Contemporary Art in the Americas Arte Contemporáneo en las Américas
Dysfunctional Formulas of Love Dysfunctional Formulas of Love

Dysfunctional Formulas of Love

Curated with Corazón Del Sol and Víctor Albarracín Llanos

The Box Los Angeles, California, USA 09/17/2017 – 11/04/2017

Artists: Andrés Felipe Uribe, Andrés Matute, Beatriz Eugenia Díaz, Breyner Huertas, Carlos Bonil, Carolina Caycedo, Corazón Del Sol, Eider Yangana, Eusebio Siosi, Gabriel Mejía, Gala Porras-Kim, Henry Palacio, Jennifer Rojas, Juan Guillermo Tamayo, Julio Giraldo, Liliana Vélez, Lorena Espitia, María Angélica Madero, María Buenaventura, María Isabel Rueda, María Mercedes Salgado, Mario Llano, Milena Bonilla, Mugre, Nicolás Vizcaíno, Richard Bent Cano, Tupac Cruz, Vanesa Ortiz, Víctor Albarracín Llanos, William Contreras Alfonso, Wilson Díaz, Yaron Michael Hakim Dysfunctional Formulas of Love brings together 32 Colombian artists in order

Carlos Bonil, Choral Machine: Routine #, 2017, Video animation, obsolete appliances, transformed computer speakers. Dimensions: variable. Courtesy: the artist and The Box, LA. Fredrik Nilsen Studio. Beatriz Eugenia Díaz, Aria No. 23 (left) & Aria No. 15 (right), 2017 (both). Video (left), oil on paper (right),4:44 mins (left), 13 x 69 inches (right). Courtesy: the

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

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,

A Decolonial Atlas: Group show at Vincent Price Art Museum, Los Angeles A Decolonial Atlas: Group show at Vincent Price Art Museum, Los Angeles

A Decolonial Atlas: Group show at Vincent Price Art Museum, Los Angeles

By Alexia Veytia-Rubio Los Angeles, California, USA 04/22/2017 – 07/22/2017

In the exhibition entitled A Decolonial Atlas: Strategies of Contemporary Art in the Americas, we encounter the questions Latin American artists face when it comes to their artistic practices’ contextualization in the contemporary environment that has historically been monopolized by notions of art based on the legacies of Occidental ideology. Curated by Pilar Tompkins-Rivas—who has

A Decolonial Atlas: Strategies in Contemporary Art of the Americas (installation shot), 2017. Photograph by Monica Orozco. Courtesy of the Vincent Price Art Museum, Los Angeles. Un Atlas Decolonial: Exposición colectiva en el Vincent Price Art Museum, Los Ángeles En la exhibición Un Atlas Decolonial: Estrategias en Arte Contemporáneo de las Américas nos encontramos con las cuestiones

Aún: 44 Salón Nacional de Artistas, Pereira, Colombia Aún: 44 Salón Nacional de Artistas, Pereira, Colombia

Aún: 44 Salón Nacional de Artistas, Pereira, Colombia

By Ericka Flórez Hidalgo Pereira, Colombia 09/16/2016 – 11/14/2016

To represent or perform the path? Artistic Director: Rosa Ángel Curators: Víctor Albarracín, Inti Guerrero, Guillermo Vanegas Artists: Adriana Arenas, Alberto De Michele, Alfonso Suárez, Alicia Barney, Álvaro Herazo, Amadou Keita, Ana María Millán, Andreas Siekmann, Andres Felipe Gallo, Andrés Felipe Uribe Cárdenas, Antonio Caro, Apichatpong Weerasethakul, Barış Doğrusöz, Beatriz González, Bruno Mazzoldi, Cajón de Sastre,

Ming Wong, Ascent to the Heavenly Palace (III) [Ascención al Palacio Celestial (III)], Scenography for a Chinese Science Fiction Opera (I) [Escenografía para una ópera china de Ciencia Ficción (I)], 2015, Instalación, Variables. Cortesía: AÚN 44 Salón Nacional de Artistas | David Escobar Parra ¿Representar o performar la trocha? Directora artística: Rosa Ángel Curadores: Víctor

32nd São Paulo Biennial 32nd São Paulo Biennial

32nd São Paulo Biennial

By Cristiana Tejo São Paulo, Brazil 09/10/2016 – 12/11/2016

When the São Paulo Biennial was established in the 1950s, Brazil was considered a country of the future. Besides its welcoming atmosphere for immigrants, a fast and steady rhythm of economic growth and industrialization made the country a fertile terrain for new and modern utopic experiments. The Biennial was originally conceived by an Italian, industrial

Bené Fonteles, Antes arde do que tarde, 1977, perfomance ritualista grabado en el Instituto Cultural, Salvador, Bahia. Cortesía de Fundação Bienal de São Paulo. Cuando se fundó la Bienal de São Paulo en los años 50s, Brasil era considerado un país del futuro. Además de su atmósfera acogedora con los inmigrantes, un ritmo veloz y

Entre caníbales Entre caníbales

Entre caníbales

María Buenaventura, Carolina Caycedo, Laura Huertas & Noemí Pérez

Instituto de Visión Bogotá, Colombia 04/16/2016 – 05/27/2016

Curated by Beatriz López The Lyubov Orlova cruise, built in Yugoslavia in 1976, has spent several years wandering the oceans with a crew of hundreds of rats that have been eating each other in order to survive. This image of cannibal rats forming a colony evokes science fiction stories in which isolated communities generate societies indifferent

Curada por Beatriz López El crucero Lyubov Orlova, construido en Yugoslavia en 1976, lleva varios años vagando por los océanos con una tripulación de cientos de ratas que para sobrevivir se han ido comiendo unas a otras. Esta imagen de las ratas caníbales formando una colonia evoca las historias de ciencia ficción en la que comunidades aisladas generan

A Decolonial Atlas: Videos from the Americas, 2010-2015 A Decolonial Atlas: Videos from the Americas, 2010-2015

A Decolonial Atlas: Videos from the Americas, 2010-2015

Curated by Pilar Tompkins Rivas

Oficina de Proyectos Culturales Puerto Vallarta, Jalisco, México 03/12/2016 – 05/07/2016

Assistant Curator: Ana Iwataki Artists: Ivan Argote, Raul Baltazar, Tania Candiani, Carolina Caycedo, Laura Huertas Millán, Carlos Motta, Camilo Ontiveros, Eamon Ore-Giron, Naufus Ramírez-Figueroa, Javier Tapia Drawing from the hemispheric context of the Americas, and broad questions of civilization and culture, A Decolonial Atlas: Videos from the Americas, 2010-2015 presents recent video works by ten artists from Chile, Colombia, Guatemala, Mexico, and the United States grappling with

Assistant Curator: Ana Iwataki Artists: Ivan Argote, Raul Baltazar, Tania Candiani, Carolina Caycedo, Laura Huertas Millán, Carlos Motta, Camilo Ontiveros, Eamon Ore-Giron, Naufus Ramírez-Figueroa, Javier Tapia Drawing from the hemispheric context of the Americas, and broad questions of civilization and culture, A Decolonial Atlas: Videos from the Americas, 2010-2015 presents recent video works by ten artists from Chile, Colombia, Guatemala, Mexico, and the United States grappling with

TXT

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Pia Camil, Carolina Caycedo, Claudia Hakim, and more

Instituto de visión Bogotá, Colombia 11/28/2015 – 01/29/2016

El pasado noviembre se publicó en la prensa la macabra noticia de que una diseñadora de ropa de lujo francesa, no solo ha copiado los patrones tradicionalmente usados en los tejidos de las comunidades sobrevivientes de Oaxaca, México, sino que los ha patentado a su nombre. Si esto fuese cierto, implicaría que cada vez que

El pasado noviembre se publicó en la prensa la macabra noticia de que una diseñadora de ropa de lujo francesa, no solo ha copiado los patrones tradicionalmente usados en los tejidos de las comunidades sobrevivientes de Oaxaca, México, sino que los ha patentado a su nombre. Si esto fuese cierto, implicaría que cada vez que