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

Martín Ramírez. His Life in Pictures, Another Interpretation, at ICA, Los Angeles Martín Ramírez. His Life in Pictures, Another Interpretation, at ICA, Los Angeles

Martín Ramírez. His Life in Pictures, Another Interpretation, at ICA, Los Angeles

by Daniel Garza Usabiaga Los Angeles, California, USA 09/09/2017 – 12/31/2017

Around 1958, Esther McCoy took a photograph of Juan O’Gorman during his visit to Watts Towers in Los Angeles. In the image, the Mexican architect lifts his head to take in the sculptures built by Simon Rodia between 1921 and 1954. Rodia was an Italian immigrant who moved to the United States in 1895 at

Existe una fotografía de Juan O´Gorman, tomada por Esther McCoy alrededor de 1958, durante su visita a las Torres Watts en Los Ángeles. En esta imagen, el arquitecto mexicano observa, levantando el rostro, esta construcción edificada por Simon Rodia entre 1921 y 1954. Rodia fue un inmigrante italiano que se estableció en los Estados Unidos

León Ferrari at REDCAT & Juan José Gurrola at House of Gaga, Los Angeles León Ferrari at REDCAT & Juan José Gurrola at House of Gaga, Los Angeles

León Ferrari at REDCAT & Juan José Gurrola at House of Gaga, Los Angeles

By Michaela Bathrick Los Angeles, California, USA 09/13/2017 – 12/17/2017

The Getty’s Pacific Standard Time: LA/LA is charged with revisiting, if not revising, history through art. A huge number of the exhibitions which collectively make up PST are invested in giving due attention to artists and movements which have been left out of the western art narrative. Two such artists are León Ferrari, with work

Vista de instalación. Juan José Gurrola, 1966-1989, en House of Gaga. Imagen cortesía de House of Gaga. El festival del Getty, Pacific Santandard Time: LA/LA esta encargado de volver a visitar, si no de revisar, la historia a través del arte. Una gran cantidad de las exposiciones que colectivamente componen PST se comprometen en prestar

Bearing Witness Bearing Witness

Bearing Witness

Regina José Galindo

Baik Art Los Angeles, California, USA 09/09/2017 – 10/28/2017

Baik Art presents Bearing Witness, a solo exhibition by Regina José Galindo, contemporary Guatemalan performance artist born in 1974, 14 years into the bloody, 36-year armed conflict in Guatemala. By pushing her body to the limit and creating works that depict her own reality as both a Guatemalan and a woman, Galindo challenges the inequities and

Regina José Galindo, Libertad Condicional/Contional Freedom, 2009. Photos, chains, stakes, padlocks, ring of keys. 8 x 10 in. and dimensions variable. Courtesy of the artist and Baik Art. Photo: Michael Underwood Regina José Galindo, Installation view, 2003-2017. Photos, videos, mixed media. Dimensions variable. Courtesy of Baik Art. Photo: Michael Underwood Regina José Galindo, Tierra/Earth, 2013.

Primordial Saber Tararear Proverbiales Sílabas… Primordial Saber Tararear Proverbiales Sílabas…

Primordial Saber Tararear Proverbiales Sílabas…

Curated by Abraham Cruzvillegas and Gabriel Kuri

Regen Projects Los Angeles, California, USA 09/09/2017 – 10/28/2017

Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas Regen Projects presents an exhibition curated by gallery artists Abraham Cruzvillegas and Gabriel Kuri concurrent with Pacific Standard Time: Los Angeles / Latin America. The exhibition examines the influence of the Latin American diaspora by bringing together a group of works by

Installation view of Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas – Pedro Salazar Torres (Partido Socialista Trabajador), curated by Abraham Cruzvillegas and Gabriel Kuri, on the occasion of Pacific Standard Time: LA/LA. Regen Projects, Los Angeles. September 9 – October 28, 2017. Photo: Brian Forrest, Courtesy Regen

El eje del mal

El eje del mal

Radamés "Juni" Figueroa, Adriana Lara, Adriana Martínez, and more...

Ruberta Los Angeles, California, USA 09/10/2017 – 10/22/2017

El eje del mal is the inaugural exhibition at Ruberta, a new collaborative exhibition space in Glendale shared by Galería Agustina Ferreyra (Mexico City / San Juan), Lodos (Mexico City), Proyectos Ultravioleta (Guatemala City), CARNE (Bogota), and BWSMX (Mexico City). Each year, Ruberta will play host to one group exhibition involving all of the participating

Installation view (Diego Salvador Rios, Radamés “Juni” Figueroa, Mariana Murcia). Image courtesy of Ruberta. Cristina Tufiño, Lady Joker, 2017. Cold-finished ceramic. 8” x 7” x 4”. Image courtesy of Ruberta. Cristina Tufiño, Laugh Now Cry Later, 2017. Vinyl on wall. Variable dimensions. Image courtesy of Ruberta. El eje del mal es la exposición con la que se

Home — So Different, So Appealing Home — So Different, So Appealing

Home — So Different, So Appealing

Curated by Chon Noriega, Mari Carmen Ramírez and Pilar Tompkins Rivas

LACMA Los Angeles, California, USA 06/11/2017 – 10/15/2017

Artists: Laura Aguilar, Allora & Calzadilla (Jennifer Allora & Guillermo Calzadilla), Carmen Argote, Andres Asturias, Luis Cruz Azaceta, Myrna Báez, Antonio Berni, Johanna Calle, Luis Camnitzer, Leyla Cárdenas, Livia Corona Benjamin, Abraham Cruzvillegas, Gabriel de la Mora, Perla de Leon, Christina Fernandez, León Ferrari, Ramiro Gomez, Beatriz González, María Elena González, Felix González -Torres, María Teresa Hincapié, Salomón Huerta, Jessica Kairé, Guillermo Kuitca, Daniel Joseph Martinez, Antonio Martorell, Gordon Matta-Clark, Amalia Mesa-Bains, Mondongo (Juliana Lafitte & Manuel Mendanha), Raphael Montañez Ortiz, Julio Cesar Morales, Jorge

Laura Aguilar, In Sandy’s Room, 1989, Gelatin silver print, 52 × 42 3/4 in. (132.08 × 108.59 cm), Courtesy of UCLA Chicano Studies Research Center and Library & Archive, © Laura Aguilar Installation photo featuring Pepón Osorio’s Badge of Honor, 1995 in the exhibition Home—So Different, So Appealing at the Los Angeles County Museum of Art, June 11, 2017

A Decolonial Atlas: Group show at Vincent Price Art Museum, Los Angeles A Decolonial Atlas: Group show at Vincent Price Art Museum, Los Angeles

A Decolonial Atlas: Group show at Vincent Price Art Museum, Los Angeles

By Alexia Veytia-Rubio Los Angeles, California, USA 04/22/2017 – 07/22/2017

In the exhibition entitled A Decolonial Atlas: Strategies of Contemporary Art in the Americas, we encounter the questions Latin American artists face when it comes to their artistic practices’ contextualization in the contemporary environment that has historically been monopolized by notions of art based on the legacies of Occidental ideology. Curated by Pilar Tompkins-Rivas—who has

A Decolonial Atlas: Strategies in Contemporary Art of the Americas (installation shot), 2017. Photograph by Monica Orozco. Courtesy of the Vincent Price Art Museum, Los Angeles. Un Atlas Decolonial: Exposición colectiva en el Vincent Price Art Museum, Los Ángeles En la exhibición Un Atlas Decolonial: Estrategias en Arte Contemporáneo de las Américas nos encontramos con las cuestiones