Contemporary Art in the Americas Arte Contemporáneo en las Américas
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En colaboración con Edouard Montassut y Embajada

Aguirre Mexico City 04/14/2018 – 05/23/2018

The presentation comes together by the means of language. Language is taken here as a forced transaction and as an impossible negotiation, which leads to humor and tragedy. Humor is the ability to abstract oneself from a certain situation, from the I to the We. “You have model sentences with which you can get through life” “You can learn and

Maria Loboda, The Evolution of Kings, 2017. Image courtesy of Aguirre Installation view, 2018. Image courtesy of Aguirre Jorge González, Los ojos cuadrados de Atabei (Part 2), 2017. Image courtesy of Aguirre La muestra colectiva se reúne a través del medio del lenguaje, mientras se toma como una transacción forzada y como una negociación imposible, lo cual lleva

$€£ƒ  =  (+_+)

$€£ƒ = (+_+)

Daniel Ruanova

PARQUE Galería Ciudad de México 04/05/2018 – 05/25/2018

Obsessed with media’s visual language and border imaginaries, Daniel Ruanova has embarked on a long career in art with Tijuana as its starting point. It expands to cover an eclectic set of platforms that encourage the hybridization of the aesthetics of mass-media and digital platforms. From the exhibition’s title algorithm, the artist hints at the

History of MANIMALS III, $€£ƒ = (+_+), Daniel Ruanova, 2018. Imagen cortesía del artista y PARQUE Galería. Foto: Ramiro Chaves Signs of the time, $€£ƒ = (+_+), Daniel Ruanova, 2018. Imagen cortesía del artista y PARQUE Galería. Foto: Ramiro Chaves Less than…, $€£ƒ = (+_+), Daniel Ruanova, 2018. Imagen cortesía del artista y PARQUE Galería.

MARGINALIA #35

MARGINALIA #35

by Gerardo Contreras 04/01/2018 – 04/30/2018

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.   Let me turn your

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.   Let

The Lulennial II: A Low-Hanging Fruit The Lulennial II: A Low-Hanging Fruit

The Lulennial II: A Low-Hanging Fruit

Curated by Andrew Berardini and Chris Sharp

Lulu Mexico City, Mexico February 6, 2018 – April 1, 2018

Artists: Yuji Agematsu, Kelly Akashi, Derya Akay, Nina Beier, Luis Miguel Bendaña, Meriem Bennani, Matthew Brannon, Donna Conlon & Jonathan Harker, Rodrigo Hernandez, Jef Geys, Allison Katz, Adriana Lara, Nancy Lupo, Nevine Mahmoud, Aliza Nisenbaum, Naufus Ramirez-Figueroa, Shimabuku, Peter Shire, Gabriel Sierra, Erika Verzutti, Maja Vukoje, Amelie von Wulffen Lulu presents the second edition of

Group show. Installation view of The Lulennial II: A Low-Hanging Fruit, at Lulu, Mexico City, 2018. Courtesy of Lulu Nina Beier, Scheme, 2014. Produce from online organic fruit and vegetable box scheme, dimensions variable. Courtesy of Lulu Group show. Installation view of The Lulennial II: A Low-Hanging Fruit, at Lulu, Mexico City, 2018. Courtesy of Lulu

FICUNAM 2018, Mexico City FICUNAM 2018, Mexico City

FICUNAM 2018, Mexico City

By Germán Martínez Martínez Mexico City 02/28/2018 – 03/06/2018

FICUNAM and the political: The Travis Wilkerson retrospective The political character of a work of art is not determined by its invocation of particular issues. The work of filmmaker Travis Wilkerson (USA, 1969) presents a valuable opportunity to reflect on the political in film. The common response to his cinematic work is to assume, based on

Still de Did You Wonder Who Fired the Gun (2017). Imagen cortesía de FICUNAM FICUNAM y lo político: la retrospectiva de Travis Wilkerson El carácter político de una obra de arte no está en las menciones que haga de ciertos asuntos. La obra fílmica de Travis Wilkerson (EE.UU., 1969) ofrece una excelente oportunidad para reflexionar alrededor

The blind leading the blind

The blind leading the blind

Peter Buggenhout

Galeria Hilario Galguera Mexico City, Mexico 10/26/2017 – 03/17/2018

VISITING THE IMPOSSIBLE: ON THE SCULPTURE OF PETER BUGGENHOUT Ory Dessau The Blind Leading the Blind is Peter Buggenhout’s first solo exhibition with Galeria Hilario Galguera. Comprising works from four different series—Mont Ventoux, The Blind Leading the Blind, Gorgo, and Mute Witness—the presentation outlines various fundamental aspects of his sculptural practice while at the same

Peter Buggenhout. Exhibition view of The blind leading the blind, Galería Hilario Galguera, Mexico City, 2017. Courtesy of Galería Hilario Galguera. Photo credit: Sergio López Peter Buggenhout. Exhibition view of The blind leading the blind, Galería Hilario Galguera, Mexico City, 2017. Courtesy of Galería Hilario Galguera. Photo credit: Sergio López Peter Buggenhout. Exhibition view of The blind leading

Legado Fantasma Legado Fantasma

Legado Fantasma

Théo Mercier

Galería Marso Mexico City, México 11/10/2017 – 01/13/2018

For the Phantom Legacy project, Théo Mercier has decided to tear down the old walls and ceilings of the exhibition halls of the MARSO gallery. The debris lays on the floor in the manner of a ruin. There is something of the history of the place that collapses with this act. The remains of the

Théo Mercier. Vista de la exhibición Legado Fantasma, Galería Marso, Ciudad de México, 2017. Cortesía Galería Marso y Théo Mercier Théo Mercier. Vista de la exhibición Legado Fantasma, Galería Marso, Ciudad de México, 2017. Cortesía Galería Marso y Théo Mercier Théo Mercier. Vista de la exhibición Legado Fantasma, Galería Marso, Ciudad de México, 2017. Cortesía

Regañando Regañando

Regañando

Curated by Dorothée Dupuis

Squash Editions Mexico City 11/10/2017 – 11/12/2017

A group show curated by Dorothée Dupuis. With Fabienne Audéoud, Andrew Birk, Andrea Bowers, Dan Finsel, Ana Gallardo, Natalia Ibáñez Lario, Héctor Jiménez, Paloma Contreras Lomas, Érika Ordosgoitti, Lili Reynaud-Dewar, Betzabeth Torres, Claire Van Lubeek and a book by Sophie Calle. Regañando invites 13 Mexican and international artists who employ in their work a rhetoric

Regañando, 2017. Vista de la exposición en Squash Editions. Cortesía de Squash Editions Regañando, 2017. Vista de la exposición en Squash Editions. Cortesía de Squash Editions Regañando, 2017. Vista de la exposición en Squash Editions. Cortesía de Squash Editions Una exposición colectiva curada por Dorothée Dupuis. Con Fabienne Audéoud, Andrew Birk, Andrea Bowers, Dan Finsel,

Perhaps esperanza waiting or sunset Perhaps esperanza waiting or sunset

Perhaps esperanza waiting or sunset

Rometti Costales

joségarcía ,mx Mexico City, México 10/14/2017 – 12/16/2017

It was 1979 when anthropologist Walter F. Morris Jr. published A catalog of textiles and folkart of Chiapas, an extensive inventory of three fabric collections, patterns and other regional objects. In this self-edited volume black&white, almost abstract images, which reduce the cataloged artifacts to a series of contrasting planes, appear along with greatly detailed descriptive texts. Few Augusts ago,on

Rometti Costales, Installation view, 2017. Courtesy of joségarcÍa ,mx. Photo: White Balance Rometti Costales, Installation view, 2017. Courtesy of joségarcÍa ,mx. Photo: White Balance Rometti Costales, around the mouth and eyes, 2017. Variable dimensions. Courtesy of joségarcÍa ,mx. Photo: White Balance Corría el año 1979 cuando el antropólogo Walter F. Morris Jr. publica A Catalog of

Djamil Djamil

Djamil

Lin May Saeed

Lulu Mexico City, México 09/30/2017 – 11/18/2017

Lin May Saeed makes sculptures, sculptural reliefs, drawings, works on paper and video. Known to use non-traditional materials, such as and especially styrofoam, Saeed’s work is directly linked to and thematically informed by her interest in animals and her commitment to animal activism. Her work deals with the exploitation of animals, their depiction, liberation, and

Lin May Saeed, Mural, 2017. Charcoal drawing in situ, Dimensions variable. Image courtesy of Lulu. Installation view. Image courtesy of Lulu. Lin May Saeed, Teneen Albaher Relief III, 2017. Styrofoam, steel, acrylic paint, 33,5 x 47 x 12,5 cm. Image courtesy of Lulu. Lin May Saeed hace escultura, relieves escultóricos, dibujos, trabajos en papel y