Contemporary Art in the Americas Arte Contemporáneo en las Américas
MARGINALIA #32

MARGINALIA #32

by Kukuli Velarde 01/01/2018 – 01/31/2018

Every month Marginalia invites an artist, curator or project to provide a series of images that will serve as the background of Terremoto, in relation to their practice and current interests. At the end of each month, the identity of our guest is revealed and the whole series of images is unveiled.   For millennia, the territory

Marginalia consiste en la invitación mensual a un artista, curador o proyecto a escoger una serie de imágenes para el fondo de la página de Terremoto en relación con su práctica e intereses del momento. A final de cada mes se revela la identidad del invitadx y se pueden descubrir las imágenes en conjunto.   Durante

Los animales muertos Los animales muertos

Los animales muertos

Jorge Satorre

Museo Tamayo Arte Contemporáneo Mexico City 10/03/2017 – 02/18/2018

Through drawings and manual processes, Jorge Satorre (Mexico City, 1979) peruses events that could appear insignificant within their general context or that have at times passed unnoticed. The choice of such incidents as a starting point corresponds to episodes omitted from the memory of the place where Satorre works, repetitive images in his mind, or

Jorge Satorre, Los animales muertos (2017-18). Vistas de instalación en el Museo Tamayo, Ciudad de México. Fotografía: © Agustín Garza. Cortesía del Museo Tamayo Jorge Satorre, Los animales muertos (2017-18). Vistas de instalación en el Museo Tamayo, Ciudad de México. Fotografía: © Agustín Garza. Cortesía del Museo Tamayo Jorge Satorre, Los animales muertos (2017-18). Vistas

La marcha de las funciones

La marcha de las funciones

Eugenia Calvo

Hache Galería Buenos Aires, Argentina 11/14/2017 – 02/16/2018

In 1978, Wallon Green wrote the script for The Brink’s Job; in 1982, for The Border, with Jack Nicholson and Harvey Keitel; and in 1990, for the sequel to Robocop. Forty years into his career, Vince Gilligan was awarded the Screen Actors Guild Prize last year for Better Call Saul, and the eccentric eighty-year-old Green

Eugenia Calvo. La marcha de las funciones, curaduría Lara Marmor, Hache Galería, Buenos Aires, Argentina, 2017. Fotografía Ignacio Iasparra Eugenia Calvo. La marcha de las funciones, curaduría Lara Marmor, Hache Galería, Buenos Aires, Argentina, 2017. Fotografía Ignacio Iasparra Eugenia Calvo. La marcha de las funciones, curaduría Lara Marmor, Hache Galería, Buenos Aires, Argentina, 2017. Fotografía

Cultural Representation and the Demise of NAFTA Cultural Representation and the Demise of NAFTA

Cultural Representation and the Demise of NAFTA

by Eduardo Abaroa

Eduardo Abaroa and Rubén Ortíz-Torres talk about the art scenes in LA and Mexico City framed by globalization in a neoliberal era. Eduardo Abaroa: I want to begin by recalling a discussion we had many times while I was living in Los Angeles, your adopted city. Why is there so little contact between the art

Eduardo Abaroa and Rubén Ortíz-Torres talk about the art scenes in LA and Mexico City framed by globalization in a neoliberal era. Eduardo Abaroa; Total Destruction of the Anthropology Museum (Photoshop), 2016. Photographic mural. Photo courtesy of the artist Eduardo Abaroa: I want to begin by recalling a discussion we had many times while I

Chicharrón

Chicharrón

Mara Corsino

Hidrante San Juan, Puerto Rico 01/05/2018 – 02/09/2018

Chicharrón is the first solo exhibition of Mara Corsino (San Juan, 1979), a Puerto Rican photographer who lives and works in Brooklyn, US. For this occasion, Corsino presents her documentary project by the same name, concentrating on portraits of different women who self-identify as latinas. Chicharrón seeks to explore the expression of latinidad, understood as

Mara Corsino. Vista de la instalación Chicharrón, Hidrante, San Juan, Puerto Rico, 2018. Fotografía cortesía de Raquel Perez Puig y Daniela Paola (SUPAKID) Mara Corsino. Vista de la instalación Chicharrón, Hidrante, San Juan, Puerto Rico, 2018. Fotografía cortesía de Raquel Perez Puig y Daniela Paola (SUPAKID) Mara Corsino. Vista de la instalación Chicharrón, Hidrante, San

Formas de libertad: Carlos Motta at MAMM, Medellín, Colombia Formas de libertad: Carlos Motta at MAMM, Medellín, Colombia

Formas de libertad: Carlos Motta at MAMM, Medellín, Colombia

by Nadia Moreno Moya Medellín, Antioquia, Colombia 11/29/2017 – 02/18/2018

Formas de Libertad (Shapes of Freedom), is the title of the exhibition by Carlos Motta (Bogotá, 1978), currently on view at the Museum of Modern Art of Medellín (MAMM), gathering a selection of projects and works made by this Colombian artist based in New York since the late nineties. As noted in the presentation text

Carlos Motta, Formas de libertad. Sala A y Sala de Fundiciones, piso 1. Imagen cortesía del Museo de Arte Moderno de Medellín. Formas de libertad, título que lleva la exposición del artista Carlos Motta (Bogotá, 1978) y que se presenta en el Museo de Arte Moderno de Medellín (MAMM), reúne una selección de proyectos y

Anna Maria Maiolino Anna Maria Maiolino

Anna Maria Maiolino

Anna Maria Maiolino

The Museum of Contemporary Art Los Angeles, California, USA 08/04/2017 – 01/22/2018

MOCA presents Anna Maria Maiolino, the Brazilian artist’s first major United States museum retrospective. This large-scale survey covers Maiolino’s extraordinary oeuvre from the early 1960s to the present, bringing together expressive woodblock prints, visceral cement sculptures, politically-charged films and performances, fluid drawings, and monumental installations of unfired clay. Visitors chart a path through Brazilian art history

Installation view of Anna Maria Maiolino, August 4–December 31, 2017 at MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest Installation view of Anna Maria Maiolino, August 4–December 31, 2017 at MOCA Grand Avenue, courtesy of The Museum of Contemporary Art, Los Angeles, photo by Brian Forrest Installation

p e r Sway

p e r Sway

Nancy Davidson

Locust Projects Miami, Florida, USA 11/18/2017 – 01/20/2018

Locust Projects presents p e r Sway, a multimedia installation by New York-based interdisciplinary artist Nancy Davidson from November 18, 2017, through January 20, 2018. Referencing symbols of power and control, theater and performance, history and biophysics, per Sway finds Davidson holding a distorted mirror to our bizarre and horrifying political climate, a world turned upside

Nancy Davidson. Installation view of p e r Sway, Locust Projects, Miami, 2017. © Studio LHOOQ, courtesy of Locust Projects Nancy Davidson. Installation view of p e r Sway, Locust Projects, Miami, 2017. © Studio LHOOQ, courtesy of Locust Projects Nancy Davidson. Installation view of p e r Sway, Locust Projects, Miami, 2017. © Studio

VECINOS VECINOS

VECINOS

Eduardo Sarabia, Cynthia Gutiérrez, Gonzalo Lebrija, Gabriel Rico, Gwladys Alonzo

CULT San Francisco, USA 10/27/2017 – 01/20/2018

VECINOS features five prominent artists living and working in Mexico: Eduardo Sarabia, Cynthia Gutiérrez, Gonzalo Lebrija, Gabriel Rico and Gwladys Alonzo. Aged between 26 and 45, they represent different career points within a new generation emerging from Mexico and gaining notoriety in international circles. Most established are Gonzalo Lebrija and Eduardo Sarabia each of whom

Gwladys Alonzo, Cynthia Gutierrez, Gonzalo Lebrija, Gabriel Rico, Eduardo Sarabia. Installation view of VECINOS, CULT, San Francisco, 2017. Courtesy of CULT Gabriel Rico, Merde, 2012, Ceramic and 24-karat gold and platinum paint, 120 x 20 x 6 cm / 47.2 x 7.8 x 2.3 inches, Edition: unique (from a series of 6 unique works). Courtesy

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