Contemporary Art in the Americas Arte Contemporáneo en las Américas
G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg) G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg)

G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg)

Adriana Minoliti

Cherry and Martin Los Angeles, California, USA 09/12/2017 – 11/04/2017

Minoliti’s exhibition, G.S.F.C. 2.0 (Geometrical Sci-Fi Cyborg), includes paintings, wall murals and domestic environments that build upon the artist’s exploration of the relationship between eroticism, queer theory, history and geometry. Minoliti’s “cyborg paintings” are made through a mixture of hand and machine. First the canvas is stenciled and airbrushed to create a color landscape with outlines of anthropomorphized

Ad Minoliti, G.S.F.C. #4, 2017. Acrylic on printed canvas. 38.2 x 38.2 in / 97 x 97 cm. © Adriana Minoliti. Courtesy Cherry and Martin, Los Angeles At the bottom: Yaoska Davila, Picasso Asshole. Espresso brown sear sucker silk, cotton Lutyens blue, chainette fringe, foam insert, down feather insert bolster cushions: 6 x 23 x

Nobilitas: De sangre azul y otros mitos Nobilitas: De sangre azul y otros mitos

Nobilitas: De sangre azul y otros mitos

María José Argenzio

Espacio KB Bogotá, Colombia 10/19/2017 – 11/29/2017

La exposición Nobilitas: De sangre azul y otros mitos es una mirada crítica a las aspiraciones de las clases sociales altas en Ecuador. La muestra está pensada a modo de puesta en escena donde se simula una corte de la realeza con la que la artista busca resaltar el carácter ilusorio de las pretensiones de

Banderín (Pared de choza), 2015-2017. Tela de algodón bordada con hilo de rayón y barra de madera, 117 x 99 x 3 cm. Cortesía de Espacio KB Con Nombre y Apellidos, 2017. Madera tallada, papel japonés con aplicaciones de orete y cortinas de terciopelo. Dimensiones variables.  Cortesía de Espacio KB Vista de la exposición Nobilitas:

Arthur, Janina, Marco e Pedro Arthur, Janina, Marco e Pedro

Arthur, Janina, Marco e Pedro

Arthur Chaves, Janina McQuoid, Marco Veloso, Pedro França

Jacaranda Rio de Janeiro, Brasil 09/30/2017 – 11/18/2017

A friar went around asking. Arrived at the door of a farmer, who did not want to give him alms. The friar was falling in hunger and said: – I will see about making stone soup! And took a stone from the ground, shook off its dirt and started to admire it, to see if it

Installation view. Arthur, Janina, Marco e Pedro, 2017. Courtesy of Jacaranda, Rio de Janeiro. Photo credit: Pedro França Installation view. Arthur, Janina, Marco e Pedro, 2017. Courtesy of Jacaranda, Rio de Janeiro. Photo credit: Pedro França Installation view. Arthur, Janina, Marco e Pedro, 2017. Courtesy of Jacaranda, Rio de Janeiro. Photo credit: Pedro França A

White Washed America White Washed America

White Washed America

Rubén Ortiz Torres

Royale Projects Los Angeles, California, USA 09/24/2017 – 12/10/2017

Royale Projects is proud to present Rubén Ortiz Torres’ first major solo exhibition in Southern California since 2011. This exhibition highlights new works including the tricked-out, hydraulic shopping cart titled Shopping Hopper and interactive paintings and sculptures influenced by low-rider cars, punk, anarchism, minimalism, and the destruction and now preservation of David Siqueiros’ mural América Tropical in Los Angeles.

Installation view. Rubén Ortiz Torres, White Washed America, 2017. Courtesy Royale Projects, Los Angeles Black Flag (detail), 2014. Urethane and metajuls paint on aluminum and corafoam, 72 x 24 x 6 each. Courtesy Royale Projects, Los Angeles Installation view. Rubén Ortiz Torres, White Washed America, 2017. Courtesy Royale Projects, Los Angeles Royale Projects is proud to present Rubén Ortiz

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

O Sagrado é Amor O Sagrado é Amor

O Sagrado é Amor

Ernesto Neto

Fortes D'Aloia & Gabriel São Paulo, Brazil 10/21/2017 – 12/02/2017

Fortes D’Aloia & Gabriel presents O Sagrado é Amor [The Sacred is Love], the new exhibition by Ernesto Neto at our Galeria site. The artist shows wearable sculptures and an installation that invite the public to slow down the chaotic rhythm of urban life and to enjoy moments of introspection, calming the mind and activating the

Exhibition view of O Sagrado é Amor, 2017. Courtesy of Fortes D’Aloia & Gabriel. Selfie Amor, 2017. Gouache on paper, 35 x 44 x 3.5 cm. Courtesy of Fortes D’Aloia & Gabriel. O Silêncio é uma Forma de Oração, 2017. Copper, 20 x 15 cm (each, approx.). Courtesy of Fortes D’Aloia & Gabriel. Fortes D’Aloia &

Nunca Godo

Nunca Godo

Diego Salvador Ríos

Lodos Ciudad de México 10/07/2017 – 11/18/2017

Diego, papito, papá Pinillos, Before the past takes everything away, I would like to share with you some images that have stuck in my head. Actually, they all talk about the past, so don’t feel the need to trust them. Inevitably they will disappear. They are only representations. Ideas about you. Or rather, reproductions of

Installation view. Diego Salvador Rios, Nunca Godo, 2017. Imagen cortesía de Lodos. Installation view. Diego Salvador Rios, Nunca Godo, 2017. Imagen cortesía de Lodos. Installation view. Diego Salvador Rios, Nunca Godo, 2017. Imagen cortesía de Lodos. Diego, papito, papá Pinillos, Antes de que todo se lo lleve el pasado, quisiera compartirte algunas imágenes que se

I Am The Door

I Am The Door

Los Super Elegantes

Gavlak Los Angeles, Californa, USA 09/09/2017 – 11/04/2017

Gavlak presents I Am The Door, an exhibition that offers a glimpse into the history of the exuberant, collaborative duo, Los Super Elegantes. This exhibition is a participant of Pacific Standard Time: LA/LA, led by the Getty. In 1994, Martiniano Lopez-Crozet (b. Buenos Aires, Argentina, 1966) and Milena Muzquiz (b. Tijuana, Mexico, 1972) began practicing experimental entertainment

Installation view. Los Super Elegantes, I Am the Door, 2017. Image courtesy of Gavlak. Installation view. Los Super Elegantes, I Am the Door, 2017. Image courtesy of Gavlak. Installation view. Los Super Elegantes, I Am the Door, 2017. Image courtesy of Gavlak. Gavlak presents I Am The Door, an exhibition that offers a glimpse into the

Una contrahistoria de los sesenta en México

Una contrahistoria de los sesenta en México

Grupo Mira

Museo Amparo Puebla, México 08/05/2017 – 11/06/2017

El Museo Amparo presenta la exposición Grupo Mira. Una contrahistoria de los setenta en México, que se inauguró el sábado 5 de agosto a las 12:00 horas con una charla a cargo de Annabela Tournon, curadora de la exposición. La exposición Grupo Mira. Una contrahistoria de los setenta en México narra la trayectoria de un

Vista de la exhibición Grupo Mira. Una contrahistoria de los sesenta en México, 2017. Imagen cortesía de Museo Amparo. Grupo 65, Los Inmigrantes (fragmento), 1971. Archivo personal de Arnulfo Aquino. Imagen cortesía de Museo Amparo. Vista de la exhibición Grupo Mira. Una contrahistoria de los sesenta en México, 2017. Imagen cortesía de Museo Amparo. El Museo Amparo