Artist: Gabriel Sierra
Numbers in a Room
September 20, 2015 – January 4, 2015
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).
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.
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.
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.
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).
Artists: Aitken, Francis Alÿs, Miguel Amat, Stanley Brouwn, James Brown, Ryan Brown, Carlos Bunga, Daniel Buren, Sergio Camargo, Mario Carreño, Natalia Castañeda, Carla Chaim, Lygia Clark, Dadamaino, Sandu Darié, Willys De Castro, Iran do, Leonardo Drew, Danilo Dueñas, Eugenio Espinoza, Qin Feng, José Gabriel Fernández, Magdalena Fernández, Fernanda Fragateiro, Mario Garcia Torres, Theaster Gates, Gego, Gunther Gerszo, Jaime Gili, Fernanda Gomes, Alberto Greco, Sara Grilo, Arturo Herrera, Karl Hugo Schmolz, Alfred Jensen, Donald Judd, William Kentridge, Jannis Kounellis, Liz Larner, Jac Leirner, Sol Lewitt, Guido Llinas, Anna Maria Maiolino, Raul Martinez, Sarah Morris, Helio Oiticica, Gabriel Orozco, Alejandro Otero, Claudio Perna, Liliana Porter, Carlos Puche, Eduardo Ramirez Villamizar, Dorothea Rockburne, Carlos Rojas, Osvaldo Romberg, Ana Sacerdote, Espirito Santo, Mira Schendel, Harald Schmitz Schmelzer, Gunter Schroeder, Gabriel Sierra, Lolo Soldevilla, Jesús Soto, Eduardo Terrazas, Erwin Thorn, Fred Tomaselli, Richard Tuttle, Adan Vallecillo, Adrián Villar Rojas, Alfred Wenemoser, Pae White.
Impulse, Reason, Sense, Conflict -Abstract Art from the Ella Fontanals-Cisneros Collection
December 3, 2014 – March 8, 2015
CIFO Art Space
Miami, FL, USA
The exhibition includes 105 pieces by 72 artists from different generations and latitudes, who share their interpretations and philosophies of abstraction. The exhibition was organized by CIFO.
Impulse, Reason, Sense, Conflict explores abstraction as an aesthetic category instead of as a movement or art trend. Since its inception abstraction has provided a series of models that remain paradigmatic and exemplary in today’s art production. The exhibition is divided in four areas:
Abstract Impulses dedicated to the rupture with mimetic representation and its concomitant representational crisis with the subsequence substitution of the represented object by the structural elements of painting itself (color, line, etc.) On this section the artists represented will include Mario Garcia Torres, Theaster Gates, Andreas Gursky, Anna Maria Maiolino, Sarah Morris, Reinhard Mucha, Helio Oiticica, Liliana Porter, Karl Hugo Schmolz, Fred Tomaselli, Adrián Villar Rojas, and Pae White among others.
Laboratory of Reason refers to the questioning of the nature, essence and even the existence of art implied in abstration. Instead of asking “what is beauty?,” this section questions art’s existence to the extreme of declaring it dead. Artists included on this section are Doug Aitken, Lygia Clark, Dadamaino, Olafur Eliasson, Fernanda Fragateiro, Fernanda Gomes, Arturo Herrera, Donald Judd, William Kentridge, Liz Larner, Jac Leirner, Gabriel Orozco, Osvaldo Romberg, Gabriel Sierra, and Alfred Wenemoser among others.
Uncommon Senses relates to the integration and crossover of other art forms. With the introduction of different materials, media and art forms such as theater, music, dance and literature, abstraction demanded an approach that required the use of multiple senses, both from its makers but also art’s viewers. Francis Alÿs, Stanley Brouwn, Sergio Camargo, Willys De Castro, Qin Feng, Gego, Alberto Greco, Jannis Kounellis, Sol Lewitt, Dorothea Rockburne, Mira Schendel, Erwin Thorn, and Richard Tuttle are some of the artists in this section.
Spatial Conflicts touches on abstraction as a radical change in the conception of spatiality that substituted the Rennaisance perspectival notion of space. Abstract art promotes a real experience. In this section, we showcase Antonio Asis, Carlos Bunga, Daniel Buren, Mario Carreño, Iran do, Espirito Santo, Eugenio Espinoza, Sarah Grilo, Gunther Gerszo, Alfred Jensen, Alejandro Otero, Jesús Soto, Eduardo Terrazas, and Erwin Thorn among others.
Image: Miguel Amat, Series: Capitalismo y Vanguardia, 2006-2010. Photo by Oriol Tarridas.
Artists: Jennifer Allora and Guillermo Calzadilla, Carlos Amorales, Armando Andrade Tudela, Alexander Apóstol, Tania Bruguera, Luis Camnitzer, Mariana Castillo Deball, Alejandro Cesarco, Donna Conlon and Jonathan Harker, Adriano Costa, Minerva Cuevas, Jonathas de Andrade, Wilson Díaz, Juan Downey, Rafael Ferrer, Regina José Galindo, Mario García Torres, Dominique González-Foerster, Tamar Guimaraes, Federico Herrero, Alfredo Jaar, Claudia Joskowicz, Runo Lagomarsino, David Lamelas, Gilda Mantilla and Raimond Chaves, Marta Minujín, Carlos Motta, Iván Navarro, Rivane Neuenschwander, Gabriel Orozco, Amalia Pica, Wilfredo Prieto, Paul Ramírez Jonas, Beatriz Santiago Muñoz, Gabriel Sierra, Javier Téllez, Erika Verzutti, and Carla Zaccagnini.
Under the Same Sun: Art from Latin America Today
June 13 – October 1, 2014
Solomon R. Guggenheim Museum
New York, USA
Under the Same Sun: Art from Latin America Today reconsiders the state of contemporary art in Latin America, investigating the creative responses of artists to complex, shared realities that have been influenced by colonial and modern histories, repressive governments, economic crises, and social inequality, as well as by concurrent periods of regional economic wealth, development, and progress. The exhibition presents contemporary artistic responses to the past and present that are inscribed within this highly nuanced situation, exploring the assertions of alternative futures.
Organized by Pablo León de la Barra, Guggenheim UBS MAP Curator, Latin America, Under the Same Sun features works by 40 artists and collaborative duos from 15 countries. The artworks are organized around five themes: “Conceptualism and its Legacies,” “Tropicologies,” “Political Activism,” “Modernism and its Failures,” and “Participation/Emancipation.”
Gabriel Sierra: ggaabbrriieell ssiieerrrraa
November 9 – December 14, 2013
Mexico City, Mexico
Through interventions based upon the notions of abstraction and geometry, Gabriel Sierra presents his viewers with an anthropological study of the language of spaces and architecture. Installation, as well as objects and structures, are used to construct situations in which the ordinary aspects of the quotidian are the main theme for exploration. In parallel, his work reflects on how forms, materials, and space have the power to alter human behavior and attitude.
Until December 14th, kurimanzutto is pleased to present Gabriel Sierra’s first solo exhibition at the gallery, titled, ggaabbrriieell ssiieerrrraa. For which he uses the distortion of his own name as a piece in itself, bringing attention to something that would normally go unnoticed. By interrupting the expectation of grammatical structure, he intends to refocus the perception of everyday dynamics, an intentional modification that functions with the same purpose as his installations.
Click here to view Gabriel Sierra on Abstraction in Action.
I studied Architecture and Industrial Design. My artistic practice reflects in a highly distinctive way my training in these two dissimilar yet interconnected fields. My works include objects, sculptures, writings, spatial constructions and site-specific interventions, using a vocabulary that points directly to the history of art and architecture.
Traducido del inglés
Estudié arquitectura y diseño industrial. Mi práctica artística refleja de manera significativa mi educación en estos dos campos tan diferentes pero tan interrelacionados. Mis obras incluyen objetos, esculturas, escritos, construcciones espaciales e intervenciones de sitio específico, usando un vocabulario que apunta de manera directa a la historia del arte y la arquitectura.
Selected Biographical Information
Education / Training
- 2000: Industrial Design, Universidad Jorge Tadeo Lozano, Bogotá, Colombia.
Prizes / Fellowships
- 2012: Irregular Hexagon, Colombian Art in Residence (curated by José Roca), Cer Modern, Ankara, Turkey / Gertrude Contemporary, Melbourne, Australia.
- 2010: Grant, CIFO Cisneros Fontanals Art Foundation, Miami, FL, USA.
- 2009: Gasworks, International Residency Programme, London, UK.
- 2004: Premio Ciclo de Fotografía y Nuevos Medios, Alianza Francesa, Bogotá, Colombia.
- 2013: “Gabriel Sierra”, Casas Riegner Gallery, Bogotá, Colombia.
- 2013: “Thus Far”, Peephole, Milan, Italy.
- 2011: “A Trip to Vienna Like Bruno Munari”, Galerie Martin Janda, Vienna, Austria.
- 2010: “Sem Titulo”, Sugestao de conversa entre uma janela nua e uma paisaegem indiscreta, Luisa Strina Gallery, São Paulo, Brazil.
- 2008: “Apéndice”, Casas Riegner Gallery, Bogotá, Colombia.
- 2013: “Carnegie International”, Carnegie Museum of Art, Pittsburgh, USA.
- 2013: “Le Futur Commence Ici”, FRAC Nord-Pas-de-Calais, France.
- 2013: “Saber Desconocer”, Salón Nacional de Artistas, Medellín, Colombia.
- 2012: “K”, Wattis Institute for Contemporary Art, San Francisco, USA.
- 2012: “( )”, Kadist Art Foundation, San Francisco, USA.
- 2012: “The Ungovernables”, The Second New Museum Triennial, New Museum, New York, USA.
- 2011: “Untitled”, 12 Istanbul Biennial, Istanbul, Turkey.
- 2011: II Biennale d’Art Contemporain de Lyon, Lyon, France.
- 2012: Frenzel, Sebastian. Wie wollen wir leben?…über den Dingen. Monopol. Magazin für Kunst und Leben. April, 2012. P. 58-59.
- 2011: Brunner, Bettina. Gabriel Sierra, Galerie Martin Janda. Frieze d/e. Issue 1, summer 2011. P.138.
- 2011: Frenzel, Sebastian. Schaut auf dieses Land. Monopol. Magazin für Kunst und Leben. April, 2011. P. 32-45.
- 2011: Katrib, Ruba. Customized. Mousse. Contemporary Art Magazine. Issue 28, April-May
- 2010: Bossa, Paula; Martínez, Erika. Tropicality: More than Parrots and Banana Trees. Flash Art. May – June Issue. P.94-97.
- 2009: Mazzucchelli, Kiki. 28th São Paulo Biennial. Flash Art, Vol. XLII, No. 264. January – February Issue. P.42.
- 2009: Pedrosa, Adriano. Openings: Gabriel Sierra. Artforum Internacional. November Issue.
- 2009: Trezzi, Nicola. 41 Salón Nacional de Artistas. Flash Art. March – April Issue. P.42.