Contemporary Art in the Americas Arte Contemporáneo en las Américas
Uni- versos

Uni- versos

María Edwards

Arróniz Arte Contemporáneo Mexico City, México 02/07/2017 – 04/05/2017

Edwards’ work has been developed around the role of herself as an active observer of reality, an agent producing object-scenes from a collection of random elements she finds and selects. From these journeys she creates relationships and constellations between objects or fragments, guided by intuition and amazement that find their correlation in the strong influence

María Edwards, Verse IV – Puntos luminosos (detail), 2017. Installation of intervened music sheets, guitar pegs, bicycle spokes, steel rods and black thread. Variable measurements. Courtesy: Arróniz Arte Contemporáneo. Photo credit: Rodrigo Villanueva. María Edwards, Artwork: Verse VI, 2017. Pitt pencil on two wooden blackboards. 122 x 76 cm (48 x 30 in) each. Courtesy:

If you want to do something, forget this debt, and remember it later.

If you want to do something, forget this debt, and remember it later.

Curated by Dana Kopel

Celaya Brothers Gallery Mexico City, México 02/11/2017 – 04/01/2017

Artists: Lene Adler Petersen and Bjørn Nørgaard, Hannah Black, Paloma Contreras Lomas First, I want to note two things that might or might not be obvious: 1. That capitalism, or the debt that it runs on, demands fixed identities: you must remain the same person —with the same fixed and knowable name, race, gender, and so

Vista de instalación, 2017. Cortesía de Celaya Brothers Gallery, Ciudad de México. Den Kvindelige Kristus/Uddrivelsen fra templet [The Female Christ/The Expulsion from the temple]. Lene Adler Petersen & Bjørn Nørgaard. Film Super-8 digitalizado, audio (extracto). 9 seg. Vista de instalación, 2017. Cortesía de Celaya Brothers Gallery, Ciudad de México. Artistas: Lene Adler Petersen and Bjørn Nørgaard,

Electric Longings

Electric Longings

Kathryn O’Halloran

Harmony Murphy Gallery Los Angeles, California, USA 01/25/2017 – 03/11/2017

Harmony Murphy Gallery presents Electric Longings, an exhibition of new work by Los Angeles-based artist Kathyrn O’Halloran. The show brings together a series of sculptures assembled from culturally situated materials such as ikea furniture, a childhood bed tent, utility rope, flashlights, coat hangers and birthday candles, amongst others. Nostalgic relics from her middle class american

Kathryn O’Halloran, Focus and Gather Stations (for the sun) [detail], 2017. Utility rope, glue, aluminium leaf, and bamboo. Dimensions variable. Image courtesy of the artist and Harmony Murphy Gallery. Photo: Marten Elder. Installation view: Kathryn O’Halloran, Electric Longings, Harmony Murphy Gallery, Los Angeles, January 25th – March 11th, 2017. Image courtesy of the artist and

The Big Unknown The Big Unknown

The Big Unknown

Mara Sánchez-Renero and Danila Tkachenko

Almanaque Mexico City, México 02/07/2017 – 03/25/2017

The Big Unknown, a quest for nature Nature slowly verges into the blind spots outlying on the rim of our consciousness. What is Nature, and what is it to us? These are the questions that The Big Unknown poses. Nature shifts from being a real immediate surrounding to a fictive –sometimes ideal– place scarily visited

Vista de instalación (de izquierda a derecha): Mara Sánchez Renero, Eutopía lúcida: Carrusel, 2017. Impresión piezográfica sobre fibra natural. 120 X 180 cm; Mara Sánchez Renero, Eutopía lúcida: Dragón, 2017. Impresión piezográfica sobre fibra natural. 120 X 180 cm. Cortesía: Almanaque (almanaquefotográfica.com) y Mara Sánchez Renero. Danila Tkachenko, Lost Horizon: Marx generator for high-energy physics

Siberia

Siberia

Fernando Zuluaga

Sketch Bogotá, Colombia 02/02/2017 – 03/15/2017

This individual exhibition explores the relationship between the idea of territory and landscape, from the non-objective interpretation of the mental process of observation, interpretation and/or assimilation. Through the cognitive combination of the elements observed, in this case, a cement factory abandoned in the middle of a field, a dialogue is established with the environment, where

Fernando Zuluaga, Siberia 3. Tinta sobre papel. Cortesía de SKETCH, © Niko Jacob. Fernando Zuluaga, Sin título, 2016. Tinta sobre papel, 31 x 38 cm. Cortesía de SKETCH, © Niko Jacob. Vista de instalación, 2017. Cortesía de SKETCH, © Niko Jacob. En esta exposición individual se explora la relación entre la idea de territorio y

We The People We The People

We The People

Danh Võ

Aspen Art Museum Aspen, Colorado, USA 11/04/2016 – 06/04/2017

Danh Võ’s We The People (2010–13) is the artist’s long-term project reconstructing Frédéric Auguste Bartholdi’s Statue of Liberty on a 1:1 scale. Re-creating only the statue’s fragile copper skin —the thickness of two copper pennies— and using the same fabrication technique as the original, Võ’s We The People exists in over 250 pieces. Never intending

Danh Võ, We The People (detail), 2011. Installation view, Aspen Art Museum, 2016. Photo: Tony Prikryl. Danh Võ, We The People (detail), 2011. Installation view, Aspen Art Museum, 2016. Photo: Tony Prikryl. Danh Võ, We The People (detail), 2011. Installation view, Aspen Art Museum, 2016. Photo: Tony Prikryl. Danh Võ’s We The People (2010–13) is

Stillness in Motion — Cloud Cities Stillness in Motion — Cloud Cities

Stillness in Motion — Cloud Cities

Tomás Saraceno

San Francisco Museum of Modern Art San Francisco, California, USA 12/17/2016 – 05/21/2017

The San Francisco Museum of Modern Art (SFMOMA) presents the exhibition Tomás Saraceno: Stillness in Motion—Cloud Cities, by artist Tomás Saraceno, on view at the museum December 17, 2016 through May 21, 2017. Organized by the SFMOMA Architecture and Design department, the exhibition includes an immersive site-specific cloudscape installation of suspended tension structures and floating

Tomás Saraceno: Stillness in Motion—Cloud Cities; installation view at the San Francisco Museum of Modern Art, December 17, 2016–May 21, 2017; photo: Katherine Du Tiel Tomás Saraceno: Stillness in Motion—Cloud Cities; installation view at the San Francisco Museum of Modern Art, December 17, 2016–May 21, 2017; photo: Katherine Du Tiel Tomás Saraceno, Cloud Cities Thermodynamics

Solo cuentos

Solo cuentos

Guzmán Paz

UV Estudios Buenos Aires, Argentina 02/07/2017 – 03/08/2017

La emancipación del maquillaje Guchi tiene un trampolín en forma de taco ubicado dentro de un paisaje pintado. Lo pintado en un cuadro no es imitación, ni evasión ni deseo. Porque una pintura es una elección de territorio y de existencia diferente. Si la ropa que unx elige usar nos modifica, pintarse en un cuadro

Vista de instalación, 2017. Cortesía de UV Estudios, Buenos Aires. Fotografía: Luciano Demarco. Vista de instalación, 2017. Cortesía de UV Estudios, Buenos Aires. Fotografía: Luciano Demarco. Guzmán Paz, El estudio (detalle), 2016. Óleo sobre tela. 50 cm x 80 cm. Fotografía: Guzmán Paz. La emancipación del maquillaje Guchi tiene un trampolín en forma de taco

Inhuman Transformation of New Year’s Decoration, Obsolete Conception or 2

Inhuman Transformation of New Year’s Decoration, Obsolete Conception or 2

Yuki Kimura

CCA Wattis Institute for Contemporary Arts San Francisco, California, USA 12/13/2016 – 02/25/2017

The installation practice of Yuki Kimura (b. 1971 in Kyoto; based in Berlin) borrows from architecture, design, photography, and sculpture to make the immaterial material. She often incorporates found photographs in her work as sculptural objects, combining appropriated imagery with other found and constructed objects or furniture to create mixed-media sculptures. For Kimura’s Wattis Institute

Installation view (detail) of Yuki Kimura’s mixed-media installation titled Inhuman Transformation of New Year’s Decoration, Obsolete Conception or 2 at CCA Wattis Institute of Contemporary Arts; courtesy the artist and Taka Ishii Gallery; photo: Johnna Arnold. Installation view (detail) of Yuki Kimura’s mixed-media installation titled Inhuman Transformation of New Year’s Decoration, Obsolete Conception or 2

Hesitating Hesitating

Hesitating

André Filipek

Amor Mexico City, México 01/28/2017 – 02/08/2017

“The body exists, and gives weight and shape to our existence. It causes us pain and it gives us pleasure; it is not a suit of clothes we are in the habit of wearing, not something apart from us: we are our bodies. But we are frightened by other people’s glance.” http://amortlalpan.tumblr.com/

Installation view, 2017. Courtesy of Amor, Mexico City. Photo: Andrew Birk. Front, 2017. MDF, fibers, nylon. Courtesy of Amor, Mexico City. Photo: Andrew Birk. Prologue for a never ending debt, 2017. MDF, fibers, paper. Courtesy of Amor, Mexico City. Photo: Andrew Birk. “El cuerpo existe y da peso y forma a nuestra existencia. Nos causa