Contemporary Art in the Americas Arte Contemporáneo en las Américas
Untitled Unit Until the Lit Let the Litter Untitled Unit Until the Lit Let the Litter

Untitled Unit Until the Lit Let the Litter

Anibal Catalan

Yautepec Ciudad de México, México 02/07/2015 – 04/11/2015

It was one year ago today that I saw the light.  Or eleven years ago. 1, 11, 111. It’s all the same, really. I was trying to make sense of something, I don’t quite remember what, trying to weave an elaborate narrative around nonsense. Looking for patterns. I suppose we all do that. We try

Hoy hace exactamente un año vi la luz. O hace once años. 1, 11, 111. Da igual. Trataba de entender algo. No recuerdo bien qué. Intentaba tejer una narrativa compleja en torno a pura tontería. Buscar patrones. Supongo que todos hacemos eso. Todos buscamos encontrarle sentido al sinsentido. Recuerdo ese día -hace uno u once

MARGINALIA #2

MARGINALIA #2

WWLTD

Each month, Marginalia invites an artist or a curator 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 presented as a whole.

Cada mes, Marginalia invita a un artista o curador 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 de la persona invitada y se publica la serie completa de imágenes. Worldwide Limited (WWLTD) es

Contramuro Contramuro

Contramuro

Santiago Reyes Villaveces

Instituto de Visión Bogotá, Colombia 03/12/2015 – 04/10/2015

Instituto de Visión opens its 2015 programme with Contramuro, an exhibition by Marlon de Azambuja and Santiago Reyes Villaveces in which concepts of tension, compression, fragility, resistance and subversion are explored. Contramuro confronts the viewer with tensions created between the fragility and rigidity of materials, between order and subversion, reality and fiction – offering a

Contramuro enfrenta al espectador con las tensiones generadas entre la fragilidad y la rigidez de los materiales; entre la subversión y el orden; entre lo real y lo ficticio, pretendiendo revisar la relación metafórica y formal entre las estructuras de pensamiento y la informalidad de los materiales escultóricos y arquitectónicos. Marlon de Azambuja (Brasil, 1978)

Campeonato de Guadalajara Campeonato de Guadalajara

Campeonato de Guadalajara

Eduardo Sarabia

Travesía Cuatro Guadalajara, México 01/31/2015 – 03/31/2015

Is it possible to create a reinterpretation of history that ignores the impulse to be consistent with real facts? Even though the collaboration between Marcel Dzama and Eduardo Sarabia does not attempt to answer this question, it brings up a series of involuntary answers that evidence an alternative approach. Firstly, it manifests a refusal to

¿Es posible crear una relectura de la historia que ignore por completo el impulso a apegarse a los hechos reales? Aunque la colaboración entre Marcel Dzama y Eduardo Sarabia no pretende contestar esta pregunta, hace surgir una serie de respuestas involuntarias que dan indicios de un proceder alternativo. En primera instancia, se manifiesta el rechazo

This has nothing to do with this or same as it never was This has nothing to do with this or same as it never was

This has nothing to do with this or same as it never was

Henrik Olai Kaarstein

WARM São Paulo São Paulo, Brazil 02/27/2015 – 03/28/2015

Warm São Paulo is pleased to present This has nothing to do with this or same as it never was, the first solo show of Henrik Olai Kaarstein’s (1989, Oslo) in Brazil. With a title that recalls deliberately the idea of an imperfect similarity, an improper comparison, a disconnected connection, this show puts all its

Warm São Paulo is pleased to present This has nothing to do with this or same as it never was, the first solo show of Henrik Olai Kaarstein’s (1989, Oslo) in Brazil. With a title that recalls deliberately the idea of an imperfect similarity, an improper comparison, a disconnected connection, this show puts all its

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Gabriel de la Mora

OMR México City, México 03/03/2015 – 03/28/2015

Everything is made to realize a function Yet sometimes this function is never realized Upon completing this function, the object is unmade This undoing is the point of departure Collecting, classifying, sorting and grouping found and fragmentary objects that did not realize the primary function for which they were created is the basis for the

Todo está hecho para cumplir una función En ocasiones esta función jamás es realizada Al cumplirse la función el objeto se transforma en deshecho El deshecho es el punto de partida Rastrear, juntar, clasificar, ordenar y agrupar objetos de desecho o que no cumplieron la función primordial para la cual fueron creados, es la base

Hombre del Siglo XXI Hombre del Siglo XXI

Hombre del Siglo XXI

Stephen Willats

Museo Tamayo Ciudad de México, México 01/21/2015 –

  Stephen Willats: Hombre del siglo XXI, es una exposición individual del artista inglés que presenta piezas que abarcan diversos periodos de su producción. La muestra se centra en tres aspectos de su obra: su traslado de la abstracción a la comunicación, la función social del arte y su práctica interdisciplinaria; y su compromiso con la

Stephen Willats: Hombre del siglo XXI, es una exposición individual del artista inglés que presenta piezas que abarcan diversos periodos de su producción. La muestra se centra en tres aspectos de su obra: su traslado de la abstracción a la comunicación, la función social del arte y su práctica interdisciplinaria; y su compromiso con la cibernética.

The Reason We No Longer Speak The Reason We No Longer Speak

The Reason We No Longer Speak

Jesse Stecklow

Farhenheit Los Angeles, California, USA 01/31/2015 – 04/18/2015

The Reason We No Longer Speak is an exhibition by David Douard (b. 1983 in Perpignan, France, lives and works in Paris) that also includes interventions by Los Angeles-based artists, Liz Craft (b. 1970 in Los Angeles, lives and works in Los Angeles) and Jesse Stecklow (b. 1993 in Cambridge, lives and works in Los

The Reason We No Longer Speak is an exhibition by David Douard (b. 1983 in Perpignan, France, lives and works in Paris) that also includes interventions by Los Angeles-based artists, Liz Craft (b. 1970 in Los Angeles, lives and works in Los Angeles) and Jesse Stecklow (b. 1993 in Cambridge, lives and works in Los

La Lona

La Lona

Santiago Sierra

Labor México City, México 02/03/2015 – 03/21/2015

LABOR is proud to exhibit La lona (Tarpaulin), Santiago Sierra’s (Madrid, 1966) first show as an artist represented by the gallery, and who since 2007 has not had a solo show in our country. Sierra’s work has been marked by the translation into the artistic practice of the inhuman aspects of the economic system, the

LABOR se complace en exhibir La lona, primera exposición de Santiago Sierra (Madrid, 1966) como artista representado por la galería, y quien desde el 2007 no había expuesto individualmente en nuestro país. El trabajo de Sierra se ha caracterizado por traducir en la práctica artística los aspectos inhumanos del sistema económico, de los mecanismos de

Para um corpo pleno de vazios

Para um corpo pleno de vazios

Curated by Manuela Moscoso

Galeria Jacqueline Martins São Paulo, Brazil 02/10/2015 – 03/21/2015

Movement Martha, you are from Maceió, a city in the Northeast of Brazil. I haven’t been to that region yet, but I can imagine that at that time (1968) the Northeast was even further away from the metropolises of Rio de Janeiro and São Paulo. I ima- gine as well that much courage, and above

Movement Martha, you are from Maceió, a city in the Northeast of Brazil. I haven’t been to that region yet, but I can imagine that at that time (1968) the Northeast was even further away from the metropolises of Rio de Janeiro and São Paulo. I ima- gine as well that much courage, and above