Contemporary Art in the Americas Arte Contemporáneo en las Américas
Compression Loss Compression Loss

Compression Loss

Troika

Galería OMR Ciudad de México, México 11/10/2017 – 01/20/2018

OMR presents Compression Loss—Troika’s second solo exhibition at the gallery. Troika is a collaborative contemporary art practice formed in 2003 by Eva Rucki (b. 1976, Germany), Conny Freyer (b. 1976, Germany) and Sebastien Noel (b. 1977, France). For Compression Loss, Troika premieres two new bodies of work alongside existing sculptures and installations. The works in the

Troika, Compression Loss, Installation View, Galería OMR, 2017 Troika, Compression Loss (Venus), 2017, Jesmonite, 165 x 50 x 50 cm, Compression Loss, Installation View, Galería OMR, 2017 Troika, Compression Loss (Xipe), 2017, Jesmonite, 70 x 80 x 80cm, Compression Loss, Installation View, Galería OMR, 2017 OMR presenta Compression Loss, la segunda muestra individual de Troika en

ola / wave ola / wave

ola / wave

Esther Kläs

Proyecto AMIL Lima, Perú 11/03/2017 – 01/20/2018

‘Encuentros, confrontación, rastros. Sobre todo, presencia.’ En ola / wave, la exposición de la artista alemana residente en Barcelona Esther Kläs, estas cosas suceden en múltiples niveles. La exhibición reúne diferentes grupos de obras: altas esculturas monolíticas, dibujos/grabados de técnica mixta y esculturas de silicona de superficie plana, similar a la piel, que la artista realizó

Esther Kläs. Vista de la instalación ola / wave en Proyecto AMIL, Lima, Perú, 2017. Cortesía de Proyecto AMIL Esther Kläs. Vista de la instalación ola / wave en Proyecto AMIL, Lima, Perú, 2017. Cortesía de Proyecto AMIL Esther Kläs. Vista de la instalación ola / wave en Proyecto AMIL, Lima, Perú, 2017. Cortesía de

Sour Patch Sour Patch

Sour Patch

Tschabalala Self

Thierry Goldberg Gallery Miami, USA 12/05/2017 – 01/14/2018

Known for her sewn collage and assemblage paintings, which boldly examine contemporary perspectives on femininity, race, and gender, Tschabalala Self’s new body of work further explores the environments of identity politics by focusing specifically on bodegas—public storefronts that serve as a hallmark of lower-income Black and Latinx communities throughout New York City. Bodegas, often locally

Tschabalala Self. Installation view of Sour Patch, Thierry Goldberg Gallery, Miami, 2017. Courtesy of Thierry Goldberg Gallery Tschabalala Self, Ice Cream, 2017. Hand-colored digital archive print on German etching paper, crayon, colored pencil, and watercolor, 21 1/2h x 16 1/2w in. Courtesy of Thierry Goldberg Gallery Tschabalala Self. Installation view of Sour Patch, Thierry Goldberg

You Are Here

You Are Here

Organized in collaboration with Adrián S. Bará

Peana Projects Monterrey, Nuevo León, México 11/09/2017 – 01/15/2018

Artists: Peter Brock, Isa Carrillo, Ricardo González, Cynthia Gutiérrez, Javier M. Rodríguez, Mario Navarro, Megan Pahmier, Veronika Pausova, Claudia Peña Salinas, Federico Pérez Villoro, Adrián S. Bará, Barb Smith and Francisco Ugarte French philosopher Maurice Merleau-Ponty (1908-1961) introduces the idea of phenomenology— perception on the ground of experience, which involves sensing and the senses—to the study

Group exhibition. Exhibition view at You Are Here, Peana Projects, Monterrey, Nuevo León, 2017. Courtesy of Peana Projects Group exhibition. Exhibition view at You Are Here, Peana Projects, Monterrey, Nuevo León, 2017. Courtesy of Peana Projects Group exhibition. Exhibition view at You Are Here, Peana Projects, Monterrey, Nuevo León, 2017. Courtesy of Peana Projects Artists: Peter

Las relaciones mentales Las relaciones mentales

Las relaciones mentales

Eduardo Costa

Museo Tamayo Arte Contemporáneo Mexico City, México 10/04/2017 – 01/07/2018

For nearly six decades, Eduardo Costa (Buenos Aires, 1940) has forged a body of work that delves into the nature of works of art and language as a system of ideas, through strategies as diverse as oral poetry, happenings, mass media intervention, rock song composition, the functional use of art in public spaces, and volumetric

Eduardo Costa, Las relaciones mentales (2017-18). Vistas de instalación en el Museo Tamayo, Ciudad de México. Fotografía: © Agustín Garza. Cortesía del Museo Tamayo Eduardo Costa, Las relaciones mentales (2017-18). Vistas de instalación en el Museo Tamayo, Ciudad de México. Fotografía: © Agustín Garza. Cortesía del Museo Tamayo A lo largo de seis décadas, Eduardo

Rurais Rurais

Rurais

Adriano Amaral

Galeria Jaqueline Martins São Paulo, Brazil 11/11/2017 – 01/20/2018

We live in a paradoxical time where instability has become a permanent state. Technological developments, especially the so-called digital revolution, have completely changed how we relate to the world, progressively contaminating all areas of our life. Distinctions between fields such as work and leisure or economy and ecology have grown impractical. This breaking down of

Adriano Amaral. Installation view of Rurais, Galeria Jaqueline Martins, São Paulo, Brazil, 2017. Courtesy of Galeria Jaqueline Martins Adriano Amaral. Installation view of Rurais, Galeria Jaqueline Martins, São Paulo, Brazil, 2017. Courtesy of Galeria Jaqueline Martins Adriano Amaral. Installation view of Rurais, Galeria Jaqueline Martins, São Paulo, Brazil, 2017. Courtesy of Galeria Jaqueline Martins We

Impresiones del tiempo Impresiones del tiempo

Impresiones del tiempo

Curada por Laura Orozco

ESPAC Ciudad de México 11/11/2017 – 03/31/2018

Impressions of Time is based on a selection of artworks and actions that explore ideas and processes originating in audiovisual production. This project explores the technical nature of cinematographic phenomena asgerywell as ties to other artistic practices through two exhibitions, guided visits, project presentations, workshops, a projection session, a roundtable discussion and the publication of

Vista de la exhibición Impresiones del tiempo, ESPAC, Ciudad de México, 2017. Cortesía de ESPAC Luis Campos, Un reloj para el futuro, 48’, 2017. Impresión, grafito, plumón, tinta, laca y acrílico sobre 24 hojas de papel y grafito sobre muro. Cortesía de ESPAC y del artista Javier M. Rodríguez, Our feature presentation, 2015. Instructivo para

Practice in Leisure

Practice in Leisure

Louis Fratino, Ridley Howard, Sadie Laska

Galería Mascota Ciudad de México 11/10/2017 – 01/05/2018

Out of my mind the golden ointment rained, And my ears made the blowing hymns they heard. I was myself the compass of that sea: I was the world in which I walked, and what I saw Or heard or felt came not but from myself: And there I found myself more truly and more

Louis Fratino, Ridley Howard, Sadie Laska. Installation view of Practice in Leisure, Galería Mascota, Ciudad de México, 2017. Photo credit: Pj Rountree. Courtesy of Galería Mascota and the artists Louis Fratino, Ridley Howard, Sadie Laska. Installation view of Practice in Leisure, Galería Mascota, Ciudad de México, 2017. Photo credit: Pj Rountree. Courtesy of Galería Mascota and the

Mañana vapor Mañana vapor

Mañana vapor

Julien Creuzet

Sketch Bogotá, Colombia 11/23/2017 – 02/15/2018

It is said that Hernán Cortés men were petrified at the sound of the Aztec empire drums; even now they still vibrate with force and set the pace from which a part of history and collective imaginary is constructed. In Spanish, “mañana” from latin vulgar mañana (morning /early hours) means “running time between midnight, “from

Julien Creuzet. Vista de la instalación Mañana vapor, Sketch, Bogotá, Colombia, 2017. Cortesía de Sketch Julien Creuzet. Vista de la instalación Mañana vapor, Sketch, Bogotá, Colombia, 2017. Cortesía de Sketch Julien Creuzet. Vista de la instalación Mañana vapor, Sketch, Bogotá, Colombia, 2017. Cortesía de Sketch Se dice que los hombres de Hernán Cortés se petrificaban