Contemporary Art in the Americas Arte Contemporáneo en las Américas
How to Remove Stains

How to Remove Stains

Jessi Reaves & Sophie Stone

Del Vaz Projects Los Angeles, California, USA 01/15/2016 – 04/15/2016

How to Remove Stains is the first two-person exhibition by Reaves and Stone and the result of their recent residency at Del Vaz Projects. It is also the first presentation by both artists in Los Angeles. Operating as functional elements of the interior as well as sculptures, the works in this exhibition reevaluate the enduring role of

How to Remove Stains is the first two-person exhibition by Reaves and Stone and the result of their recent residency at Del Vaz Projects. It is also the first presentation by both artists in Los Angeles. Operating as functional elements of the interior as well as sculptures, the works in this exhibition reevaluate the enduring role of

Superstition Superstition

Superstition

Hadrien Jacquelet

Del Vaz Projects Los Angeles, California, USA 09/04/2015 – 12/04/2015

When you believe in things that you don’t understand / Then we suffer / Superstition ain’t the way / Very superstitious, wash your face and hands / Rid me of the problems, do all that you can / Keep me in a daydream, keep me goin’ strong / You don’t want to save me, sad

When you believe in things that you don’t understand / Then we suffer / Superstition ain’t the way / Very superstitious, wash your face and hands / Rid me of the problems, do all that you can / Keep me in a daydream, keep me goin’ strong / You don’t want to save me, sad

Nahuel Vecino

Nahuel Vecino

Nahuel Vecino

Del Vaz Projects Los Angeles, California, USA 06/28/2015 – 08/23/2015

In his observation of Phidias’s sculpture at the Parthenon of the horse that draws Athena’s chariot, Goethe remarks how the artist succeeded to capture the essence of the horse. Phidias had portrayed the horse not only as if he had seen him with his own eyes but also as if he had conceived him in

In his observation of Phidias’s sculpture at the Parthenon of the horse that draws Athena’s chariot, Goethe remarks how the artist succeeded to capture the essence of the horse. Phidias had portrayed the horse not only as if he had seen him with his own eyes but also as if he had conceived him in

Joshing the Watershed Joshing the Watershed

Joshing the Watershed

Curated by Alex Chavez

Del Vaz Projetcs Los Angeles, California, USA 01/18/2015 – 03/29/2015

I am laminate. Every entry way reflects somehow, and somehow I am emotional. I have feelings too. The staircase escapes us. Hand me downs inform the form of a stepped stepladder. On the outside I am one step above you. On the inside I am clamoring, because, you see, hands and knees become me. Some

I am laminate. Every entry way reflects somehow, and somehow I am emotional. I have feelings too. The staircase escapes us. Hand me downs inform the form of a stepped stepladder. On the outside I am one step above you. On the inside I am clamoring, because, you see, hands and knees become me. Some

Bathymetry Bathymetry

Bathymetry

Del Vaz Projects Los Angeles, California, USA 09/05/2014 – 11/22/2014

“The period we are entering is no longer a period after something: postcommunist, postmodernist, ‘postthis,’ or ‘postthat.’ The present era is ‘proto,’ but a preface to what, we do not know. Proto- is noncoercive, nonpredictive, and unaccountable: a mode of maybe. The future is a language without grammar, an unconscious without dreams, pure nothing. Inescapably

“The period we are entering is no longer a period after something: postcommunist, postmodernist, ‘postthis,’ or ‘postthat.’ The present era is ‘proto,’ but a preface to what, we do not know. Proto- is noncoercive, nonpredictive, and unaccountable: a mode of maybe. The future is a language without grammar, an unconscious without dreams, pure nothing. Inescapably