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.

Vivian Suter and Elisabeth Wild Vivian Suter and Elisabeth Wild

Vivian Suter and Elisabeth Wild

Elisabeth Wild

Karma International Los Angeles, California, USA 09/15/2017 – 10/28/2017

The gravel avocado and mango trees in their green                 shadows            Volcanoes,                 and their shoot The paintings breath    The paintings move and are moved by the wind              the     

Installation view at Vivian Suter and Elisabeth Wild by Karma International, Los Angeles, 2017. Photo courtesy of the artists and the gallery. Installation view at Vivian Suter and Elisabeth Wild by Karma International, Los Angeles, 2017. Photo courtesy of the artists and the gallery. Installation view at Vivian Suter and Elisabeth Wild by Karma International, Los Angeles,

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

Mundos Alternos: Art and Science Fiction in the Americas at UCR ARTSblock Mundos Alternos: Art and Science Fiction in the Americas at UCR ARTSblock

Mundos Alternos: Art and Science Fiction in the Americas at UCR ARTSblock

by Sabrina Tarasoff Riverside, California 09/16/2017 – 02/04/2018

The future is their inseparability yet, at least for the moment, the artists in this show who focus on their slipstream artworks, present islands of materiality for salvation. —Tyler Stallings[1] In 1899, the story goes, two US American sailors left their native shores on a set course for a scientific mission in Southern Polynesia. Their

  Héctor Hernández, Bulca, 2015. Imagen cortesía del artista y UCR ARTSblock. “El futuro es su inseparabilidad y, al menos por el momento, los artistas en esta exhibición que se centran en sus obras de arte, presentan islas de materialidad para la salvación.” – Tyler Stallings.[1] En 1899, como dice la historia, dos marineros estadounidenses

Dysfunctional Formulas of Love Dysfunctional Formulas of Love

Dysfunctional Formulas of Love

Curated with Corazón Del Sol and Víctor Albarracín Llanos

The Box Los Angeles, California, USA 09/17/2017 – 11/04/2017

Artists: Andrés Felipe Uribe, Andrés Matute, Beatriz Eugenia Díaz, Breyner Huertas, Carlos Bonil, Carolina Caycedo, Corazón Del Sol, Eider Yangana, Eusebio Siosi, Gabriel Mejía, Gala Porras-Kim, Henry Palacio, Jennifer Rojas, Juan Guillermo Tamayo, Julio Giraldo, Liliana Vélez, Lorena Espitia, María Angélica Madero, María Buenaventura, María Isabel Rueda, María Mercedes Salgado, Mario Llano, Milena Bonilla, Mugre, Nicolás Vizcaíno, Richard Bent Cano, Tupac Cruz, Vanesa Ortiz, Víctor Albarracín Llanos, William Contreras Alfonso, Wilson Díaz, Yaron Michael Hakim Dysfunctional Formulas of Love brings together 32 Colombian artists in order

Carlos Bonil, Choral Machine: Routine #, 2017, Video animation, obsolete appliances, transformed computer speakers. Dimensions: variable. Courtesy: the artist and The Box, LA. Fredrik Nilsen Studio. Beatriz Eugenia Díaz, Aria No. 23 (left) & Aria No. 15 (right), 2017 (both). Video (left), oil on paper (right),4:44 mins (left), 13 x 69 inches (right). Courtesy: the

Dismantling Gorostiza

Dismantling Gorostiza

Jorge Méndez Blake

1301PE Los Angeles, California, USA 09/09/2017 – 10/21/2017

As part of Pacific Standard Time: LA/LA, 1301PE presents its third exhibition, Dismantling Gorostiza, with Jorge Méndez Blake. Méndez Blake who is known for his play between art, literature and architecture exhibit a new body of work based on multiple texts by Mexican, modern writer José Gorostiza (10 November 1901 – 16 March 1973). Méndez

Jorge Méndez Blake, Dismantling Gorostiza, 2017. Installation view at 1301PE, Los Angeles. Photo: Chris Adler. Jorge Méndez Blake, Dismantling Gorostiza, 2017. Installation view at 1301PE, Los Angeles. Photo: Chris Adler. Detail, Jorge Méndez Blake, Dismantling Gorostiza (Muerte sin fin) / Desmantelando a Gorostiza (Muerte sin fin), 2017, Acrylic on linen, 78 x 95.7 inches. As part of Pacific

Radical Women: Latin American Art, 1960-1985, at Hammer Museum, Los Angeles, USA Radical Women: Latin American Art, 1960-1985, at Hammer Museum, Los Angeles, USA

Radical Women: Latin American Art, 1960-1985, at Hammer Museum, Los Angeles, USA

By Nika Simone Chilewich Los Angeles, California, USA 09/15/2017 – 12/31/2017

Radical Women: Latin American Art, 1960-1985 is one of the major exhibitions to come out of Pacific Standard Time: Latin American & Latino Art in LA (LA/LA). Funded by the Getty Foundation [1] the third iteration of this regional program opened this September in over 70 museum institutions and countless galleries and performance spaces from San Diego to

Paz Errázuriz (Chilean, b. 1944), La Palmera (The palm tree), from the series La manzana de Adán (Adam’s Apple), 1987. Gelatin silver print. 15 9/16 × 23 1/2 in. (39.5 × 59.7 cm). Courtesy of the artist and Galeria AFA, Santiago. Artwork © the artist. Radical Women: Latin American Art, 1960-1985 es una de las exposiciones más importantes