Contemporary Art in the Americas Arte Contemporáneo en las Américas
MARGINALIA #22

MARGINALIA #22

Paloma Contreras Lomas 03/01/2017 – 03/31/2017

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.   Want me to tell

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.   ¿Quieres

Memorándum

Memorándum

Héctor Zamora

Museo Universitario del Chopo Mexico City, México 03/01/2017 – 06/25/2017

Comienzan las máquinas, casi has olvidado el momento en que no había ruido. El estricto orden en la escritura de los documentos que no va hacia ninguna parte, que no serán leídos mas que por algunas polillas o abogado de oficio, que se aventura ante las colosales pilas que narran la invención del mundo moderno.

Héctor Zamora, Memorándum, 2017. 210 x 143 x 5 cm (82.68 x 56.3 x 1.97 inches). Cortesía del artista y LABOR, México. Fotografía por Ramiro Chaves. Héctor Zamora, Memorándum, 2017. 210 x 143 x 5 cm (82.68 x 56.3 x 1.97 inches). Cortesía del artista y LABOR, México. Fotografía por Ramiro Chaves. Héctor Zamora, Memorándum,

Wir sind das Volz

Wir sind das Volz

Mathis Altmann

Freedman Fitzpatrick Los Angeles, California, USA 03/12/2017 – 04/22/2017

There is no literal English translation for “Wir sind das Volz”. There isn’t even one in German. It’s something totally made up. It’s bullshit. Back in Zürich, in autumn of 2016, I discovered a sub-slogan at the local lumber supply, claiming “Wir sind das Holz” (“We are the wood”). Since then, whenever I buy plywood

Mathis Altmann, Wir sind das Volz. Installation View. Freedman Fitzpatrick, Los Angeles. March 12 – April 22, 2017. Courtesy of the artist and Freedman Fitzpatrick, Los Angeles. Photo: Mathis Altmann. Mathis Altmann, Wir sind das Volz. Installation View. Freedman Fitzpatrick, Los Angeles. March 12 – April 22, 2017. Courtesy of the artist and Freedman Fitzpatrick,

Paráfrasis del estrago: Cynthia Gutiérrez en el Museo de Arte Raúl Anguiano, Guadalajara, México Paráfrasis del estrago: Cynthia Gutiérrez en el Museo de Arte Raúl Anguiano, Guadalajara, México

Paráfrasis del estrago: Cynthia Gutiérrez en el Museo de Arte Raúl Anguiano, Guadalajara, México

By Yara Patiño Estévez Museo de Arte Raúl Anguiano, Guadalajara, México 11/24/2016 – 04/02/2017

Matria 8. Melody of shadows First there is a calculation. There is a wall that divides the entrance and obligates you to choose one of two possible directions. One way is partially blocked by a pile of almost identical heads. Almost, because although they are plaster reproductions from the same model, each has unique coloration:

Paráfrasis del estrago, 2016. Texto de vinil adhesivo removido del muro. Dimensiones variables. Cortesía de la artista y Museo de Arte Raúl Anguiano, Guadalajara. Matria 8. Melodía de sombras Primero se calcula. Hay un muro que raciona la entrada y obliga a elegir una de dos posibles direcciones. Uno de los caminos está semi-bloqueado por

Céu Torto Céu Torto

Céu Torto

Marcelo Cipis & Hayley Silverman

Boatos Fine Arts São Paulo, Brazil 02/18/2017 – 04/13/2017

Curated by Attilia Fattori Franchini Boatos Fine Arts presents Céu Torto an exhibition by Brazilian artist Marcelo Cipis and New York artist Hayley Silverman. Inviting two artists from different generations and geographies, Céu Torto explores their shared interest into popular storytelling as tool to understand how identity and power are exercised in culture through referencing Hollywood cinema,

Hayley Silverman, Apparatus and other Accessories to Produce Beliefs and Magnetical Facts, 2017. Resin prayer hand, compass, ruler, level, hamsa, digital thermometer, humidity, temperature. 18 x 13 x 6,5 cm. Courtesy of the artists and BFA Boatos Fine Arts. Céu Torto, installation view, BFA Boatos Fine Arts, Sao Paulo. Courtesy of the artists and BFA

Fashion Number One Rule Number Rule Number One Fashion Number One Rule Number Rule Number One

Fashion Number One Rule Number Rule Number One

Emilio Bianchic

MIAMI Prácticas Contemporáneas Bogotá, Colombia 03/16/2017 – 03/30/2017

Fashion Number One Rule Number Rule Number One es una exposición individual del artista uruguayo Emilio Bianchic en la que nos presenta algunos de sus trabajos más recientes, atravesados por el lenguaje del Nail Art. La costumbre de dejarse crecer las uñas hasta proporciones extremas y decorarlas con sofisticados motivos y colores, viene de una

Vista de instalación (de izquierda a derecha): Uh la lá la la la lá, 2016; Fashion number one rule number rule number one, 2017; Impráctica III, 2016. Cortesía de MIAMI, Bogotá. Fotografía: Santiago Pinyol. Emilio Bianchic, Fashion number one rule number rule number one, 2017. Cortesía de MIAMI, Bogotá. Fotografía: Santiago Pinyol. Emilio Bianchic, Impráctica,

Wicker and Diapers Wicker and Diapers

Wicker and Diapers

Dylan Spaysky

Good Weather North Little Rock, Arkansas, USA 02/25/2017 – 04/08/2017

Quack quack quack. Quack. Quack. Quack quack quack quack quack. Quack quack. Quack. Quack quack. 1′ 8″ Duck (2017) A matter-of-factness sits on the storeroom shelves: a series of wicker woven busts of friends in Dylan Spaysky’s current milieu; each portrait with individualizing facial and cranial details. These substantial visible traits dovetail with an unassuming

Installation view, 2017. Courtesy of Good Weather, North Little Rock. Installation view, 2017. Courtesy of Good Weather, North Little Rock. 1′ 8″ Duck, 2017. Couch Foam, Glue, Wicker. 23 × 14 × 9 in. Courtesy of Good Weather, North Little Rock. Quack quack quack. Quack. Quack. Quack quack quack quack quack. Quack quack. Quack. Quack

Entrada libre Entrada libre

Entrada libre

Curated by Angelina Guerrero

Galería Karen Huber Mexico City, México 03/16/2017 – 03/31/2017

Artists: Héctor Madera, Ernesto Restrepo, Juan Peláez, Paulo Licona, Jose Aramburo, Juan Haag, Davide Gatti, Juan Uribe, Rafael Díaz, Laura Ceballos y Mariana Jurado. There is no need to trace the commonalities that characterize a generation or nationality. Nowadays everything is interrelated: potatoes, the PlayStation, hashtags, political videos, karaoke, landscapes, wrinkled papers, a visit to

Juan Uribe, ART CAN´T SOLVE PROBLEMS, 2017. Sublimación sobre tapete. 5 tapetes, 60 x 40 cm c/u. Cortesía: Galería Karen Huber / Espacio KB. Crédito de la foto: Octavio Rivadeneyra Mariana Jurado, My boy lollipop (Colaboración con Cristina Sánchez y Álvaro Rodríguez), 2017. Video Instalación. 2:23 minutos. Cortesía: Galería Karen Huber / Espacio KB. Crédito

Fire Sale Fire Sale

Fire Sale

Matthew Lutz-Kinoy

Mendes Wood DM São Paulo, Brazil 02/18/2017 – 03/25/2017

It’s been a while since Matthew Lutz-Kinoy last danced with fire. From the time when my thinking about his work began, this thought was tied to an idea of bodies, basically what makes and breaks them. In this exchange, I went as far as to objectify his artistic processes into a pinned down, marbled shelter,

Installation view, 2017. Courtesy of Mendes Wood DM, São Paulo. Installation view, 2017. Courtesy of Mendes Wood DM, São Paulo. Installation view, 2017. Courtesy of Mendes Wood DM, São Paulo. It’s been a while since Matthew Lutz-Kinoy last danced with fire. From the time when my thinking about his work began, this thought was tied

ZOOM .EXT

ZOOM .EXT

Adolfo Bimer

Casaplan Valparaíso, Chile 03/07/2017 – 03/31/2017

Hay que entrar para abajo, descender los peldaños hacia el subterráneo de Casaplan, en el centro de la ciudad de Valparaíso: allí se accede al nuevo montaje dispuesto por el artista Adolfo Bimer (Santiago, 1985). A partir de las planchas empleadas para la impresión de su libro Zoom, que la Editorial Vortex publicó el año

Adolfo Bimer, 271 (Revisitado), 2017. 72 Planchas de impresión offset del libro ZOOM, metalcon y tornillos autoperforantes. Dimensiones variables. Fotografía: Felipe Ugalde. Cortesía del artista. Adolfo Bimer, 271 (Revisitado), 2017. 72 Planchas de impresión offset del libro ZOOM, metalcon y tornillos autoperforantes. Dimensiones variables. Fotografía: Felipe Ugalde. Cortesía del artista. Adolfo Bimer, 271 (Revisitado), 2017.