Contemporary Art in the Americas Arte Contemporáneo en las Américas

Of the Survival of Images: Naufus Ramírez-Figueroa

Of the Survival of Images: Naufus Ramírez-Figueroa

Kiki Mazzucchelli analyzes the use of fantasy and fiction in the Guatemalan-born artist’s practice, as tools to evoke and heal the turbulent memories of the Guatemalan Civil War.

Kiki Mazzucchelli analiza el uso de la fantasía y la ficción en la práctica del artista guatemalteco, como herramientas para evocar y curar los turbulentos recuerdos de la guerra civil de Guatemala.

— By Kiki Mazzucchelli
We The People We The People

We The People

Danh Võ

Aspen Art Museum Aspen, Colorado, USA 11/04/2016 – 06/04/2017

Danh Võ’s We The People (2010–13) is the artist’s long-term project reconstructing Frédéric Auguste Bartholdi’s Statue of Liberty on a 1:1 scale. Re-creating only the statue’s fragile copper skin —the thickness of two copper pennies— and using the same fabrication technique as the original, Võ’s We The People exists in over 250 pieces. Never intending

Danh Võ, We The People (detail), 2011. Installation view, Aspen Art Museum, 2016. Photo: Tony Prikryl. Danh Võ, We The People (detail), 2011. Installation view, Aspen Art Museum, 2016. Photo: Tony Prikryl. Danh Võ, We The People (detail), 2011. Installation view, Aspen Art Museum, 2016. Photo: Tony Prikryl. Danh Võ’s We The People (2010–13) is

Stillness in Motion — Cloud Cities Stillness in Motion — Cloud Cities

Stillness in Motion — Cloud Cities

Tomás Saraceno

San Francisco Museum of Modern Art San Francisco, California, USA 12/17/2016 – 05/21/2017

The San Francisco Museum of Modern Art (SFMOMA) presents the exhibition Tomás Saraceno: Stillness in Motion—Cloud Cities, by artist Tomás Saraceno, on view at the museum December 17, 2016 through May 21, 2017. Organized by the SFMOMA Architecture and Design department, the exhibition includes an immersive site-specific cloudscape installation of suspended tension structures and floating

Tomás Saraceno: Stillness in Motion—Cloud Cities; installation view at the San Francisco Museum of Modern Art, December 17, 2016–May 21, 2017; photo: Katherine Du Tiel Tomás Saraceno: Stillness in Motion—Cloud Cities; installation view at the San Francisco Museum of Modern Art, December 17, 2016–May 21, 2017; photo: Katherine Du Tiel Tomás Saraceno, Cloud Cities Thermodynamics

Solo cuentos

Solo cuentos

Guzmán Paz

UV Estudios Buenos Aires, Argentina 02/07/2017 – 03/08/2017

La emancipación del maquillaje Guchi tiene un trampolín en forma de taco ubicado dentro de un paisaje pintado. Lo pintado en un cuadro no es imitación, ni evasión ni deseo. Porque una pintura es una elección de territorio y de existencia diferente. Si la ropa que unx elige usar nos modifica, pintarse en un cuadro

Vista de instalación, 2017. Cortesía de UV Estudios, Buenos Aires. Fotografía: Luciano Demarco. Vista de instalación, 2017. Cortesía de UV Estudios, Buenos Aires. Fotografía: Luciano Demarco. Guzmán Paz, El estudio (detalle), 2016. Óleo sobre tela. 50 cm x 80 cm. Fotografía: Guzmán Paz. La emancipación del maquillaje Guchi tiene un trampolín en forma de taco

Inhuman Transformation of New Year’s Decoration, Obsolete Conception or 2

Inhuman Transformation of New Year’s Decoration, Obsolete Conception or 2

Yuki Kimura

CCA Wattis Institute for Contemporary Arts San Francisco, California, USA 12/13/2016 – 02/25/2017

The installation practice of Yuki Kimura (b. 1971 in Kyoto; based in Berlin) borrows from architecture, design, photography, and sculpture to make the immaterial material. She often incorporates found photographs in her work as sculptural objects, combining appropriated imagery with other found and constructed objects or furniture to create mixed-media sculptures. For Kimura’s Wattis Institute

Installation view (detail) of Yuki Kimura’s mixed-media installation titled Inhuman Transformation of New Year’s Decoration, Obsolete Conception or 2 at CCA Wattis Institute of Contemporary Arts; courtesy the artist and Taka Ishii Gallery; photo: Johnna Arnold. Installation view (detail) of Yuki Kimura’s mixed-media installation titled Inhuman Transformation of New Year’s Decoration, Obsolete Conception or 2

Hesitating Hesitating

Hesitating

André Filipek

Amor Mexico City, México 01/28/2017 – 02/08/2017

“The body exists, and gives weight and shape to our existence. It causes us pain and it gives us pleasure; it is not a suit of clothes we are in the habit of wearing, not something apart from us: we are our bodies. But we are frightened by other people’s glance.” http://amortlalpan.tumblr.com/

Installation view, 2017. Courtesy of Amor, Mexico City. Photo: Andrew Birk. Front, 2017. MDF, fibers, nylon. Courtesy of Amor, Mexico City. Photo: Andrew Birk. Prologue for a never ending debt, 2017. MDF, fibers, paper. Courtesy of Amor, Mexico City. Photo: Andrew Birk. “El cuerpo existe y da peso y forma a nuestra existencia. Nos causa

The vanity of being productive 

The vanity of being productive 

The Argentine film director confers with Manuel Kalmanovitz on her particular vision of the world and the confrontation with the strangeness of the real in her films.

La directora de cine argentina discute con Manuel Kalmanovitz sobre su visión particular del mundo y el enfrentamiento a la extrañeza de lo real en sus películas.

— By Lucrecia Martel and Manuel Kalmanovitz
Doble fondo Doble fondo

Doble fondo

Tercerunquinto

Proyectos Monclova Mexico City, México 02/07/2017 – 03/11/2017

By Sophie Goltz In 1927 Robert Musil wrote: «There is nothing in this world as invisible as a monument. They are no doubt erected to be seen —indeed, to attract attention. But at the same time they are impregnated with something that repels attention.»[1] Full in its golden pride flies the Ángel de la Independencia over Avenida

Exhibition view: (Fore ground right) Gramática de la tristeza [The grammar of sadness], 2017. 1 channel video, color, sounds 3’26”; (Clockwise beginning Foreground left) Paños [cloths], Paños [cloths], Paños [cloths], Paños [cloths], 2017. Spray on cotton painting polyptych; (Floor) Doble Fondo [False bottom], 2017. Concret and wood. Courtesy: Proyectos Monclova. Photo credit: Rodrigo Viñas.Grafiti. Representación

Lo firme en el centro encuentra correspondencia

Lo firme en el centro encuentra correspondencia

Catalina Schliebener, Diego Figueroa, Elena Losón, and more...

HACHE Buenos Aires, Argentina 01/17/2017 – 02/17/2017

Hache Galería presenta Lo firme en el centro encuentra correspondencia, exhibición de pinturas, collages, dibujos, esculturas y videos, de todos los artistas de la galería. En 2016, HACHE abrió las puertas de su nuevo espacio, uniéndose al circuito de galerías de Villa Crespo y continuó fortaleciendo su identidad dentro de la escena del arte contemporáneo argentino. En

Vista de instalación (de izquierda a derecha): Diego Figueroa, Sin título (melancolía), 2016. Acrílico sobre tela. 96 x 76 cm; Diego Figueroa, Sin título (melancolía), 2016. Acrílico sobre papel. 50 x 38 cm; Eugenia Calvo, Experiencia ajena 1, 2010-2013. Video. Cortesía de Hache Galería, Buenos Aires. Vista de instalación, 2017. Cortesía de Hache Galería, Buenos

The Greatest Arrogance

The Greatest Arrogance

Gregory Kalliche

ASHES / ASHES San Francisco, California, USA 01/10/2017 – 02/25/2017

They thought: I wonder if I could grow a chair? Then grow a person to sit in it, and another to join them once the first fully integrates. Or even start from the next step back and grow the lights from scratch too. Start the knot tying, sapling bending —putty sculpt that wing into a

Gregory Kalliche, The Greatest Arrogance, 2016. Single-channel video, color and sound. 3:23 min. Courtesy of ASHES / ASHES, San Francisco. Gregory Kalliche, The Greatest Arrogance, 2016. Single-channel video, color and sound. 3:23 min. Courtesy of ASHES / ASHES, San Francisco. Gregory Kalliche, Understudies, 2016. Ultraviolet LEDs with aluminum channel and power supply, UV sensitive PVC