Contemporary Art in the Americas Arte Contemporáneo en las Américas
Mírame

Mírame

by Joey Terrill

A cross-generational narrative of queer Chicanx and Latinx artists finds a common space in LA. I don’t attempt a critique of Pacific Standard Time or the myriad queer Latinx works that will be presented in it. What I offer instead is a personal reflection as a gay Chicano artist who is beginning to be considered an “elder” in the queer community, an

A cross-generational narrative of queer Chicanx and Latinx artists finds a common space in LA. Gabriel Garcia Roman, Carlos & Fernando, 2015. Silkscreen print. Photo courtesy of the artist. I don’t attempt a critique of Pacific Standard Time or the myriad queer Latinx works that will be presented in it. What I offer instead is a personal reflection as

NAFTAlgias NAFTAlgias

NAFTAlgias

Arte & Trabajo BWEPS

Espacio Deslave Tijuana, México 12/22/2017 – 01/31/2018

NAFTAlgias. An open text towards the sensibility of free market is the first exhibition by the Art & Labor BWEPS collective. The show—more than merely being an exhibit of objects in the space—is conformed of various elements that facilitate a group of activities, presentations, performances and study meetings that aim to activate the space through time.

Colectivo Arte y Trabajo BWEPS. Vista de la exposición NAFTAlgias, Espacio Deslave, Tijuana, México, 2017. Cortesía de Espacio Deslave Colectivo Arte y Trabajo BWEPS. Vista de la exposición NAFTAlgias, Espacio Deslave, Tijuana, México, 2017. Cortesía de Espacio Deslave Colectivo Arte y Trabajo BWEPS. Vista de la exposición NAFTAlgias, Espacio Deslave, Tijuana, México, 2017. Cortesía de

Los animales muertos Los animales muertos

Los animales muertos

Jorge Satorre

Museo Tamayo Arte Contemporáneo Mexico City 10/03/2017 – 02/18/2018

Through drawings and manual processes, Jorge Satorre (Mexico City, 1979) peruses events that could appear insignificant within their general context or that have at times passed unnoticed. The choice of such incidents as a starting point corresponds to episodes omitted from the memory of the place where Satorre works, repetitive images in his mind, or

Jorge Satorre, Los animales muertos (2017-18). Vistas de instalación en el Museo Tamayo, Ciudad de México. Fotografía: © Agustín Garza. Cortesía del Museo Tamayo Jorge Satorre, Los animales muertos (2017-18). Vistas de instalación en el Museo Tamayo, Ciudad de México. Fotografía: © Agustín Garza. Cortesía del Museo Tamayo Jorge Satorre, Los animales muertos (2017-18). Vistas

Radical Women in a City of Dreams

Radical Women in a City of Dreams

by Arden Decker

When museums re-write art history to include the women they so long ignored. Wishes, dreams, and fantasies are important parts of our creative lives. They are steps a writer integrates into her craft. They are the spectrum of resources to reach the truth, the heart of things, the immediacy and the impact of human conflict.

When museums re-write art history to include the women they so long ignored. Wishes, dreams, and fantasies are important parts of our creative lives. They are steps a writer integrates into her craft. They are the spectrum of resources to reach the truth, the heart of things, the immediacy and the impact of human conflict.

La marcha de las funciones

La marcha de las funciones

Eugenia Calvo

Hache Galería Buenos Aires, Argentina 11/14/2017 – 02/16/2018

In 1978, Wallon Green wrote the script for The Brink’s Job; in 1982, for The Border, with Jack Nicholson and Harvey Keitel; and in 1990, for the sequel to Robocop. Forty years into his career, Vince Gilligan was awarded the Screen Actors Guild Prize last year for Better Call Saul, and the eccentric eighty-year-old Green

Eugenia Calvo. La marcha de las funciones, curaduría Lara Marmor, Hache Galería, Buenos Aires, Argentina, 2017. Fotografía Ignacio Iasparra Eugenia Calvo. La marcha de las funciones, curaduría Lara Marmor, Hache Galería, Buenos Aires, Argentina, 2017. Fotografía Ignacio Iasparra Eugenia Calvo. La marcha de las funciones, curaduría Lara Marmor, Hache Galería, Buenos Aires, Argentina, 2017. Fotografía

Cultural Representation and the Demise of NAFTA Cultural Representation and the Demise of NAFTA

Cultural Representation and the Demise of NAFTA

by Eduardo Abaroa

Eduardo Abaroa and Rubén Ortíz-Torres talk about the art scenes in LA and Mexico City framed by globalization in a neoliberal era. Eduardo Abaroa: I want to begin by recalling a discussion we had many times while I was living in Los Angeles, your adopted city. Why is there so little contact between the art

Eduardo Abaroa and Rubén Ortíz-Torres talk about the art scenes in LA and Mexico City framed by globalization in a neoliberal era. Eduardo Abaroa; Total Destruction of the Anthropology Museum (Photoshop), 2016. Photographic mural. Photo courtesy of the artist Eduardo Abaroa: I want to begin by recalling a discussion we had many times while I

SOME TAGS: ALGUNOS TAGS:

Rhonda Holberton

Chicharrón

Chicharrón

Mara Corsino

Hidrante San Juan, Puerto Rico 01/05/2018 – 02/09/2018

Chicharrón is the first solo exhibition of Mara Corsino (San Juan, 1979), a Puerto Rican photographer who lives and works in Brooklyn, US. For this occasion, Corsino presents her documentary project by the same name, concentrating on portraits of different women who self-identify as latinas. Chicharrón seeks to explore the expression of latinidad, understood as

Mara Corsino. Vista de la instalación Chicharrón, Hidrante, San Juan, Puerto Rico, 2018. Fotografía cortesía de Raquel Perez Puig y Daniela Paola (SUPAKID) Mara Corsino. Vista de la instalación Chicharrón, Hidrante, San Juan, Puerto Rico, 2018. Fotografía cortesía de Raquel Perez Puig y Daniela Paola (SUPAKID) Mara Corsino. Vista de la instalación Chicharrón, Hidrante, San

Formas de libertad: Carlos Motta at MAMM, Medellín, Colombia Formas de libertad: Carlos Motta at MAMM, Medellín, Colombia

Formas de libertad: Carlos Motta at MAMM, Medellín, Colombia

by Nadia Moreno Moya Medellín, Antioquia, Colombia 11/29/2017 – 02/18/2018

Formas de Libertad (Shapes of Freedom), is the title of the exhibition by Carlos Motta (Bogotá, 1978), currently on view at the Museum of Modern Art of Medellín (MAMM), gathering a selection of projects and works made by this Colombian artist based in New York since the late nineties. As noted in the presentation text

Carlos Motta, Formas de libertad. Sala A y Sala de Fundiciones, piso 1. Imagen cortesía del Museo de Arte Moderno de Medellín. Formas de libertad, título que lleva la exposición del artista Carlos Motta (Bogotá, 1978) y que se presenta en el Museo de Arte Moderno de Medellín (MAMM), reúne una selección de proyectos y

Anna Maria Maiolino Anna Maria Maiolino

Anna Maria Maiolino

Anna Maria Maiolino

The Museum of Contemporary Art Los Angeles, California, USA 08/04/2017 – 01/22/2018

MOCA presents Anna Maria Maiolino, the Brazilian artist’s first major United States museum retrospective. This large-scale survey covers Maiolino’s extraordinary oeuvre from the early 1960s to the present, bringing together expressive woodblock prints, visceral cement sculptures, politically-charged films and performances, fluid drawings, and monumental installations of unfired clay. Visitors chart a path through Brazilian art history

Installation view of Anna Maria Maiolino, August 4–December 31, 2017 at MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest Installation view of Anna Maria Maiolino, August 4–December 31, 2017 at MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest Installation

p e r Sway

p e r Sway

Nancy Davidson

Locust Projects Miami, Florida, USA 11/18/2017 – 01/20/2018

Locust Projects presents p e r Sway, a multimedia installation by New York-based interdisciplinary artist Nancy Davidson from November 18, 2017, through January 20, 2018. Referencing symbols of power and control, theater and performance, history and biophysics, per Sway finds Davidson holding a distorted mirror to our bizarre and horrifying political climate, a world turned upside

Nancy Davidson. Installation view of p e r Sway, Locust Projects, Miami, 2017. © Studio LHOOQ, courtesy of Locust Projects Nancy Davidson. Installation view of p e r Sway, Locust Projects, Miami, 2017. © Studio LHOOQ, courtesy of Locust Projects Nancy Davidson. Installation view of p e r Sway, Locust Projects, Miami, 2017. © Studio