Contemporary Art in the Americas Arte Contemporáneo en las Américas
This Too Shall Pass

This Too Shall Pass

Pablo Rasgado

Steve Turner Contemporary Los Angeles, California, USA 09/16/2017 – 10/28/2017

Steve Turner presents This Too Shall Pass, an installation by Pablo Rasgado that incorporates a selection of works by artists from Los Angeles and Latin America: Matthew Brandt, Joshua Callaghan, Jedediah Caesar, Emilio Chapela, Graham Collins, Gustavo Godoy, Tim Hawkinson, Kelly Kleinschrodt, Luciana Lamothe, Leo Marz, Knud Merrild, Matt Nichols, Brian Rochefort and Allen Ruppersberg. Rasgado’s architectural installation

Installation view: Pablo Rasgado: This Too Shall Pass, Steve Turner, 2017. Photo courtesy of the artists and Steve Turner Contemporary. Allen Ruppersberg, Poster Object (What Should I Do?, Where Should I Go?, Why Is Everything The Same?), 1988, Silkscreen on aluminum, 22 x 14 inches (55.9 x 35.6 cm). Photo courtesy of the artists and Steve

El hambre como maestra/Hunger As Teacher

El hambre como maestra/Hunger As Teacher

Carolina Caycedo

Commonwealth & Council Los Angeles, California, USA 09/09/2017 – 10/21/2017

El hambre como maestra/Hunger as Teacher is part of Carolina Caycedo’s ongoing project Be Dammed in which she collaborates with riverside populations in various bio-regions to address the socio-environmental impacts of dams. While engaged in fieldwork and research, Caycedo gathers objects, film footage, and testimonies. She also produces drawings, collages, sculptures, and films that document

Undammed/Desbloqueada, 2017, Hand-dyed fishing net, lead weights, metal gold pan, Navajo sand- stone, copper T IUD, thread, rope, 64 x 19 x 19 in. Courtesy the artist and Commonwealth Council. Photo: Ruben Diaz. Installation view: El Hambre Como Maestra/Hunger As Teacher, Courtesy the artist and Commonwealth and Council. Photo: Ruben Diaz. Installation view: El Hambre Como Maestra/Hunger

proyectosLA, Los Angeles, USA proyectosLA, Los Angeles, USA

proyectosLA, Los Angeles, USA

By Terremoto Editorial Los Angeles, California, USA 09/01/2017 – 10/31/2017

Claudia Segura Curator of proyectosLA (also Director of NC-Arte, Bogotá, Colombia) Terremoto: proyectosLA is a commercial platform in Los Angeles that gathers Latin American galleries of modern and contemporary art under a proposal to rethink the common format of an international art fair. The Pacific Standard Time: LA/LA frames the context of proyectosLA setting a critical conversation around latinx

Artemio, Sopa de Pasta, 2016/17 (Y Gallery, New York) Claudia Segura Curadora de proyectosLA (también directora de NC-Arte, Bogotá, Colombia) Terremoto: proyectosLA es una plataforma comercial en Los Angeles que reúne galerías latinoamericanas de arte moderno y contemporáneo bajo la propuesta de repensar el formato común de una feria de arte internacional. El contexto de proyectosLA se encuentra enmarcado

Dismantling Gorostiza

Dismantling Gorostiza

Jorge Méndez Blake

1301PE Los Angeles, California, USA 09/09/2017 – 10/21/2017

As part of Pacific Standard Time: LA/LA, 1301PE presents its third exhibition, Dismantling Gorostiza, with Jorge Méndez Blake. Méndez Blake who is known for his play between art, literature and architecture exhibit a new body of work based on multiple texts by Mexican, modern writer José Gorostiza (10 November 1901 – 16 March 1973). Méndez

Jorge Méndez Blake, Dismantling Gorostiza, 2017. Installation view at 1301PE, Los Angeles. Photo: Chris Adler. Jorge Méndez Blake, Dismantling Gorostiza, 2017. Installation view at 1301PE, Los Angeles. Photo: Chris Adler. Detail, Jorge Méndez Blake, Dismantling Gorostiza (Muerte sin fin) / Desmantelando a Gorostiza (Muerte sin fin), 2017, Acrylic on linen, 78 x 95.7 inches. As part of Pacific

El eje del mal

El eje del mal

Radamés "Juni" Figueroa, Adriana Lara, Adriana Martínez, and more...

Ruberta Los Angeles, California, USA 09/10/2017 – 10/22/2017

El eje del mal is the inaugural exhibition at Ruberta, a new collaborative exhibition space in Glendale shared by Galería Agustina Ferreyra (Mexico City / San Juan), Lodos (Mexico City), Proyectos Ultravioleta (Guatemala City), CARNE (Bogota), and BWSMX (Mexico City). Each year, Ruberta will play host to one group exhibition involving all of the participating

Installation view (Diego Salvador Rios, Radamés “Juni” Figueroa, Mariana Murcia). Image courtesy of Ruberta. Cristina Tufiño, Lady Joker, 2017. Cold-finished ceramic. 8” x 7” x 4”. Image courtesy of Ruberta. Cristina Tufiño, Laugh Now Cry Later, 2017. Vinyl on wall. Variable dimensions. Image courtesy of Ruberta. El eje del mal es la exposición con la que se

Radical Women: Latin American Art, 1960-1985, at Hammer Museum, Los Angeles, USA Radical Women: Latin American Art, 1960-1985, at Hammer Museum, Los Angeles, USA

Radical Women: Latin American Art, 1960-1985, at Hammer Museum, Los Angeles, USA

By Nika Simone Chilewich Los Angeles, California, USA 09/15/2017 – 12/31/2017

Radical Women: Latin American Art, 1960-1985 is one of the major exhibitions to come out of Pacific Standard Time: Latin American & Latino Art in LA (LA/LA). Funded by the Getty Foundation [1] the third iteration of this regional program opened this September in over 70 museum institutions and countless galleries and performance spaces from San Diego to

Paz Errázuriz (Chilean, b. 1944), La Palmera (The palm tree), from the series La manzana de Adán (Adam’s Apple), 1987. Gelatin silver print. 15 9/16 × 23 1/2 in. (39.5 × 59.7 cm). Courtesy of the artist and Galeria AFA, Santiago. Artwork © the artist. Radical Women: Latin American Art, 1960-1985 es una de las exposiciones más importantes

A Universal History of Infamy

A Universal History of Infamy

Curated by Rita Gonzalez, José Luis Blondet and Pilar Tompkins Rivas

LACMA Los Angeles, California, USA 08/20/2017 – 02/19/2018

The Los Angeles County Museum of Art presents A Universal History of Infamy featuring sixteen U.S. Latino and Latin American artists and collaborative teams who work across a range of media—from installation and performance to sculpture and video—and adopt methodologies from diverse disciplines, including anthropology, history, linguistics, and literature. Most of the works on view are new projects that

Ángela Bonadies, The Kitchen/La cocina (LA New Times Western School; Onnuri Church; Jin Young Yoon), 2016 and Street Meeting, 2016, 2017 from the series David Alfaro Siqueiros, Street Meeting, LA, 1932, 2016–2017, courtesy of the artist, installation view in A Universal History of Infamy, Los Angeles County Museum of Art, August 20, 2017–February 19, 2018,

No more things

No more things

Lucia Koch

Christopher Grimes Gallery Santa Monica, California, USA 09/09/2017 – 10/28/2017

Christopher Grimes Gallery announces, in conjunction with Pacific Standard Time LA/LA, No more things. Koch presents a continuation of her Fundos series: photographs of the interiors of empty boxes, bags, and packages, manipulated to house and reflect light and mimic architectural scales. Koch began photographing for the Fundos series in 2001 while reading Paul Auster’s dystopian novel,

Lucia Koch, Cleanser, 2017. Pigment print on cotton paper, UV matte laminate. 43-3/8 x 67-1/4 inches | 110 x 172 cm. Image courtesy of Christopher Grimes Gallery. Lucia Koch, Pão, 2017. Pigment print on cotton paper, UV matte laminate. 86-5/8 x 47-1/4 inches | 220 x 120 cm. Image courtesy of Christopher Grimes Gallery Lucia Koch, Cat Food,

Talking Back to Power: Tania Bruguera at YBCA, San Francisco Talking Back to Power: Tania Bruguera at YBCA, San Francisco

Talking Back to Power: Tania Bruguera at YBCA, San Francisco

By Emily K. Holmes San Francisco, California, USA 06/16/2017 – 10/29/2017

Before I even entered the building of Yerba Buena Center for the Arts (YBCA), Tania Bruguera: Talking to Power / Hablándole al Poder presented itself to me in the form of a bold orange billboard. Placed in an exterior courtyard facing a busy downtown San Francisco intersection, the billboard at the time stated quite plainly:

Tania Bruguera, Escuela de Arte Útil, 2017–ongoing. Installation view, Tania Bruguera: Talking to Power / Hablándole al Poder, Yerba Buena Center for the Arts, San Francisco, 2017. Courtesy Yerba Buena Center for the Arts. Photographs by Charlie Villyard. Antes de entrar en el edificio del Yerba Buena Center for the Arts (YBCA), Tania Bruguera: Talking to Power

Queerly Tèhuäntin | Cuir Us

Queerly Tèhuäntin | Cuir Us

Yolanda Andrade, Naomi Rincón Gallardo, Ester Hernández, and more...

Galería de la Raza San Francisco, California, USA 08/11/2017 – 10/07/2017

Galería de la Raza presents Queerly Tèhuäntin | Cuir Us, a visual dialogue across borders and generations about the ongoing struggle to be simultaneously Mexican or Chicanx and queer, that is, to be who we are. To be queerly tèhuäntin, Nahuatl for “us”. To be queerly us, queer or cuir -as the term is increasingly used in Spanish- in the sense of nonconventional sexualities and

Yolanda Andrade, Las Alas Del Deseo, 1993. Archival Pigment Print. 18 ½” x 12 ½”. Courtesy of Galería de la Raza. Installation view: Ester Hernández, La Ofrenda, 1990. Screenprint. 29 ½” x 21”. Courtesy of Galería de la Raza. Rurru Mipanochia, Tlaltecuhtli 1, 2017. Acrylic, stylograph, and markers on amate paper. 28” x 23”. Courtesy of Galería de