Contemporary Art in the Americas Arte Contemporáneo en las Américas
This Mortal Coil

This Mortal Coil

Jill Mulleady

Freedman Fitzpatrick Los Angeles, California, USA 01/15/2017 – 02/25/2017

The Green Room I, The Green Room II Extreme bodily postures recall Fifteenth Century paintings depicting the “extraction of the stone of madness,” a hypothetical procedure involving trepanation and the removal of a stone thought to be the cause or seed of a patient’s insanity. This lone figure could otherwise be a sort of Artaud

Jill Mulleady, This Mortal Coil. Installation View. Freedman Fitzpatrick, Los Angeles. Jan 15 – Feb 25, 2017. Courtesy of the artist and Freedman Fitzpatrick, Los Angeles. Photo: Michael Underwood. Jill Mulleady, This Mortal Coil. Installation View. Freedman Fitzpatrick, Los Angeles. Jan 15 – Feb 25, 2017. Courtesy of the artist and Freedman Fitzpatrick, Los Angeles.

Quid pro quo. Ver la madera por el árbol Quid pro quo. Ver la madera por el árbol

Quid pro quo. Ver la madera por el árbol

Un proyecto de los Jippies Asquerosos curado por Willy Kautz

Cuarto de máquinas Mexico City 01/21/2017 – 03/11/2017

En Quid pro quo, la investigación sobre la relación entre el misticismo de la pintura religiosa, la inmaterialidad suprasensorial y la forma de la mercancía queda expuesta en un conjunto de piezas que hacen referencia directa a las nuevas alternativas de arte religioso moderno que se desarrollaron en México a partir de los años cincuenta

Vista de sala: (al fondo) Ver la madera por el árbol y Jippies Asquerosos por Willy Kautz. Cortesía: El cuarto de máquinas. Crédito de la foto: El cuarto de máquinas. Willy Kautz, Cinemarx, 2016. Video HD. Medidas variables. Cortesía: El cuarto de máquinas. Crédito de la foto: El cuarto de máquinas. Willy Kautz, Ver la madera

Chromophilia vs Chromophobia Chromophilia vs Chromophobia

Chromophilia vs Chromophobia

Organized by Alexandra Garcia Waldman

Galeria Nara Roesler São Paulo, Brazil 11/21/2016 – 01/21/2017

The group exhibition Chromophilia vs. Chromophobia: an exploration of color features eighteen pieces by Abraham Palatnik, Antonio Dias, Bruno Dunley, Cao Guimarães, Carlito Carvalhosa, Daniel Buren, Daniel Senise, Haegue Yang, Hélio Oiticica, Julio Le Parc, Karin Lambrecht, Lucia Koch, Marco Maggi, Rodolpho Parigi, Sérgio Sister, Tomie Ohtake, Vik Muniz, and Xavier Veilhan. Organized by the gallery’s artistic director Alexandra Garcia Waldman,

Lucia Koch, Showcase – gradients, 2012. Exhibitor containing 10 printed canvas, backlighted. Translucent vinyl. Ed 1/3. 200 x 95 x 100 cm. Courtesy of Galeria Nara Roesler. Exhibition View, Chromophilia vs. Chromophobia, 2016. Photo: Everton Ballardin ® Galeria Nara Roesler. Exhibition View, Chromophilia vs. Chromophobia, 2016. Photo: Everton Ballardin ® Galeria Nara Roesler. The group exhibition

Toba Khedoori Toba Khedoori

Toba Khedoori

Toba Khedoori

LACMA Los Angeles, California, USA 09/25/2016 – 03/19/2017

Toba Khedoori is arranged in loose chronological and thematic order. The exhibition begins with large paintings on paper that ushered her into the contemporary art scene in the early 1990s. Her breakthrough came with monumental paintings on paper, such as Untitled (doors) (1996) and LACMA’s own Untitled (hallway) (1997), within which detritus from her studio

Installation ​p​hotograph, Toba Khedoori, Los Angeles​ ​County Museum of Art, September 25, 2016–March 19, 2017, © Toba Khedoori, photo © Fredrik Nilsen. Installation ​p​hotograph, Toba Khedoori, Los Angeles​ ​County Museum of Art, September 25, 2016–March 19, 2017, © Toba Khedoori, photo © Fredrik Nilsen. Installation ​p​hotograph, Toba Khedoori, Los Angeles​ ​County Museum of Art, September

Hallstat Hallstat

Hallstat

Curated by Maria do Carmo M. P. de Pontes and Kiki Mazzucchelli

Fortes D'Aloia & Gabriel - Galpão São Paulo, Brazil 12/10/2016 – 02/10/2017

Artists: Alexandre da Cunha, Tamara Henderson, Tobias Hoffknecht, Iman Issa, Oliver Laric, Candice Lin, Manoela Medeiros, Mauro Restiffe, Joshua Sex, Amie Siegel, Daniel Sinsel, Caragh Thuring Hallstatt takes the notion of duality as the starting point for a reflection on the meaning of repetition of signs, images and forms in the contemporary context. The idea of duality has structured

Exhibition view, 2016. Courtesy of Fortes D’Aloia & Gabriel, São Paulo. Exhibition view, 2016. Courtesy of Fortes D’Aloia & Gabriel, São Paulo. Exhibition view, 2016. Courtesy of Fortes D’Aloia & Gabriel, São Paulo. Artists: Alexandre da Cunha, Tamara Henderson, Tobias Hoffknecht, Iman Issa, Oliver Laric, Candice Lin, Manoela Medeiros, Mauro Restiffe, Joshua Sex, Amie Siegel, Daniel Sinsel, Caragh

Music & Martyrs Vol. 1 Music & Martyrs Vol. 1

Music & Martyrs Vol. 1

Ricardo Morales-Hernández

Hidrante San Juan, Puerto Rico 01/08/2017 – 02/01/2017

Nothing new The head sustaining Meanwhile: fornication everywhere eyes, mind & heart The onomatopoeic music deafen the voice of the martyrs persecution systems grow clever the great harlot rejoice at her last sip of the cup blood inside pitiful monster all evil is apostate generative from that broken garden On February 15, 2015 a gruesome

Mystic Union in Christ SDG–016–013, 2016. Acrylic and graphite on canvas. 16 x 20 in (40.6 x 50.8 cm). Courtesy of the artist. Music & Martyrs – Volume 1, 2017. Exhibition view. Courtesy of the artist. Music & Martyrs – Volume 1, 2017. Exhibition view. Courtesy of the artist. Nothing new The head sustaining Meanwhile:

L’1%, c’est moi L’1%, c’est moi

L’1%, c’est moi

Andrea Fraser

Museo Universitario Arte Contemporáneo (MUAC) Mexico City, México 10/15/2016 – 03/12/2017

¿Qué le pedimos al arte? Andrea Fraser aborda esta pregunta en su trabajo y examina las motivaciones de un amplio elenco de agentes culturales, entre ellos artistas, coleccionistas, galeristas, mecenas y públicos. Los métodos de Fraser, desarrollados a partir de enfoques de investigación site-specific surgidos con el arte conceptual y en combinación con las indagaciones

Vistas de la exposición Andrea Fraser. L’1%, c’est moi. Museo Universitario Arte Contemporáneo, MUAC/UNAM. Fotos Oliver Santana. Vistas de la exposición Andrea Fraser. L’1%, c’est moi. Museo Universitario Arte Contemporáneo, MUAC/UNAM. Fotos Oliver Santana. Vistas de la exposición Andrea Fraser. L’1%, c’est moi. Museo Universitario Arte Contemporáneo, MUAC/UNAM. Fotos Oliver Santana. ¿Qué le pedimos al

Form into Action Form into Action

Form into Action

Julio Le Parc

Pérez Art Museum Miami (PAMM) Miami, Florida, USA 11/18/2016 – 03/19/2017

Pérez Art Museum Miami (PAMM) presents the first U.S. museum survey of Argentine artist Julio Le Parc. On view through March 19, 2017, Julio Le Parc: Form into Action features over 100 works that spark a variety of visual and physical experiences. Including major installations and rarely seen works on paper and archival materials, the exhibition is a long-overdue

Julio Le Parc: Form into Action, installation view Pérez Art Museum Miami, 2016. Photo courtesy PAMM. Julio Le Parc, Sphère rouge (Red Sphere), 2001–12. Plexiglas and nylon. Diameter: 122 11/16 inches. Courtesy the artist. Julio Le Parc © 2016 Artists Rights Society (ARS), New York / ADAGP, Paris. Photo: André Morin Julio Le Parc, Continuel-lumière

CXSXS CXSXS

CXSXS

Ariel Cusnir

Pasto Buenos Aires, Argentina 11/24/2016 – 02/28/2017

Fui a los lugares donde viene la materia bruta y se la empieza a trabajar. Pacheco, Benavidez, Ezpeleta. El tren, los viajes de lugar en lugar, sandwichito, siesta en la vereda, leyendo “de la utilidad y los inconvenientes” Estos árboles los desmontan en corrientes y llegan verdes. Los trabajan verdes y después los secan. Usan

Ariel Cusnir, CXSXS, 2016. Medidas variables. Cortesía de Pasto, Buenos Aires. Fotografía: Tam Painé Ciai. Ariel Cusnir, CXSXS, 2016. Medidas variables. Cortesía de Pasto, Buenos Aires. Fotografía: Tam Painé Ciai. Ariel Cusnir, CXSXS, 2016. Medidas variables. Cortesía de Pasto, Buenos Aires. Fotografía: Tam Painé Ciai. Fui a los lugares donde viene la materia bruta y

Norman Amygdala

Norman Amygdala

Morgan Mandalay

City Limits Oakland, California, USA 01/07/2017 – 02/05/2017

Ok. It starts when I was 15, or was it 17? Ok, so I’m yea…whatever and I fall asleep at his house and it’s a big house. He’s Kevin and he’s big and he’s strong but he’s kind of ugly but people think he’s funny so I do, too. I remember being in his kitchen, him making fun of me,

Installation view, Norman Amygdala, 2017. Courtesy of City Limits, Oakland. Installation view, Norman Amygdala, 2017. Courtesy of City Limits, Oakland. Morgan Mandalay, An ouroboros nightmare. Join or die, once thought to be two snakes but so clearly two all along. (detail), 2016. Bottle caps and polymer clay. Dimensions variable. Courtesy of City Limits, Oakland. Ok.