Contemporary Art in the Americas Arte Contemporáneo en las Américas
The Lulennial II: A Low-Hanging Fruit The Lulennial II: A Low-Hanging Fruit

The Lulennial II: A Low-Hanging Fruit

Curated by Andrew Berardini and Chris Sharp

Lulu Mexico City, Mexico February 6, 2018 – April 1, 2018

Artists: Yuji Agematsu, Kelly Akashi, Derya Akay, Nina Beier, Luis Miguel Bendaña, Meriem Bennani, Matthew Brannon, Donna Conlon & Jonathan Harker, Rodrigo Hernandez, Jef Geys, Allison Katz, Adriana Lara, Nancy Lupo, Nevine Mahmoud, Aliza Nisenbaum, Naufus Ramirez-Figueroa, Shimabuku, Peter Shire, Gabriel Sierra, Erika Verzutti, Maja Vukoje, Amelie von Wulffen Lulu presents the second edition of

Group show. Installation view of The Lulennial II: A Low-Hanging Fruit, at Lulu, Mexico City, 2018. Courtesy of Lulu Nina Beier, Scheme, 2014. Produce from online organic fruit and vegetable box scheme, dimensions variable. Courtesy of Lulu Group show. Installation view of The Lulennial II: A Low-Hanging Fruit, at Lulu, Mexico City, 2018. Courtesy of Lulu

Building Material: Process and Form in Brazilian Art

Building Material: Process and Form in Brazilian Art

Rodrigo Cass, Ivens Machado, Paulo Monteiro, and more...

Hauser & Wirth Los Angeles, California, USA 09/14/2017 – 10/18/2017

The exhibition begins with a series of geometric abstractions rendered in Formica by de Barros, along with silver gelatin photographs from both the beginning and end of his career. In their use of Formica, a plastic laminate that became particularly popular and even ubiquitous in Brazilian homes, offices, and stores during the postwar era, de

Erika Verzutti, Flowers, 2017. Papier mache, polystyrene and wax. 53 x 66 x 8 cm | 20 7/8 x 26 x 3 1/8 in. Courtesy Fortes D’Aloia & Gabriel. Photo: Ding Musa Erika Verzutti, Dark Matter, 2016. Papier mache and styrofoam. 51 x 76 x 11 cm | 20 1/8 x 29 7/8 x 4 3/8

Swan, Cucumber, Dinosaur Swan, Cucumber, Dinosaur

Swan, Cucumber, Dinosaur

Erika Verzutti

Pivô São Paulo, Brazil 04/03/2016 – 04/28/2016

Not so esoteric  In 2010, I went to Fortes Vilaça gallery to meet a friend who worked there. While waiting, I came across a strange creature in the backyard. It was a kind of giant monster, but for some reason its massive scale and weight weren’t intimidating. Instead, its fragile balance made it look harmless,

Not so esoteric  In 2010, I went to Fortes Vilaça gallery to meet a friend who worked there. While waiting, I came across a strange creature in the backyard. It was a kind of giant monster, but for some reason its massive scale and weight weren’t intimidating. Instead, its fragile balance made it look harmless,

ARCO Madrid 2016 ARCO Madrid 2016

ARCO Madrid 2016

By Rosa Lleó Madrid, Spain 02/24/2016 – 02/28/2016

As a reader, articles on art fairs are the texts I take up when I have my coffee —or in quick, uncomplicated moments of procrastination. They receive the same short-span attention we tired spectators offer up in person at the events they describe. The most feasible option for writers —aware that a detailed analysis of

Como lectora, los artículos sobre ferias son textos que leo mientras tomo el café o en momentos de procrastinación, rápidos y sencillos. Se les dedica el mismo tipo de corta atención que la que tenemos como espectadores cansados en estos eventos. Para el que escribe, consciente de que el análisis detallado en ese lugar de

34° Panorama da Arte Brasileira 34° Panorama da Arte Brasileira

34° Panorama da Arte Brasileira

Curated by Aracy Amaral and Paulo Miyada

Museu de Arte Moderna de São Paulo São Paulo, Brazil 10/03/2015 – 02/10/2016

To highlight the first three-dimensional artistic manifestations we know of, produced between 4,000 and 1,000 years b.C. in the territory that today is Brazil and to propose experimentations about how they can dialogue with national contemporary production. This is the motto of the 34º Panorama da Arte Brasileira – da pedra da terra daqui, a

To highlight the first three-dimensional artistic manifestations we know of, produced between 4,000 and 1,000 years b.C. in the territory that today is Brazil and to propose experimentations about how they can dialogue with national contemporary production. This is the motto of the 34º Panorama da Arte Brasileira – da pedra da terra daqui, a

Art Basel Miami Beach Art Week 2015 Art Basel Miami Beach Art Week 2015

Art Basel Miami Beach Art Week 2015

by Dorothée Dupuis

Miami Convention Center and other venues Miami, Florida, USA 12/01/2015 – 12/06/2015

Things are changing in Miami. Stuck in traffic between closed highways and multiple deviation routes, Art Basel visitors might notice an impressive amount of construction work going on in the Floridian cultural capital these days. It is now the second financial center in the U.S. after New York, and the real estate business is thriving

Pauline Boudry y Renate Lorenz en Marcelle Alix (Paris), Art Basel Positions Las cosas están cambiando en Miami. Atascados en el tráfico entre autopistas cerradas y múltiples desvíos, los visitantes de Art Basel pueden notar una cantidad impresionante de trabajos de construcción en la capital cultural de Florida en estos días. Ahora es el segundo

A Paz Entre os Animais

A Paz Entre os Animais

Organized by Michele D’Aurizio

BFA Boatos São Paulo 11/27/2014 – 01/31/2015

The group show “A paz entre os animais” lies on the assumption that war is what happens when language fails. The display attempts indeed at rethinking the exhibition as a scenario of dispute rather than dialogue, unsteadiness rather than systematization, deception rather than endorsement. “A paz entre os animais” presents the work of eleven artists

The group show “A paz entre os animais” lies on the assumption that war is what happens when language fails. The display attempts indeed at rethinking the exhibition as a scenario of dispute rather than dialogue, unsteadiness rather than systematization, deception rather than endorsement. “A paz entre os animais” presents the work of eleven artists