Contemporary Art in the Americas Arte Contemporáneo en las Américas
The real world does not take flight The real world does not take flight

The real world does not take flight

Rodrigo Hernández

Pivô São Paulo, Brasil 09/02/2018 – 10/27/2018

Pivô presents The real world does not take flight in its Annual Exhibitions Programme. This is the first solo show in Brazil by Mexican artist Rodrigo Hernández and is the outcome of a two months residency at Pivô, where the artist developed cardboard sculptures and an installation directly in the exhibition space. The title is appropriated from the

Rodrigo Hernández. The real world does not take flight. Installation at Pivô, São Paulo 2018. Image courtesy of the artist and Pivô Rodrigo Hernández. The real world does not take flight. Installation at Pivô, São Paulo 2018. Image courtesy of the artist and Pivô Rodrigo Hernández. The real world does not take flight. Installation at Pivô,

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

20º Festival de Arte Contemporânea Sesc_Videobrasil, at Sesc Pompeia, São Paulo 20º Festival de Arte Contemporânea Sesc_Videobrasil, at Sesc Pompeia, São Paulo

20º Festival de Arte Contemporânea Sesc_Videobrasil, at Sesc Pompeia, São Paulo

by Dorothée Dupuis São Paulo, Brazil 10/03/2017 – 01/14/2018

Videobrasil 2017: For Fairer Trades It was amidst the various affairs of censorship that occurred in Brazil’s art world over the course of 2017 that the 20th Videobrasil Festival opened last October. Censorship in this case was the sign of the hardening of Brazilian politics following Dilma Rousseff’s impeachment last year, and of the rise of conservative forces

Tatewaki Nio, Neo-andina #102, de la serie Neo-andina (2016). Imagen cortesía de 20º Festival de Arte Contemporânea Sesc_Videobrasil Videobrasil 2017: Por comercios más justos Fue entre varios casos de censura ocurridos durante el año 2017 en el mundo del arte en Brasil que el 20° Festival Videobrasil inició el pasado octubre. La censura, en este caso,

Every forest madly in love with the moon has a highway that crosses it from one side to the other Every forest madly in love with the moon has a highway that crosses it from one side to the other

Every forest madly in love with the moon has a highway that crosses it from one side to the other

Rodrigo Hernández

kurimanzutto Ciudad de México 02/06/2016 – 03/17/2016

Curated by Chris Sharp Working with the most classical media and techniques of art making, including drawing, sculpture and painting, Hernández’s practice interrogates the nature of art, the divisions that characterize it, and their relationship to contemporary epistemology. For all the apparent naïveté of his work, it takes nothing for granted, asking what a drawing is or a figure or even

Curada por Chris Sharp La práctica de Hernández, al trabajar con los medios más tradicionales de la creación artística que incluyen dibujo, escultura y pintura, interroga la naturaleza misma del arte, las divisiones que la caracterizan y su relación con la epistemología contemporánea. La aparente ingenuidad de su trabajo no toma nada por sentado, preguntándose qué es el dibujo, la

Como fantasmas que vienen de las sombras… y en las sombras, se van Como fantasmas que vienen de las sombras… y en las sombras, se van

Como fantasmas que vienen de las sombras… y en las sombras, se van

A project by Juan Caloca and Andrés Villalobos

ESPAC Ciudad de México, México 10/30/2015 – 02/14/2016

ESPAC is a private non-profit organization dedicated to encouraging and promoting the artistic practices through the creation of knowledge, taking as starting point our contemporary art collection. Three programs define our work: Audiovisual Art, Contemporary Painting and New Proposals. In anticipation of the presentation of the program dedicated to new proposals, which will begin this

ESPAC es una Asociación Civil sin fines de lucro, dedicada a fomentar y promover las prácticas artísticas por medio de la creación de conocimiento, tomando como punto de partida su colección de arte contemporáneo. Los tres programas que definen las rutas de trabajo son de arte audiovisual, nuevas propuestas y pintura contemporánea. En anticipación a

Go, gentle scorpio

Go, gentle scorpio

Rodrigo Hernández

Parallel Oaxaca, México 12/19/2014 – 01/11/2015

“The head is the most important part of the figure, The body and the legs are less weighty Active hands are emphasized, like speaking mouths Quantity is used to emphasize intensity. Inactive, unimportant or uninteresting parts are only indicated or neglected. There are even figures without bodies. You will find without my explanation in which

“La cabeza es la parte más importante de la figura, El cuerpo y las piernas son menos pesadas. Las manos activas son enfatizadas, como bocas parlantes. La cantidad es usada para enfatizar la intensidad. Partes inactivas, sin-importancia o sin-interés son solo indicadas o negadas. Hay inclusive figuras sin cuerpos. Encontrarían, sin mi explicación, en qué