Contemporary Art in the Americas Arte Contemporáneo en las Américas
MARGINALIA #26

MARGINALIA #26

By Bruno Mendonça 07/01/2017 – 07/31/2017

For the 26th edition of Marginalia Project, the artist Bruno Mendonça stretches out his research about the concept of extended text and presents 31 images from his personal archive. The artist constantly uses this archive during his spoken word performances, publications and online projects – with interventions in the internet.  By using the idea of

Para la 26° edición del proyecto Marginalia, el artista Bruno Mendonça amplía su investigación sobre el concepto texto extendido y presenta 31 imágenes de su archivo personal. El artista usa constantemente este archivo durante sus performances a palabra hablada, publicaciones y proyectos en línea -con intervenciones en el internet. Al usar la idea de hipertexto,

The Future Belongs to Philophotology The Future Belongs to Philophotology

The Future Belongs to Philophotology

Diego Pérez

Galería Alterna Mexico City 06/10/2017 – 07/29/2017

To inhabit the space has been a great dilemma of humanity, doing it represents depositing the memory, either of barbarity or affectivity, individual or collective. On the other hand, the act of imagining has to do with confronting that memory, because there is always hope of separating ourselves from what we are or what we represent as specie.

Sin Título (fragmento de casa colonial). Concreto, metal, piedras, plantas. 187 x 72 x 50 cm. Cortesía de Galería Alterna, Ciudad de México Vista de instalación. Diego Pérez, The Future Belongs to Philophotology. Cortesía de Galería Alterna, Ciudad de México Vista de instalación. Diego Pérez, The Future Belongs to Philophotology. Cortesía de Galería Alterna, Ciudad de México

Sabroso veneno

Sabroso veneno

Radamés "Juni" Figueroa

Anonymous Gallery Mexico City 07/06/2017 – 08/26/2017

Radamés “Juni” Figueroa’s Sabroso Veneno transports you to the sensory space of a seventies salsoteca. Bright colors, neon lights, palm trees, paintings, and parrots transform the gallery into a lively space of festivities. Here, you are invited to enjoy food, drink, and music, to linger in the atmosphere of another time and place. Inspired by the stage design

Installation view with Luis Sunshine ‘Perico’ Ortiz and Sabroso Perico. Radamés “Juni” Figueroa, Sabroso Veneno at Anonymous Gallery, 2017. Photography: Ramiro Chaves. Radamés “Juni” Figueroa and Hector Madera, Sabroso, Sensual, Calientito, Venenoso, mixed-media sculpture, 2017. Photography: Ramiro Chaves. Installation view with Sabroso Veneno. Radamés “Juni” Figueroa, Sabroso Veneno at Anonymous Gallery. Photography: Ramiro Chaves. Sabroso Veneno de Radamés “Juni” Figueroa te transporta al espacio

Aracataca, mi sangre, me gustan los sofás, qué filo, soy voyerista Aracataca, mi sangre, me gustan los sofás, qué filo, soy voyerista

Aracataca, mi sangre, me gustan los sofás, qué filo, soy voyerista

Iván Navarro

Sketch Bogotá, Colombia 06/22/2017 – 08/10/2017

I merely wanted to live and express myself in accord with a way that spontaneously sprung out of me. Why did this prove to be so difficult? Demian – Hermann Hesse Hesse’s mission was to discover the man behind every event; the flesh-and-blood being shaped and influenced by the chaos of existence. In accordance with this sentiment,

Vista de instalación. Iván Navarro, Aracataca, mi sangre, me gustan los sofás, qué filo, soy voyerista. Cortesía de Sketch, Bogotá. Iván Navarro, Soy Voyerista IV (detalle). Acrílico sobre tela. 200 x 150 cm. Cortesía de Sketch, Bogotá. Vista de instalación. Iván Navarro, Aracataca, mi sangre, me gustan los sofás, qué filo, soy voyerista. Cortesía de Sketch, Bogotá. Quería tan

Recent Paintings and Reliefs

Recent Paintings and Reliefs

Valdirlei Dias Nunes

Casa Triângulo São Paulo, Brazil 07/01/2017 – 08/05/2017

With an art career spanning nearly three decades, Valdirlei Dias Nunes is a singular artist among his generation. Born in the interior of the state of Paraná, he earned a degree in pharmacy and in biochemistry before moving to São Paulo in the early 1990s, when he began to participate in exhibitions held at galleries

Installation view. Valdirlei Dias Nunes, Recent Paintings and Reliefs. Courtesy of Casa Triângulo. Photo: Edouard Fraipont. Relevo n. 1, 2017. Water based enamel on MDF and cedar wood. 103 x 110 cm. Courtesy of Casa Triângulo. Photo: Edouard Fraipont. Sem título, 2017. Acrylic on canvas. 50 x 30 cm. Courtesy of Casa Triângulo. Photo: Edouard Fraipont.

Estados Nativos Estados Nativos

Estados Nativos

Ximena Garrido-Lecca

MALBA Buenos Aires, Argentina 07/14/2017 – 10/23/2017

Estados nativos, la primera exposición individual de la artista Ximena Garrido-Lecca (Lima, 1980) en Buenos Aires, curada por Lucrecia Palacios, es un proyecto específico para la sala 1 del museo que registra el proceso a través del cual el cobre industrializado recobra su forma original como “cobre nativo”, es decir, la forma en la que puede encontrarse el mineral

Vista de instalación. Ximena Garrido-Lecca, Estados Nativos. Cortesía del MALBA. Fotografía: Jorge Miño Vista de instalación. Ximena Garrido-Lecca, Estados Nativos. Cortesía del MALBA. Fotografía: Jorge Miño Vista de instalación. Ximena Garrido-Lecca, Estados Nativos. Cortesía del MALBA. Fotografía: Jorge Miño Estados nativos, la primera exposición individual de la artista Ximena Garrido-Lecca (Lima, 1980) en Buenos Aires, curada por Lucrecia Palacios,

One Thousand Four Hundred and Seventy-one Rides One Thousand Four Hundred and Seventy-one Rides

One Thousand Four Hundred and Seventy-one Rides

Chemi Rosado Seijo

Embajada San Juan, Puerto Rico 06/03/2017 – 08/05/2017

One Thousand Four Hundred and Seventy-one Rides continues Chemi Rosado-Seijo’s long-term engagement with skateboarding. For the exhibition Rosado-Seijo creates an immersive installation of urban geometric mappings evoking minimalist canons. Each panel is composed by affixing adhesive to the wheels of his skateboard, tracing his rides, and mounting the strips of tape containing smudges and detritus

Chemi Rosado-Seijo, One Thousand Four Hundred and Seventy One Rides, 2017. Installation View. Dimensions variable. Courtesy of Embajada, San Juan. Chemi Rosado-Seijo, La Habana (Video Still), from the History on Wheels series, 2015. 43 min. Courtesy of Embajada, San Juan. Chemi Rosado-Seijo, ART ROUGH AGES (from the series: History on Wheels), 2012 – 2015. Book, mounted wheels. Courtesy of Embajada, San Juan Mil

The Telomeric Cut

The Telomeric Cut

Felipe Meres

Mendes Wood DM São Paulo, Brazil 05/25/2017 – 07/29/2017

Mendes Wood DM presents The Telomeric Cut, Felipe Meres’s first project in São Paulo. Working across media, Meres’s work weaves entanglements between scientific desire and the indeterminate matter that ceaselessly evades its grasp. The exhibition features all new work, including a series of microscopic images that unfurl in the shape of pigment prints and sculptures. Devised around the concept of

Felipe Meres, The Telomeric Cut. Installation view. Courtesy of the artist. Felipe Meres, The Telomeric Cut. Installation view. Courtesy of the artist. Weave We Weavers, 2017. Electron micrograph, pigment print on silk, polyurethane, woven aluminum, polished steel. 191 × 51 cm / 75.2 × 20.8 in. Courtesy of the artist. Mendes Wood DM presents The Telomeric Cut, Felipe

Osso: Group show at Instituto Tomie Ohtake, São Paulo Osso: Group show at Instituto Tomie Ohtake, São Paulo

Osso: Group show at Instituto Tomie Ohtake, São Paulo

By Marilia Loureiro São Paulo, Brazil 06/27/2017 – 07/30/2017

Osso: brutal and common Osso – Exposição-apelo ao amplo direito de defesa de Rafael Braga (Bone: An Exhibition/Call-to- Action for Rafael Braga’s Broad Right to Defense) has been mounted at São Paulo’s Instituto Tomie Ohtake in collaboration with the Instituto de Defesa do Direito de Defesa (The Defense of the Right of Defense Institute; acronym in Portuguese: IDDD), a

View of exhibition room. Works by: Tiago Gualberto, Bené Fonteles, Pablo Lobato and Ícaro Lira. Courtesy of Instituto Tomie Ohtake Osso: brutal y común Osso – Exposição-apelo ao amplo direito de defesa de Rafael Braga [Hueso – Exposición-llamada al amplio derecho de defensa de Rafael Braga] está montada en el Instituto Tomie Ohtake (São Paulo), en colaboración

Sangre de yegua preñada

Sangre de yegua preñada

Cristian Franco

Parque Galería Mexico City 06/23/2017 – 08/19/2017

Based on Internet searches, Cristian Franco collects songs and leitmotiv that have been used as tools for social manipulation, torture or confusion, and that have generated conspiracy theories. The artist uses them to create soundtracks of tragic events. Although their reliability may have not been proved, Franco looks for not-so-trust-worthy sources on purpose, allowing him to materialize the

Humillación eterna, Sangre de yegua preñada, Cristian Franco, PARQUE Galería, Mexico City, 2017. Photo by: Ramiro Chaves Vista de instalación, Sangre de yegua preñada, Cristian Franco, PARQUE Galería, Mexico City, 2017. Photo by: Ramiro Chaves Retrato de Luis Miguel Gallego Basteri, Sangre de yegua preñada, Cristian Franco, PARQUE Galería, Mexico City, 2017. Photo by: Ramiro Chaves A partir