performances, paseos en bici, ferias, encuentros y fiestas legendarias, Proyectos Ultravioleta se traslada a su nuevo espacio en la zona uno de la Ciudad de Guatemala.

Esta primera exposición en la nueva casa de UV presenta trabajos de los 15 artistas representados por la galería. Para celebrar dicha ocasión, los invitamos a todos para acompañarnos a ahuyentar los malos presagios, encomendarnos a la buena suerte y tocar madera.

Además, habrá deliciosas burgers a cargo de Querido Combo, comida caribeña de gran sazón por Morisoñando, y el mejor café del territorio guatemalteco con Rojocerezo.

Los que lleguen en bicicleta podrán estacionar adentro. Y los que prefieran el carro, pueden parquear en el estacionamiento de a la vuelta, sobre la 11 ave (entre la 20 y 21 calle) frente al Agrochina.

Así que rieguen la bola, y vengan a celebrar con nosotros!

May 8, 2015 Richard Garet: META-residue: input, material, space https://abstractioninaction.com/happenings/richard-garet-meta-residue-input-material-space/


Artist: Richard Garet

META-residue: input, material, space
May 8-31, 2015
Studio 10
Brooklyn NY, USA

The exhibition includes sound art, multimedia installation, moving image, painting and collage. These works convey a distilled presentation of Garet’s practice, ideas, and interests articulated through his investigation of time, media, material and space. Garet’s immersive approach activates sensorial results in the viewer. His hybrid constructions draw attention to the normative function of noise as a consequence of daily life. Further inspiration and intent in Garet’s work are the objectification of the ordinary and his interest in the multilayered complexities of the mundane.

The title of the exhibition “Meta-residue: input, material, space” deals with the perception of time, its affects and reception of materiality and space, mediated through the idea of meta-residue identifying the essence of what once was but is no longer tangible. This phenomenon is all around us. Not only as content and evidence of life but also as the mechanics that filter into aesthetics through constructs that are created in response to the felt world.

Image: treating pictures like wire 2, 2015, mixed media, 12″ X 18″.
May 7, 2015 Christian Camacho Reynoso: doble electrón https://abstractioninaction.com/happenings/christian-camacho-reynoso-doble-electron/


Artist: Christian Camacho Reynoso

doble electrón
May 6, 2015
Arróniz Arte Contemporáneo
Mexico City, Mexico

Solo exhibition by Christian Camacho Reynoso.

May 7, 2015 Ivelisse Jimenez: Else-weres https://abstractioninaction.com/happenings/ivelisse-jimenez-else-weres/


Artist: Ivelisse Jimenez

April 9 – May 31, 2015
Diana Lowenstein Gallery
Miami, FL, USA

Solo show by artist Ivelisse Jimenez.

Image: Blind Enough #4, 2010, Mixed media on canvas, 54 x 48 in. (137.16 x 121.92 cm)
May 6, 2015 Emilia Azcárate, Leyla Cárdenas, Danilo Dueñas, Bernardo Ortiz, Rosario López & Luis Roldán: Why Abstract Art? https://abstractioninaction.com/happenings/emilia-azcarate-leyla-cardenas-danilo-duenas-bernardo-ortiz-rosario-lopez-luis-roldan-abstract-art/

why not

Artists: Emilia Azcárate, Leyla Cárdenas, Danilo Dueñas, Bernardo Ortiz, Adolfo Bernal, Carlos Bunga, Feliza Bursztyn, Beatriz Eugenia Díaz, Fernando Fragateiro, Rosario López, Delcy Morelos, Aleex Rodríguez, Carlos Rojas, Luis Roldán, Rosemberg Sandoval, José Antonio Suárez Londoño and Icaro Zorbar.

Why Abstract Art? (¿Por qué el arte abstracto?)
May 7 – June 11, 2015
Casas Riegner
Bogotá, Colombia

Group show.

May 6, 2015 Aníbal Catalán: Campo Dinámico https://abstractioninaction.com/happenings/anibal-catalan-campo-dinamico/


Artist: Aníbal Catalán

Campo Dinámico
April 17 – May 17, 2015
Museo de la Ciudad de Querétaro
Querétaro, Mexico

Solo show by Aníbal Catalán.

May 5, 2015 Marcolina Dipierro: …en dos https://abstractioninaction.com/happenings/marcolina-dipierro-en-dos/


Artist: Marcolina Dipierro

…en dos
April 23 – May 25, 2015
Galería del Paseo
Lima, Peru

Me interesa profundizar en las posibilidades y potencialidades contenidas en el círculo y el triángulo; representar su infinitud formal, visual y perceptiva, estableciendo vínculos y diálogos de dirección, actitud, límites, volúmenes y replieges.


April 30, 2015 Mariela Scafati, Silvia Gurfein & Silvana Lacarra: In Fraganti https://abstractioninaction.com/happenings/mariela-scafati-silvia-gurfein-silvana-lacarra-fraganti/


Artists: Ananké Asseff, Juan Becú, Joaquín Boz, Sofía Bohtlingk, Dino Bruzzone, Elena Dahn, Bruno Dubner, Matías Duville, Julieta Escardó, Raúl Flores, Margarita García Faure, Lisa Giménez, Alberto Goldenstein, Max Gómez Canle, Sebastiám Gordín, Diego Gravinese, Silvia Gurfein, Silvana Lacarra, Estefanía Landesmann, Marcos López, Eduardo Médici, Emiliano Miliyo, Jorge Miño, Andrea Ostera, Esteban Pastorino, Oscar Pintor, Santiago Porter, Dalila Puzzovio, Res, Jorge Roiger, Rosa Chancho, Mariela Scafati, Pablo Suárez, Rosana Schoijett, Paula Senderowicz, Rosana Simonassi, Cecilia Szalkowicz, Mariano Vilela, Martín Weber, Pablo Ziccarello.

In Fraganti
Curated by Valeria González
April 11 – July 18, 2015
Buenos Aires, Argentina

Proyecto que investiga la “y” que une y separa, de manera fluctuante, a la pintura y la fotografía, no tanto como disciplinas estables sino los espacios intermedios, dialógicos o conflictivos, en que los lenguajes se cruzan y engendran nuevas prácticas y pensamientos.

Se trata sobre todo de cruces de dispositivos, algunos de los cuales advienen en la desembocadura de largos procesos históricos.


April 30, 2015 Macaparana: Música https://abstractioninaction.com/happenings/macaparana-musica/


Artist: Macaparana

April 27 – June 27, 2015
Galería Jorge Mara La Ruche
Buenos Aires, Argentina

Una exposición para ver y oír. Esta muestra trata de una serie de más de 70 obras sobre cartón y papel inspiradas en la música. Hay en toda la obra de este artista una gran influencia musical. En este conjunto la correlación obra plástica y formas musicales es muy cercana y deliberada. Las obras de Música podrían considerarse casi partituras sin que exista una notación musical propiamente dicha. Existe una corriente de intérpretes y musicólogos que sostiene que una obra plástica – pintura, dibujo- puede ser interpretada por uno o varios instrumentos , improvisando libremente sobre las formas o las líneas de acuerdo a lo que estas sugieran al intérprete. El resultado, una vez traducido formalmente a música, puede ser vertido a una notación convencional e interpretado como cualquier partitura. Esto es lo que la flautista argentina Patricia Da Dalt ha hecho con un grupo de obras de Macaparana que forman parte de la muestra. Inspirada directamente por las obras, frente a ellas, la intérprete, sirviéndose de cuatro tipos de flautas distintas, ha “improvisado” una suite en cuatro partes, que da cuenta de lo que el espíritu, las formas y el color de estas obras le transmitían o sugerían. Esta llamada Suite Macaparana fue registrada en un CD, incluído en el catálogo editado con motivo de la exposición. Junto a esta composición, la flautista interpreta la obra del compositor japonés Toro Takemitsu, Itinerant, a la memoria de Isamu Noguchi, para flauta solista y el Trío Luminar su grabación de la Sonata para flauta, viola y arpa de Claude Debussy.


April 28, 2015 Carla Arocha & Stéphane Schraenen: Trace https://abstractioninaction.com/happenings/carla-arocha-stephane-schraenen-trace/


Artists: Carla Arocha & Stéphane Schraenen.

May 1 – June 27, 2015
Galerie Isabella Czarnowska
Berlin, Germany

The title “Trace” already conveys an impression of the character of the exhibition and the atmosphere it will create. The artists will moreover venture beyond the physical boundaries of the space and open it up for new and unknown dimensions. As a result, the exhibition will exert a seductive lure and provide aesthetic pleasure by receiving and integrating each of the forms on view. At the same time, it will arouse suspicion and a feeling of uncertainty about what else will appear. The line between the utilitarian function of the architectonic space and a fictional, non-utilitarian one is very fine, and sometimes it is hard to tell where one ends and the other begins.

In the installation Frieze II, the wall looks as if it was being deliberately peeled away to expose an unknown source of light. Room II raises questions about the condition of historical memories and their contemporary character. A marble floor structure running across entire gallery seems to allude to the foundations of another building. Perhaps the form refers to a building of the past, now existing as no more than a trace? Or why not think of it as an announcement of possible future events?

The Cabinet, Credenza and Bedside Table form a series of objects distributed throughout the gallery. Each of them features the finest palisander veneer. If at first sight they look like elegant pieces of furniture, on closer inspection we discover that the objects are non-functional. What is more, they have been perforated with perfectly round holes which lead the gaze right through to the other side. This singular gesture not only opens the objects up to new dimensions, but also emphasizes their non-functional character all the more strongly. A literal act of perforation, well known from everyday situations, means nothing more than the end of validity, and turns the furniture into useless objects but beautiful sculptures.

Earlier works by Carla Arocha & Stéphane Schraenen were presented in the exhibition “Caraota Von Moules” with Arturo Herrera at Künstlerhaus Bethanien, Berlin (2012); in their solo exhibition “Persiana” at the Cultuurcentrum Mechelen, Mechelen, Belgium (2014); in “Landscape” in the Sala Juarez of the LARVA Laboratorio de Artes Veriedades, Guadalajara, Mexico, and in the show “In A Rhythmic Fashion” at Glyphotheque, Croatian Academy of Sciences and Arts, Zagreb, Croatia (both 2015).

A catalogue entitled “What Now?” was published by the DISTANZ Verlag in conjunction with the first exhibition by Carla Arocha & Stéphane Schraenen at the Galerie Isabella Czarnowska in 2013. The catalogue is available at the gallery as well as in bookstores worldwide.

April 28, 2015 Richard Garet, Lucia Koch & Sergio Vega: Theorem https://abstractioninaction.com/happenings/richard-garet-lucia-koch-sergio-vega-theorem/


Artists: Miguel Andrade Valdez, Julieta Aranda, Kader Attia, Elena Bajo, Otto Berchem, Monika Bravo, Fernando Bryce, María Magdalena Campos-Pons, Heman Chong, Elena Damiani, Marlon de Azambuja, Milagros de la Torre, Aleksandar Duravcevic, Nicole Franchy, Richard Garet, Kendell Geers, Pedro Gomez-Egaña, Radamés Juni Figueroa, Lucia Koch, Annette Lemieux, Jose Carlos Martinat, Jo Ractliffe, Rivka Rinn, Santiago Roose, Susan Siegel, DM Simons, Antonio Vega Macotela, Sergio Vega, and Zoé T. Vizcaíno.

THEOREM. You Simply Destroy the Image. I Always Had of Myself
Curated by Octavio Zaya
May 3 – August 1, 2015
Mana Contemporary
Miami, FL, USA

Several artists from far-flung locations such as Peru, Brazil, and Norway, are traveling to Mana to create their installations on-site. The artists address the hypothetical question ‘what if?’ – as inspired by Pier Paolo Pasolini’s 1968 film Teorema – contemplating a world turned upside-down, where social tensions can be amplified to the point of poetic subversion, achieving possible transcendence.

Image: Miguel Andrade Valdez, Encofrado Construção III, 2015.
April 24, 2015 Marco Maggi: Global Myopia II https://abstractioninaction.com/happenings/marco-maggi-global-myopia-ii/


Artist: Marco Maggi

Global Myopia II
May 9 – November 22, 2015
Uruguay Pavilion at the Venice Biennale
Venice, Italy

Marco Maggi will represent Uruguay at the upcoming Venice Biennale, opening to the public on May 9 and on view through November 22, 2015. The Uruguayan pavilion is one of the 29 national pavilions located in the Giardini della Biennale. Marco Maggi’s drawings, sculptures and installations encode the world. Composed of linear patterns that suggest circuit boards, aerial views of impossible cities, genetic engineering or nervous systems, his drawings are a thesaurus of the infinitesimal and the undecipherable. Marco Maggi’s abstract language refers to the way information is processed in a global era, and his work challenges the notion of drawing itself. For the 56th Venice Biennale he will present Global Myopia II, a site-specific installation of paper, stickers and pencils on the inside of the pavilion, and a large floating sculpture on the outside.

Saying that the world is myopic sounds depreciative: a planet without perspective, moving forward without any clear sense of direction. Marco Maggi, on the contrary, claims and prescribes myopia as the extraordinary ability to see from very close. Nearsightedness allows one to focus carefully on invisible details, it challenges the acceleration and the abuse of long-distance relationships characteristic of our era. After a farsighted 20th century with solutions for everyone and forever, it is time to stimulate our empathy for the immediate and the insignificant.

In Global Myopia II, paper and pencil, the two basic elements of drawing, get separated and the act of drawing is split into two stages. A portable kit composed of 10,000 elements cut out of self-adhesive paper becomes an insignificant alphabet that the artist will fold and paste onto the walls during the three months preceding the biennale. The diminutive papers are disseminated or connected following the specific traffic rules and syntax dictated by any accumulation of sediments. The colonies of paper sticker on the walls enter in dialogue with a custom lighting track provided by Erco. Myriads of high-definition shadows and infinitesimal incandescent projections will aim to slow down the viewer. The only ambition of the project is to promote pauses and closeness.

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. He is represented by Josée Bienvenu in New York. In 2013, he received the Premio Figari (Career Award). Selected exhibitions include 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.

The 56th International Art Exhibition – la Biennale di Venezia is directed by Okwui Enwezor, curator, art critic and writer, and the Director of the Haus der Kunst, Munich. The Uruguayan Commissioner is artist Ricardo Pascale and the project is curated by Patricia Bentancur, Senior Curator and New Media Director at the Centro Cultural de España in Montevideo (CCE), a leading space for Iberoamerican art.

Image: Marco Maggi, Putin’s Pencils, 2014. Soviet era color pencils and bowstrings. Image courtesy of the artist and Josée Bienvenu Gallery.
April 24, 2015 Mariella Agois, Alberto Borea, Jorge Cabieses, Casari & PPPP, Valentino Sibadon: Señalamientos https://abstractioninaction.com/happenings/mariella-agois-alberto-borea-jorge-cabieses-casari-pppp-valentino-sibadon-senalamientos/


Artists: Mariella Agois, Alberto Borea, Jorge Cabieses, Casari & PPPP, Valentino Sibadon, Miguel Aguirre, Haroldo Higa, Edi Hirose, José Luis y José Carlos Martinat, Musuk Nolte, and Patrick Tschudi.

Curator: Jorge Villacorta
April 23 – May 23, 2015
Lucía de la Puente Galería de Arte
Lima, Peru

Celebrating 20 years of the gallery. Group exhibition.

April 22, 2015 José Dávila: Actos tectónicos de duda y deseo https://abstractioninaction.com/happenings/jose-davila-last-days/


Artist: José Dávila

Actos tectónicos de duda y deseo
February 27 – April 30, 2015
Travesía Cuatro
Madrid, Spain

Las piezas que conforman esta exposición remiten a las nociones de equilibrio y balance, las cuales son generadas en el momento de abandono en el que dos fuerzas que permanecían en conflicto, finalmente ceden. Este instante de aparente neutralidad es también la presencia simultánea de todas las posibilidades. El artista pretende extender esta condición de indeterminación aprovechando el conocimiento técnico, que en su uso común busca maximizar la eficacia de los materiales, Dávila en cambio, los convierte en entidades inútiles. Las herramientas estructurales son empleadas con fines meramente poéticos. La lucha interminable de lo arquitectónico en contra de los efectos de la gravedad es sintetizada a través del uso de materiales industriales, destinados para la construcción, para crear estos sistemas de fragilidad, que carecen de profundidad y han quedado recluidos a su extensión superficial; amenazados por la fractura y la interrupción de las relaciones de fuerza y las estructuras de tensión que los constituyen y les otorgan autonomía. Estas obras obligan a reconsiderar el significado de lo escultórico. Desafían la frontera que separa al contenido del contenedor, para efectuar una expansión espacial que modifica por completo la experiencia arquitectónica. Rosalind Krauss denomina lo anterior como el fenómeno propio de las estructuras axiomáticas, constituidas por la fusión de la arquitectura con la no-arquitectura. Lo anterior implica la introducción de formas ajenas que rechazan toda incorporación funcional, problematizando las obviedades del campo donde se ubican, para así reclamar una presencia propia. Las especificidades de los materiales llevan a cabo un desdoblamiento del espacio por medio de una serie de transparencias y reflejos. El carácter pictórico de los cinchos contrastando con las placas despliega un conjunto de líneas referenciales que ayudan a visualizar la delicada comunicación entre las superficies y sus correspondientes puntos de apoyo.

Dávila propone una exégesis de la tradición minimalista y de la historia del arte en general, recurriendo a una especie de lenguaje críptico reservado a la naturaleza de los objetos, que desafía la comprensión y las categorías de la mirada subjetiva. Las esculturas permanecen como gestos intermedios, entre la destrucción inminente y la permanencia. El trabajo de Dávila aborda la cuestión sobre los límites de los valores instrumentales mediante el uso de materiales comunes para crear esculturas, objetos e instalaciones. Con frecuencia, la naturaleza de estos materiales se acerca tanto a la construcción de la arquitectura como a la producción artística formal, que suscriben su trabajo a los principios acuñados por el Minimalismo y el Arte Povera. Dávila también ha manifestado un especial interés en el uso y ocupación del espacio, temas que han estado presentes a lo largo de toda su carrera.

Su obra ha sido expuesta en el Museo Universitario de Arte Contemporáneo MUAC, Ciudad de México; Caixa Forum, Madrid; MoMA PS1, Nueva York; Kunstwerke, Berlín; San Diego Museum of Art; Museo de Arte Reina Sofía, Madrid; MAK, Viena, Fundación / Colección JUMEX, Ciudad de México; Bass Museum of Art, Miami; Museu do Arte Moderna, Sao Paulo; The Moore Space, Miami; NICC, Antwerp, entre otras; y ha aparecido en publicaciones internacionales como Cream 3, ed. Phaidon, 100 Latin- American Artists, ed. Exit y Megastructures-Reloaded, ed. Hatje Cantz. Dávila ha recibido el apoyo de la Andy Warhol Foundation, la Kunstwerke residency en Berlín y el Premio Nacional para jóvenes artistas del Fondo Nacional para la Cultura y las Artes (FONCA) en 2000. Además fue fundador de la Oficina para Proyectos de Arte (OPA), en Guadalajara, México.

April 22, 2015 Iosu Aramburu: Demasiado pronto, demasiado tarde https://abstractioninaction.com/happenings/iosu-aramburu-demasiado-pronto-demasiado-tarde/


Artist: Iosu Aramburu

Demasiado pronto, demasiado tarde
Curated by Alba Colomo
April 15 – May 30, 2015
Centro Cultural Británico de San Juan de Lurigancho
Lima, Peru

Muestra individual de Iosu Aramburú (Perú)

La exposición se apropia de la mirada del novelista J. G. Ballard y hace un recorrido por el imaginario urbano de la Lima de mediados del siglo pasado. En la muestra, los edificios se diluyen hasta volverse ruinas o fantasmas y ser reclamados por su entorno.

El artista exhibirá fotografía, pintura, dibujo y una instalación interactiva en el jardín del centro de estudios.

April 21, 2015 Cipriano Martínez: Weight for the Showing https://abstractioninaction.com/happenings/cipriano-martinez-weight-showing/

Screenshot 2015-04-15 12.30.33

Artists: Richard Serra, Phyllida Barlow, Christian Jankowski, Nicolas Feldmeyer, Cipriano Martinez, Levi van Veluw, David Rickard, Livia Marin, Richard Schur, Liv Fontaine, Knopp Ferro.

Weight for the Showing
Curated by Paul Carey-Kent
April 23 – June 16, 2015
Maddox Arts
London, UK

Of the many competitors for our attention when we look at a work of art – meaning, narrative, form, colour, gesture, scale, sound, movement – its weight is not generally high in the list, heavy as much sculpture and some painting may be (Bram Bogart’s super-thick applications or Analia Saban’s container canvases come to mind). Indeed, although WEIGHT FOR THE SHOWING is themed around weight, all the works have other interesting agendas, most notably perhaps the frequency with which they skew logic and the zest with which they engage with art history.

Some artists playfully substitute the heavy for the light or vice versa: Gavin Turk’s bronze bin bags are well known, Andreas Lolis has made marble look very like card or polystyrene; Fishli & Weiss fashioned all manner of items out of polyurethane; and Sarah Sze recently made rocks out of photographs of rocks, which she showed alongside real boulders. Others have used surprisingly-weighted items, e.g. Andrew Palmer attaches rocks to paintings, and Aselm Kiefer fixes anything from soil to submarines to his canvases; Damien Hirst’s ping pong ball pieces might be the opposite end of that scale.

Such play is allowed here, but the show concentrates more on two other aspects: the relative weight of elements within or between works, which latter may be down to evident heaviness of mark, or else be a matter of ‘feeling’ heavy or light for no obvious literal reason; and the metaphorical association of weight with seriousness and being weighed down by troubles or history. There’s no neat division, but Barlow, Rickard, Schur, Ferro and Martinez are perhaps more in the first category; and Serra, Jankowski, Marin, Feldmeyer and Fontaine in the second.

Enough weight may also lead to collapse. Nietzsche worried about the possibility of Eternal Return, in which we’re doomed to repeat events for eternity, making existence a heavy burden, given the impossibility of escaping the cycle. Buddhism provides a potential way out of that by embracing the cycle, as does Milan Kundera when, assuming in contrast that such a cycle is impossible, he holds that ‘life which disappears once and for all, which does not return is without weight…and whether it was horrible, beautiful, or sublime…means nothing’. Decisions are then ‘light’ – they do not tie us down – but meaningless and potentially empty. That isn’t entirely welcome either, hence the ‘the unbearable lightness of being’. A more pragmatic view would be that we’re in the space between the baggage of the what’s gone and the disintegration to come – but the interim phase may last a while yet, and we might as well enjoy it. Just so, there’s plenty of wit in these works, that raise interesting issues but also help visitors to enjoy a few minutes of the gap.

Image: Christian Jankowski, Heavy Weight History (Ronald Reagan), 2013 – b/w photograph on baryt paper, 140 x 186.8 cm, ed.1 of 5+2 ap
April 21, 2015 Adriana Minoliti & Fernanda Laguna: Monumento https://abstractioninaction.com/happenings/adriana-minoliti-fernanda-laguna-monumento/

Screenshot 2015-04-15 12.37.21

Artists: Jimena Croceri, Dana Ferrari, Adriana Minoliti and Fernanda Laguna.

March 20 – April 18, 2015
Mite Galería
Buenos Aires, Argentina

Screenshot 2015-04-15 12.37.37

Images: Fernanda Laguna, “Sin título”, 2014, Mixed media / Adriana Minoliti, “Geometría tropical”, 2015, Acrylic on fabric.
April 17, 2015 Omar Barquet: Solo show https://abstractioninaction.com/happenings/omar-barquet-solo-show/


Artist: Omar Barquet

Omar Barquet, performance and solo show
April 10, 2015
Christinger De Mayo
Zürich, Switzerland

Solo show and performance by Omar Barquet

Image: Omar Barquet, Ghost Variations’ 3rd Fugue: The Shinning Sequence. Photo: Pablo Faccinetto
April 17, 2015 Amadeo Azar: Los restos del triunfo (Dos por tres) https://abstractioninaction.com/happenings/amadeo-azar-los-restos-del-triunfo-dos-por-tres/

(alta) pieza # 1 a

Artists: Jorge Miño and Amadeo Azar.

Los restos del triunfo (Dos por tres)
Curated by Valeria González
April 8, 2015
Fundación Federico Jorge Klemm
Buenos Aires, Argentina

Religiosa o no, una revelación es un acontecimiento que excede a sí mismo, señalando una verdad que lo precede. Aún antes de saberlo ellos mismos, las obras de Jorge Miño y Amadeo Azar avanzaban en sintonías paralelas. La experiencia artística que hoy nos presentan, en la que han trabajado como un auténtico dúo, es una desembocadura que ilumina y resignifica sus propios pasados.

A nadie habrá escapado que ambos comparten el interés por los idiomas geométricos de las utopías constructivas que brillaron antes de la segunda guerra mundial. Pero se trata aún de un rasgo demasiado genérico, casi consustancial al arte posmoderno. Para captar algo de la singularidad de su espíritu es preciso aclarar lo que ellos no hacen. Miño y Azar no condescienden a la risa triste de la ironía. No trabajan con cadáveres de proyectos fracasados (“fracaso” puede decir aquel que espera de la utopía una respuesta útil) sino con un acervo de inquietudes formales e imaginarias aún inagotable.

Para remarcar sus coincidencias, pero sobre todo cómo un repertorio acotado y riguroso es capaz de combinatorias infinitas, los artistas dicen todo en blanco, negro y rojo. En una gran retícula donde las fotografías de Miño y las acuarelas de Azar se intercalan, vemos que los colores netos del diseño ruso se abren a la multiplicación de matices sutiles, creando un efecto casi atmosférico.

Hace años, su pasión por las vanguardias geométricas los llevó a tensar los límites del plano: Azar comenzó sus piezas de papel plegado y Miño a multiplicar los efectos ópticos de sus distorsiones fotográficas. Aquí, por primera vez, integran sus lenguajes en una secuencia de piezas realizadas en conjunto.

En un tercer y último paso, los artistas ponen en diálogo dos obras individuales de gran tamaño. Visto musicalmente, el dúo se presenta entonces al compás de tres partituras diferentes. En el primer mural, las dos voces al unísono se integran en una melodía continua. Como instrumentos afinados en una misma clave, la copia sobre papel de algodón acerca su registro al de la acuarela. Gradientes cromáticos y lumínicos modulan la textura de esta gran superficie como suaves diferenciales sonoros de timbres y alturas.

La secuencia de piezas en coautoría puede pensarse como una segunda partitura compuesta de breves arreglos contrapuntísticos a intervalos mayores. Fotografía y papel plegado se superponen como dos interpretaciones vocales en base a un mismo motivo musical.

Por último, asistimos a la alternancia de dos cantos solistas de largo aliento. En tanto los papeles plegados de Azar componen una línea melódica en degradé continuo, la fotografía de Miño acude a los contrastes. Ambos pulsan la geometría hacia la incertidumbre de los reflejos y las reverberaciones lumínicas.

Dos artistas que jamás fueron a Rusia pueden volver a hacer del duro abecedario del constructivismo una experiencia estética de inesperadas resonancias.

Image: Amadeo Azar, 72 acuarelas sobre papel plegados, 2015, 120 x 520 x 20 cm
April 15, 2015 Ricardo Rendón: Límite posible https://abstractioninaction.com/happenings/ricardo-rendon-limite-posible/


Artist: Ricardo Rendón

Límite posible
March 2 – April 18, 2015
Arroniz Arte Contemporáneo
Mexico City, Mexico

Un Dedo

La posibilidad remota de comprender la estructura del universo en el corto lapso de una vida conformada por ecos espirales se presenta en el momento improbable en que asumo la “nadidad” que me toca encarnar, como quien invoca una visión que regenera, o aquel que se ubica en el umbral de la ordalía, anulando su propia personalidad, y se sumerge en el Vacío.

“La forma es vacío, el vacío es forma”, resuelve el autor del Prajna Paramita, estableciendo los enigmas ontológicos de la física cuántica.

Pero, ¿dónde se encuentra el Vacío que transforma la consciencia?
¿En el espacio profano, repleto de aire tóxico, preñado de tumulto arcaico, de voces silenciadas?
¿En el espacio luminoso, atravesado por agujeros negros, los túneles al fondo del abismo, que conducen a lo que nadie quiere ver?
¿En la materia fatal de un espejismo seductor?
¿En la solidez de la ilusión mental?
¿En la energía atómica que palpita ad infinitum en la intersección de esta grafía: † ?
¿En la reabsorción final?
¿O en el reflejo de mí mismo?

‘El Maestro Gutei, siempre que se le preguntaba algo, sólo levantaba un dedo.
En una época, Gutei tenía un pequeño asistente, a quien un visitante preguntó:
“¿Qué es el Zen que tu Maestro está enseñando?”
El niño también levantó un dedo.
Al enterarse de esto, Gutei le cortó el dedo al niño con un cuchillo.
El niño se alejó corriendo, gritando de dolor, y Gutei lo llamó.
Cuando el niño giró su cabeza para mirarlo, Gutei levantó su dedo.
El niño repentinamente se iluminó.’

Mumonkan (3. Gutei Levanta Un Dedo)

Cuando a las formas se les remueve el contenido, antes de provocar cualquier expresión material o psicológica, de modo que manifiestan sólo sus límites externos, y ocultan su cuerpo inconfesable el Vacío revela, al fin, su verdadera naturaleza omnipresente, como la risa sacra que el lenguaje es incapaz de definir.Así, cuando las fuerzas que acaban despojando todo movimiento artístico de contenido y poder de transformación, intenten también tragarse estas formas, las encontrarán huecas y no podrán hacerlo, ya que no les quedará nada más por devorar.

Gabriel Santamarina,
Ciudad de México 2015.

April 15, 2015 Iván Navarro: Jardins https://abstractioninaction.com/happenings/ivan-navarro-jardins/


Artist: Iván Navarro

Jardins, Opening of new gardens at Baró
April 11 – May 23, 2015
Baró Jardins
Sao Paulo, Brazil

Ao subverter conceitos de design, criando um minimalismo carregado de emoção, o artista chileno coloca em foco reflexões políticas e sociais originárias de sua experiência com o regime ditatorial chileno sob o qual cresceu. Mais do que trazer estas questões à luz do neon, Iván Navarro transporta o espectador a infinitos labirintos, onde o espelhos ecoam o que muitas vezes as vozes podem calar.

Image: Iván Navarro, Strike
April 13, 2015 Ricardo Carioba & Richard Garet: Adrenalina https://abstractioninaction.com/happenings/richard-garet-adrenalina/


Artists:  Chris Coleman, Donato Sansone, Henrique Roscoe (VJ 1mpar), Hugo Arcier, Lucas Bambozzi, Luiz duVa, Matheus Leston, Mike Pelletier, Rick Silva, Ricardo Carioba, Richard Garet, Ryoichi Kurokawa, Santiago Ortiz, Semiconductor, Susi Sie, Transforma.

Adrenalina -a imagem em movimento no século XXI
Curator: Fernando Velazquez
March 14 – May 5, 2015
RedBull Station
Sao Paulo, Brazil

A adrenalina é um hormônio neurotransmissor que é descarregado no corpo em situações que demandam uma rápida resposta em termos cognitivos, comportamentais e fisiológicos. Ela aguça os sentidos e aumenta a capacidade do cérebro de processar informações, com o objetivo de reestabelecer o equilíbrio entre o ser e o meio.

Esta exposição apresenta um recorte do audiovisual nos dias de hoje, em que vivemos anestesiados pela imagem. Emprestar, no título da mostra, o nome desta substância é um modo de sugerir que ainda podemos ser desafiados e surpreendidos por imagens. 

Os trabalhos apresentados têm em comum a utilização de programação algorítmica e de artifícios generativos, ou seja, se utilizam de sistemas ou regras que permitem o aparecimento de soluções imprevistas. São obras que exploram os recursos narrativos e de linguagem do chamado tempo real, estratégia alternativa à edição convencional de natureza aristotélica.

O interessante neste conjunto de obras está na forma particular de olhar a realidade, as coisas e as pessoas, revelando estruturas e qualidades visíveis e invisíveis a partir de perspectivas que nos solicitam condicionamentos cognitivos específicos, além da abertura ao diálogo com imaginários pouco conhecidos.

Como nos lembra Steve Dietz, todo novo meio penetra as camadas da cultura deixando um legado estrutural de base. O novo meio da fotografia trouxe um outro entendimento da estética da pintura e contribuiu para consolidar culturalmente a conjunção tempo-espaço. O novo meio do vídeo traz uma nova compreensão da estética do cinema, e junto com a TV estabelece o assimilação da ideia de tempo real. O novo meio digital muda o entendimento da arte no sentido que desloca o interesse do comportamento da forma, para a forma dos comportamentos, destacando a potência da interatividade e dos comportamentos em rede. Dos campos eletromagnéticos que nos atravessam em tempo integral (e cujo real efeito sobre o nosso corpo ainda desconhecemos), ao corpo de dados que nos conforma (possível de ser processado e manipulado por algoritmos autônomos), vivemos tempos de reconfigurações sutis da ética, da estética, da política e do território – tópicos sobre os quais propomos refletir a partir deste heterogêneo grupo de obras.

Apoio: SONY

Image: Ricardo Carioba, Abra, 2009, still.
April 8, 2015 G.T. Pellizzi: Before Completion https://abstractioninaction.com/happenings/g-t-pellizzi-completion/


Artist: G.T. Pellizzi

Before Completion
January 10 – February 14, 2015
Harmony Murphy Gallery
Los Angeles, CA, USA

The works in this exhibition are inspired by Hexagram 64 of the I Ching (Book of Changes), colloquially referred to as Before Completion. This section of the ancient augury Chinese text addresses the moment of clarity and illumination in the creative process that exists after a work is resolved, but before it is finished.

This exhibition will feature site specific wall drawings, sculptures, as well as interior and exterior light pieces. These works utilize the materials and vocabulary of buildings-in progress and construction sites, such as snap lines, plaster, plywood, etc., as metaphorical representations of the construction of any work of art. Referencing Flaubert, who famously said: “Books are not made like children but like pyramids.

G.T. Pellizzi was born in 1978 in Tlayacapan, Mexico. He studied philosophy at St. Johns College and graduated from The Channin School of Architecture at the Cooper Union. From 2001-2011, Pellizzi co-founded and has been involved in various art collectives, including The Bruce High Quality Foundation, with whom he has exhibited at the Whitney Museum of Art, PS1 MoMA, Centre Pompidou, PAC Murcia, and the Fondazione Sandretto Re Rebaudengo and various art galleries in New York, Zurich, Berlin and London. In the past year he has participated in exhibitions at the Jeu de Paume in Paris, the Museo del Barrio in New York, the Biennial of the Americas in Denver, and at L&M. Gallery in Los Angeles. Pellizzi lives between New York and Mexico.


April 7, 2015 Clarissa Tossin: In Search of an Exit https://abstractioninaction.com/happenings/clarissa-tossin-search-exit/


Artists: Basma Alsharif, Jordi Colomer, Patricia Esquivias, Emiliano Rocha Minter, Barbara T. Smith, Sergio De La Torre, and Clarissa Tossin.

In Search of an Exit
April 7 – May 3, 2105
Curated by the MA class of 2015: Lucia Fabio, Samantha Greggs, Daniela Lieja, Selene Preciado, Heber Rodriguez
Heritage Square Museum
Los Angeles, CA, USA

The works in the exhibition present situations where individuals or groups of people find themselves in a space and have to negotiate their existence within pre-established and external conditions. Inspired by Jean Paul Sartre’s 1944 play No Exit, the exhibition considers themes of time, existence, freedom, and collectivity through time-based work. The structure of a given environment is a pervasive yet ever-evolving stimulus of human behavior capable of catalyzing a spectrum of reactions, from cultural resistance to immersion. The works in this exhibition, a selection of video installations, sound works, and performances, address the adaptability of the human condition in response to external circumstances.

The exhibition will take place at the Heritage Square Museum—a living history museum featuring nineteenth-century buildings from Southern California—a choice of location that highlights the human impulse to preserve artifacts. As the characters in No Exit questioned the peculiarity of their surroundings (a Second Empire-style parlor room), the twenty-first-century artworks stimulate a similar assessment of the three Victorian-era houses into which they are placed. The unique setting additionally highlights the prevalence of the built environment and the effects of architecture as preoccupations for many of the artists in the exhibition.


April 6, 2015 Alberto Borea: Mobility and Its Discontents https://abstractioninaction.com/happenings/alberto-borea-mobility-discontents/


Artists: Jane Benson, Alberto Borea, Ángel Delgado, Javier Téllez, Lan Tuazon, Jorge Wellesley.

Mobility and Its Discontents
March 6 – May 30, 2015
The 8th Floor

The exhibition examines the dynamics of mobility and its physical, psychological, socio-economic, geographic, and political boundaries. Mobility and Its Discontents signals a shift in the Shelley & Donald Rubin Foundation’s mission, now focused on broadening public access to artistic and cultural activities in New York City. Featuring artists from Venezuela, Peru, the United Kingdom, and the Philippines, alongside two Cuban artists from the Shelley and Donald Rubin Private Collection, the show brings the Rubins’ dedication to contemporary Cuban art into conversation with a wider artistic community, reflecting the diversity of New York’s cultural life. The works in the exhibition convey experiences of separation, isolation, and distance, experienced on both a local and global scale, in sites such as the United States-Mexico border, New York City’s financial district, and Havana, Cuba. Collectively, they contribute to a dialogue about the barriers encountered in contemporary life, suggesting possibilities for transformation enabled by connectivity and increased access.

Image: Alberto Borea, “Wall Street”, 2013
April 4, 2015 Luis Roldán: Eidola https://abstractioninaction.com/happenings/luis-roldan-eidola/


Artist: Luis Roldán

April 2 – May 16, 2015
Henrique Faria Fine Arts

A skull can be read as a ruin signifying the vanity of human existence, the inevitable transitory splendor of human life. Ruins are crumbles of our material world, abandoned fragments, hollowed out of the divine spirit that once animated them.

Images give us hope, that particular hope of accessing the world without limits. Images create a special bond with death, as if the birth of the image could both suppress and sustain life. Or even be exchanged for a life. The human skull, this faceless death mask, this skeletal residue with its empty stare that once animated a human face, is an image, an emblem, an allegorical representation of a history, a montage out of which is read, like a picture puzzle, the nature of human existence, its spirit. Yet it is also the figure of its greatest natural decay, the transformation of the body into corpse, and then, into dust.

But what is really remarkable of the skull as image is the effect it has on recognition. It looks like a figure with something missing; it is at once a body and its ghostly double. It is a cadaver, just as the French theorist Maurice Blanchot notes: “He is, I see this, perfectly like himself: he resembles himself. The cadaver is its own image”.

But all that isn’t so odd after all. Body and image are to resemble each other the same way a shape resembles its mold, emptiness resembles what surrounds it, or an observation or a thought translates into a painting or a sculpture.

Luis Roldán’s ever mutable urge to rescue ruinous objects from their fate by imposing upon them new destinies is, in truth, the task of all artists: that of embodying one’s observations. In the poem “Eidolon”, Walt Whitman suggests that the drive of human creativity is that of issuing eidola. In ancient Greek literature, an eidolon (plural: eidola) was an image, a double, a phantom, a ghostly apparition, a spirit-image of a living or dead person. For the Romans, the same type of spectrum was known as simulacra.

The gathered objects in Roldán’s new piece, Eidola, used to be hat molds. They were the volumes that shaped hollow felts into hats. They stood in the place of the head, like soulless wood brains —as the one Pinocchio must have had— constantly searching for another fragment to attach itself to, in pursuit of completeness.

Eidola is a legion of sculptures searching for idols and a band of paintings searching for corporeality. In other words, it’s an arrangement of elements that emphasize what is left of them, or, rather, what is missing. The sculptures and paintings organized in the exhibition space are fragments that invite us to continue completing, enlarging, augmenting, researching the myriad hypotheses that might justify their existence. But mostly, their purpose is to provoke our imagination, to make us creators of stories and narratives by suggesting an interplay between observation and materialization, surface and volume, void and being, possessions and desires.

Split surfaces, pieces in halves and fragments, invoke a certain fear that appears when we stand in front of an open body. It might be the fear not only of having to acknowledge the fragility of life, its brevity, but also the fear of probing and questioning the indivisibility of the human body. In Eidola, surfaces stop being the intangible frontier between interior and exterior. Roldán exposes the colorful fleshiness of the parts, and renders, as a visible residue, the delimitation among individuals.  These objects are fragments, as we are also fragments, constantly searching for an other who, even if not exact, will complement us, shape us, and make us whole.

Again, it is not about the independence of parts, but how they come together. Striping down the surfaces, opening a gap, creating a tension between paintings and sculptures, doesn’t come from a preoccupation with dissection that seeks to rescue some essence. On the contrary—and this is just an intuition—Roldán grants some sheen to these objects, covering their surfaces with brightness and color, creating new bonds and points of contact that will, in return, renew our gaze over mundane things.

Eidola is a response to constraints and a seizing of opportunities. Despite the use of found objects, Roldán’s representation of the external world becomes a much more complex thing. He shakes objects loose from their attachments and bestows new meanings upon them. Meanings that point toward absolute acts of poetic intuition, producing a text written with our own words, yet one which appears suddenly from a place beyond language.

For despite these attempts of interpretation, Eidola will remain a mystery, a resilient friction. These artworks will resist analysis and interpretation; they will not offer relief or closure. We will not be able to dismantle the mystery, at least not until we cash-in on their stubborn materiality. We cannot tear the mystery into pieces. Art invites and resists interpretation. This is what constitutes art and this is how it reveals the extent of our world yet to be encountered.

In fact, there is nothing to comprehend. The pleasure that derives from these objects comes not only from the beauty with which they have been invested, but also from their essential quality of being present, surrounding us, staying with us, completing us. Here is a traffic and an economy of properties: the object hides its essence, the essence hides in the attributes, but the attributes render visible the object in a grammar of intuition and anticipation, and above all, in a grammar of the encounter.

Perhaps, in a broader sense, we all depend on the images and thoughts that others have produced, what others have encountered for us. We have no easy way of distinguishing a genuine thought from those that have been borrowed or suggested by others. However, it is our good fortune to be able to enjoy them once we encounter them. As it is our fortune to continue imagining alternative realities, meanings.  Indeed, this is what a fragment calls for: to continue its creation, to invent its match, its double, to complete it.

Democritus did say that our attitudes and emotions give off eidola, but that they are too thin for us to detect them, except when we are asleep, as they enter our dreams.

Mariangela Méndez

Luis Roldán (Cali, Colombia, 1955) studied Art History at the École du Louvre (Paris), engraving at S.W. Hayter (Paris) and Architecture at Pontificia Universidad Javeriana (Bogotá, Colombia). He has exhibited extensively at institutions internationally. A selection of solo shows include: Expiación, Fundación Gilberto Alzate Avendaño, Bogotá (2014); Presión y flujo, Galería Casas Reigner, Bogotá (2014); Mechanical Ventilation. Interactions with Willys de Castro and Other Voices, Henrique Faria, New York (2013 and 2011); Transparencias, Museum of Modern Art, Medellín (2011); Continua, Sicardi Gallery, Houston (2007); Acerca de las estructuras, Museum of Contemporary Art and Design, San José, Costa Rica (2006) and Permutantes, Sala Mendoza, Caracas (2005). Selected group shows include: the First Biennial of Cartagena, 2014; the Tenth Monterrey Biennial, 2012; the 53rd Venice Biennale, Latin America Pavilion, 2009; and Dibujos, Museum of Modern Art, Buenos Aires (2004). He has won numerous awards such as the Luis Caballero Award (Bogotá, 2001) and the National Award in Visual Arts (Colombia, 1996). His work is included in important collections such as Colección Patricia Phelps de Cisneros, Museo del Barrio and Deutsche Bank Collection, New York; FEMSA Collection, Monterrey; Cisneros Fontanals Art Foundation, Miami and the Museums of Modern Art in Buenos Aires, Bogotá and Medellín. He lives and works both in New York City and Bogotá.

Image: Eidola (detail), 2015, Oil on wood, Dimensions variable.
April 1, 2015 Pia Camil: Frieze Projects 2015 https://abstractioninaction.com/happenings/pia-camil-frieze-projects-2015/


Artist: Pia Camil

Frieze Projects 2015
New York, USA

Pia Camil has conceived a project that will function as a portable environment. Inspired by Hélio Oiticica’s Parangolé – a series of capes, flags and banners made to be worn as ‘habitable paintings’ – Camil’s project will consist of a series of wearable fabrics distributed freely to the fair’s visitors.

Camil’s pieces of fabric are designed to allow for various versatile uses including clothing – such as robes or ponchos – and more utilitarian functions – such as picnic blankets, table cloths and sheets. Disseminated within the context of the fair, Camil’s fabric pieces will require the direct participation of the viewers, quietly emphasizing one of the main characteristics of the experience of art fairs, where the act of looking at art is often as important as the act of looking at others and distinguishing oneself from them.

April 1, 2015 Iván Navarro: Onomatoepopeyas https://abstractioninaction.com/happenings/ivan-navarro-onomatoepopeyas/


Artists: James Nares, Jenifer Allora and Guillermo Calzadilla, Felipe Águila.

Onomatoepopeyas, La re-significación del espacio a través del sonido
Curated by Iván Navarro
March 21 – April 21, 2015
Centro Cultural Matucana 100
Santiago, Chile

ONOMATOEPOPEYAS es la combinación de las palabras “onomatopeya” y “epopeya” para explorar cómo el sonido está representado en las narrativas “épicas” que estos trabajos contienen.

-“Street” de James Nares (video)

Esta es la pieza central de la exhibición. En septiembre de 2011, Nares- quien vive en New York desde 1974- grabó por 16 horas la gente de las calles de Manhattan desde un auto en movimiento usando una cámara de alta definición que generalmente se usa para grabar cosas que se mueven a alta velocidad (una bala o un colibrí). Luego Nares ralentizó este material y lo dejó en una hora de movimiento continuo y fijo, que musicalizó con una melodía de una guitarra de 12 cuerdas compuesta  e interpretada por su amigo Thurston Moore, co-fundador de la banda Sonic Youth.

-“Returnin g a Sound”de Jennifer Allora and Guillermo Calzadilla  (video)

Este video fue hecho en Vieques, Puerto Rico, una isla usada durante 60 años por la milicia norteamericana y las fuerzas de la OTAN para ejercicios de bombardeo. Aquí se prepararon intervenciones militares como la de Vietnam, Corea, Bahía Cochinos, Los Balcanes, Somalía, Haití, Golfo Pérsico, Afganistán e Irak.

El movimiento nacional rebelde junto a una red internacional de apoyo, logró que se detuviera el bombardeo en mayo de 2002, además del retiro de las fuerzas militares norteamericanas de la isla, y el comienzo del proceso de desmilitarización y futuro desarrollo de la zona.

“Returning a sound” da cuenta de esta campaña de paz y justicia, y al mismo tiempo señala los posibles riesgos. El video se dirige no solo al paisaje geográfico sino al paisaje sonoro, que para los habitantes de la isla queda marcado por el recuerdo de los bombardeos. Siguen a Homar, un rebelde y activista, que cruza la isla desmilitarizada en una motocicleta que tiene una trompeta soldada al silenciador. Así, al aparato para reducir sonido se le cambia su sentido original para producir un estridente llamado de atención, que le da un nuevo panorama sonoro a áreas de la isla antes expuestas a las detonaciones.

-“Instrumento de Protesta” de Felipe Águila  (escultura)

Felipe Águila expuso hasta el 5 de enero su obra “Strumento di protesta- Opera Latinoamericana”, en la Galería Cívica de Arte Moderna y Contemporánea de Turín, en conmemoración del 69° aniversario de la liberación de Italia. El chileno Felipe Águila vuelve a la imposición del toque de queda durante la dictadura y al silencio quebrado durante las noches de protesta por el sonido de los “cacerolazos, que dialogaban de una casa a otra, de un barrio al otro de la ciudad”. El artista construye una verdadera batería, un instrumento musical donde las ollas son los tambores, las tapaderas son los platillos y las cucharas de madera son las baquetas.

Paralelamente abriremos Radetzky Loop, una instalación realizada por Iván Navarro en colaboración con el músico Atom™. Esta obra se sitúa en el campo de la estética de la resistencia, porque re-significa un neumático, regularmente utilizado para fines muy distintos a los de este proyecto. Por un lado, la rueda de camión de transporte de minerales como el cobre que cumple la importante función de trasladar el popularmente llamado “Sueldo de Chile” (que son las utilidades obtenidas por la empresa gubernamental CODELCO, provenientes de la venta de cobre). Y por otro lado, ironiza dicha función energética como una gran barricada para marchas y protestas callejeras, que resalta su dramatismo interrumpiendo flujos de tránsito peatonal y sonoro.

El neumático se transforma en una micro sala de escucha, donde el visitante se sumerge en un espacio industrial e íntimo, con fragmentos de sonidos de la popular marcha Radeztky. Los sonidos activan la memoria al poder militar, posiblemente grabada en el inconsciente colectivo social.

Lo anterior será acompañado de un concierto a cargo del músico Atom™.


Inauguración Radetzky Loop  – IVÁN NAVARRO. 21 de marzo 2015

Intervención sonora  Atom™//Radetzky Loops Live -21 de marzo 2015, Teatro Principal Matucana 100

Exhibición:  21 de marzo al 21 de abril, Galería Concreta.

March 30, 2015 Fernando Carbajal, Eduardo Costa, Juan Raúl Hoyos, Gabriel de la Mora, Sergio Vega: Affective Architectures https://abstractioninaction.com/happenings/fernando-carbajal-eduardo-costa-juan-raul-hoyos-gabriel-de-la-mora-sergio-vega-affective-architectures/


Artists: Milton Becerra, Esteban Blanco, Carola Bravo, Monika Bravo, Tania Candiani, Fernando Carabajal, Consuelo Castañeda, Othon Castañeda, Eduardo Costa, Juan Raúl Hoyos, Pablo León de la Barra, Gonzalo Lebrija, Alberto Lezaca, Gabriel de la Mora, Atelier Morales, Ronald Morán, Bernardo Olmos, Ernesto Oroza, Gamaliel Rodríguez, Rafiño, Leyden Rodríguez-Casanova, Mariasun Salgado, Sergio Vega, and Viviana Zargón.

Affective Architectures
Curated by Aluna Curatorial Collective
Closing reception March 28th, 2015
Show ran from December 6, 2014 – February 15, 2015
Aluna Art Foundation
Miami, FL, USA

Amidst the flood of banal images, what artworks created through an inter-subjective dialogue with the architecture or the spaces inhabited by artists, have the power to move us and remain in our memory? This question was the point of departure in Affective Architectures, an exhibition curated by Aluna Curatorial Collective (Adriana Herrera and Willy Castellanos), and presented with the collaboration of the Instituto Cultural de México in Miami. The opening will be on December 6 at the headquarters of Aluna Art Foundation and the show will run until February 15, 2015.

Twenty three artists from Mexico, the Caribbean, Latin America, and Spain display specular visions of the architectures that are, or were, mirrors of the failed dreams of modernism in the continent, but they also reveal the potential reserves of creativeness that often manifest themselves in the midst of chaos or necessity.

Walter Benjamin, who left the legacy of a perspective of the world around him that was as critical as it was poetic, used to say that architecture was the oldest of arts because the human need for shelter is timeless. And yet, immersed in the architectures that model our cities, we perceive them absentmindedly, without discovering to what extent they contain and alter the acts of our existence.

For Benjamin, criticism was a matter of “the right distance”. The works exhibited reflect an affective gaze on the cities inhabited on the border between the public and the private: they are re­counts of the steps that have been walked, testimonies of having got lost, but also of groping for a way out. Many images, going against the wish to “do” or build characteristic of modernism, reveal the wish to “undo” or “deconstruct”, and track the past and the present of large cities, posing questions about what may be possible.

Paraphrasing what Gerhard Ritcher termed “the question of position”, each of the participating artists approaches inhabited architectures based on a constant negotiation between closeness and distance. They observe, without indifference —from the closeness of affectivity, but also from the distant perspective of memory—, architectures that contain ‘life deposits’, stored memories of life experiences in spaces, which often fuse with social histories everywhere in the world.

Affective Architectures functions as a mirror reflecting our biographies within the failure of the grand narratives in Latin American and Caribbean cities, but also as a window into alternative passages: strategies of the imagination that may allow us to reinvent our ways of inhabiting the world.

About the Instituto Cultural de México en Miami (Mexican Cultural Institute in Miami): The Instituto Cultural de México in Miami (ICMM) projects the wealth and diversity of the millenary culture of that country in Southern Florida. In addition to fostering the acquisition of knowledge on Mexico’s history, literature, cinematography and dramatic arts, it assigns special relevance to the new artistic trends and generations that are successfully developing in Mexico and that, due to their acknowledged quality, have achieved a solid projection at the national and international level.

March 30, 2015 Camilo Guinot: La forma promiscua https://abstractioninaction.com/happenings/camilo-guinot-la-forma-promiscua/


Artist: Camilo Guinot

La forma promiscua
March 12 – April 5, 2015
Centro Cultural Recoleta
Buenos Aires, Argentina

La propuesta del artista consiste en una instalación escultórica utilizando ramas de la poda pública. Guinot reúne, combina y tensiona la idea de producción humana y la de naturaleza. Asimismo involucra en la exposición las nociones de constructivismo austero, el antimonumento (escultura efímera), la sinergia, la ambigüedad temporal, además de aplicar la idea de lo promiscuo a la mezcla y la diversidad que subyace tanto en el proceso artístico como en el de la vida.
En el lenguaje del artista, la poda le otorga a las ramas el status de desecho. Las mismas son recolectadas y recontextualizadas formalmente en relación al entorno. Cada rama puede entenderse como patrón constructivo, y su vez como unidad de tiempo. Acumuladas y dispuestas en el espacio implican la traducción de tiempo a forma.

March 27, 2015 Pedro Tyler: Extensa https://abstractioninaction.com/happenings/pedro-tyler-extensa-2/

unnamed copy

Artist: Pedro Tyler

March 24 – May 2, 2015
Sicardi Gallery
Houston, TX, USA

Pedro Tyler transforms metal rulers into installations that connect the sculptural object with the history of philosophy. The exhibition opens with a reception on Tuesday, March 24, from 6-8 pm with the artist.

Tyler looks to the intersections of philosophy and religion, sculpture and knowledge. “Extensa has to do with the idea of immensity,” he writes. With his installation Principio y Fin (Beginning and End), Tyler bends sections of metal measuring tapes, turning them into the symbol for infinity. Connecting each piece, the linked chain emerges from the wall and splits into several strands, which connect to the ceiling.

The installation and sculptures in Extensa continue the artist’s ongoing investigation of systems of measurement as metaphors for the immensity of the universe. The artist writes, “Making sculpture is providing matter with form, organizing the space in which we move. How then to make an inanimate body transmit thought and emotion? According to Descartes, body and thought are quite distinct. He maintains that there are only two things: the extended thing (bodies, measurable space) and the thinking thing (the immaterial, thoughts, ideas and intuition). And inside the thinking is perfection and infinity, that is, God. But if each body is infinite within itself, are we not saying, like Spinoza, that God is in everything?”

Image: Pedro Tyler, “Beginning and End”, 2014, Variable dimensions.
March 25, 2015 Danilo Dueñas: The painting fallen, and the collapse of Rome https://abstractioninaction.com/happenings/danilo-duenas-painting-fallen-collapse-rome/


Artist: Danilo Dueñas

The painting fallen, and the collapse of Rome
March 18 – April 25, 2015
Galerie Thomas Schulte
Berlin, Germany

“The painting fallen, and the collapse of Rome“ is Dueñas’ second one person show with the gallery after succeeding impressively with his installation in the gallery’s Corner Space in 2012.

March 23, 2015 Lucia Koch: Kaleidoscope: abstraction in architecture https://abstractioninaction.com/happenings/lucia-koch-kaleidoscope-abstraction-architecture/


Artists: Kevin Appel, Carlos Bunga, Gianfranco Foschino, Veronika Kellndorfer, Lucia Koch.

Kaleidoscope: abstraction in architecture
March 21 – May 16, 2015
Christopher Grimes Gallery
Santa Monica, CA, USA

From its beginnings in the early 20th century the legacy of abstraction is rooted in social and political utopias. Today, abstraction as an artistic strategy has reinvented itself for the 21st century, and the fragmentation of form is a common denominator within the majority of the works featured in this exhibition. Kevin Appel’s (United States) paintings explore the relationship between physical space, architecture and the painted image. Using photographs as a ground on which to build his painting, he applies layers of paint that act as screens, compressing the perceived space between the built environment and nature. The act of looking through one element to another, or the blocking of one impenetrable layer by another and mediating our perception of nature and our encounter with the exterior world has become a signature of his painting. Appel’s work is in the collections of the Los Angeles County Museum of Art, Museum of Contemporary Art, Los Angeles, and the Museum of Modern Art, New York, among others.

While Appel’s approach to abstraction is to collide several planes of visual information, Veronika Kellndorfer (Germany) reveals the subjectivity of space and the ephemeral nature of seeing. Her photographs of the glass facades of modernist architectural landmarks are silkscreened onto large glass panels. The works conflate internal and external environments and invite the viewer to uniquely experience their own surroundings. Kellndorfer has recently completed a site-specific commission for the Architekturmuseum, Pinakothek der Moderne in Munich, where she is presenting large-scale works for the Lina Bo Bardi 100 survey show open through February 22nd. Her work is included in the Museum of Contemporary Art San Diego, CA, Hammer Museum Los Angeles, CA, and Pier 24 in San Francisco, CA, in addition to several European institutions.

Lucia Koch (Brazil) challenges the viewer’s perception and experience of space using diverse tactics within architectural settings. In addition to a video and one of her large-scale photographs of the interior of a small coffee bag, Koch will present a wall structure made of aluminum and colored acrylic panels that filter natural light. Through planar interventions, the wall connects different spaces and environments. In 2016 Koch will be the subject of a solo exhibition at the Museum of Modern Art, Rio de Janeiro, Brazil.

March 20, 2015 Eduardo Costa: International Pop https://abstractioninaction.com/happenings/eduardo-costa-international-pop/


Artists: Delia Cancela, Eduardo Costa, Ushio Shinohara, Keiichi Tanaami, as panelists for the talks.

International Pop
April 11–August 29, 2015
Curators: Darsie Alexander with Bartholomew Ryan
Walker Art Center
Minneapolis, MN, USA

International Pop, a groundbreaking historical survey featuring some 125 works from more than 13 countries on four continents that chronicles the global emergence and migration of Pop art from the mid-1950s to the early 1970s. Organized by the Walker and on view April 11 through August 29, International Pop will travel to the Dallas Museum of Art and the Philadelphia Museum of Art through 2016.

Among the most broadly recognized phenomena of postwar art, Pop was strikingly nomadic,  spreading not only through Britain and the United States but also Japan, Latin America, and both Eastern and Western Europe. From its inception, Pop migrated across borders, seizing the power of mass media and communication to reach a new class of viewers and adherents who would be drawn to its dynamic attributes. Yet, as this exhibition reveals, distinct iterations of Pop were developing worldwide that alternatively celebrated, cannibalized, rejected, or transformed some of the presumed qualities of Pop advanced in the United States and Britain. While Pop emerged in reaction to the rise of a new consumerist and media age, it also emerged in specific socio-economic contexts that inflected its development and reception: from postwar Europe to the politically turbulent United States to the military regimes of Latin America to the postwar climate of Japan with lingering United States occupation to the restricted pop cultural palette of countries in East Central Europe.

Curated by Darsie Alexander with Bartholomew Ryan

Curatorial consultants: Erica Battle, Hiroko Ikegami, Godfre Leung, Luigia Lonardelli, Ed Halter, and María José Herrera

International Pop Cinema
The exhibition includes an ambitious dedicated in-gallery cinema program curated by Ed Halter of Light Industry, Brooklyn.

Opening day talks, April 11
Livecast on the Walker Channel

Speaker: Darsie Alexander (lead curator, International Pop)

The Internationality of Pop
Panelists: Erica Battle (associate curator, Philadelphia Museum of Art), Dávid Fehér (associate curator, Museum of Fine Arts, Budapest), Hiroko Ikegami (associate professor, Graduate School of Intercultural Studies at Kobe University, Japan), and Christine Mehring (department chair and associate professor of art history, University of Chicago)
Moderator: Darsie Alexander

Argentine Pop and Its Dematerialization
Panelists: Delia Cancela (artist, Buenos Aires), Eduardo Costa (artist, Buenos Aires), and María José Herrera (director, Museum of Art, Tigre)
Moderator: Bartholomew Ryan

Tokyo Pop
Panelists: Hiroko Ikegami (associate professor, Graduate School of Intercultural Studies, Kobe University, Japan), Ushio Shinohara (artist, New York), and Keiichi Tanaami (artist, Tokyo)

Image: Antonio Dias, O meu retrato (My Portrait), 1966.
March 16, 2015 Carla Arocha & Stéphane Schraenen: In A Rhythmic Fashion https://abstractioninaction.com/happenings/carla-arocha-stephane-schraenen-rhythmic-fashion/


Artists: Carla Arocha & Stéphane Schraenen

In A Rhythmic Fashion
March 4 – 27, 2015
The Croatian Academy of Arts Glypthotheque
Zagreb, Croatia

For their first exhibition in Zagreb, the Antwerp-based artist duo have devised P10, the tenth iteration of their P-series: modular veils or curtains made of identical Plexiglas elements, hooked together with s-brackets, that both divide, distort and reveal (possible) spaces. Their work, always devised according to site-specific considerations, shows how a regular exhibition location can be made to suggest limitless space that shimmers with depth and reflection.

extract of text by Kate Christina Mayne

March 16, 2015 Amadeo Azar: Open Sessions: Drawings in Context/Field https://abstractioninaction.com/happenings/amadeo-azar-open-sessions-drawings-contextfield/

Queens Museum

Artists: Amadeo Azar, Daniel Barroca, Lea Cetera, Youmna Chlala, Onyedika Chuke, Alexandra Lerman, Harold Mendez, Marcelo Moscheta, and Ronny Quevedo.

Open Sessions: Drawings in Context/Field
March 7, 2015
Queens Museum

Encompassing practices in video, photography, drawing and sculpture, this exhibition is focused on the notion of ‘field/context’ as a political, historical, spatial, and technological construct.

In order to analyze contexts and fields artists utilize various modes of making. The artists presented do not attempt to resolve or locate their practices within any given mode of representation. Encompassing practices in video, sound, photography, drawing, performance and sculpture the works herein negotiate with spaces both ambiguous and direct.

The participating artists in Open Sessions: Drawings in Context/Field are members of the Open Sessions program at The Drawing Center, which fosters a dynamic, ever-evolving conversation with new drawing practices and practitioners, viewing drawing as an activity rather than a product. The exhibition is organized by Onyedika Chuke, a participant in Queens Museum’s Artist Studio Program and The Drawing Center’s Open Sessions participant.

Schedule of Events:

1-4pm: Video Screenings, in the Theater on 2nd Floor

4-7pm: Opening Reception, Community Partnership Gallery

Note: There will be a free shuttlebus making loops from under the Mets/Willets Point 7 Train Stop and the Museum from 4:30-7:40pm.

March 11, 2015 Carla Arocha & Stéphane Schraene: Landscape https://abstractioninaction.com/happenings/carla-arocha-stephane-schraene-landscape/


Artists: Carla Arocha & Stéphane Schraene.

February 1 – March 1, 2015
Café Benito / Sala Juárez
Guanajuato, Mexico


Image: courtesy of the artists and Hey Javier Mendez



March 11, 2015 Gabriel Acevedo Velarde: Your Lazy Eye https://abstractioninaction.com/happenings/gabriel-acevedo-velarde-lazy-eye/


Artists: Gabriel Acevedo Velarde, Bernadette Corporation, Emily Jacir, Ana Jotta, Judith Hopf, Adriana Lara, Amilcar Llontop, Andreas Slominski, Sturtevant, and Heimo Zobernig.

Your Lazy Eye
Curated by Antoine Henry Jonquères
February 27 – March 6, 2015
Museo de Arte Contemporáneo de Lima
Lima, Peru

Exposure and camouflage are part of our instinct of survival. The animal kingdom does not lack of examples. Each species has a ritual of seduction in which dances and postures allow to compete and demonstrate who is the fittest for procreation. On the other hand, to fool predators and preys, a fish may appear as a stone, an owl as a tree trunk and a chameleon change color depending on its surroundings.

Since the beginning of the XXI century, digital technologies shed light on a large part of a previously anonymous population. The ability to identify, record, steal and share data increased the tension between institutions and individuals. Similar to a large spider web, the structure of networks needs to feed from the digital identities that remain trapped in it.

Like the conquest of America, the discovery of the new “Internet” continent reshapes human interactions. However, the idea of conquering the other becomes more complex when that other is ubiquitous.

At this threshold, the archaic structures of power and the most individual utopias have found a niche where to exist, but in this ambiguous terrain, this niche can also be a trap.

With this background in mind, this group exhibition wonders to what extent primitive instincts of survival such as hunting and socialization govern the actual hyper technological environment. Throughout the selected works we can observe that the difference between camouflage and exposure dissolves itself. Behind the masks, we can clearly see that the spectacle, multinationals and religions are part of the same system of power.

March 9, 2015 Emilio Chapela: New International Boundary Commission https://abstractioninaction.com/happenings/emilio-chapela-new-international-boundary-commission/


Artist: Emilio Chapela

New International Boundary Commission
March 6 – May 10, 2015
Museo de Arte Carrillo Gil
Mexico City, Mexico

The artistic proposal of Emilio Chapela has an interest in the mechanisms involved in human communication and how these processes impact society. Also questioned our relationship with various technological tools, such as books, libraries, the Internet and social networks.

Guillermo Santamarina, chief curator of the MACG, explained that aside from what those who view the works of Emilio Chapela may take away freely from the experience of approaching this anthological show, concerted between the Carrillo Gil Art Museum and the artist, certain lines of reflection may be highlighted that lay the foundation for the structure of the New International Boundary Commission, an organization established by Chapela himself, inspired by the nomenclature of the organism created in 1889 by the United States and Mexico in order to enforce international treaties regarding the lands and waters between these two nations.

A correspondence between gazes from either side of a linguistic portal, resolved through a dynamic of critical activism in response to simulations of referential urban order; the development of poetic inspections that lead to resistance, given the terminal conditions that run like shadows behind the nefarious policies that determine obtuse teaching methods, thus perpetuating inequality and social oppression; a conceptual network that refreshes the irrepressible halo of detournement (an artistic technique that consists of appropriating material from normative culture, the art world and consumer society and intervening it in order to divert its meaning); this New Boundary Commission also accredits another column of expression within the cosmos of Emilio Chapela, singularly articulating a complex of reflection in modern art history: art for art’s sake.

“No matter what vortices the observers of this new commission choose to focus on (and not to confine within borders) in order to gain comprehension of the linguistic complex explored by Emilio Chapela, this experience—plural, open and dynamic— finds its recapitulation unified on the scale of a single floor of the MACG, thus assimilating the articulation of a single entity. As in a home. As in a solitary planet, unique in the cosmos. It is constituted by units interconnected simply by curiosity and emotions. Perhaps like that which, whenever one takes a step, encounters the ground…hard, rough, dirty, and even foul at times. Ground, what it should be, what we have always believed it was. The surface that binds us to life. Essence. Meaning. The things that occur when you close your eyes and off in in the distance, distinguish a line. The Horizon, limitless” Santamarina declared

March 9, 2015 Iván Navarro: Feio https://abstractioninaction.com/happenings/ivan-navarro-feio/

Screenshot 2015-02-13 17.52.10

Artists: Iván Navarro and Ricardo Muñoz.

February 12, 2015
Bogotá, Colombia

En la sala de proyectos se mostrará un atlas cartografiado del artista Iván Navarro. Este proyecto de dibujo llamado “FEO” surge a partir de su interés por la estética, la asimetría, el error, la rareza típicas de la individualidad humana. Esta exposición está acompañada por el lanzamiento de la publicación FEIO editada por La Silueta en el año 2014.

En la sala princcipal de la galería, Ricardo Muñon Izquierdo, mostrará obra sobre papel producida en los últimos cuatro años. A través de yuxtaposiciones absurdas de iconos del arte, con humor, cinismo, y deformación alegórica acentúa tensiones dialéctivas entre lo público y lo privado, lo culto y lo marginal.

March 5, 2015 Patrick Hamilton: Progreso / Progress https://abstractioninaction.com/happenings/patrick-hamilton-progreso-progress/


Artist: Patrick Hamilton

Progreso / Progress
February 17 – April 4, 2015
Galeria Marta Cervera
Madrid, Spain

Solo exhibition by Patrick Hamilton

March 5, 2015 Fabián Burgos: Stay in Space https://abstractioninaction.com/happenings/fabian-burgos-stay-space/


Artist: Fabián Burgos

Stay in Space
February 12 – April 4, 2015
Alejandra von Hartz Gallery
Miami, FL, USA

The graphic representation of the visible spectrum of light, shows us a line with 4 colors fused, in order: violet, blue, yellow and red. Upon multiplying the lines and assigning each one a color on a scale greater than 140 colors, creates a more energetic relationship with the space. The paintings of “Stay in Space” are composed of a 140 (approximately) color palette. These colors change their hues and tones as they are being prepared. On, or “in” this mesh of lines, a group of straight lines and diagonals are drawn that cut the gentle flow of colors, to build more hard geometric shapes. This contrast is again involved in space, but this time, registers it mentally.

These paintings are accompanied by others decidedly more concrete in their geometry (“Blue Spiral”, “Endless blue”, “That network”), which confirms the persistence of Burgos in working space in a sensitive and symbolic way: symbolic in terms of space as an optical game of “truth and falsehood”.

To this insistent work on the preparation and search for colors, Burgos adds their distribution on the surface of the canvas. Sometimes the method used is intuitive; other times, mathematical (application of rule of three on the square root), a simple mechanism that Burgos uses as a random instrument to switch longer fragments of colors with other shorter ones.

Through this means a reading of blocks and forms is established, which calls every viewer to interpret with his own subjectivity. One can see in that weave of colors: spectral shapes, numbers, letters, or any other interpretation that one gives the works, like a misty narrative. However, the contrast of forms and the permanence in space, is what really occupies Burgos.

Finally, Burgos expresses once again his identification with and admiration for some Latin America’s mid-20th century geometric artists. He involves himself with them and establishes a dialogue as of today, with the differences and particularities that the passing of time imposes. In “Stay in Space” he pays a tribute to the Ecuadorian artist Manuel Rendón (Despues de Rendon, 2014).

Fabian Burgos was born in Argentina in 1962, where he currently lives and works. He is a self-taught artist and participated in Atelier Felipe Noe (1987-85), Atelier Ahuva Szlimowicz (1988-1987) and Fundacion Antorchas Scolarship organized by Guillermo Kuitca (1993-91), all them in Buenos Aires. Selected Solo Exhibitions include: Instante Eterno. Museo de Arte Contemporaneo de Buenos Aires (MACBA), 2014; Comiéndose a Raúl, Galería Vasari, Buenos Aires, Argentina, 2013; Abstracta, Galería Dabbah Torrejón, Buenos Aires, Argentina, 2010, and Conferencia de Prensa, Galería Alejandra Von Hartz, Miami, USA, 2007. Selected group exhibitions are:Recovering Beauty: The 1990s in Buenos Aires. Blanton Museum of Art. Houston. Texas, 2011; Art First, Colección MACBA Museo de Arte Contemporáneo de Buenos Aires, Fundación Pablo Atchugarry, Manantiales, Punta del Este, Uruguay, 2011; 4 Museos + 40 Obras. Muestra Itinerante de Colección MACBA; Arte en el Plata, Intervención artística sobre la fachada del Edificio del Plata, Buenos Aires, Argentina curated by Inés Katztenstein and Eva Grinstein, 2009; Geometrías dislocadas, Burgos, Door, Siquier, Sala Mendoza, Caracas, Venezuela, 2009; All Boys, en el Rosa x 6, Rosa Galisteo Museum, Santa Fe, Argentina, 2009; Escuelismo. Arte argentino de los 90, MALBA Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires, Argentina, 2009; Pintura Latinoamericana Contemporánea (in Guayaquil Coleccions), MAAC Museo Antropológico y de Arte Contemporáneo, Guayaquil, Ecuador, 2008.

He is currently developing large commissioned murals for the SLS Hotel and Brickell Heights project to be completed in Miami in 2015.

March 2, 2015 Rodrigo Sassi: In Between https://abstractioninaction.com/happenings/rodrigo-sassi-2/


Artist: Rodrigo Sassi

In Between
February 3 – 24, 2015 (London)
March 19 – April 18, 2015 (Paris)
MDM Gallery
London, UK and Paris, France

The fruit of a 6-month residency at La Cité Internationale des Arts, Paris, In Between is Part One of Rodrigo Sassi’s first European solo exhibition: London 3 – 24 February and Paris 19 March – 18 April 2015 at MDM Gallery in partnership with Gallery Nosco | Frameless (London).

February 24, 2015 Mariella Agois, Ricardo Alcaide, Alberto Borea, Jorge Cabieses, Alberto Casari, Sandra Gamarra, Billy Hare, Nicolás Lamas, Valentino Sibadón: Divertimento https://abstractioninaction.com/happenings/mariella-agois-ricardo-alcaide-alberto-borea-jorge-cabieses-alberto-casari-sandra-gamarra-billy-hare-nicolas-lamas-valentino-sibadon-divertimento/


Artists: Mariella Agois, Miguel Aguirre, Ricardo Alcaide, Alberto Borea, Jorge Cabieses, Alberto Casari, Aldo Chaparro, Margarita Checa, César Cornejo, Dare Dovidjenko, Sandra Gamarra, Huanchaco, Billy Hare, Haroldo Higa, Edi Hirose, Fernando La Rosa, Nicolás Lamas, Julio Le Parc, Benjamín Moncloa, Vik Muniz, Musuk Nolte, Pedro Peschiera, Jorge Piqueras, Liliana Porter, Emilio Rodríguez Larraín, Valentino Sibadon, Pier Stockholm, José Tola, Adriana Tomatis, Patrick Tschudi, and Alice Wagner.

January 14 – February 6, 2015
Galeria Lucia de la Puente
Lima, Peru

Group show

Image: Alberto Borea, from the series American Deconstruction, 2015, Collage on canvas, 150 x 190 cm.
February 24, 2015 Richard Garet: Systematic Sampling https://abstractioninaction.com/happenings/richard-garet-systematic-sampling/


Artists: Audra Wolowiec, Brenna Murphy, Chris Woebken & Sascha Pohflepp, Ellie Irons, Erin Sexton, Genevieve Hoffman, Jess Rowland & Margaret Schedel & Kevin Yager, Melissa F. Clarke & Sue Ngo, Nanu Al-Hamad & Miriam Simun, Natalie Jeremijenko & xDesign Team, Phillip Stearns, Richard Garet and Trish Mackenzie.

Systematic Sampling
January 8 – 22, 2015
Stream Gallery
Brooklyn, NY, USA

Systematic Sampling examines how artists contend with emerging ecologies in a series of art works and performances situated on the continuum between “technology” and “nature,” often exploring this inextricable link. The diverse group of artists all share a proclivity for using research methods and information-parsing in their process towards meaning-making.

Some artists make use of existing scientific and technological systems in their processes, some question these systems, while others work in parallel, devising entirely new forms of ‘sampling’ to produce knowledge. What are the systems that artists are putting in place as they explore emerging ecologies? And what is the “data” that comes forth?

Systematic Sampling explores these questions with a collection of inventive art works that uncover hidden systems and emerging signs of life. A wide range of mediums are represented including sound, light, painting, video, installation and sculpture. Curated by Melissa F. Clarke and Miriam Simun.

Live performances will take place at both the opening and closing events.

Image: Brenna Murphy, “Embodied Entitiy”, 2013.
February 18, 2015 Patrick Hamilton: Territorios Fronterizos / La fotografía mas allá de la imagen. https://abstractioninaction.com/happenings/patrick-hamilton-territorios-fronterizos-la-fotografia-mas-alla-de-la-imagen/


Artist: Patrick Hamilton

Territorios Fronterizos / La fotografía mas allá de la imagen
November 18, 2014 – January 25, 2015
Centro Cultural Matucana
Santiago de Chile, Chile


February 18, 2015 Marco Maggi: Embracing Modernism: Ten Years of Drawings Acquisitions https://abstractioninaction.com/happenings/marco-maggi-embracing-modernism-ten-years-drawings-acquisitions/

unnamed copy 2

Artists: Matisse, Mondrian, Schiele, Pollock, Warhol, Lichtenstein, Twombly, Kippenberger, Dumas, Maggi, and many more.

Embracing Modernism: Ten Years of Drawings Acquisitions
Curated by Isabelle Dervaux
ebruary 13 – May 24, 2015
Morgan Library & Museum 
New York, USA

In 2005, the Morgan Library & Museum embarked on a new program of drawings acquisitions with the goal of bringing to the present a collection that was known for its Old Master and nineteenth-century holdings. During the ensuing decade the institution put together a formidable collection of modern and contemporary drawings, representing a wide range of artists and movements. Embracing Modernism: Ten Years of Drawings Acquisitions, opening February 13, features more than eighty works from the collection and explores the dynamic creativity that revolutionized the medium in our time. The exhibition runs through May 24.

Embracing Modernism includes work by artists from Henri Matisse, Piet Mondrian, and Egon Schiele, to Jackson Pollock, Andy Warhol, Roy Lichtenstein, Susan Rothenberg, Martin Kippenberger, and Marlene Dumas. The exhibition is divided into five sections. Each focuses on a particular departure or shift in emphasis in modern drawing—such as the approach to the use of the line—that sets it apart from its antecedents. The exhibition is organized by Isabelle Dervaux, Acquavella Curator of Modern and Contemporary Drawings at the Morgan, who has led the museum in this area since 2005.

“The Morgan’s decision to collect modern and contemporary drawings underscores its belief that artists of our day are part of a long continuum that celebrates the primacy of the medium,” said Peggy Fogelman, Acting Director of the Morgan Library & Museum. “Embracing Modernism presents an extraordinary collection of works by some of our greatest artists. The Morgan is deeply grateful to the collectors and donors who helped build our collection over the last decade and make possible an exhibition such as this.”

Exhibition Sections

The Autonomy of the Line

An essential component of drawing from its origins, line took on a new role in the twentieth century as artists eschewed naturalistic representation. Liberated from its descriptive function— as the outline of an object or a figure—line achieved greater autonomy. Drawing became, in Paul Klee’s words, “an active line which moves freely; a walk for a walk’s sake, without aim.” The sheets by Matisse, Mondrian, Pablo Picasso, and Saul Steinberg in this section show them investigating the expressivity of the line, whether continuous or broken. During the 1960s and 1970s, artists such as Sol LeWitt and Agnes Martin eliminated any remaining illusionistic function of a line on a ground with the adoption of the grid format, in which the line is a basic modular unit.

More recently, contemporary artists have used the line to visualize aspects of man’s relationship to the world in dense, labor-intensive drawings. Examples include Giuseppe Penone’s extension of a fingerprint into growth rings of an ancient tree, or Marco Maggi’s nod to the electronic age with an intricate network of nearly invisible incisions.

Gesture and Trace

Drawing as a gesture—the record of physical engagement—is central to twentieth-century expressionist tendencies. It reflects a conception of art as a direct, spontaneous experience as seen in the work of Cy Twombly, Michael Goldberg, and Joan Mitchell. But the gesture can also be more automatic, calling into question the traditional notion of the hand of the artist. The Surrealist Max Ernst was the first to explore the technique of frottage (rubbing) to create unexpected patterns intended to stimulate the viewer’s imagination. During the 1960s, the technique was revived in process drawing—drawing as the trace of an action independent from usual artistic practice—as in Robert Overby’s rubbing of his studio wall.

Contemporary artists’ fascination with the use of chance has led them to rely more and more on unconventional modes of drawing. Gavin Turk, for instance, produced his elegant Rosette by placing a sheet of paper in front of the exhaust pipe of his van before starting the engine.

High and Low

In the modern era, the interplay between art and popular culture considerably broadened the range of drawing styles available to artists. Inspired by commercial illustrations, comic books, graffiti, tattoos, and posters, artists such as Roy Lichtenstein, Ed Paschke, Red Grooms, and Martin Kippenberger gave their drawings a new kind of energy At the same time their work questioned the very nature of what constitutes “artistic” drawing as opposed to any other form of mark making.

The use of non-traditional art material was another way to bridge the gap between art and everyday life. Following the lead of the Cubists, who first introduced fragments of newspapers and labels in their papiers collés, Kurt Schwitters created collages from scraps of contemporary urban culture: ads, ticket stubs, candy wrappers, torn packaging. The practice has remained a vital form of expression to the present day as can be seen in the collage books of John Evans and the poignant compositions of Hannelore Baron.

Everyday Objects

Although the depiction of everyday objects has a long tradition in the genre of the still-life, the range of items deemed worthy of the artist’s attention has expanded in modern times, as attested by the cigarette-butt, ice cube, soup can, and portable electric heater in the drawings on view in this section by artists including Andy Warhol and James Rosenquist. Artists also explored new modes of representation, notably in compositions that favor odd cropping and extreme close-up, largely influenced by photography and film.

From Melancholia to Schizophrenia

Nowhere is the disruption of the academic tradition in modern art more visible than in portrait and figure drawings. Liberated by photography from the necessity to produce a likeness, and stimulated by psychoanalytic revelations about the complex inner life of individuals, artists set out to render emotions and mental states with unprecedented immediacy. Various formal means— fragmentation, distortion, exaggeration, awkward poses and cropping—were used to convey sensations and feelings, from the psychological tension of Walter Sickert’s bedroom scene to Anne-Marie Schneider’s vision of a schizophrenic bus passenger who imagines himself in the luggage rack.

Self-portraits offer particularly rich territory as artists used drawing to probe their most intimate psychological states and lay bare on paper their fears and anxiety. Examples in this section include work by Egon Schiele, Lucas Samaras, Philip Guston, and Maria Lassnig. Others, such as André Masson, Jackson Pollock, and Steve di Benedetto, relied on a range of visual metaphors—including the labyrinth and other intricate patterns—to conjure the workings of the unconscious.

Image: Marco Maggi, Too Close too Far, V, (Detail) 2001, Pencil on clay 36 x 24 inches.
February 8, 2015 Clarissa Tossin: Streamlined: Belterra, Amazônia / Alberta, Michigan https://abstractioninaction.com/happenings/clarissa-tossin-streamlined-belterra-amazonia-alberta-michigan/

unnamed copy

Artist: Clarissa Tossin

Streamlined: Belterra, Amazônia / Alberta, Michigan
January 16 – April 26, 2015
MOLAA Project Room
Long Beach, CA, USA

In a video installation, Clarissa Tossin brings together two Ford Motor Company towns: Belterra, a rubber plantation village in the Brazilian Amazon Forest, and Alberta, a sawmill town in Michigan’s Upper Peninsula. Built concurrently in 1935, each town provided, respectively, rubber and wood for the manufacturing of the Model T in the United States. The installation establishes a sense of place, highlighting how specific cultural characteristics inhabited and changed these equivalent, pre-planned towns.

January 30, 2015 Gabriel de la Mora: (f) https://abstractioninaction.com/happenings/gabriel-de-la-mora-f/


Artist: Gabriel de la Mora

February 3, 2015
OMR Galeria
Mexico City, Mexico

Solo show by Mexican artist Gabriel de la Mora

January 30, 2015 Diana de Solares & Darío Escobar: 5 – R.P.M https://abstractioninaction.com/happenings/diana-de-solares-dario-escobar-5-r-p-m/


Artists: Luis Díaz, Diana de SolaresDarío Escobar, Sandra Monterroso, and Esvin Alarcón Lam.

5 – R.P.M (Revoluciones por minuto / Revolutions per minute)
January 29 – March 21, 2015
The 9.99 Gallery
Guatemala City, Guatemala.

Artists: Patrick Hamilton and Alejandro Almanza Pereda.

Diálogo entre Patrick Hamilton y Alejandro Almanza Pereda
Dialogue between Patrick Hamilton and Alejandro Almanza Pereda
January 29 – March 21, 2015
The 9.99 Gallery
Guatemala City, Guatemala

“5 / RPM”. RPM (Revolutions Per Minute) is a unit related to a machine’s power and speed; in this case we have taken the concept to create an analogy, where the innovative vigor of the artists has been transformed into creative energy and whose works are the manifestation of that power and the movement of different generations of Guatemalans contemporary artists.

The temporal shift becomes real and the artists express it differently. Such that the RPM concept functions as a double bind. The works on display are based on various media that refer to the effect, the imprint, and the meaning of actual movement in reference to transportation or working machines, as well as the industrial materials with which they are built.

The gallery is pleased to invite for the first time the artist Luís Díaz, who has a long history with and a great influence on the Guatemalan artistic production. With “Documento” (Document) (1972), Díaz was a pioneer of conceptual art in Guatemala, placing a piece of cardboard on a manhole cover on which a spontaneous colography was performed within the street context in which it was found. Through colography, Díaz managed to capture the traces of passing cars, whose evidence is displayed in the exhibition in a circular composition inside a rectangle, tending to abstraction. With this gesture, Díaz documented an action whose testimony has managed to remain and transcend for over 40 years.

In “La demoledora” (Demolition woman) (2010) Sandra Monterroso documents an action using various modes of representation. The videoperformance shows the artist driving an industrial steamroller over tin pots of the kind used to cook tamales -objects associated with stereotypical domestic femininity. Violent, yet oddly liberating, Monterroso’s act equally rethinks and abolishes female roles. The installation is composed of the video documenting the action, the flattened pots, and several colographies made using a process akin to the one employed by Díaz in “Documento.” The colographies become an abstract representation of the action while affirming the dispossession of the pots’s original function.

In “ Construcción Geométrica # 5” (Geometric construction #5) (2014), one of the main interests of the artist Darío Escobar is brought into question. The wooden bodies of Guatemalan rural transport vehicles are the found objects that Escobar uses to pose questions regarding the Latin American geometric awareness. Through this aesthetic resource, the artist reflects on a modernity unconsciously acquired in nations that by definition do not meet the Western standard of having achieved homogeneous progress.
“Construcción Geométrica # 5” subtly critiques such national condition, yet it is not far from its industrial origin. As it hangs on the wall, the sculpture moves by means of hinges attached to its structure, allowing for the reconfiguration of the panels while adding some dynamism to the work.

Similarly, Lam Esvin Alarcón is known for resignifying objects within a national context, in this case, addressing public transportation, such as city buses. In “Desplazamiento No. 2” (Displacement No.2) (2014), the pieces achieve both chromatic and calculated harmony, turning into spontaneous geometric compositions as a result of careful formal conclusions.

The selection of materials chosen by the artist is motivated by his interest in evidencing the passage of time and the physical erosion caused by lived spaces. With this piece Alarcón Lam was invited to participate in the exhibition “Spatial Acts” at the Americas Society in New York last year.

Like Escobar, Diana de Solares recontextualizes the found object. In this instance an object that moves away from modernity and refers back to the pre-industrialization period. In “Existir en un estado de peligrosa distracción “ (Exist in a state of dangerous distraction) (2010-2014) Solares covers the plow with automotive paint, stripping it off of its agricultural functionality so that it can be perceived as a new object, a work of art suspended in time and space. As part of the composition, the artist added dried branches treated with curative wax to provide contrast between the materials; the juxtaposition between the organic and the industrial creates tension and highlights the fragility of the plow’s elements, alluding to the object’s temporality.

Due to her intuitive processes and attention to material combinations, Solares seeks to preserve a dose of mystery and enigma allowing the viewer to openly interpret her works. Such works become meaningful to talk about the human condition, related to the evolutionary and industrial development, physical and conceptual movement, and different ways to approach it, which proves the strength of the national creative power.



“5 / RPM” RPM. (Revoluciones por minuto) es una unidad que se relaciona con la potencia y velocidad del desplazamiento de una máquina; en este caso se ha retomado el concepto para hacer una analogía, donde la energía innovadora de los artistas se ha trasformado en energía creadora y cuyas obras se vuelven la manifestación de la potencia y el desplazamiento de diferentes generaciones de artistas contemporáneos guatemaltecos.

Este desplazamiento temporal se convierte en desplazamiento real y los artistas la representan de diferentes formas. De manera que el concepto de RPM funciona doblemente como aglutinante. Las obras en la exhibición se basan en medios heterogéneos para referirse al efecto, a la huella y al significado de desplazamiento real, en este caso aludiendo a los efectos de las máquinas de transporte o trabajo, al igual que a los materiales de los que son construidos industrialmente.

La galería tiene el placer de invitar por primera vez al artista Luis Díaz, quien goza de una extensa trayectoria y de gran influencia en la producción artística guatemalteca. Con “Documento” (1972), Díaz fue un pionero del arte conceptual en Guatemala, al colocar un pedazo de cartón sobre una tapa de alcantarilla, sobre la cual realizó una colografía espontánea, a la merced del contexto vial en que se encontró. Por medio de la colografía, Díaz logró captar la huella de la fuerza y del paso de los automóviles, cuya evidencia es representada en una composición circular adentro de un rectángulo, tendiendo a la abstracción. Con este gesto, Díaz documentó una acción cuyo testimonio ha logrado permanecer y trascender por más de 40 años.

En “La Demoledora” (2010) Sandra Monterroso documenta una acción utilizando diferentes representaciones. El gesto de Monterroso de repensar y abolir los roles femeninos de una manera violenta pero al mismo tiempo liberadora, al accionar contra ollas de hojalata para hacer tamales, objetos asociados al estereotipo de la feminidad doméstica, es presentado en diversos medios. El videoperformance muestra a la artista conduciendo una aplanadora industrial sobre las ollas, la instalación es conformada por las ollas aplanadas que luego las transfiere gráficamente en colografías, dónde la huella del objeto agredido es plasmado sobre papel, al igual que Diaz en “Documento” (1972), convirtiéndose en una representación abstracta de la acción y afirmando el despojo de su significado original.

En “Construcción Geométrica # 5” (2014), uno de los intereses principales del artista Darío Escobar se pone en cuestión. Las carrocerías de madera de vehículos de transporte rural guatemaltecos son el objeto encontrado en el que Escobar se basa para poner en cuestión la concientización geométrica latinoamericana. Por medio de este recurso estético, el artista reflexiona acerca de una modernidad adquirida desapercibidamente en naciones que por definición no cumplen con los estándares occidentales de haber alcanzado un progreso homogéneo, de tal manera que la obra tiene connotaciones críticas sobre una condición nacional. Al mismo tiempo la obra no se aleja de su origen industrial y conserva movimiento, ya que aunque se adhiera a la pared, las bisagras colocadas en la estructura permiten la reconfiguración de los paneles, lo cuál la vuelve dinámica.

De modo similar, Esvin Alarcón Lam se caracteriza por reconfigurar objetos pertenecientes al contexto nacional, en este caso, ligados al transporte público, como lo son los autobuses urbanos. En “Desplazamiento No. 2” (2014), como producto de un cuidado juicio formal, las piezas demuestran una gran armonía cromática y calculada, volviéndose composiciones geométricas espontáneas. La decisión del material elegido por el artista se origina por su interés en mostrar el paso del tiempo y las erosiones físicas causadas por el espacio habitado. Con esta pieza Alarcón Lam fue invitado a participar en la exhibición “Spatial Acts” en Americas Society en Nueva York el año pasado.

Diana de Solares, al igual que Escobar, recontextualiza el objeto encontrado, en este caso un objeto que se aleja de la modernidad y alude a la pre-industrialización. En “Existir en un estado de peligrosa distracción”
(2010-2014) al pintarlo con pintura automotriz, de Solares despoja al arado de su funcionalidad agrícola para que pueda ser percibido como un nuevo objeto, una obra de arte suspendida en tiempo y espacio.

Tales obras se vuelven significativas por hablar de una condición humana, relacionada con el desarrollo evolutivo e industrial, el desplazamiento físico y conceptual y las diferentes maneras de abordarlo, lo cual viene a probar la fuerza-potencia creadora nacional.


As part of the gallery’s agenda in 2015, the first Project Room opens with a dialogue between Patrick Hamilton and Alejandro Almanza Pereda, along with the exhibition “5  RPM” on Thursday January 29.

Hamilton ‘s work focuses on the processes of urban “cosmetization” that took place in Santiago de Chile after the dictatorship of Augusto Pinochet (1973-1990), during which many Modernist buildings were constructed. Using the technique of collage, Hamilton intervenes images of several buildings in the city’s new financial district with adhesive paper that imitates marble and precious woods textures, to cover up and give new meaning to the local architecture. “Proyectos de arquitecturas revestidas para la Ciudad de Santiago” (Architectural projects re-covered for the City of Santiago, 2008-2009) the artist proposes a social critique that denounces the deception caused ​​by the powerful economic sector to the Chilean people.

In the piece “Balance No. 3, Ruca” (2013) Hamilton presents a picture of a still life—a pictorial composition of inanimate objects—, which appears to be real when reproduced photographically at actual scale. The decision to use specific objects like a postcard, two chains, and a rectangle of red acetate, comes from the story that each object holds but that the artist does not reveal. Hamilton implements multiple planes with objects to build a contemporary still life to add to its fragile balance.

In contrast, the sculpture of Alejandro Almanza “Sticks & Stones No. 4” (Palos y piedras, 2014) takes up objects in diverse make up and meaning and places them in a tense and unorthodox composition. Almanza relates a wooden table and a resin bust, acquired in the flea markets, with fluorescent light tubes, tubes, stones, and what appears to be a burnt stick—objects found in the country where he creates the work. The sculpture becomes a constellation of places, memories, and stories that talk of a temporal and spatial condition. “Sticks & Stones” is the title of several popular songs; however, its origin comes from a nursery rhyme that expresses the desire not to be hurt by insults even when sticks and stones may cause one physical pain.

Winning an honorable mention at the XVI Biennial of Photography in 2014 at the Centro de la Imagen in Mexico City, “The Less Things Change, the Less They Stay the Same” (Entre menos cambian las cosas, menos siguen iguales, 2014) documents the deconstruction of a metal bookshelf. A formal exercise that begins when a shelf is placed vertically resulting in endless variations, the shelf, no longer a utilitarian object, becomes a sculpture. The title of the work is a reversal of the well-known French epigram plus ça change, plus c’est la même chose (the more things change, the more they stay the same) implying that at a deep level, changes do not affect reality

Almanza, like Hamilton, focuses on the object, the material, and their inherent history and in the way they are intervened by the artist so that they retain their original meaning while adding a new one.



Como parte de la agenda de la galería para el 2015, se inaugura el primer Project Room con un diálogo entre Patrick Hamilton y Alejandro Almanza Pereda, junto con la exhibición “5  RPM” el día jueves 29 de enero.

La obra de Hamilton se centra en los procesos de “cosmetización” urbana que ocurrieron en Santiago de Chile después de la dictadura de Augusto Pinochet (1973-1990), periodo durante el cual se construyeron muchos edificios de estilo modernista. Empleando la técnica del collage, Hamilton interviene las imágenes de varios edificios del nuevo barrio financiero citadino con papel adhesivo que simula texturas de mármol y maderas preciosas, recubriendo, o maquillando por decir así, la arquitectura local para conferirle un nuevo significado. En “Proyectos de arquitecturas revestidas para la Ciudad de Santiago” (2008-2009), el artista propone una crítica social que denuncia el engaño efectuado por el poderoso sector económico al pueblo chileno

En la pieza “Equilibrio No. 3, Ruca” (2013) Hamilton presenta la fotografía de un bodegón—composición pictórica de objetos inanimados—que simula ser real al reproducirlo en escala natural. La decisión de utilizar objetos específicos como una postal, dos cadenas y un rectángulo de acetato rojo, proviene de la historia que retiene cada uno de ellos y que el artista no revela. Hamilton implementa múltiples planos con los objetos que construyen el bodegón contemporáneo en sí sumándose a su frágil equilibrio

En contraste, la escultura de Alejandro Almanza “Sticks & Stones  No. 4” (Palos y piedras, 2014) retoma objetos variados en construcción y significado y los coloca en una composición heterodoxa en tensión. Almanza relaciona una mesa de madera y un busto de resina, adquiridos en los mercados de segunda mano, con tubos de luz flourecente, tubos, piedras y lo que parece ser un palo quemado, objetos que incorpora a la obra generalmente del país dónde la realiza. La escultura se vuelve una constelación de lugares, memorias e historias que habla de una condición temporal y espacial. “Sticks & Stones” es el título de varias canciones populares pero su origen proviene de una rima infantil que expresa el deseo de no dejarse herir por los insultos aun cuando los palos y las piedras le puedan causar dolor físico.

Ganadora de una mención honorífica en la  XVI Bienal de Fotografía del 2014 en el Centro de la Imagen en México D.F., “The Less Things Change, the Less They Stay the Same” (Entre menos cambian las cosas, menos siguen iguales) documenta la deconstrucción de una estantería metálica. Ejercicio formal que empieza cuando un entrepaño se coloca verticalmente dando lugar a sin fin de variaciones, la estantería deja de ser objeto utilitario para convertirse en una escultura. El título de la obra es una inversión del popular epigrama francés plus ça change, plus c’est la même chose (entre más cambian las cosas, más siguen iguales) dando a entender que a un nivel profundo los cambios no afectan la realidad.

Almanza, al igual que Hamilton, se centra en el objeto, el material y su historia inherente y en la manera que al intervenir en ellos, retienen su significado original pero también adquieren otro.

 Images: Exhibition view, Courtesy of The 9.99 Gallery, Guatemala.


January 30, 2015 Aníbal Catalán: untitled unit until the lit let the litter https://abstractioninaction.com/happenings/anibal-catalan-untitled-unit-lit-let-litter/


Artist: Aníbal Catalán

untitled unit until the lit let the litter
February 7 – March 28, 2015
Yautepec Galería
Mexico City, Mexico

Solo exhibition by Mexican artist Aníbal Catalán.

January 30, 2015 Darío Escobar & Patrick Hamilton: Beleza? https://abstractioninaction.com/happenings/dario-escobar-patrick-hamilton-beleza/


Artists: Kader Attia, Francis Alÿs, Darío Escobar, Alberto Baraya, Albano Afonso, Matías Duville, Patrick Hamilton, Carlos Garaicoa, Cinthia Marcelle e Tiago Mata Machado, Moris, Pedro Alonso & Hugo Palmarola, Sandra Cinto, and Santiago Sierra.

January 24 – March 29, 2015
Curated by Pamela Prado
Centro Cultural Sao Paulo
Sao Paulo, Brazil.

Beleza? – com sinal de interrogação – é uma expressão brasileira que pergunta se por acaso tudo está bem. Assim, parece relançar a beleza – conceito extinto no discurso da arte – para outro lado, para o da preocupação dos artistas com o estado do mundo contemporâneo, a globalização e a crise do modelo econômico imperante. Beleza? reúne obras que parecem formular esta mesma pergunta: está tudo bem? Em distintos formatos e estratégias, dão visibilidade e reagem às transformações e contradições próprias do desgaste dos sistemas políticos e econômicos que se chocam contra as pessoas (e suas relações sociais), as paisagens (e as definições territoriais) e os países (e suas demarcações geopolíticas).

January 27, 2015 José Luis Landet: Gomez https://abstractioninaction.com/happenings/jose-luis-landet-gomez/

Artist: José Luis Landet

December 19, 2014
Document Art
Buenos Aires, Argentina

For more information about the exhibition, please refer to the following video narrated by the artist.

Screenshot 2015-03-23 15.47.35


December 23, 2014 Nicolas Lamas: About Sculpture #4 https://abstractioninaction.com/happenings/nicolas-lamas-sculpture-4/


Artists: Alis / Filliol, A Kassen, Matt Bryans, Nicolas Lamas, Maximilian Schubert, Santiago Taccetti and Klaus Weber.

About Sculpture #4
November 28, 2014 – January 10, 2015
Galerie Rolando Anselmi
Berlin, Germany

The project has evolved throughout the year, with four group exhibitions exploring contemporary sculpture. The artistic relevance of this medium is examined through the work of 25 international artists, born between the 60s and the 80s. The artists included in the exhibitions, ranging from established to emerging, are invited to present one piece, trying to expand and go beyond conventional debates and notions of sculpture. Their works reflect a multi-layered and contradictory image of common media definitions through the implementation of different strategies of investigation and aesthetic parameters. In this occasion we are excited to host works by Nicolas Lamas, Maximilian Schubert, Klaus Weber, A Kassen, Santiago Taccetti, Matt Bryans, Alis/Filliol. The shows aim to build a narrative in space, investigating the relationship between space and material in an effort to exhibit a heterogeneous spectrum of possibilities.

The work of Nicolas Lamas is based on a processing reflection about space, time, culture and science. Lamas formalizes his questioning using various media, playing on codes and undermining constructed perceptions and systems that govern our daily life. His work Partial View, consisting of a rock and a scanner, highlights the meeting of two heterogeneous elements, exposing the relationship between actual weight and the virtual weight of a scanned image and the impossibility of understanding an object if one only considers the surface of things. Through this, he attempts to somehow underline relativity, malleability, and the level of indeterminacy in all of which we attempt to comprehend, searching for an objective and definite truth.

In Maximilian Schubert’s wall sculptures, titled Format, lenghts of brass and copper converge at minute hinges, folding the rectangular structure into opposing angles that appear to contract and expand. These works appear paused in space, their motion arrested in one of many possible iterations. Through his works Schubert investigates and questions the concept of representation. The works are reduced to pure form, neither involving direct reference nor attempting to activate particular predetermined associations.

The two large-scale white paintings Untitled (Einstatzbereich Innen – Außen) by Santiago Taccetti, can deceive the viewer, who is forced to walk close to the canvas before realizing that no actual paint is visible. The unpredictable reaction of different material permeates Taccetti’s work, which investigates the relationship between sculpture and painting. In this occasion, the artist experimented with different kinds of household paint and used a variety of instruments to press and imprint the material into the reverse of the canvas, creating a beautiful pattern and texture on the surface of the work while the thick layers of paint remain hidden on the reverse.

Alis/filliol presents The Family (La Coperta), part of a series of sculptures started by the artists this year. The artist duo develops its research using disparate materials, mixing natural elements and industrial products, wax, plaster, mechanical grease, wood, plasticine, polystyrene. The continuous experimentation gives birth to figures with grotesque connotations, provoking a deep sense of alienation and uncertainty.

Artist group A Kassen work with performative installation and sculpture. They examine and experiment with the borders between art and non-art, as well as self invented systems that change the functions of things within a given space. In this sense, they form a critique of the institution and draw attention to how we act and navigate in a certain context. For this occasion A Kassen presents a site-specific installation, composed by small fragments of a statue. The pieces are part of a little angel’s statue once belonged to the Lauritz de Thurah’s Baroque Garden at Gl. Holtegaard in Denmark. The statue was destroyed by the artists, turned into pieces and placed for two years into the ground in front of its original place. After being removed from the garden, they are now neatly displayed on the gallery’s floor in a provocative process of re- contextualisation.

Metal items fill the floor of the second exhibition room. This is Matt Bryans’ installation, Gravermaskintenner, composed by 18 digging machine teeth sourced by the artist in Norway. The machine teeth are worn out until they have no purpose anymore and are left behind to be recycled as metal or forever discarded, depending on the fluctuating global prices of iron and steel. The pieces are consumed, revealing on the surface every single impact and dent caused by their former use. The artist has carefully collected them, refined, sanded and oiled, making them appear like some mystical objects with a completely different meaning and function.

Klaus Weber’s works call our deepest belief systems into question. With recurring motifs of death, animism and ritualism, his works provide an ironic counterpoint to the shared understanding – social, natural, scientific – that underpins our society. Weber’s Witch Ladder is an over-sized version of those used in witchcraft that allows demons to enter a place through the ceiling. Composed of feathers taken from birds bred in captivity and affixed on either side of a rope, it performs a counter-energy by troubling the conditions of reception within the functionalist rationality of the exhibition space. Weber appropriates the magical device undermining the consolidated hierarchical knowledge between producers and receivers and illustrates how our past beliefs still reverberate in the present.

Image: Nicolas Lamas, 2014, Partial view, stone, scanner, variable dimensions
December 22, 2014 Alexis Minkiewicz: Mecánico de Día https://abstractioninaction.com/happenings/alexis-minkiewicz-mecanico-de-dia/

Nidos Detalle Baja 2

Artist: Alexis Minkiewicz and Santiago Rey.

Mecánico de Día
November 27, 2014 – March 2015
Buenos Aires, Argentina

El origen del mundo 1 Baja.
El origen del mundo 2 baja
El origen del mundo 3. Baja.
El origen del mundo 4
Nidos baja
Nidos Detalle 1 Baja
Sala 1 Baja.
Sala 2 Baja.
Sala 4 Baja.
sala recorte

Imágenes (de arriba hacia abajo): “Nidos”, 2014 (detalle); “Piel”, 2014, Grafito y carbon sobre papel fabriano 300 gramos, 200 x 140 cm; “El origen del mundo”, 2014, Grafito y carbon sobre papel fabriano 300 gramos, 200 x 140 cm; “El origen del mundo”, 2014, Metal desplegado cable de acero, Pintura, Medidas variables 11 metros de Largo; “Nidos”, 2014, Metal desplegado, calbe de acero, varilla de acero, pintura, Medidas variables; Vistas de sala.
December 22, 2014 Pablo Rasgado: Afterlife https://abstractioninaction.com/happenings/pablo-rasgado-afterlife/


Artist: Pablo Rasgado

November 14, 2014 – January 25, 2015
Arratia Beer
Berlin, Germany

For his new series, Pablo Rasgado has delved into the depths of catalogues raisonnés, into the Bibliothèque Kandinsky at the Centre Pompidou and other archives in an attempt to recover lost images. One may argue that every research is an endeavour to retrieve or discover something that is lost or at least unknown. In Rasgado’s case however the objects he pursued had to remain lost in order to be singled out and reclaimed. Rasgado was searching for the blind spots of art history: The images that his serendipitous investigation has disclosed were those that have gone missing, that have been misplaced, destroyed, forgotten, or stolen at some point in their biography, whose provenance expired into the status “present whereabouts unknown.”

Rasgado set himself the task of repainting these works in their actual size and as close to the original as possible. However the new images mimic not their originals but rather their surrogates, the photographs, in regard to the amount of detail and most importantly their colour palette: most of the re-painted works adopt the greyscale of the photographs taken at some point over the last century and transform the reproduction into an oil grisaille.

Accordingly the paintings chosen by Rasgado necessitate two predicaments: that they are nowhere to be found, and that at some point before their loss they were photographically recorded. Rasgado collides the media and genres of painting and photography and with them their many complex evocations of the absent, of their status as emanation or representation of something that they are not. He also collides two distinct chronologies: The paintings date back to the 1440s up to the 1960s, but their photographic records follow a different and independent timeline, as well as a very distinct phenomenological status.

After recreating the lost paintings by Bellini, Velázquez, Léger, Balthus, etc., Rasgado placed the canvases in a palatial building in the centre of Paris. The building is partly abandoned and has been left in a state of slow decay for many years. Rasgaldo’s paintings, placed nonchalantly on the floor, along the Palais’ walls, and in remote corners, acted as attractors to the dust, binding it to their surfaces by virtue of an adhesive. A thick layer of grime, grit, of ashes, smut, of entropy and decay now clings to the cheeks of Philip IV, to Bellini’s Madonna, to Goya’sStone Guest. The paintings have camouflaged themselves under a veil of dirty matter, adopting a new skin.Rasgado himself then took to reworking the remaining paintings obscured under the veil of dust. The forms laid bare by his manipulations differ greatly–sometimes they seem to be casual wipes across the surface, in other instances they are highly geometric and premeditated. Bellini’s Madonna has been rendered comically absurd, only eyes and mouth drawn into the dust to create minimal smiley faces, reminiscent of Cecilia Gimenez’ infamously botched attempt at restoring an Ecce Homo fresco in Zaragoza.
Dust, as the ultimate reminder of transience, however can be reinterpreted as a perfect fertilizer in Rasgado’sAfterlife: as the white slate that facilitates the productive force of iteration, of anachronism and recollection.
(Excerpt from Eva Wilson’s Dust and Shadow and Afterlife)
Pablo Rasgado (1984 Jalisco, Mexico) lives and works in Mexico City.
Pablo Rasgado’s recent exhibitions include: Limited Visibility, CAM Raleigh, NC; La voluntad de la piedra , Museo de Arte Carrillo Gil, Mexico; Noise, (Collateral Events) at the 55th Biennale di Venezia, Ex Magazzini di San Cassian, Venice, Italy;Other People’s Problems: Conflicts and Paradoxes, Herzliya Museum of Contemporary Art, Tel Aviv; When Attitudes Became Form Becomes Attitudes, Museum of Contemporary Art Detroit, Detroit and CCA Wattis Institute for Contemporary Arts, San Francisco; Lost Line: Contemporary Art from the Collection, Los Angeles County Museum of Art, Los Angeles;Arquitectura Desdoblada, Museo Experimental el Eco, Mexico City; Cimbra: Formas especulativas y armados metafísicos,Museo de Arte Moderno,Mexico City; Open Day, Stonehouse, Lagos, Nigeria; Second Coming, Hessel Museum of Art & Center for Curatorial Studies at Bard College, Annandale-on-Hudson, NY.; Destello, Colección Jumex. In 2014 Rasgado was an invited artist at La Cité Internationale des Arts, Paris.
Image: courtesy of the artist and Arratia Beer
December 16, 2014 Marcolina Dipierro, Silvia Gurfein, Graciela Hasper, Fernanda Laguna, Adriana Minoliti & Mariela Scafati: El teatro de la pintura https://abstractioninaction.com/happenings/marcolina-dipierro-silvia-gurfein-graciela-hasper-fernanda-laguna-adriana-minoliti-mariela-scafati-el-teatro-de-la-pintura/


Artists: Sergio Avello, Chiachio & Gianonne, Flavia Da Rin, Tulio de Sagastizabal, Juan del Prete, Marcolina Dipierro, Jorge Gumier Maier, Silvia Gurfein, Graciela Hasper, Magdalena Jitrik, Fabio Kacero, Fernanda Laguna, Alfredo Londaibere, Adriana Minoliti, Guillermina Mongan, Inés Raiteri, Mariela Scafati, Cristina Schiavi, Leila Tschopp, Paola Vega and Yente (Eugenia Crenovich).

El teatro de la pintura. Artistas argentinos en diálogo con Sonia Delaunay
November 8, 2014 – February 22, 2015
Buenos Aires, Argentina

La exposición, con curaduría de Jimena Ferreiro, toma como punto de partida las obras de Sonia Delaunay (Gradzihsk, Ucrania, 1885 – París, 1979) pertenecientes al patrimonio del Museo de Arte Moderno de Buenos Aires para contar una nueva historia, en tiempo presente, que la hace convivir con artistas argentinos modernos y contemporáneos. Una propuesta que sitúa a Delaunay fuera del relato habitual –aquel que la confina a ser la única mujer en un mundo europeo, moderno y profundamente masculino– para ensayar otra historia que despliega secuencias temporales distantes entre sí, las cuales permiten establecer correspondencias entre artistas y contextos diversos.

Las obras de Sergio Avello, Chiachio & Gianonne, Flavia Da Rin, Tulio de Sagastizabal, Juan del Prete, Marcolina Dipierro, Jorge Gumier Maier, Silvia Gurfein, Graciela Hasper, Magdalena Jitrik, Fabio Kacero, Fernanda Laguna, Alfredo Londaibere, Adriana Minoliti, Guillermina Mongan, Inés Raiteri, Mariela Scafati, Cristina Schiavi, Leila Tschopp, Paola Vega y Yente (Eugenia Crenovich), en diálogo con Sonia Delaunayprovocan la activación de otros sentidos de lo moderno, que permiten comprender las maneras en que estos artistas abordan la pintura y sus tradiciones. De este modo, más que una colección de imágenes que se aproximan por forma y color según el relato moderno tradicional, esta exposición convierte a Sonia Delaunay en un modo de hacer cuya fuerza irradiadora despliega una genealogía del arte local en clave abstracta, pero desobediente y sensual.

Imagen: Marcolina Dipierro, CME0002 – Instalación. Sin título. 7 círculos. Medidas variables sujetas a disposición -Madera, espejo, hierro y pintura acrílica – Año 2014
December 16, 2014 Amalia Pica: Switchboard https://abstractioninaction.com/happenings/amalia-pica-switchboard/


Artist: Amalia Pica.

November 15, 2014 – March 1, 2015
Mostyn Gallery
Conwy, UK

Argentina-born artist Amalia Pica’s practice primarily explores her background; communal histories, myths, rites and traditions, as well as language and ways of communication. Her works include installation, photography, drawing and performance, with a specific focus on sculpture.

The exhibitions brings together work that looks at communication, particularly the act of listening and its ability to be both effective and also nuanced and fallible.

These themes, which have their basis in social interaction, will be reflected in the presentation of the work. Actions of touch and hearing are made equal and often as important as the viewer’s gaze.


December 12, 2014 Pablo Rasgado: Constructs https://abstractioninaction.com/happenings/pablo-rasgado-constructs/


Artists: Nathan Green, Laura Vandenburgh, Pablo Rasgado.

January 17–March 1, 2015
Curated by Rachel Adams
Disjecta Contemporary Art Center
Portland, OR, USA

Constructs introduces a collection of works that address the interactions between scale, architecture and the body. Each artist will create new site-specific pieces, ranging from the calculated and Op-Art inspired abstraction of Nathan Green, to the cascading cut-out paintings of Laura Vandenburgh, to the calculated wall excavations of Pablo Rasgado.

Nathan Green (b. 1980) lives and works in Dallas. He received his BFA in 2004 from the University of Texas at Austin.

Pablo Rasgado (b. 1984) lives and works in Mexico City. He holds a BFA from the Autonomous University of the State of Morelos, Mexico.

Laura Vandenburgh (b. 1962) lives and works in Eugene. She holds an MFA from Hunter College, New York, and a DVM and BS in Zoology from the University of California, Davis.

December 12, 2014 Iván Navarro: Nadie sabe para quien trabaja https://abstractioninaction.com/happenings/ivan-navarro-nadie-sabe-para-quien-trabaja/

Artists: Courtney Smith and Iván Navarro

Nadie sabe para quien trabaja
November 19 – December 16, 2014
M. Edeler & Sons
Brooklyn, NY, USA

Nadie Sabe Para Quien Trabaja was created as a sculptural installation that was activated in a performance-dinner that took place on November 12th, 2014. The work on view is a large-scale two-part sculpture, the conjoined work of Courtney Smith and Iván Navarro.

December 11, 2014 Magdalena Atria: La montaña movediza https://abstractioninaction.com/happenings/magdalena-atria-la-montana-movediza/

Atria-La Montaña Movediza-2014-Vista general2

Artist: Magdalena Atria

La montaña movediza
November 13 – December 27, 2014
Galeria XS
Santiago de Chile, Chile

La exposición reúne obras recientes realizadas en diferentes medios y materialidades, que en conjunto proponen una mirada singular sobre la forma en que nos aproximamos a la inescrutabilidad de la naturaleza, determinada por múltiples preconcepciones y definiciones variables de “lo natural” que sirven de fundamento para nuestras concepciones de la cultura, de la historia y del arte.

La pieza central de la muestra es un conjunto variado y multiforme de objetos de cerámica, a veces esmaltada, a veces intervenida con otros materiales; formas densas, compactas y pesadas que pretenden la tarea imposible de acercarse a la condición de las piedras, meras cosas que no han sido fabricadas por la mano humana sino por procesos naturales que se desarrollan en el interior del Planeta Tierra, donde sustancias minerales son sometidas a altísimas temperaturas para fundirse y posteriormente solidificarse, constituyendo lo que genéricamente llamamos piedra. Los procesos cerámicos reproducen, en una escala muchísimo menor y más controlada, aquellos procesos naturales para dar origen a objetos misteriosos, que reposan en sí mismos, confundiendo las categorías de lo natural y lo fabricado, que se emplazan como testigos mudos pero elocuentes de las fuerzas y acciones que los originaron.

Los acompaña una serie de dibujos realizados con hebras de lana sobre el muro que construyen, desde un gesto mínimo, una suerte de alfabeto compuesto por signos indescifrables, más relacionados con la manifestación de una fuerza leve e inexorable que con la arbitrariedad de los códigos lingüísticos.

Cierra el conjunto una pintura de mediano formato realizada con plasticina, material vulnerable por excelencia, que es el resultado de un proceso manual que reproduce también en pequeña escala los procesos tectónicos que, a proporciones inimaginables, han dado origen a muchas de las formaciones geológicas del planeta.

Atria-Glifos-2014-Fibra acrílica, clavos-Dimensiones variables
Atria-La Montaña Movediza-2014-Vista general
Atria-La montaña Movediza-2014-Vista general3
Atria-La Montaña Movediza-2014-Vista general4
Atria-Septaria-2014-Plasticina sobre MDF-80x100cm

Images courtesy of the artist
December 11, 2014 Carmela Gross: Iberê Camargo: século XXI https://abstractioninaction.com/happenings/carmela-gross-ibere-camargo-seculo-xxi/


Artist: Carmela Gross, Angelo Venosa, Carlos Fajardo, Edith Derdyk, Eduardo Haesbaert, and Regina Silveria.

Iberê Camargo: século XXI
November 18, 2014 – March 29, 2015
Curators: Agnaldo Farias, Icleia Cattani e Jacques Leenhardt
Fundação Iberê Camargo
Porto Alegre. Brazil

Diferenciando-se de um formato convencional de exposições comemorativas, em geral um conjunto representativo ordenado cronologicamente, a mostra destaca a potência da poética de Iberê Camargo em diálogo com trabalhos de dezenove artistas brasileiros de gerações variadas.

O recorte valoriza as relações de vizinhança e tensões entre as pinturas, gravuras e desenhos de Iberê e uma grande variedade de linguagens, incluindo escultura, instalação, fotografia, literatura, dança e cinema. Com essa perspectiva, pretende-se salientar o diálogo consciente e inconsciente que os artistas travam entre si e, no caso particular deste projeto, evidenciar uma espécie de “efeito Iberê Camargo” na arte brasileira, ou seja, o modo como sua produção impôs-se ao nosso meio artístico, desvelando questões profundas da existência humana e do modo de representá-las. Um efeito que excedeu a própria duração da vida do artista, ultrapassando as linguagens por ele praticadas para ressoar em artistas de extração completamente distintas as suas, embora com sensibilidade e energia semelhantes.

Pela primeira vez, todos os espaços do edifício sede da Fundação Iberê Camargo são tomados como expositivos. A totalidade do prédio projetado por Álvaro Siza, desde o lado de fora ao interior tortuoso das rampas, passando pelo grande átrio, acolhe obras e conjuntos de obras com afinidades aos grandes eixos problemáticos tratados pelas várias séries de Iberê Camargo. Séries como “Carretéis”, “Núcleos”, “Fantasmagorias”, “Ciclistas” e “Idiotas” são apresentadas na companhia de trabalhos de artistas cuja proximidade, em alguns casos, pode trazer à mente a ideia de sombra, enquanto o caráter profundamente diverso da produção de outros, ao contrário, provoca fricções, ingrediente fundamental para o desdobramento de novos planos de leituras. O cinema, que Iberê tanto apreciava ocupa as rampas que levam de um andar ao outro, como também a literatura, que ele amava a ponto de praticá-la.

Alternando exemplares das principais séries de Iberê Camargo com trabalhos expressivos de artistas contemporâneos, a proposta de Iberê Camargo: século XXI é estabelecer um coro, colocar lado a lado um grupo consistente de vozes até então distantes umas das outras. A tensão e a surpresa provenientes dessas aproximações e cruzamentos interessam por si sós, dado que podem desencadear uma multiplicidade de sentidos.

Imagen: By Gustavo Kunst from Igrejinha, Porto Alegre, Brasil (Iberê) [CC-BY-SA-2.0 (http://creativecommons.org/licenses/by-sa/2.0)], via Wikimedia Commons
December 7, 2014 Ricardo Alcaide: Displacement https://abstractioninaction.com/happenings/ricardo-alcaide-displacement/


Artist: Ricardo Alcaide

November 20, 2014 – February 5, 2015
Alejandra von Hartz Gallery
Miami, FL, USA

Displacement: The act of displacing, or the state of being displaced; a putting out of place.

The exhibition reflects how to transcend the memory of modernism and intends to rebuild the ruins and remnants through fictional construction and new compositions with architectural references.

As a continuation of moving and relocating —displacing— objects, and based on my experiences and perceptions of how society functions and deals with industrial problems caused by modern living conditions in densely populated cities, my recent work has created different parallels through the combination of principles of modernist architecture and the precariousness that manifests itself in ordinary day to day living, while still working as a continuation of previous dialogues, from shelter for individuals to social solutions, revealing the “progress” in society as a vague and rapidly losing shape.

Living and working in Sao Paulo over the last years—and after more than a decade in London, and previously in my hometown of Caracas— is an experience that still informs my practice and has been strongly influenced by architects like Gio Ponti, Carlos Raul Villanueva and Lina Bo Bardi, for example, all of whom projected a great spirit of forward thinking and an extraordinary sense of aesthetics—something that I cannot avoid to express myself. Latin-American architecture, or even generally speaking, is not only as a reference for my work but also as a way of living, a day by day personal exchange that affects the way I think, I function, and interact with the world.

The work for this first solo show in Miami at Alejandra Von Hartz proposes a dialogue between all these areas observations -the balance between the formal aesthetics of modernism and the utopian impossibility- captured within the combination of found objects and the abstraction (out) from them, as in the Settlements installation: a construction built out of found disposed objects, next to a display of a small group of bronze sculptures of crushed cardboard boxes and other rejected material.

From a recent series ‘Intrusions’: a painted photograph is included; Land Of Order, an image of Brasilia’s iconographic -perfect modernism- interrupted by geometrical elements.

To complete the group of works, dismantled painted panels are the most recent, industrial paint on mdf board, they retain a memory of a disassembled shelving unit, from which all elements have been removed to reveal only the divided sections of the back wall. Here it’s the ‘action of deconstruction’ in the actual process that counts as the most relevant point for this work. An abstract recreation of construction that reveals the uncontrolled and imprecise condition to reflect —once again— about the failure of progress associated with modern aesthetics within my discourse, what could be perceived formally as an abstraction. Perhaps the necessity to synthetize the visual elements as an aesthetic resource in my work, is almost like “the supremacy of pure artistic feeling” expressed in Malevich’s Suprematism, but despite that, what lies behind are the anecdotes and symbolic shapes from today’s hard reality.

Ricardo Alcaide
November 2014

Ricardo Alcaide was born in Caracas in 1967. He currently lives and works in São Paulo, Brazil.   Recent exhibitions include: Settlements, Baro galeria, São Paulo; The Language Of Human Consciousness, Athr gallery, Jeddah. Saudi Arabia; Donde Hay Protesta Hay Negocio, Galería Agustina Ferreyra, San Juan de Puerto Rico (2014); Solo Project, Curated by Jose Roca. Pinta NY Art Fair, New York; Incidental Geometry, Project Room – Josee Bienvenu Gallery, New York; Visão Do Paraiso: Pensamento Selvagem, curated by Julieta Gonzalez and Pablo Leon de la Barra, Rio de Janeiro; From Disruption To Abstraction, New Art Projects Gallery, London (2013); Prototipo Vernacular, Oficina #1, Caracas, Venezuela; Optimismo Radical, Josee Bienvenu Gallery, New York (2012). His work is part of the following collections: Sayago & Pardon, Los Angeles, CA. LIMAC Museo de Arte Contemporáneo de Lima, Zabludowicz Collection. London. Colección Fundación Cisneros, Caracas. Pinacoteca do Estado de São Paulo. Museo de Arte Contemporáneo de Caracas.

December 7, 2014 Silvia Gurfein: Aguardamos conexión https://abstractioninaction.com/happenings/silvia-gurfein-aguardamos-conexion/


Artists: Silvia Gurfein, Guillermo Faivovich and Javier Villa.

Aguardamos conexión
November 1 -29, 2014
Buenos Aires, Argentina

En 1925, luego de cuatro años de trabajo, Howard Carter abre el sarcófago de Tutankamón y se convierte en la primera persona en enfrentarse a su máscara luego de más de 3.000 años. En 2009, se hunde el Polar Mist cerca del Estrecho de Magallanes con una carga de 9,5 toneladas de metal doré, una aleación de oro y plata. En Julio de 2015, la sonda New Horizons, después de viajar más de 5.000 millones de kilómetros, ofrecerá una nueva imagen de Plutón. Entre 2008 y 2009, durante su estadía en la academia Städelschule de Frankfurt, Alemania, Guillermo Faivovich investiga estos sucesos, quizás interesado por la imagen latente que en un momento dado es vista por un solo hombre y luego se expande hacia la cabeza de toda la humanidad, por una imagen tangible de la economía que, de un instante a otro, se vuelve pura abstracción y por las imágenes que aún no existen.

¿Si las imágenes son máquinas del tiempo lanzadas hacia dos direcciones, no navegarían en un bucle infinito y, por lo tanto, tendrían un espacio reservado en todo tiempo y lugar, situando al arte en el rol de un guardián que preserva viva, dentro de una cripta, la posibilidad de la imagen aún no vista?

En 1969, Silvia Gurfein asiste al estreno en Argentina de 2001: Odisea del Espacio. En la década del ochenta, ensaya la obra El esfuerzo del destino de Vivi Tellas; se prepara para esas sesiones escuchando cassettes que le provee Nora Loiseau, su prima astrofísica. Las cintas contienen radiaciones electromagnéticas en longitud de onda, obtenidas con la antena del IAR (Instituto Argentino de Radioastronomía,) y luego convertidas en audio. En 2009, durante un estudio abierto de la Städelschule, Faivovich exhibe una foto de la primera torre erigida para el Radiotelescopio de Arecibo, una mega construcción situada en Puerto Rico cuyo objetivo, de algún modo, es la búsqueda de nuevas imágenes.

¿Una imagen nunca vista puede ser reconocida como tal, o es necesario que arrastre consigo un rango de información reconocible que construya identificación con su receptor, al mismo tiempo que lanza datos al futuro para que, ante su llegada, los mismos ya formen parte de una experiencia adquirida y, por lo tanto, puedan ayudar a construir la percepción de nuevas imágenes que aún no podemos ver, situando al arte en el rol de un catapulta que envía señales hacia adelante para activar el espacio reservado de esas nuevas imágenes que ampliarán nuestro conocimiento y goce del mundo?

En 1913, Kasimir Malevich concibe Cuadrado negro sobre fondo blanco, siendo su primera materialización pictórica dos años posterior. El óleo de Malevich podría contener el pasado y un potencial futuro de la historia de la pintura. En 2001, Gurfein desarrolla su primera serie de espectrogramas, frecuencias de color realizadas al óleo que toman como referencia diversas pinturas de la antigüedad. Un espectrógrafo, entre otras cosas, permite conocer la composición de una estrella por el dibujo de los intervalos de luz. Gurfein toma un pequeño fragmento de un cuadro, identifica cada color de ese fragmento como una unidad de sentido y desarrolla esos colores, extrapolados, como una escritura de bandas cromáticas sobre la tela, convencida de que el óleo contiene toda la historia de la pintura como ADN que transporta en el tiempo la información de su génesis. La búsqueda de una mínima unidad que porte la información esencial, plegada, para luego ser arrastrada a otros soportes, trece años después se redirecciona hacia el sistema solar.

¿Si nunca antes la imagen se había impuesto con tanta fuerza en nuestro universo estético, técnico, cotidiano, político e histórico, no debería una sola imagen ser capaz, al mismo tiempo, de reunir todo lo anterior y ser entendida, por turnos, como documento y como objeto de sueño, obra y objeto de paso, monumento y objeto de montaje, no-saber y objeto de ciencia, un tesoro y una tumba de la memoria? ¿Si pensáramos a la historia de las imágenes como una historia de profecías, el arte sería aquello que hoy nos otorga la percepción más precisa de la experiencia contemporánea del tiempo, sin caer en linealidades evolutivas sino aportando relaciones cercanas a una idea de montaje, que escapa de las teleologías, hace visibles las supervivencias, los anacronismos, los encuentros de temporalidades contradictorias que afectan a cada objeto, cada acontecimiento, cada persona, cada gesto, conteniendo todos los estratos de la arqueología y todos los punteados del destino?

Obras exhibidas:
Sistema Solar espectral. Silvia Gurfein, 2014. Lapiz sobre papel, medidas variables – ángulos precisos.
Tower 1962. Guillermo Faivovich, 2009-2014. Impresión sobre papel, medidas variables (mural). Cortesía NAIC – Arecibo Observatory, a facility of the NSF.

Javier Villa (basado en las charlas del trío y en las ideas de George Didi-Huberman).

December 1, 2014 Danilo Dueñas: Teach Us to Outgrow Our Madness https://abstractioninaction.com/happenings/danilo-duenas-teach-us-outgrow-madness/


Artists: Danilo Dueñas, Alfredo Jaar, Jonathan Lasker, Iñigo Manglano-Ovalle, Fabian Marcaccio, Michael Müller, David Reed, Leunora Salihu, Albrecht Schnider and Stephen Willats.

Teach Us to Outgrow Our Madness
November 22, 2014 – January 17, 2015
Galerie Thomas Schulte
Berlin, Germany

Group exhibition

Image: Alfredo Jaar, “Teach Us To Outgrow Our Madness”, 1995
December 1, 2014 Mauro Giaconi: Revuelta (Revolt) https://abstractioninaction.com/happenings/mauro-giaconi-revuelta-revolt/

REVUELTA (revolt) inv01

Artist: Mauro Giaconi

Revuelta (Revolt)
December 1, 2014- February 13, 2015
Dot Fiftyone Gallery
Miami, FL, USA

Mauro Giaconi will exhibit “REVOLT”; a series of moving sculptures based on the ephemeral site-specific mural “Volver a Girar” done at the Museo del Palacio de Bellas Artes, Mexico in May 2013. By deconstructing the mural and wall fragments detached from its walls, Giaconi launches a poetic exploration on detachment, fragility, rupture and social breakdown.

By accepting the possibility of loss, of an end, Giaconi provokes a spatial reconfiguration of the memory of a static image. Its traces are then used to evoke past events and erect upon its ruins a dreamlike environment, which by stirring the past builds a future, in order to turn again.

As part of the exhibit, he will be showing his new video LÍNEA TRANSVERSAL, (Transversal Line), in the video-room and a collection of recent drawing in the project room.

Mauro Giaconi was in born in Buenos Aires, Argentina, in 1977, he lives and works in Mexico City. He studied Architecture in the Buenos Aires University (U.B.A.) and Fine Arts in the Prilidiano Pueyrredon National School of Fine Arts (E.N.B.A.P.P), getting in 2001 the degree of National Painting Professor. Since then, his work has developed in the sculpture field, Installation and drawings, has been the major focus in his investigation and development. During 1998 and 1999, he worked on mural painting and historic buildings restoration. In the artistic teaching field he imparted class in the Prilidiano Pueyrredon National School of Fine Arts, in Buenos Aires, Argentina in the year of 2002. At 2011 was teacher in the Autonomous University of the State of Morelos, in Cuernavaca, Mexico. He is co-founder of Obrera Centro, an non profit and independent art space in México City. He received the first Philips (Argentina) Award for young talents, Mention of the jury, and the honor mention in the National Drawing Salon, was selected for the First and the Second award ArteBA-Petrobas. He participated as scholarship holder during 2010 in the Center of Artistic Investigation (CIA , Buenos Aires),  then he attended to the artistic residences, Bémis Center for Contemporary Art (Omaha, Nebraska) and Skowhegan School of Painting and Sculpture (Skowhegan, Maine) in 2013; and in 2014 he participate in Art Omi International Residency (NY). He has exhibited in various solo shows and group shows in Buenos Aires, Mexico City New York, Boston, Miami, Marseilles and Switerzland. Including: ¨Temporada de Plomo (Lead Season) in Arroniz Gallery (Mexico City), “Partir“ (depart) in the Museum of Modern Art of Buenos Aires (Buenos Aires), “Immense Parellel“ in Dot Fiftyone (Miami),  “Panorámica, Paisaje, 1969-2013“ (panorama, landscape, 1969-3013” in Museo del Palacio de Bellas Artes (Mexico City) and “AQULLA” in Gallerie HO in Marseilles.

View video of exhibition here

November 27, 2014 Emilia Azcarate, Sigfredo Chacón, Emilio Chapela, Eduardo Costa, Diana de Solares, Marcolina Dipierro, Jaime Gili, Juan Iribarren, Bárbara Kaplan, Luis Roldan, Osvaldo Romberg, Horacio Zabala: Dirty Geometry https://abstractioninaction.com/happenings/dirty-geometry/


Artists: Emilia Azcárate, Alessandro Balteo Yazbeck, Cecilia Biagini, Sigfredo Chacón, Emilio Chapela, Eduardo Costa, Willys de Castro, Diana de Solares, Marcolina Dipierro, Eugenio Espinoza, Jaime Gili, Mathias Goeritz, Juan Iribarren, Bárbara Kaplan, Ramsés Larzábal, Raúl Lozza, Beatriz Olano, César Paternosto, Alejandro Puente, Luis Roldán, Osvaldo Romberg, Joaquín Torres García, and Horacio Zabala.

Dirty Geometry
December 2 -7, 2014
Curated by Osvaldo Romberg
Mana Contemporary
Miami, FL, USA

Dirty geometry has existed throughout 20th century art although not in a manifest way; it implies a subversion of the laws of logical rigor, systemism and utopian modernism that have pervaded geometry since Kandinsky. In his milestone book Concerning the Spiritual in Art, Kandinsky argues against geometry as decoration; instead, he promotes geometrical painting as a spiritual tool. The quest of the spiritual, of a balance between the mind and intellectual order constituted the fundamental idea behind geometric art. Geometrical abstraction was used in different times, as we see for instance in Kandinsky’s compositions, in the rigorous nihilism of Malevich’s “Black on Black”, and in the concrete iconography of Max Bill.

Through my concept of “Dirty Geometry,” I want to undermine the rigid, global imposition of geometry that has dominated from the beginning of the 20th century. Of course, other artists have already played with this approach more or less consciously: Rothko when he broke the grid, Frank Stella with his Cone and Pillars series from the eighties.

However I came to realize that Latin-America offers the most prominent examples of “Dirty Geometry.” First, this might be explained by the often rudimentary absorption of the center by the periphery, as peripheral access to major art trends has long been mediated by art reproductions, and perceived through local cultural prisms. This is even truer in Latin-America where most countries lacked a radical and contemporary art scene. Secondly, in Latin America one always finds forms of political and existential resistance against the values of neo-liberalism embodied by the center.

“Dirty Geometry” will question different aspects of American, Russian and European abstract art such as the imposition of polished finish on paintings, the compositions and the purity of its lines, classical applications of colors inherited from the Bauhaus, Concrete Art, etc.

In the forties for instance, the Latin-American group MADI challenged the format of the canvas, the relation between two and three dimensions, etc. In the sixties the Latin-America group of Kinetic Art in Paris challenged the static geometry produced by artists such as Vasarely and Herbin, and introduced movement, light and shadow to abstract art.

I would therefore suggest that Latin-America has proceeded to elaborate a kind of creolization of the dominant geometrical art; this is a recurrent phenomenon in other fields of Latin-American culture, and we encounter it in religion, education, food, inventions, etc.

The more figuration moves away from reality and representation, the more it needs to resort to theory in order to retain legitimacy. Geometry as we traditionally conceive it can only be legitimized by a tight, rigid theoretical framework. “Dirty Geometry” is therefore a rebellious attempt to break from all theoretical frameworks and thus invent a geometry that would be free from theory. This is a dirty war, one that we could define as “below the belt”.  George Bataille believed that “divine filth” brings about true eroticism; likewise, I would suggest that it is possible to bring about an eroticism of geometry through dirt.

November 24, 2014 Horacio Zabala, Silvana Lacarra & Marcolina Dipierro: Cromofobia https://abstractioninaction.com/happenings/horacio-zabala-silvana-lacarra-marcolina-dipierro-cromofobia/


Artists: Leandro Katz, Horacio Zabala, Lucio Dorr, Silvana Lacarra, Andrés Sobrino, Jorge Miño, Ivana Vollaro, Pablo Accinelli, Nicolás Mastracchio, Marcela Sinclair, Tomás Espina, Matías Duville, Mathieu Mercier, Marcolina Dipierro, Alfio Demestre, Eduardo Basualdo, Guido Yannitto, Erica Bohm, Malena Pizani, Mariano Vilela, Anna María Maiolino, Ascânio MMM, Knopp Ferro, João Costa da Silva, Lothar Charoux, Rogelio Polesello, Beto de Volder, Pilar Ferreira, Manuel Álvarez, João Carlos Galvão and Raúl Lozza.

November 15, 2014 – March 1, 2015
Curator: Teresa Riccardi
Buenos Aires, Argentina

Entre la luz y su ausencia, una reunión de imágenes, esculturas, dibujos y fotografías contemporáneas proyectan temporariamente  un espacio formal y acromático en MACBA.  Como si se tratara de una cámara resonante que desafía el umbral audible intensificándolo o neutralizándolo, las piezas que integran esta exhibición en blanco y negro ocupan la arquitectura del museo creando un relato que cancela la posibilidad expansiva e inmaterial que nos propone el color para pensar la gramática formal  que instalan los extremos lumínicos y opacos.

En esta constelación, la certeza gobierna sobre la inestabilidad sugerida por la variación de tintes y cromas, evitando los desvaríos del color, las explosiones y sus afinidades selectivas. Cromofobia  no intenta construir formas de interacción a partir de sus tintes, sino a partir de sus valores y significaciones. Donde cada intervalo de sentido se elabora en la superficie material, y las gradaciones o volúmenes espaciales se reparten entre las distintas intensidades de fuente lumínica. En esta manifestación, ciertas piezas, exteriorizan las progresiones intermedias que componen  la escala de los grises.

Cromofobia nos invita a percibir las obras, su planteo formal y nos acerca a la subjetividad que se inscribe detrás del conocimiento sensible y lenguaje de cada artista. Expone un modo posible de ver usos diversos del blanco y el negro, y en ello, de qué modo ésta elección adquiere un peso específico, una gravedad discursiva.  No obstante la restricción del color, la exhibición nos abre hacia otra lectura fenomenológica de los objetos, las cuales despliegan un horizonte de posibilidades para poder mirarlas y comprenderlas.

Esta exhibición reúne piezas de: Leandro Katz, Horacio Zabala, Lucio Dorr, Silvana Lacarra, Andrés Sobrino, Jorge Miño, Ivana Vollaro, Pablo Accinelli, Nicolás Mastracchio, Marcela Sinclair, Tomás Espina, Matías Duville, Mathieu Mercier, Marcolina Dipierro, Alfio Demestre, Eduardo Basualdo, Guido Yannitto, Erica Bohm, Malena Pizani y Mariano Vilela. También se incluyen obras de la Colección MACBA de los artistas Anna María Maiolino, Ascânio MMM, Knopp Ferro, João Costa da Silva, Lothar Charoux, Rogelio Polesello, Beto de Volder, Pilar Ferreira, Manuel Álvarez, João Carlos Galvão y Raúl Lozza.

Andrés Sobrino, Sin título, 2010, Esmalte sintético sobre multilaminado uréico (plywood), 75 x 55cm. cada uno
Guido Yannito, Perder el nombre, 2013, fotografía, 40x50cm
Horacio Zabala, Los siete días de la semana, 2014, serígrafía sobre papel, 70 x 490 cm.
Inauguración (3)
Inauguración (4)
Inauguración (5)
Inauguración (6)
Inauguración (7)
Tomás Espina, Sin título, 2013, hollín sobre papel, 32 x 23 cm. (1)

MACBA presents Chromophobia, an exhibition that brings together works from its collection with the work of invited contemporary artists. The pieces included in this exhibition in black and white occupy the museum’s architecture creating a story that cancels the expansive and intangible possibilities of color in order to think of the formal grammar and senses installed by lighting and opaque matter extremes.

Chromophobia brings together works by: Leandro Katz, Horacio Zabala, Lucio Dorr, Silvana Lacarra, Andrés Sobrino, Jorge Miño, Ivana Vollaro, Pablo Accinelli, Nicolás Mastracchio, Marcela Sinclair, Tomás Espina, Matías Duville, Mathieu Mercier, Marcolina Dipierro, Alfio Demestre, Eduardo Basualdo, Guido Yannitto, Erica Bohm, Malena Pizani and Mariano Vilela. Works of the MACBA Collection by Anna Maria Maiolino, Ascânio MMM, Knopp Ferro, João Costa da Silva, Lothar Charoux, Rogelio Polesello, Beto de Volder, Pilar Ferreira, Manuel Álvarez, João Carlos Galvão and Raúl Lozza are also included.

It is a constellation of artists working on pieces that talk about the corporal experience of space, as in the case of Anna Maria Maiolino and Ascânio MMM of Brazil, which inspire and open the bet to other object-based and perceptual dialogues with Argentine artists of the same generation, such as Horacio Zabala and Leandro Katz, or new generations of artists as Eduardo Basualdo, Pablo Accinelli and Marcolina Dipierro. In all cases, their poetics- anchored in the gap between analytical reason and sensorial experience of space and language- suggest a palpable, tactile and visible condition of the body projected or absorbed into the surface of the material and conceptual pieces.

As if they were dissociated from the apparent reality, certain photographic pieces move metaphorically from the earthly to the spectrum, giving spatiality other senses. This is true in the series of photographs by Erica Bohm, Jorge Miño, Guido Yannitto and Leandro Katz, that transport us into a dimension disclosed only by the fictional pact.

Certain gestures, heirs of a formal and conceptual minimalism, dialogue with the MACBA Collection in pieces by Horacio Zabala, Andrés Sobrino, Marcolina Dipierro and Lucio Dorr, compositions that install a narrative space with geometry of minimal units.

The white corporeality is tested by other relationships: Pablo Accinelli, Silvana Lacarra and Ivana Vollaro reduce the image to a minimum in their works, revealing the sensitivity of the materials. Other subsections bodies and cutting materials take shape such as Marcela Sinclair’s intervention performed on a vintage photographs, and pieces of soot on paper with geometrical figures and mandalas of Tomas Espina. The black and white, the paper, the charcoal and the graphite come to life in the imaginary worlds of Matías Duville and abstract pieces by Mariano Vilela, respectively.

In this statement from Chromophobia, perceiving the works and their formal proposal is to see how the use of white and black acquires a specific weight, discursive and poetic gravity that empowers the spatial relationship with the viewer.

Images: Andrés Sobrino, Sin título, 2010, Esmalte sintético sobre multilaminado uréico (plywood), 75 x 55cm. cada uno / Guido Yannito, Perder el nombre, 2013, fotografía, 40x50cm / Horacio Zabala, Los siete días de la semana, 2014, serígrafía sobre papel, 70 x 490 cm. / Vista de sala / Tomás Espina, Sin título, 2013, hollín sobre papel, 32 x 23 cm. (1) / Mathieu Mercier, Sin título, 2012, impresión digital sobre papel baritado, 44 x 29,3 cm.
November 24, 2014 Guido Ignatti, Silvia Gurfein, Fernanda Laguna, Ramiro Oller & Mariela Scafati: Pintura Buenos Aires 2014 https://abstractioninaction.com/happenings/guido-ignatti-silvia-gurfein-fernanda-laguna-ramiro-oller-mariela-scafati-pintura-buenos-aires-2014/


Artists: Juan Becú, Sofía Bohtlingk, Rosa Chancho, Silvia GurfeinGuido IgnattiFernanda LagunaRamiro Oller, Tiziana Pierri, Marisa Rubio, Mariela Scafati and Juan Tessi.

Pintura Buenos Aires 2014
November 15 – December 31, 2014
Nora Fisch
Buenos Aires, Argentina

En Argentina se pinta.  La tradición pictórica es fuerte, y a pesar de la energía con que se despliegan otras prácticas artísticas a nivel local –ya sean relacionadas a la imagen en movimiento, lo conceptual o la performance– la pintura permanece viva, empujando sus propios límites, reconsiderándose, en el centro del foco de artistas de generaciones jóvenes e intermedias.  Esta muestra, que inaugura el nuevo espacio de la galería, aspira a ser un recorrido por algunas de estas obras, que empujan, fuerzan, tuercen, reconsideran lo pictórico, ya sea desde su lenguaje mismo (Pierri, Becú, Gurfein),  contaminándolo desde otros medios y materiales (Scaffatti, Oller, Bothlingk, Ignatti) o desde una mirada desde afuera, desde prácticas performáticas o esencialmente conceptuales (Rosa Chancho, Marisa Rubio).

Image: Guido Ignatti, Collage para cajones, collage, papel enmarcado en cajones, 60 x 44 cm, 2014
November 21, 2014 Jaime Gili: Ornament and Barricade https://abstractioninaction.com/happenings/jaime-gili-ornament-barricade/


Artist: Jaime Gili

Ornament and Barricade
November 20, 2014 – February 5, 2015
Alejandra von Hartz Gallery
Miami, FL, USA

Only after doing it three times and approaching a fourth, I realized that for exhibition titles, large projects, or even a series of paintings; I have repeated a dialectical formula that recreates links between Europe, European minds, and the coasts: South America or its local counterparts. I did it, for instance, when, for an exhibition in Winterthur, I placed Max Bill at Henri Pittier´s Park in Venezuela, and also when I completed the story of Gio Ponti on the Venezuelan coast and Reverón in the Mediterranean, for a series of paintings.

I was about to work on Carlo Scarpa, an obvious candidate as he built the Venezuelan pavilion at the Venice Biennale—which has always fascinated me— when I recognized the formula and tried to avoid it; perhaps even the pavilion commission lacks the anecdote that justifies a wider story.
And yet, Scarpa´s story and use of concrete and structural ornament keeps on fascinating me, and he has, indeed, been present in my mind when developing the current series of works. Of course, painting is slow, and the works here also contain elements from the previous series, the 2013 series which was a utopian homage to a fictional meeting of Armando Reverón and Gio Ponti. That series had some elements, like the thin stripes, that are still present in these works. Made in summer 2014, these paintings actually lie somewhere between winter 2012 and February 2014. So even if Scarpa was in the studio, also present at the party were Ponti and Reverón. And in the real world, miles away, the protests on the streets of Venezuela were starting; they unavoidably entered the mix.

Guarimba is a Venezuelan word that could be translated as “makeshift barricade to block roads by people who stay around it protesting loudly”. Guarimbas were very active in spring 2014 on the streets of Venezuela as a way of protest to block normal life against the regime. Many youth have been detained around them and then imprisoned and tortured thereafter. There are no glimpses of freedom yet and few other ways to protest.

Now imagine the doors of the studio as a barricade that only lets some things come through. But the barricade is a response to what is happening. The gates are also the work, the work is a final guarimba that decides what can and cannot enter in it. A filter that is in itself a response to what is happening. Painting is a political act, but it is also slow.

Jaime Gili
London, September 2014

Jaime Gili was born in Caracas in 1972. Studied first in Caracas, at a tropical Bauhaus that failed to change the country, never mind the world; later at the University of Barcelona, where he learned to be a painter but nobody was there to witness, and finally at the Royal College of Art in London, the city where he found his voice as an artist, paradoxically, based upon the Venezuelan modern tradition that he carried within. He has exhibited widely in Europe and the Americas and works mainly in London, but also in Barcelona and Caracas. He has created large commissions in public and private buildings integrating painting in architecture, in England, the US and Venezuela. He is currently developing his second largest one, a mural for Baltus House, a Condo in the Miami Design District, which will be ready in 2015.

November 21, 2014 Luis Roldán: Secreta prudencia https://abstractioninaction.com/happenings/luis-roldan-secreta-prudencia/


Artist: Luis Roldán

Secreta prudencia
November 13, 2014 – February 15, 2015
Fundación Gilberto Alzate Avedaño
Bogotá, Colombia

Con disimulo alguien observa o escucha lo que pasa para comunicárselo a otros. Lo inculpan por traición y se redime trayendo su historia política al presente con sueños de expiación. Un prisionero político aguarda su tortura en el lugar de encarcelamiento; trabaja forzadamente hasta el agotamiento grabando insignias en piedras y en grandes obras de ingeniería. Estas micronarrativas y sus vestigios, se enlazan en un lugar compartimentado con secreta prudencia.

November 20, 2014 Gabriel de la Mora: Lucíferos https://abstractioninaction.com/happenings/gabriel-de-la-mora-luciferos/


Artist: Gabriel de la Mora

October 30 – December 21, 2014
Sicardi Gallery
Houston, TX, USA

In Gabriel de la Mora’s most recent body of work, he uses fire-making as a vehicle for reconsidering geometric abstraction. Striking thousands of matches against the red phosphorus-covered paper on the sides of matchboxes, de la Mora collects the used strikers and arranges them in compositions that create repeating patterns, rectangular grids, and minimalist constructions. The resulting imagery evokes two distinct historical moments. On the one hand, the enigmatic geometries are suggestive of Minimalist paintings from the 1950s and 1960s. And, on the other, the used object, marked by the act of striking matches, insistently presents another story: that of the industrialization of fire through the invention of matches (originally called Lucifers). By pairing these two narratives, de la Mora presents a new series of questions about abstraction and vision, invention and industrialization.

Gabriel de la Mora (b. 1968, Mexico) studied architecture before completing his M.F.A. at Pratt Institute, New York.  His solo exhibition Lo que no vemos lo que nos mira, curated by Willy Kautz, is currently on view at Museo Amparo in Puebla, Mexico.  He has had solo exhibitions at NC-Arte, Bogotá, Colombia; Museo de Arte Contemporáneo de Oaxaca, Mexico; Museum of Latin American Art (MOLAA), Long Beach, California, USA; and the Art Museum of the Americas, Washington, D.C., among other museums. This is his third solo exhibition at Sicardi Gallery.

Gabriel de la Mora’s work is included in important public and private collections, including Museum of Contemporary Art (MOCA), Los Angeles, CA, USA; Museum of Latin American Art (MOLAA), Long Beach, CA, USA; The Museum of Fine Arts, Houston (MFAH), Houston, TX, USA; El Museo del Barrio, New York, NY, USA; Colección Ella Fontanals-Cisneros, Miami, FL, USA; Museo de Arte Moderno, Mexico City, Mexico; Museo Universitario de Arte Contemporáneo, UNAM, Mexico City, Mexico; Art Museum of the Americas, Washington, D.C., USA; among many others.

November 20, 2014 Carla Arocha & Stéphane Schraenen: Threshold https://abstractioninaction.com/happenings/carla-arocha-stephane-schraenen-threshold/


Artists: Josef Albers, Carla Arocha & Stéphane Schraenen, Pavel Büchler, Alain Franco, Dennis Tyfus, Peter Fengler and Pieter Vermeersch.

November 15 – December 21, 2014
Cultuur Centrum Mechelen
Mechelen, Belgium

Met de tentoonstelling Threshold in De Garage, gaan Arocha en Schraenen in dialoog met werk van Pieter Vermeersch, Josef Albers, Pavel Büchler, Dennis Tyfus en Peter Fengler.

In deze tentoonstelling presenteren Carla Arocha & Stéphane Schraenen hun meest recente werk Wall. Deze sculptuur is samengesteld uit verschillende keramische elementen in subtiel gekleurde glazuren het licht reflecteren en zo het werk een steeds veranderend uitzicht geven. Wall speelt, zoals frequent in hun werk, een buitengewoon optisch spel met de omgeving.
Op de openingsavond op vrijdag 14 november, zorgt de muziek van Alain Franco voor een gevoelige verkenning van de kloof tussen tijd en ruimte, aanwezigheid en afwezigheid, geluid en stilte.

November 19, 2014 Guido Ignatti: Luz de día https://abstractioninaction.com/happenings/guido-ignatti-luz-de-dia/


Artist: Guido Ignatti

Luz de día
November 14, 2014 – February, 2015
Rosario, Argentina

La muestra se compone de diez tapiados (obras diseñadas para ventanas, realizadas en madera policromada con anilinas y esmalte sintético, y con iluminación interior). Ocho se ubican sobre las ventanas que normalmente se encuentran bloqueadas de la sala, operando en conjunto son el cuerpo central de la obra. Los dos tapiados restantes se ubican sobre un par de ventanas cementadas, a modo de apertura ficcionada. Las piezas de madera policromada poseen iluminación fluorescente en su interior. La muestra se completa con la proyección de un video en el hall de la sala que relata una secuencia lumínica de la sala.

La exposición se puede apreciar a cualquier hora del día, sin embargo, su auge es durante la puesta de sol, cuando el gradiente de la luz natural hacia la artificial atraviesa la obra.

Ve video aquí

luz de d’a - macro
luz de d’a - macro

luz de d’a - macro

November 19, 2014 Óscar Figueroa: Acciones Territoriales https://abstractioninaction.com/happenings/oscar-figueroa-acciones-territoriales/


Artists: Astrovandalistas, Brian Mackern, Carolina Caycedo, Claudia del Fierro, Enrique Arriaga, Gala Porras-Kim, Gilda Mantilla & Raimond Chaves, Hillary Mushkin, Juan Caloca, Juan Pablo Macías, Luis G. Hernández, Los ingrávidos, Mauricio Palos, Oscar Figueroa Chaves, Ricardo Díaz, and Yollotl Manuel Gómez Alvarado.

Acciones Territoriales
November 5 – 19, 2014
ExTeresa Arte Actual
Mexico City, Mexico

La presente curaduría explora y esquematiza algunas de las distintas formas en que sociedades, comunidades y personas han imaginado y configurado sus territorios como resistencias a un sistema capitalista neoliberal dominante.
Esta muestra, reconoce las implicaciones históricas del Ex Teresa como espacio de experimentación artística. En ese sentido, la revisión y lectura de la curaduría Terreno peligroso/Danger Zone, 1995 (Los Ángeles y Ciudad de México), la cual hace eco en las reflexiones que se plantean en esta curaduría.
Se ha comisionado un despliegue de proyectos artísticos que responden de manera crítica a fundamentos territoriales de la crisis sistémica actual, prácticas artísticas que se vinculan con otros campos de conocimiento y la acción colectiva. Para reforzar estos lazos se han creado dos puentes: los Conversatorios que funcionan como espacios de reflexión colectiva entre público y actores sociales y los Talleres que son espacios abiertos de acción colectiva.
Acciones Territoriales invita a explorar la idea de territorio y sus resistencias bajo cuatro nodos entrelazados: La idea de territorio como Estado-Nación, Resistencias a través de la memoria, Territorios transitables y en tránsito y Vida cotidiana: imaginarios, representaciones y lenguaje.


Un fenómeno dominante en México, al igual que en América Latina, y otras partes del mundo; es la facilidad con que el proyecto Neoliberal ha permitido que los Estados y sus alianzas con compañías transnacionales, invadan y exploten territorios sin ninguna consideración a las comunidades que los habitan. Estos desmedidos ejercicios de poder han provocado acciones de resistencia que tratan de revertir estos actos violentos. Algunos responden, dada la urgencia de la situación, desde la misma anquilosada concepción de territorio usada por el Estado; otros, como algunos grupos indígenas, buscan constantemente elaborar una resistencia más compleja, fundada en su historia, cultura, su relación con el espacio habitado y la inclusión de ideas contemporáneas.
Acciones territoriales, es entonces una invitación a dialogar y encontrar otros caminos posibles para entender nuestra situación actual que se vincula con otras miradas y territorios, una invitación a realizar acciones territoriales.


Daniela Lieja Quintanar



This curatorial project seeks to explore and set forth some of the ways in which societies, communities, and people have imagined and configured their territories as resistances and responses to a dominant capitalist, neoliberal system.
Territorial Acts acknowledges the historical implications of Ex-Teresa as a space for artistic experimentation, and thus we include the revision of the curatorial project Terreno peligroso / Danger Zone (Los Angeles-Mexico City, 1995), which echoes the investigations considered in this curatorial project.
A series of actions have been commissioned, and these respond critically to territorial fundaments in the current crisis, these works connect their practice with other fields of knowledge and collective acts. Two bridges have been createdto strengthen these relationships: the Conversationals (Conversatorios), which work as spaces of collective inquiry between the public and social actors; and the Workshops (Talleres), which are open spaces for collective action.
Territorial Acts is a proposal to explore the concept of territory and resistances through four nodes of investigation: The idea of territory as Nation-State; Resistance through Memory; Accessible and In-Transit Territories; and Everyday life: Imaginaries, Representations, and Language.
A phenomenon that has been reproduced in Mexico as well as in Latin America and other parts of the world, is the indulgence by which the Neoliberal project has granted the hegemonic State and its alliances with transnational companies, approval to invade and exploit territories by building mines, freeways, and damns without any consideration of the people who inhabit these territories. These excessive uses of power have provoked actions of resistance that try to revert their violent actions. Some of these resistances responded, due to the urgency of the problem, with the same misconception of territory used by the State; others, such as indigenous groups, constantly seek to elaborate a more complex resistance, based on their history, culture, inhabited space and the inclusion of contemporary ideas.
Territorial Acts is an invitation to dialogue and to find—through other views and territories—further possible ways to understand our current situation, while simultaneously suggesting an invitation to make territorial acts.


Daniela Lieja Quintanar
*Traducción Selene Preciado
November 18, 2014 Diana de Solares: Present 2 https://abstractioninaction.com/happenings/diana-de-solares-present-2/


Artist: Diana de Solares

Present 2: Alma Ruiz presents Diana de Solares
November 1 – December 13, 2014
Josée Bienvenu Gallery
New York, USA

The gallery presents a series of guest-curated exhibitions in the project space. For its second installment, curator Alma Ruiz presents the work by Guatemalan artist Diana de Solares.

Born in Guatemala City in 1952, Diana de Solares lives and works in Guatemala City. Recent exhibitions include: “Las correcciones/The corrections” the 9.99 gallery, Guatemala City (2014); “XIX Bienal Paiz “ Arte Centro Graciela Andrade de Paz, Guatemala City (2014); “Prótesis” [Prosthesis], Piegatto Arte, Guatemala City (2013); “En Tránsito” [In Transit], Sol del Rio Arte Contemporáneo, Guatemala City (2013); “Ensayo” Edge Zones, Miami, FL (2005); “Index miami”, Edge Zones, Miami, FL (2004); “En el filo”, Museo de Arte Moderno de Mérida “Juan Astorga Anta, Mérida, Venezuela (2003); “Picturing the female body”, The Latin Collector Gallery, New York, NY (2002); “Diana de Solares y Juan Paparella” Schneider Gallery, Chicago, IL (2000).

November 15, 2014 Darío Escobar: Unions and Intersections https://abstractioninaction.com/happenings/dario-escobar-unions-intersections/


Artist: Darío Escobar

Unions and Intersections
November 11 – December 12, 2014
Nilsstaerk Gallery
Copenhagen, Denmark

The title of the exhibition Unions and Intersections underlines a general theme in Escobar’s work. The chosen objects, which make up Escobar’s sculptures become markers and signs of both unions and intersections through the way they are arranged and their conversion into art.

Most of the works presented in the exhibition are sculptures made partially or entirely out of sporting goods such as footballs, basketballs, or billiard cues. Sports have been a recurring theme in Escobar’s work in recent years. However, one is not looking at the work of a sports-obsessed artist; someone who cannot get enough of the life-affirming thrills sports can offer. For Escobar these sporting effects are, to a much larger degree, signs of multinational brands and movements, which in the last decades have swept across the world and made any distinction between the local and the global impossible.

To Escobar sports and the culture that surrounds it is inseparable from a worldwide consumerism that offers itself as a ticket to an international community if one is prepared to pay the price. By using effects from this culture Escobar calls attention to this particular situation, though without pointing fingers at sports fans. His work is also not to be understood as a sarcastic comment on the global art world or art market because of its ability to absorb such commercial elements. The works are a sincere investigation of complex power structures, including the relationship between art and consumerism.

Darío Escobar lives and works in Guatemala City. He has been included in numerous solo and group exhibitions, among them, Gold, Bass Museum of Art, Miami, and Fútbol: The Beautiful Game, Los Angeles County Museum of Art (all 2014); Confusion in the Vault, Museo Jumex, México D.F. (2013); 2013 California-Pacific Triennial, Orange County Museum of Art, Newport Beach, California; Darío Escobar/La experiencia del objeto, Museo de Arte Contemporáneo de Santiago, Santiago, Chile, Singular/Plural,  SCAD Museum of Art, Savannah, Georgia, and The Island: A Game of Life, Gallery One, Manarat al Saadiyat, Abu Dhabi, United Arab Emirates (all 2012); Los impolíticos, Palazzo delle Arti Napoli, Naples, Italy, Périfériks, Centre d’art Neuchâtel, Neuchâtel, Switzerland, and Mundus Novus, 53 Biennale di Venezia, Venice (all 2009); and Poetics of the Handmade, The Museum of Contemporary Art, Los Angeles (2007). Escobar’s monograph A Singular Plurality: The Works of Darío Escobar was published by Harvard University Press in 2013.

November 15, 2014 Christian Camacho Reynoso: Lunes https://abstractioninaction.com/happenings/christian-camacho-reynoso-lunes/


Artist: Christian Camacho Reynoso

November 6, 2014
Autjaus / Breve / Neter Proyectos
Mexico City, Mexico

La exposición forma parte del Programa AUTJAUS de NETER proyectos, en colaboración con Breve. Proyecto apoyado por el Fondo Nacional para la Cultura y las Artes

November 11, 2014 Pedro Tyler: Extensa https://abstractioninaction.com/happenings/pedro-tyler-extensa/

Extensa vista general 2

Artist: Pedro Tyler

September 27 – November 1, 2014
Galería Isabel Aninat
Santiago, Chile

Extensa es el fruto y combinación de mi interés en la escultura como portadora de conocimiento y en la historia de la filosofía como un registro de las inquietudes y temores de los hombres. Historia íntimamente ligada con el desarrollo de la ciencia y la matemática.

Extensa tiene que ver con las distancias, con una idea de inmensidad, algo difícil de ser medido en su amplitud. Para hablar de esto utilizo la escultura que contradictoriamente es física y materialmente concreta en su ocupación del espacio.

A partir de algo finito como una cadena o rejas de cintas de medir me aproximo al concepto de lo infinito. Concepto presente en todo el sistema matemático complejo y cabe recordar, también incompleto, a partir del cual se levanta todo el conocimiento racional.

Hacer escultura es practicar la geometría, “medir la tierra”, dar forma a la materia organizando el espacio en el que nos movemos. ¿Cómo entonces hacer que un cuerpo inanimado transmita pensamiento y emoción? Según Descartes cuerpo y pensamiento son bien distintos. Sostiene que sólo hay 3 cosas: la cosa pensante (mis pensamientos, ideas e intuición), la cosa extensa (los cuerpos y el espacio medible) y la cosa infinita (Dios). Pero si todo cuerpo es infinito en su interior; ¿no estamos diciendo, como Spinoza, que Dios está en todo?

Extensa vista general1

Extensive is the result of the combination of my interest in sculpture as a conveyor of knowledge and in the history of Philosophy as a registry of the worries and frights of men. A history linked to the development of mathematics and science.

Extensive has to do with distances, with the idea of immensity, something difficult to measure in its entirety. To speak about this I use sculpture which, contradictorily, is materially and physically concrete in the way it occupies space.

From something finite as a chain or a grid constructed with measuring tapes I approach to infinity as a concept. A concept which is present in all the mathematical system, a system both complex and incomplete, from which all rational knowledge is derived.

Making sculpture is practicing geometry, “measuring the earth”, giving form to matter organizing the space in which we move. How can we then make an inanimate body communicate an emotion and thought? According to Descartes body and thought are well apart. He states that there are only 3 things: the thinking thing (my thoughts, ideas, intuition), the extensive thing (bodies and measurable space) and the perfect infinite thing (God). But if every body is infinite inside; are we not saying as Spinoza, that God is in everything?

La distancia mas corta detalle
Omega detalle
Principio y fin Detalle chica
Principio y fin
Un grano de arena 2

November 11, 2014 Alexis Minkiewicz: Fantasía Fantasma https://abstractioninaction.com/happenings/alexis-minkiewicz-fantasia-fantasma/

Screenshot 2014-10-29 09.40.01

Artists: Leonardo Cavalcante, Diego Cirulli, Linhuel González, Miguel Harte, Santiago Licata, Brian Maltz, Alexis Minkiewicz, Tadeo Muleiro, Marcela Oliva, Jorge Opazo, Hernán Soriano, and Catalina Schliebener.

Fantasía Fantasma
November 7 – December 5, 2014
Curated by Lucas Marín
Mapa Líquido / Fundación Lebensohn
Buenos Aires, Argentina

Pintura, objeto, dibujo, escultura, video, collage y mural.

November 6, 2014 Carola Zech: Espacio es espacios https://abstractioninaction.com/happenings/carola-zech-espacio-es-espacios/


Artist: Carola Zech

Espacio es espacios
November 6, 2014 – January 10, 2015
Espacio de Arte Fundación Osde La Vidriera
Buenos Aires, Argentina

Partiendo de la analogía entre las dimensiones de la vidriera y su taller, Carola imagina la idea de transparentar la realidad de su espacio/taller, lugar en donde conviven una serie de materiales que en su acomodo, se superponen, se conectan, se ensamblan. Esa lógica, trasladada a la vidriera del Espacio de Arte de la fundación OSDE, tiene como resultado Espacio es espacios. La vidriera, tridimensional pero no transitable, sugiere algunos desafíos en los que Zech se ha detenido para proyectar su obra.

En sus obras en general, Carola busca mostrar la relación entre el color, el espacio y la forma, relación en sus palabras, magnética. En esta oportunidad, poniendo en tensión la dualidad del espacio tridimensional intransitable, decide desestructurar su lógica a partir del dibujo con formas que, vistas a través del vidrio, resultan en un espacio bidimensional como el de la pintura. El espacio real se multiplica  entonces, según señala la artista, en espacio/contexto, espacio/taller, espacio/pintura, espacio/tridimensión.

1(1) copia
2(1) copia
5(1) copia
6 copia
7 copia


November 6, 2014 Guido Ignatti: Lo mismo, su eco, su sombra https://abstractioninaction.com/happenings/guido-ignatti-lo-mismo-su-eco-su-sombra/


Artists: Guido Ignatti and Hernán Soriano.

Lo mismo, su eco, su sombra
November 6 – December 6, 2014
Curator: Mariano Soto
Fundación OSDE
Buenos Aires, Argentina

Resuena cierta tensión espacial, abstracta, ambigua, como tejida de pequeñas inexactitudes, de corrimientos sutiles, pero también de ajustes sorpresivos e innecesarios.
En la construcción de un espacio paralelo con realidades, circulaciones y códigos de habitabilidad superpuestos, el hecho artístico se traspasa al espectador, al que mira, al que recorre ese espacio, convirtiéndolo en catalizador, en el Capitán Morris del cuento de Bioy. ¿Cómo reaccionaríamos si al despertar una mañana nos encontráramos con una realidad físicaligeramente alterada?, y lo peor: ¿qué pasaría si ese ligeramente fuera la prueba irrefutable de que no somos ya quiénes y cómo éramos la noche anterior?
Entremos a la sala. Agucemos los sentidos. Veremos asomar guiños literarios donde lo ficcional se pone de uno y otro lado de la pared, alternadamente. Ficción por delante o ficción por detrás, pero, al final, lo que prevalece va más allá del cuento. El señalamiento principal pone el dedo en lo presente, en lo residual, en las presencias como huellas, en la posibilidad de la multiplicidad… y en el regodeo en ella.
Aquel “montaje de tiempos heterogéneos” del que habla Didi-Huberman, y que se me antoja (Bioy nos lleva irremediablemente a Borges, y este punto sería un buen tema al que volver en clave estética una y otra vez) tan central en la producción artística contemporánea, es un buen punto para detenerse a observar y pensar. ¿Qué posibilidades de ser leído y clasificado temporalmente tendrá en el futuro nuestro legado contemporáneo de imágenes, fábrica de citas y re-visitas del pasado artístico, rey indiscutido de la posproducción, el ensamble y el objet trouvé?
Pero ese no era el punto, aunque ayude a potenciarlo y darle densidad. El punto es el espacio en sí, la referencia a él, a los modos de habitarlo y sus derroteros; su condición de vórtice de tiempos yuxtapuestos. Es aquí y ahora en donde la irrupción de Ignatti y de Soriano convierten la densidad semántica (y ya altamente citacionista) del estilo Belle Époque en sombras desclasadas, en artefactos irracionalmente inútiles como eco de realidades abandonadas: un espejo retrovisor donde asomarse a la mismidad de las cosas y a nuestro torpe circular entre ellas.

Mariano Soto

lo mismo, su eco, su sombra - fund osde

lo mismo, su eco, su sombra - fund osde

November 5, 2014 Eduardo Costa: Naturalezas https://abstractioninaction.com/happenings/eduardo-costa-naturalezas/


Artist: Eduardo Costa

October 31 – December 3, 2014
Henrique Faria
Buenos Aires, Argentina

Un hecho pictórico

Arte y lenguaje confluyen en la obra de Eduardo Costa desde mediados de los sesenta, cuando se dedicó a revisar el status institucional de los géneros y las disciplinas artísticas. Más tarde, en los tempranos noventa y luego de diversas experiencias en la vanguardia argentina, brasileña y neoyorkina, trabajando con los medios de comunicación, la moda y la información, Costa abordó por primera vez a la pintura.

Desde su visión de artista conceptual, la pintura no es solo una técnica sino que concentra una visión del mundo: involucra aspectos de índole cultural y psicológica que subyacen a las imágenes que nos rodean y forman el horizonte cognitivo de nuestra época. Así, sus primeras pinturas volumétricas dotan a la pintura de aquello que le faltaba, la tercera dimensión, y demuestran que la representación en el arte es una convención llena de metáforas que apenas distinguimos como ficciones. Capa sobre capa de pintura acrílica Costa hacía frutos, flores, animales y objetos que podían formar parte del universo que el arte europeo occidental denomina “naturalezas muertas”.

Al igual que el derrotero de la pintura en la historia del arte, las pinturas volumétricas pasaron del naturalismo a la geometría y luego a la completa abstracción. De las esferas, cilindros, paralelepípedos, nacieron los actuales monocromos expandidos, fragmentos de paisaje, el tema que le faltaba explorar. Sin dudas, el paisaje no es la naturaleza sino una construcción cultural acerca de cómo la percibimos, un género artístico. Así, la iniciativa del artista fue invertir la operación y buscar los monocromos en la naturaleza. Revisando la tradición, la pintura es concepto y también es materia. El hecho pictórico, como lo reivindican los pintores, es aquello que sucede cuando el tema, la representación, se desvanece. Las obras de Costa podrían ser solamente el enunciado que les da existencia, como fueron en los años sesenta cuando experimentaba con la comunicación. Sin embargo, hoy el artista siente en la rotundidad de la materia un mensaje encriptado, como un código genético que tal vez garantiza la pervivencia de ideas, imágenes y percepciones. Un sistema cuyo sentido sea sostener antiguas codificaciones que definen lo humano.

María José Herrera

Image: Eduardo Costa, “Zapallo redondo”, 2008-2009, Pintura acrílica maciza, 20 x 46 x 38 cm
November 5, 2014 Marta Chilindrón: Expand // Fold // Collapse // https://abstractioninaction.com/happenings/marta-chilindron-expand-fold-collapse/


Artist: Marta Chilindrón

Expand // Fold // Collapse //
November 3 – December 5, 2014
Curated by Susanna V. Temkin and Katharine J. Wright
The Great Hall Exhibitions, Institute of Fine Arts
New York, USA

Embracing the instability of perspective and form, New York artist Marta Chilindron (b. 1951, Buenos Aires) creates manipulable sculptures in transparent and colored acrylics.  Adapted from such basic geometric shapes as spheres, cubes, and pyramids, her artworks conceal their identity as complex, kinetic constructions.  Constructed from multiple panels connected by hinges, Chilindron’s sculptures are charged with transformative potential that, when activated by the viewer, cause the works to expand//fold//collapse.

An heir to international constructivism, Chilindron’s artworks recall the influence of such artists as Naum Gabo, Lygia Clark, and Donald Judd.  However, to this tradition Chilindron adds her own investigations based on her interest in the dynamism and mutability of life.  Controlled by the viewer yet mediated by their constructed forms, her artworks transform shape, shift from the second to the third dimension, and extend and contract into space.  Magnified by the chromatic interplay caused by the effects of light, these changes underlie the core of her artistic practice.

Providing a dramatic contrast to the ornate interior of the Duke House, seven works by the artist will be on view in the lobby and vestibule of the Institute of Fine Arts  for the Fall 2014 Great Hall Exhibition.  Focusing on Chilindron’s engagement with idealized geometric forms, these works, executed between 2006 and 2014, will show the diversity of the artist’s practice, ranging from table-top objects such as the curvilinear Helix (2011) to her large-scale Cube 48 Orange (2014).  This latter work represents Chilindron’s expansion into immersive sculptural environments, and is being shown in New York for the first time since its debut in the Encounters exhibition at Art Basel Hong Kong, held in spring 2014.

October 29, 2014 Montez Magno: Solo show https://abstractioninaction.com/happenings/montez-magno-solo-show/


Artist: Montez Magno

Montez Magno
October 3 – November 8, 2014
Christinger de Mayo
Zurich, Switzerland

This exhibition brings a selection of Montez Magno works that developed his entropic impulse, broadly rooted in a sensitive and experimental dimension of spatiality. (…) Thus, more interested in invention, in the force of creation not only as an act, but rather as a constant exercise, Montez Magno rearranges materials as diverse and ordinary as a bar of soap, a watercolour pen or screws, constituting a centrifugal, variable oeuvre open to the other that – unconcerned with “structuring the world” in a universal spatiality (whether cosmological or cosmogonical) – is inclined, in turn, to create small, ephemeral and punctual arrangements which, in response to all variety of political and sensitive contexts, nonetheless have the power to make inventors out of all of us.

Selection of original text by Clarissa Diniz

Image: Montez Magno, “Untitled”, 2005
October 29, 2014 Graciela Hasper: Tramando https://abstractioninaction.com/happenings/graciela-hasper-tramando/


Artist: Graciela Hasper

Graciela Hasper
October 9 – November 6, 2014
Tramando Espacio Vidriera
Buenos Aires, Argentina


October 24, 2014 Carla Arocha & Stéphane Schraenen: Persiana https://abstractioninaction.com/happenings/carla-arocha-stephane-schraenen-persiana/


Artists: Carla Arocha & Stéphane Schraenen

October 25 – December 21, 2014
Cultuurcentrum Mechelen
Mechelen, Belgium

De overzichtstentoonstelling Persiana markeert tien jaar gezamelijke praktijk van het Antwerpse kunstenaarsduo Carla Arocha en Stephane Schraenen. De tentoonstelling brengt een ensemble van sleutelwerken samen in een nieuwe constellatie speciaal bedacht voor de tentoonstellingszalen van het cultuurcentrum.
Arocha en Schraenen hebben van de waarneming zelf het primaire onderwerp van hun artistieke aandacht gemaakt.

October 24, 2014 Elias Crespin: Mobiles https://abstractioninaction.com/happenings/elias-crespin-mobiles/


Artist: Elias Crespin

October 16 – January 3, 2015
Galerie denise rené
Paris, France


October 22, 2014 Miguel Rothschild: Buenos Aires https://abstractioninaction.com/happenings/miguel-rothschild-buenos-aires/


Artist: Miguel Rothschild

Buenos Aires
October 18 – December 20, 2014
Kuckei + Kuckei
Berlin, Germany

The fragments of our happiness: this could have also been the title of our exhibition Buenos Aires. At Kuckei + Kuckei, the Argentinian artist Miguel Rothschild, who lives in Berlin, is charting his home town anew. In so doing, he is challenging – with every step – conventional demarcation lines and, not least, those between reality and fiction.

For his Atrapasueños series (English: Dream Catcher), the artist photographed telephone lines and electric cables in one of the slums. Their course is reproduced precisely on smashed shatterproof glass. Two centimetres separate the glass and the photo from one another: in this empty interstice, any questions that arise are allowed to remain open.

It is as if Klotho, Lachesis and Atropos were spinning their threads above the city on the Río de la Plata and deciding their fate anew with every day that passes, Rothschild presents a photo – Parzen über Buenos Aires, which explodes the frame and metamorphoses into an installation – by means of cords that replace extension cables and reach to the end of the exhibition wall.

The work entitled Memento mori. Work in progress is subject in a very special way to the principle of die and become. The photograph shows a harp, a shabby-looking shop sign overrun by rust; it bears the inscription Creaciones and dates from 1963, the year the artist was born. As soon as a visitor approaches the work, two extremely powerful spotlights are activated by motion sensors. In the course of time, this light will change the artwork, which has, from the very start, devoted itself to disappearing. It becomes paler, whiter, more translucent and consequently clear to every one of us that it is full of life.

María Cecilia Barbetta

October 22, 2014 Gabriel de la Mora: Lo que no vemos lo que nos mira https://abstractioninaction.com/happenings/gabriel-de-la-mora-lo-que-vemos-lo-que-nos-mira/


Artist: Gabriel de la Mora

Lo que no vemos lo que nos mira
October 18, 2014 – February 16, 2015
Museo Amparo
Puebla, Mexico

Exposición individual del artista Gabriel de la Mora. En conferencia con el curador Willy Kautz, se inaugura la muestra en Puebla, Mexico.

October 22, 2014 Graciela Hasper, Alexis Minkiewicz, Ramiro Oller: Variaciones sobre el círculo https://abstractioninaction.com/happenings/graciela-hasper-alexis-minkiewicz-ramiro-oller-variaciones-sobre-el-circulo/


Artists: Graciela Hasper, Alexis Minkiewicz, Ramiro Oller, Juan Pablo Inzirillo, Paula Rivas, and Sebastián Mejía.

Variaciones sobre el círculo
October 3 -5, 2014
Centro Cultural Estación Mapocho
Santiago, Chile

El análisis de la formas geométricas ha sido un tópico tematizado y problematizado por las diferentes manifestaciones artísticas a lo largo de la historia de la arte. Haciéndose eco de esta reflexión y mostrando distintos exponentes del arte contemporáneo local e internacional que desarrollan sus trabajos en diferentes disciplinas, la galería Aldo de Sousa se complace en pre- sentar un eje curatorial que gira en torno a las variaciones sobre el círculo generadas a partir del disloque rítmico de la repetición. Constantes interrumpidas por la irrupción de la variación sobre lo circular, desde lo otro, también, artístico.

Cada uno de los artistas, desde su identidad, aporta al criterio riqueza plástica y teórica. Las variaciones están sujetas a diferentes enfoques que colocan el énfasis en distintos procesos creativos y estéticos. El círculo se encuentra rodeado y atravesado por aspectos que lo confor- man: desde (1) lo morfológico, en los trabajos de Alexis Minkiewicz (Argentina, b. 1988), donde el grafito sobre papel deconstruye en el espacio una secuencia circular que vira hacia líneas explosivas que se expanden y se contraen en sutiles monocromías; (2) desde lo cromático en la pintura de Graciela Hasper (Argentina, b. 1966) que, a partir de la combinación de elementos esféricos superpuestos, lleva al ojo hacia juegos ópticos y cinéticos de quirúrgico trazo. Desde (3) el material que utiliza Juan Pablo Inzirillo (Argentina, b. 1986) dotando de pureza al color y la imagen, arrojando el pigmento en polvo al vacío de transparencias plásticas en espacios de silencios metafísicos. También trabajando sobre la materia, Ramiro Oller (Argentina, b. 1982) combina el uso de elementos industriales al servicio del brillo y su reflejo y las texturas de sus superficies descubren una geometría (4) sensible al tacto.

Paula Rivas (Argentina, b. 1976) se sirve del movimiento para recrear (5) estructuras molecula- res mediante piedras minerales y dispositivos cinéticos que utilizan el círculo como módulo compositivo. Y siguiendo en esa línea reflexiva, Sebastián Mejía (Colombia, b. 1982) ubica lo esférico en (6) lo real ahí donde el ojo común tiende a subestimarlo y obviarlo, exponiendo el dominio de la geometría en la naturaleza, obligándonos a creer en una física que opera por encima de nuestro entendimiento y tentándonos a poner las sensaciones por encima del pensamiento: el círculo como origen.

Sobre un rico y variado abanico de soportes y herramientas compositivas se erige este conjun- to de artistas (dibujo, pintura, escultura, fotografía, nuevos soportes, materiales industriales) para problematizar sobre la abstracción, la geometría y las variaciones sobre el círculo a partir de su repetición en el arte contemporáneo.

October 17, 2014 Adán Vallecillo & Eduardo Stupia: 500 Años de Futuro https://abstractioninaction.com/happenings/adan-vallecillo-500-anos-de-futuro/

unnamed copy 3

Artist: Franz Ackermann, Fernando Álvarez Cozzi, Sarnath Banerjee, Javier Bassi, Daniel Beerstecher, Camila Borgna, Adriana Bustos, Matilde Campodónico, Tanja Deman, Julián Dupont, Leandro Erlich, Francisco Espinosa Silva, Andrea Finkelstein, Rita Fischer, Federica +Lamasa Folco, Mark Formanek, Gianfranco Foschino, Yang Fudong, Cao Guimaraes, Simon Gush, Olaf Holzapfel, Sebastián Preece, Maurício Ianes, Majida Khattari, Ricardo Lanzarini, Pablo Lobato, Lucía Madriz, Sofia Medici, Patricia Mallarini, Paola Monzillo, Marcelo, Moscheta, Adrian Paci, Lucía Pittaluga, Federico Rubio, Haim Sokol, Guillermo Srodek-Hart, Patrick Steeger, Juliana Stein, Eduardo StupiaAdán Vallecillo, Leonardo González, Diego Velazco, Humberto Vélez, Chen Xiaoyun, and Tobias Zielony.

500 Años de Futuro
Curator: Alfons Hung
September 22 – November 22, 2014
2da Bienal de Montevideo
Montevideo, Uruguay

La distancia que separa el presente del futuro se mide de modos diferentes y en unidades de medida variables en cada época. Ora el futuro parece estar al alcance de la mano, ora se aleja hasta lo inalcanzable. En ocasiones esta distancia se mide en nano segundos, otras en años, décadas y siglos. Los ingenieros intentan traducir la dimensión temporal a otra espacial y determinar la distancia entre presente y futuro con categorías físicas como millas, horas, kilovatios, o con el tacómetro, mientras que a los artistas les toca –no pocas veces– registrar las ruinas que bordean ese camino. Mientras que en el arte esta distancia es vivenciada de forma extremadamzente subjetiva y no lineal, la ciencia y la tecnología aspiran a la objetividad y plausibilidad.

El temor al mañana o, por el contrario, su anhelo, hará aparecer siempre al futuro en un matiz y extensión diferentes.

El futuro como el gran relato del arte

Desde la perspectiva eurocéntrica la cronología en el hemisferio occidental comienza recién en 1507, cuando el nombre “América” aparece por primera vez en un mapamundi de Martin Waldseemüller. Sin embargo, el hecho de que el continente estuviese poblado desde hace más de veinte mil años solía ignorarse, entre otras cosas, porque durante la conquista se destruyó una gran parte del patrimonio indígena.

Ante esta aniquilación a gran escala de una historia y un pasado, no es de extrañar que en Sudamérica también el futuro haya tenido que aplazarse una y otra vez. Esto es particularmente cierto para Brasil, el eterno “país del futuro”. Que en los últimos años ese futuro haya logrado alcanzarse –quizás por primera vez– se debe a un aceleramiento cultural en el que colaboraron, entre otros, las bienales de arte. De modo que estaremos bien aconsejados si entendemos el futuro por medio de la visión de los artistas.

Traspasando los hemisferios, la 2a Bienal de Montevideo desplegará aquellos grandes relatos que harán reducir, aumentar o incluso converger las distancias temporales y espaciales entre los continentes.

El título sugiere que en todos los momentos de la historia el presente ha sido una proyección hacia el futuro. Quizá el pasado y el presente no sean otra cosa que una acumulación de futuros imaginarios que entretanto alcanzaron los 500 años y se encuentran divididos en dos mitades, porque en Sudamérica siempre se tuvo que considerar o incluso vivir la historia de Europa.

Hasta el tiempo fue importado de Europa. En el año 1650 el Rey Felipe III donó un reloj que fue creado por los moros para la Alhambra, a la Catedral de Comayagua (Honduras). Es considerado el reloj más antiguo de América y todavía funciona correctamente.

Una comparación de este antiguo reloj árabe con el tiempo autoconstruido del proyecto Standard Time de Mark Formanek es muy sugestivo. El primero marca el comienzo de la mecánica moderna en América; el último, el retorno consciente a formas artesanales de producción. En el intento por construir cada minuto con la ayuda de tablas de madera, los trabajadores de Standard Time se mueven permanentemente al borde del fracaso. Se trata de una visualización del tiempo que –de manera precaria– todos los días pretende construir un puente entre el pasado y el futuro y que, no obstante, debe ser actual y puntual. Un sólo error interrumpiría para siempre el flujo inexorable del tiempo.

Mientras que los llamados “medios sociales” incrementan la velocidad, como si de esta forma uno podría acercarse más rápidamente al futuro y a otras personas, cada vez más artistas ven como la tarea más noble del arte la detención del curso del tiempo o, más aún, la posibilidad de construirlo ellos mismos.

Por esta razón los artistas contemporáneos recurren crecientemente a archivos de todo tipo que aluden al pasado: objetos de otras épocas, fotografías en blanco y negro de principios del siglo, películas vintage y found footage de los inicios del cine, entre otros. Ahora que todo ya ha sido fotografiado y filmado, y porque se confía cada vez menos en las promesas del presente, armar archivos parece haberse convertido en uno de los procedimientos más modernos. En estas obras se suprime la habitual concepción lineal del tiempo y el progreso, por lo que, en no pocos casos, el artista contemporáneo llega tarde, procesando temáticas antiquísimas.

El arte es una máquina del tiempo que pertenece tanto a las eras más remotas como al presente y, precisamente, la cercanía inesperada entre lo más antiguo y lo más nuevo es una de las paradojas del arte.

© Texto del curador general Alfons Hug

Image: Adán Vallecillo and Leonardo González, “I:492”, 2014
October 17, 2014 Nicolás Lamas: The value of formlessness https://abstractioninaction.com/happenings/nicolas-lamas-value-formlessness/

75_aztec sculpture  low

Artist: Nicolás Lamas

The value of the formlessness
October 3 – November 29, 2014
Sabot Gallery
Cluj-Napoca, Romania

October 15, 2014 Alberto Borea: We Are All Gone https://abstractioninaction.com/happenings/alberto-borea-gone/

unnamed copy

Artist: Alberto Borea

We Are All Gone
October 10 – November 12, 2014
Y Gallery
New York, USA

Continuing with his research on cartography, urban identity and the relation between center and periphery, the artist presents a group of works derived from recent explorations. Borea takes the position of an “archeologist of the contemporary” who rescues the materials and used objects which are “residues of civilization“. These artifacts are undergoing a creative process leading to innovative results featuring the artist´s unique vision about ruins and progress.

A cage that is broken and open, “We Are All Gone” shows the tautness derived from the concept of “contention”. This sculpture works as an expanded drawing. Chaos, transgression and geometry coexist in the paradoxical nature of this piece.

In “Haus”, the german word for house, the artist recycles and transforms four doors of New York City taxi cabs. The resulting object is a hybrid device sharing the characteristics of a living architectural structure and a moving vehicle. Permanence and transition are concepts in dialogue in these four works, which are settled on the exploration of what has been called heterotopic spaces.
“Immigration”, on the other hand, is a sculpture made with a metal cement trowel and wheels that the artist found in the streets of Lima. This object is a strong statement about  roots, transit, migration, and art as a social and spiritual practice. For “Self-portrait”, Borea works with the idea of souvenir and global identity. The bottle with an Inca portrait named Biondi is attached to a corn broom, this combination of two different things leads to the creation of a new object. This innovative device shows the different layers of cultural information and manipulation, leaving for posterity a new sort of “huaco”or totem.

The transitional nature of existence is an underlying conceptual principle common to all the works in the show. They are the result of a sensitive reaction to the contemporary and its physical expression, manifested in the combination and manipulations of objects leading to new metaphorical artifacts.

Alberto Borea lives and works between New York and Lima. His work is characterized by the continuous displacement and use of diverse media and materials. He attended residencies and fellowships including Skowhegan School of Painting and Sculpture, (Fundacion Cisneros de Patricia de Phelps), Art Omi International Residency 2009, Vermont Studio Center (Jackson Pollock Krasner Fellowship), International Studio and Curatorial Program NYC (ISCP), Sculpture Space, Utica, NY, Default Masterclass in residence, Lecce and Lower Manhattan Cultural Council (LMCC).  Borea’s work has been shown in diverse exhibitions in Europe, Latin America and the U.S. including Queens Museum of Art in New York City, Museo del Barrio in New York City, Museum of Fine Arts in Boston (Cisneros Fontanals Collection), Dublin Contemporary, Museo Laboratorio in Italy, Art Museum of the Americas in DC, and Museo de Huelva in Spain.

October 14, 2014 Carla Arocha and Stéphane Schraenen, Leyla Cárdenas, José Dávila, and Pablo Rasgado: Limited Visibility https://abstractioninaction.com/happenings/carla-arocha-stephane-schraenen-leyla-cardenas-jose-davila-pablo-rasgado-limited-visibility/

Screenshot 2014-09-29 12.13.38

Artists: Allora and Calzadilla, Carla Arocha and Stéphane Schraenen, Laura Belém, Jorge Méndez Blake, Leyla Cárdenas, Abraham Cruzvillegas, Jose Dávila, Rafael Lozano-Hemmer, Moris, Oscar Muñoz, Daniela Ortiz, Pablo Rasgado, Santiago Sierra, Melanie Smith, and Agustina Woodgate.

Limited Visibility
Curated by Patricia Garcia-Velez Hanna and Natalia Zuluaga
October 3, 2014 – January 4, 2015
CAM (Contemporary Art Museum) Raleigh
Raleigh, NC, USA

Voluntary omission, erasure, withholding, and concealment: these are the methods the artists in Limited Visibility employ in order to draw attention to that which is missing. The representations of absence such as the missing object of labor in Allora & Calzadilla’s sandpaper composition or the cutouts in Jose Dávila’s photographs play a key role in this exhibition as they determine, border and define the void they surround. What we see in these images, paintings, and installations is what is not there: each work absents presence and presents something absent. Seer, seen, and unseen come together here to evoke the haunted sensation of searching and looking. Though the aims of each of the works in this exhibition are different—from a demand for political representation to the materialization of an otherwise ephemeral moment—the artists in Limited Visibility draw our attention to the omitted, giving it a kind of determination or persistence that is hard to ignore. In each case, the viewer is required a certain amount of belief to fill in that which is not visibly available—these are not riddles, but questions with actual answers in the form of artworks.
Patricia Garcia-Velez Hanna and Natalia Zuluaga

Image: Top – Left to Right: Jorge Méndez Blake – Hotel Monturiol, Rafael Lozano-Hemmer – Make Out, Jose Dávila – Topologies of Belief, Allora & Calzadilla – Shape Shifter. Bottom – Left to Right: Laura Belém – Temple of One Thousand Bells, Santiago Sierra – 89 Huicholes, Moris – Miradas I


October 14, 2014 Patrick Hamilton & Aníbal López A-1 53167: Dear Mr. Thanatos https://abstractioninaction.com/happenings/patrick-hamilton-anibal-lopez-1-53167-dear-mr-thanatos/

Wheel lock 01 (2014) web

Artists: Regina José Galindo, Patrick Hamilton, Anibal López A-1 53167, Ana Mendieta, Teresa Margolles, Alejandro Almanza Pereda, José Guadalupe Posada, and Jorge Tacla.

Dear Mr. Thanatos, Modern and Contemporary Art from Latin America
Curated By Christian Viveros-Fauné
October 2 – December 13, 2014
Cristin Tierney Gallery
New York, USA

Dear Mr. Thanatos: Modern and Contemporary Art from Latin America
 curated by Christian Viveros-Fauné, is a missive or love letter to the dark forces—death, destruction, war, political violence, etc.—as seen through the lens of modern and contemporary Latin American art.Proposed by psychoanalytic theory as the “death drive” in opposition to Eros—the tendency toward survival, propagation, and the life-giving pleasure principle—Thanatos describes, in Sigmund Freud’s terms, “the inclination to aggression,” which the Austrian thinker defined “[as] the greatest impediment to civilization.”The themes of death, aggression, and psychic and physical violence have long been central to contemporary Latin American artists. Because of Latin America’s violent history, most artists from the region find themselves at most a single generation away from large-scale collective manifestations of the “instinct toward aggression”—with its devastating effects on local societies. From the repeated figure of Santa Muerte evoked by turn of the century Mexican engraver and cartoonist José Guadalupe Posada to Jorge Tacla’s paintings of bombed out buildings in the Middle East to the mortuary and burial-related video and sculpture of Guatemalan Regina José Galindo, artists throughout Latin America have repeatedly turned to the subject of death to express not just existential dread, but the reality of living the examined life in situations of heightened insecurity.
Some Latin American artists—like those in this exhibition—draw creative sustenance from these experiences and often interpret their reflections in the context of social, political and cultural advances. That is the role the destabilizing spirit of Thanatos assumes in the minimalist-inspired sculptures of Chilean artist Patrick Hamilton and the radically unstable structures of Mexican sculptor Alejandro Almanza Pereda. Others, like Ana Mendieta and the Guatemalan Anibal López connect dramatically to specific narratives of violence as urgent subjects for their video and photography.
The death instinct is familiar to all of them, as it is to millions of other people around the world. Like language, geography and identity, Thanatos remains an important part of Latin American art’s peculiar symbolic inheritance to this day.

Image: Patrick Hamilton, Wheel lock #1, 2014. Copper. 5.9 x 21.65 x 5.11 inches.
October 9, 2014 tepeu choc, Aníbal López A-1 53167 & Antonio Pichillá: The Thin Line https://abstractioninaction.com/happenings/tepeu-choc-anibal-lopez-1-53167-antonio-pichilla-thin-line/


Artists: Mauricio Esquivel, Adam Winner, Esvin Alarcón Lam, Marilyn Boror, tepeu choc, Jorge Linares, Aníbal López A-1 53167Antonio Pichillá, Gabriel Rodríguez, Diego Sagastume, Inés Verdugo.

The Thin Line
October 16, 2014
The 9.99 Gallery
Guatemala City, Guatemala

The exhibition will show the work of the artists Mauricio Esquivel (El Salvador), Adam Winner (USA), Esvin Alarcón Lam, Marilyn Boror, Tepeu Choc, Jorge Linares, Aníbal López (A-1 53167), Antonio Pichillá,  Gabriel Rodríguez, Diego Sagastume, Inés Verdugo (Guatemala).

October 9, 2014 Alejandra Barreda: Geometría extendida https://abstractioninaction.com/happenings/alejandra-barreda-geometria-extendida/

Screenshot 2014-09-16 11.38.43

Artist: Alejandra Barreda

Geometría extendida
Curator: Danielle Perret
September 18 – November 12, 2014
Ro Galería de Arte
Buenos Aires, Argentina

Según Danielle Perret, curadora independiente y autora del texto que acompaña la exposición: “La pintura de Barreda podría definirse, más que por el término de «geometría sensible» –utilizado por los críticos más o menos recientemente–, por el de «geometría prospectiva», es decir un arte (geométrico) que tiende, cada vez, a explorar el espacio pictórico comprendido también como un espacio significante que incluye, además, una dimensión metafórica.”

Alejandra Barreda vive y trabaja en Buenos Aires. Recientemente recibió el 2° premio del 9° Concurso Nacional de Pintura organizado por la Universidad Argentina de la Empresa (UADE). Su obra formó parte de numerosas exposiciones y entre las últimas se destacan Geometría al límite organizada por el Museo de Arte Contemporáneo de Buenos Aires (MACBA) y Geometría desvíos y desmesuras, curada por Danielle Perret en Espacio de Arte de la Fundación OSDE. Su obra forma parte de colecciones privadas en Argentina y en el exterior, de la Colección MACBA (Buenos Aires) y la colección Sayago-Pardon (EE.UU)

October 7, 2014 Aníbal Catalán: Beyond Limits, Postglobal Mediations https://abstractioninaction.com/happenings/anibal-catalan-beyond-limits-postglobal-mediations/


Artists: Bank og Rau, Hector Canonge, Anibal Catalan, Charlie Citron, Cesar Cornejo, Einar & Jamex de la Torre, Blane de St. Croix, Heather Dewey-Hagborg, Ira Eduardovna, Glenda & Jesse Drew, Angela Freiberger, Marlon Griffith, Pablo Helguera, Debby & Larry Kline, Arun Kumar, JaeWook Lee, Mary Mattingly, Saul Melman, Yunmi Her, Oyvind Renberg & Miho Shimizu, Margaret Noble, Don Porcella, Mei Xian Qiu, Jose Hugo Sanchez, Zachary Royer Scholz, Adriana Varella, Alex Villar, Theis Wendt.

Beyond Limits, Postglobal Mediations
October 4 – November 15, 2014
San Diego Art Institute
San Diego, CA, USA

Curated by SDAI Executive Director Ginger Shulick Porcella and Brazilian curator Denise Carvalho, this exhibition will demonstrate that the future of the arts lies on a borderless, multidimensional circuit of experimentation. Featuring both local and international artists, “Beyond Limits” will bypass all borders that create hierarchies or limit the exchange of ideas. The exhibition will feature a series of lectures, performances, and video screenings.

“Beyond Limits” is an exhibition in which artists have envisioned a world without boundaries—whether physical, racial, technological, or psychological. “Beyond Limits” will bypass all national representations and increase the focus on a multinational, multicultural, multi-identity, multimedia, and multi-language based society. This exhibition is held in tandem with the international Mediational Biennale, occurring in parallel exhibitions in distinct international venues and museums including the Mediations Biennale in Poznan, Poland; Museo de la Ciudad, urugual; Petah Tikva Museum in Israel; MareArticum—Baltic Contemporary Art Biennale, Nakanajo Biennale, Japan; and the Kunsthall Fuast in Hanover, Germany.

October 3, 2014 Omar Barquet: 1M1A https://abstractioninaction.com/happenings/omar-barquet-1m1a/


Artist: Omar Barquet

Solo show
November 2 – 30, 2014
Mexico City, Mexico


September 29, 2014 Jorge Pedro Núñez: Entre Machine et moi Machin https://abstractioninaction.com/happenings/jorge-pedro-nunez-entre-machine-et-moi-machin/


Artist: Jorge Pedro Núñez

Entre Machine et moi Machin
September 12 – October 26, 2014
Galerie Crèvecoeur
Paris, France

The artist presents an abstract landscape, between sculpture and in-situ installation, composed by geometric figures human-scale based, featuring machine and motor. Symbols of the modern era defined by “the cult of the rapid combustion”, according to Peter Sloterdijk, motor and machine are still characteristic of the contemporary economy, even though the digital world, both in a real and fantasy process, is overwhelming. He uses standards materials of our developed environment like metal, glass, plaster and oil, combines heterogeneous logicals and creates an itinerary dividing, in an invisible way, the space. By creating a situation which tends to modify our gathering and our wandering, the artist follows his reflexions about the reception of the art forms, the display of existing objects and history of surfaces and materials. The theme of the machine, and its anthropomorphic projections, is in the title of the show, ironically reminded by the artist, quoting Serge Gainsbourg, author of Machins Choses, a 1965 song.

September 29, 2014 Marcius Galan: Inside https://abstractioninaction.com/happenings/marcius-galan-inside/


Artists: Jean-Michel Alberola, Dove Allouche, Yuri Ancarani, Sookoon Ang, Christophe Berdaguer & Marie Pejus, Christian Boltanski, Peter Buggenhout, Marc Couturier, Nathalie Djurberg & Hans Berg, Dran, Valia Fetisov, Marcius Galan, Ryan Gander, Ion Grigorescu, Hu Xiaoyuan, Eva Jospin, Jesper Just, Mikhail Karikis & Uriel Orlow, Mark Manders, Bruce Nauman,  Mike Nelson, Numen, Abraham Poincheval, Araya Rasdjarmrearnsook, Reynold Reynolds & Patrick Jolley, Ataru Sato, Stéphane Thidet, Tunga, Andra Ursuta,  Andro Wekua, and Artur Zmijewski.

October 20, 2014 – January 11, 2015
Curators: Jean de Loisy, Daria de Beauvais and Katell Jaffrès
Palais de Tokyo
Paris, France

Inside is a group exhibition that is, above all, a voyage within, an exploration of self, and a unique experience that transforms the building into an organism to be traveled. This season will also be the occasion to discover David Maljković, an artist chosen together with the Paris Festival d’Automne, who will fill an entire floor of the Palais de Tokyo with his retro-futurist science fiction games. Finally, Inside China will present the first selection of works chosen by a Palais de Tokyo curator who went to meet with artists in China during a prospecting expedition conducted over the course of the year.

Inside offers visitors a passage to the interior of the self, for which the exhibition space serves as a metaphor. This immense odyssey, both physical and psychological, invites us to walk through two floors of the Palais de Tokyo that have been transformed by artists in such a way that, from one installation to the next, we remain constantly immersed in the works, which lead us within ourselves—from our skin to our most intimate thoughts.

September 25, 2014 Clarissa Tossin: Unsettled Landscapes https://abstractioninaction.com/happenings/clarissa-tossin-unsettled-landscapes/


Artists: Shuvinai Ashoona, Jamison Chas Banks, Raymond Boisjoly, Andrea Bowers, Matthew Buckingham, Adriana Bustos, Johanna Calle, Luis Camnitzer, Liz Cohen, Minerva Cuevas, Blue Curry, Agnes Denes, Juan Downey, Gianfranco Foschino, Futurefarmers, Anna Bella Geiger, Andrea Geyer, Frank Gohlke, Pablo Helguera, James Hyde, Deborah Jack, Yishai Jusidman, Leandro Katz, Irene Kopelman, Miler Lagos, Glenda León, Ric Lum, Iñigo Manglano-Ovalle, Gilda Mantilla & Raimond Chaves, Daniel Joseph Martinez, Jason Middlebrook, Ohotaq Mikkigak, Kent Monkman, Patrick Nagatani, Florence Miller Pierce, Fernando Palma Rodríguez, Marcel Pinas, Edward Poitras, Marcos Ramirez ERRE & David Taylor, Kevin Schmidt, Allan Sekula, Melanie Smith, Charles Stankievech, Clarissa Tossin, and Antonio Vega Macotela

Unsettled Landscapes
July 20, 2014 – January 11, 2015
Santa Fe SiteLines, New Perspectives on Art of the Americas
Santa Fe, NM, USA

Unsettled Landscapes looks at the urgencies, political conditions and historical narratives that inform the work of contemporary artists across the Americas – from Nunavut to Tierra del Fuego. Through three themes – landscape, territory, and trade – this exhibition expresses the interconnections among representations of the land, movement across the land, and economies and resources derived from the land.

September 25, 2014 Carmela Gross: A Serpente no imaginário artístico https://abstractioninaction.com/happenings/carmela-gross-serpente-imaginario-artistico/


Artists: Carmela Gross, José de Guimarães, Mestre Didi, Kifouli, Siron Franco, Gilvan Samico, Carybé, Juarez Paraíso, Francisco Graciano, Noemisa Batista dos Santos, Benim and Haití.

A Serpente no imaginário artístico
September 6 – November 2, 2014
Museu Afro-Brasil
Sao Paulo, Brasil

A serpente sempre capturou a atenção do homem. Poucos animais possuem uma iconografia tão rica, com a presença de arquétipos contrapostos: o bem e o mal; conhecimento e desrazão; a vida e a morte. O Museu Afro Brasil, Instituição da Secretaria de Cultura do Estado de São Paulo, envereda pelos caminhos sinuosos das representações artísticas do ofídio, em duas novas exposições simultâneas: “José de Guimarães – O Ritual da Serpente: 10 Guaches inspirados na obra de Aby Warburg” e “A Serpente no Imaginário Artístico”.

As exposições serão inauguradas no próximo dia 6 de setembro, às 13h, e permanecem em cartaz até o dia 7 de dezembro. A entrada é gratuita. Também na data de abertura, o Museu Afro Brasil lançará seu aplicativo para dispositivos móveis, disponível para Android e IOS, com download gratuito na Google Play e App Store. O aplicativo traz informações sobre o Museu, o Diretor-Curador Emanoel Araujo, seu Acervo, disponibilidade de programação cultural atualizada (exposições temporárias e eventos educativos), geolocalização e funcionalidades de audioguia.
Um dos mais importantes entre os atuais artistas plásticos de Portugal, conhecido pelo uso rigoroso das cores, José de Guimarães apresenta seu mais recente trabalho, realizado especialmente para as comemorações dos dez anos do Museu Afro Brasil. Os dez guaches espelham sua interpretação pictórica da obra do historiador da arte Aby Warburg (1866-1929). O estudioso alemão esteve na América do Norte, no final do século XIX, para pesquisar sobre o “Ritual da Serpente” dos índios hopis.
“A arte de José de Guimarães é ao mesmo tempo una e múltipla, como o próprio artista que, ao deixar-se contaminar por uma diversidade de culturas, cria uma comunicação e uma identidade mestiças, regenerando padrões e singularidades”, afirma Emanoel Araujo, diretor-curador do Museu Afro Brasil. Ele também assina a curadoria das duas exposições. Essa é a segunda exposição dos trabalhos de Guimarães no Museu Afro Brasil. Em 2006, ele realizou a exposição “África e Africanias”.
Já a mostra “A Serpente no Imaginário Artístico” capta toda a extensa simbologia da serpente nas artes. Ela é encontrada nas máscaras gueledé, e nas variegadas garrafas e bandeiras do vodu haitiano, que integram a mostra. Suas formas tortuosas inspiraram a visão dos artistas: ela se esgueira na escultura de Mestre Didi, e do beninense Kifouli, reverbera na tela de Siron Franco, e se incrusta na gravura de Gilvan Samico. Estarão expostas também obras de Carybé, Juarez Paraíso, Francisco Graciano, Noemisa Batista dos Santos, além de trabalhos do Benim e Haiti. As obras dessa mostra pertencem ao acervo do Museu Afro Brasil.
September 22, 2014 Christian Camacho Reynoso: El acto de ver https://abstractioninaction.com/happenings/christian-camacho-reynoso-el-acto-de-ver/


Artists: Christian Camacho Reynoso, Leo Marz and Apolo Cacho.

El acto de ver
Curator: Octavio Avendaño Trujillo
September 19, 2014
Myl Arte Contemporáneo / Gallery Weekend Mexico
Mexico City, Mexico

En la historia del arte, el acto de ver ha sido motivo de investigaciones filosóficas y poéticas como las de Michel Foucault, quien en su estudio de las Meninas de Velázquez, señalaba la enunciación del artista a través de lo no develado. Sin embargo, a partir de la segunda mitad del siglo XX, con la crisis de la imagen fotográfica -por su explotación mediática- y la preponderancia de los lenguajes conceptuales; el cine abrevó las exploraciones poéticas y contemplativas del “ver”, como es el caso del cineasta alemán Wim Wenders, que acuñó la noción de einstellung que hace referencia a la estrategia del ocultamiento que asola al espectador quien se divisa ante la mirada del artista dejándole una incertidumbre de la “realidad” de lo que está viendo.

Leo Marz (Jalisco, 1979), Christian Camacho (Ciudad de México, 1985) y Apolo Cacho (Ciudad de México, 1987) exploran esta noción que les permita ahondar en la relación de obra-visión-espectador a partir de estrategias de ocultamiento en “El acto de ver”.

September 16, 2014 Erica Muralles Hazbun, Aníbal López A-1 53167, Darío Escobar: Dependencia inDEPENDENCIA2 https://abstractioninaction.com/happenings/erica-muralles-hazbun-anibal-lopez-1-53167-dario-escobar-dependencia-independencia2/


Artists: Lourdes de la Riva, Erica Muralles Hazbun, Aníbal López A-1 53167, Darío Escobar, Pablo Boneu, Hellen Ascoli, Luis González Palma, Mauricio Contreras-Paredes, Paola Beverini and Douglas Witmer.

Dependencia inDEPENDENCIA2
September 2 -30, 2014
Sol del Río Galería
Guatemala, Guatemala


September 16, 2014 Georgina Bringas: Nada está inmóvil; todo se mueve, todo vibra https://abstractioninaction.com/happenings/georgina-bringas-nada-esta-inmovil-todo-se-mueve-todo-vibra/


Artist: Georgina Bringas

Nada está inmóvil; todo se mueve, todo vibra
September 10, 2014 – January, 2015
Museo Universitario del Chopo
Mexico City, Mexico

Georgina Bringas presenta la instalación Nada está inmóvil; todo se mueve; todo vibra, que consiste enun dispositivo mecánico colgado del techo del edificio histórico que mantendrá en oscilación continuatres cuerdas de diferentes características. A través de ese movimiento cobrará notoriedad el espacio, el tiempo y la energía, resaltando la idea de que todo se encuentra en movimiento constante.

La artista parece sugerir, de este modo, que si todo está moviéndose, el campo de representación en el arte también debe hacerlo mediante su transformación constante. Esta obra subraya dos dimensiones: una temporal, donde las oscilaciones continuas y cíclicas de las cuerdas marcan el paso del tiempo; y una espacial que enfatiza la vertical, dirige la atención de los visitantes a las proporciones originales del edificio, las cuales están fuera de toda escala humana. El movimiento de la pieza refuerza esa escala y la experiencia espacial de quien la visita.

El coordinador de exposiciones del Museo, Daniel Garza Usabiaga, señala que a diferencia de otros trabajos de Georgina Bringas, la que presentará en el museo se distingue por ser dinámica. La artista ha analizado el espacio y el tiempo, conceptos abstractos que, mediante sus piezas, adquieren visibilidad. Con sus intervenciones a edificios y lugares de diversa índole, Bringas ha hecho explícitas las dimensiones de esos sitios. También ha desarrollado trabajos que denotan la cuantificación y organización del tiempo. Las soluciones plásticas a las que ha recurrido son sutiles (como el uso de hilo para hacer retículas métricas en los espacios que interviene), y en muchos casos rechazan el terreno de la representación en su totalidad.

Georgina Bringas (ciudad de México, 1975). Es miembro del Sistema Nacional de Creadores  de Arte del FONCA. Estudió la Licenciatura en Artes Plásticas en la Escuela Nacional de Pintura, Escultura y Grabado “La Esmeralda”. Desde 1996 ha trabajado con video, instalación, dibujo y escultura, entre otros soportes, como recursos para investigar la percepción del espacio, el tiempo y sus representaciones plásticas.

September 16, 2014 Omar Rodríguez-Graham, Sandra Nakamura: Ouroboros / Dominio In UrgenteArtists https://abstractioninaction.com/happenings/omar-rodriguez-graham-sandra-nakamura-ouroboros-dominio-urgenteartists/


Artists: Omar Rodríguez-Graham, Sandra Nakamura

Omar Rodríguez-Graham
Dominio In Urgente
Sandra Nakamura
September 19, 2014
Arróniz Arte Contemporáneo / Gallery Weekend Mexico City
Mexico City, Mexico


Omar Rodriguez-Graham

This exhibit by Omar Rodriguez-Graham is articulated under the premise that everything changes. Thus, the constructions of the present are cemented on the wreckage of the phantoms from the past, which distort memories, destroy narratives and create renewed histories. The works of the artists are cannibalistic in nature: they are based on iconic images of Western painting, taking over their outlines, while reassembling the abstract compositions granting them new parameters. This way, the work goes beyond figurations and restores them, rendering them unrecognizable. However, the artist does not infringe the pictorial restrictions, nor move away from a transcendental idea in art: all acts of destruction are acts of creation.

Dominio In Urgente

Sandra Nakamura

The day this exhibit opened was the anniversary of the 1985 earthquake, an impossible detail to ignore for Nakamura. The artist thus investigated the memory inscribed in the soil of Mexico City, seeking to comprehend (at a distance) a place she has never been to. For Juan Villoro, the memory of water is an essential element in the imagery of the city. The works that make up this exhibit have as a starting point, archived photographs, survivor testimonies, seismological reports and topographic maps. They also recover the image of underground water to suggest change, referencing the moment in which, according to seismologist Cinna Lomnitz, Mexico City became a lake again.

September 12, 2014 Amadeo Azar: Patience is a Mine Field https://abstractioninaction.com/happenings/amadeo-azar-patience-mine-field/


Artist: Amadeo Azar

Patience is a Mine Field
September 11 – November 4, 2014
Alejandra von Hartz Gallery
Miami, FL, USA

An artist who wishes to introduce himself to a new context draws a map. He places the pieces in such a way so that we can understand the new fragments in the landscapes of those that preceded them, establishing a mental cartography where to hear one’s questions in reverse.

This exhibition is in the spirit of a retrospective in the sense of steering our sight both backwards and forwards so as to perceive the totality of his ideas. What does an Artist do when he creates a work? He formulates a plan. In this case to take the technique to the extreme so that it collapses. To become an expert in the tradition of the pictorial ingredient -this time the watercolor- in order to betray that capacity until it all but disappears.

Image: “Rusakov Club”, 2014, 132 photocopies on call, 84.65 x 128 inches. Edition 1/3
September 12, 2014 Fernando García Correa: Paraíso en Sombra https://abstractioninaction.com/happenings/fernando-garcia-correa-paraiso-en-sombra/

paul sala blog

Artists: Paul Muguet, Rocío Asensi, and Fernando García Correa.

Paraíso en Sombra
August 13 – October 4, 2014
Curator: Berta Kolteniuk
Celda Contemporánea
Mexico City, Mexico

Los tres artistas reunidos en la exposición Paraíso en sombra, producen obras que evidencian la relación del hombre con el principio de aprehensión del universo y de su ser presente, es decir su conciencia y representación de la realidad metafísica en el tiempo y espacio que les toca vivir. La intención introspectiva, tanto intelectual como espiritual, de buscar el origen o esencia de las cosas es la que genera el impulso para luego transformarlas o representarlas en signos (imágenes, palabras, sonidos, gestos, etc.). Podría interpretarse este acto como la ideación que el filósofo alemán, Max Scheler analiza en su conferencia sobre El puesto del hombre en el cosmos. La ideación resulta de una red de actos o prácticas de “anulación ficticia del carácter de realidad”, o de “reducción fenomenológica” para alcanzar la esencia de las ideas. El recorrido metafísico y antropológico de Scheler reúne visiones de oriente y occidente para formular una conducta ascética que le permita al hombre –en este análisis particular, al artista- resistirse al mismo tiempo que hacer conciencia de su vida.

La obra de Paul Muguet, siguiendo esta lectura filosófica, es una metáfora de lo que Scheler resume como la vieja idea de Spinoza, Hegel y otros, sobre la conciencia que el Ser primordial adquiere de sí mismo en el acto de contemplarse y saberse como hombre, en un acto de trascendencia o advenimiento donde lo creado es parte de una unidad funcional, dado que se construye a partir de la individualidad de algunos objetos o signos que representan la impermanencia de las ideas, más allá de la materialidad de las cosas. Es así que sus objetos y esculturas componen figuras abstractas o representacionales de un todo, a partir de la singularidad de un objeto o palabra determinada y conocida a priori.

Rocío Asensi también trabaja a partir de la indagación y meditación de la realidad y sus manifestaciones sociales antagonistas en el mundo occidental y oriental, reconociendo, a partir de sus viajes y experiencias la complementariedad entre ambos. La aceptación de esas realidades mediante la obra y el hacer artístico, permite otro acceso espiritual a la impresión de la vida, donde incluso los actos negativos dotan de energía al espíritu, como dice el metafísico alemán. De esta manera podemos entender al acto creativo no como una denuncia moral, sino como una intención ética o voluntad espiritual por reconocer el lugar del hombre en el universo.

Finalmente, el trabajo de Fernando García Correa se relaciona con las primeras aclaraciones que Max Scheler hace en relación a los grados o estructura del ser psicofísico para diferenciar al hombre de los demás seres vivientes con los que convive. Sin caer en un simple juego de dualidades, las obras de este artista buscan presentar las diversas formas del ser, partiendo de las experiencias afectivas e instintivas comunes entre hombres, plantas y animales, a su vez que la asociativa e intelectiva, que constituyen cualidades desarrolladas por la psique humana. Las imágenes y formas creadas establecen un puente entre las abstracciones simbólicas y las figurativas, que activa el flujo de conexiones que el espectador puede establecer al observarlas.

El artista como asceta, en un sentido actualizado de la palabra, puede enmarcarse en la charla TED que Alain de Botton titula Ascetismo 2.0, donde propone al arte y la cultura como la nueva religión. Ambos filósofos, Scheler y Botton, entienden al arte como un encuentro con las ideas más esenciales del mundo y del ser. El siglo que los separa confirma la esencia en las ideaciones presentes y pasadas.

September 9, 2014 Marta Chilindrón, Magdalena Fernández & Jaime Tarazona: Degrees of Separation https://abstractioninaction.com/happenings/marta-chilindron-magdalena-fernandez-jaime-tarazona-degrees-separation/

Screenshot 2014-08-26 15.39.46

Artists: Marta Chilindrón, Magdalena Fernández, Carlos Cruz-Diez, Caio Fonseca, Julio Le Parc, Cipriano Martínez, Daniel Medina, Abraham Paltnik, Rafael Reveron-Pojan, Jesús Rafael Soto, Daniel Steegmann Mangrané, and Jaime Tarazona.

Degrees of Separation
June 27 – September 14, 2014
Maddox Arts
London, UK

Curated by Mario Palencia and Laura Culpan, this exhibition looks specifically at the legacy of the Modern Masters born in the 1920s who were pioneering geometric abstraction and kinetic art across Latin America in the 1950s and 60s and how the younger generation is carrying this aesthetic on, in their own contemporary way.


September 9, 2014 Danilo Dueñas: Como Es https://abstractioninaction.com/happenings/danilo-duenas-como-es/


Artist: Danilo Dueñas

Como Es
August 28 – September 27, 2014
Casas Riegner
Bogotá, Colombia

For over three decades, artist Danilo Dueñas has been experimenting with abandoned materials and found objects for the creation of pictorial constructions that offer multiple interpretations. Adjusting harmoniously to their exhibition context, Dueñas’ uncanny installations manage to question, evoke and destabilize the viewer.

Dueñas’ most recent solo exhibition titled COMO ES (As It Is), elucidates the artist’s astounding ability to experiment with forms and materials. On this particular occasion however, this experimentation process is induced by the artist’s profound reflection on the human condition, which stems from his personal reading of Saint Augustine’s teachings. According to Possidius, Augustine’s biographer, while on his deathbed the Saint wept over his sins upon studying the penitential psalms which he had posted on the walls of this room. Inspired by the specific circumstances leading up to Augustine’s death, and by the presence of sacred words visualized on the saint’s wall, Dueñas revitalizes and expands his utilization of text dating back to the 90s, by emphasizing its formal power and grandeur. Recalling the functional nature of the medieval artistic object, the words “HOLY GHOST”, “SCRIPTURE”, “COVENANT” and “PSALM”, written out in black adhesive vinyl along several walls of the gallery, become the leading actors of the exhibition thanks to their enormous scale, austere form and visual and cognitive impact.

The visual alteration of the exhibition context and the harmonious and often unsettling presence of found objects such as used books, discarded pedestals and rusted architectural elements, all of which seem to be faded and warn out, comprise a powerful one room installation imbued with the artist’s personal religiosity. This artful orchestration of heterogeneous elements however, is brought into existence thanks to Dueñas’ profound ability to grant new life to abandoned spaces and objects.

Danilo Dueñas was born in Cali, Colombia in 1965. He has participated in numerous group and solo exhibitions including: Sense of Mendicity, Alejandra von Hartz, Miami, USA (2013); A Door Repeated and the Wardrobe Fell Corner Space, Galerie Thomas Schulte, Berlin, Germany (2012); Flying, Kunstlerhaus Bethanien, Berlin, Germany (2012); Beuys y más allá – El enseñar como arte, Biblioteca Luis Ángel Arango, Bogotá, Colombia (2011); La vitrina abierta, Lugar a Dudas, Cali, Colombia (2010); y A Flight (Un vuelo), Casas Riegner, Bogotá, Colombia (2009). In 2011, Dueñas took part in the Artists-in-Berlin Program, Berliner Künstlerprogramm, one of the most renowned international programs offering grants to artists in the Visual Arts. His work can be found in important art collections in Latin America including: Museo de Arte Moderno de Rio de Janeiro (Rio de Janeiro, Brazil); Museo de Arte de la Universidad Nacional (Bogotá, Colombia); Museo de Bellas Artes de Caracas (Caracas, Venezuela); and Museo de Arte Contemporáneo de Caracas, Sofia Imber (Caracas, Venezuela).


September 5, 2014 Darío Escobar: Provisionals https://abstractioninaction.com/happenings/dario-escobar-provisionals/


Artists: Ana Bidart, Martí Cormand, Elena del Rivero, Darío Escobar, Sérgio Sister, and Adam Winner.

August 7 – September 6, 2014
Josée Bienvenu Gallery

The title refers to a term coined by Raphael Rubinstein* in 2009 to describe an ongoing trend:  Provisional paintings, “look casual, dashed-off, tentative, unfinished, self-canceling”. They “demolish their own iconic status before they ever attain such a thing.” Their genealogy includes Robert Rauschenberg’s “cardboards” of the 1970s, Raoul de Keyser, Christopher Wools, Mary Heilman and extends to a younger generation of artists who have been working across the map from Berlin to Bushwick and Mexico City, qualified as “the new casualists” by artist and critic Sharon L. Butler*.  The exhibition connects three generations of artists whose work oppose to the monumental, the official,