Contemporary Art in the Americas Arte Contemporáneo en las Américas
MARGINALIA #8

MARGINALIA #8

by Cráter Invertido 09/01/2015 – 09/30/2015

We are only drawn to the seducing images stemming from collapse; the ones that exert seduction over collapse itself. We wanted to make evident the imminent fall provoked by those who hold power. And, in turn, we like to see them failing imminently. To be more clear, we are looking for contradiction and we help

De los colapsos solo nos gustan las imágenes que seducen; pero que seducen al propio colapso. Quisimos evidenciar con esta serie de figuraciones la caída inminente siendo provocada por quien sustenta el poder. Y nos gusta verlos a ellos mismos caer inminentemente. Para ser más claros, buscamos la contradicción y de ahí nos servimos. La

Enredos Enredos

Enredos

Christopher Cozier

TEOR/éTica San José, Costa Rica 07/15/2015 – 09/26/2015

Masculine power choreographies Throughout more than twenty years, the work of Trinitarian cultural activator, theoretician and artist Christopher Cozier (Port of Spain, 1959) has explored the everyday forms of violence and social control exerted on the bodies. From the beginning, his work has refused to be encased into consensual politics of post-colonial Caribbean multicultural representation,

Coreografías masculinas de poder A lo largo de más de veinte años, el trabajo del activador cultural, teórico y artista trinitense Christopher Cozier (Puerto España, 1959) ha explorado las formas cotidianas de violencia y control social sobre los cuerpos. Desde un inicio, su obra se ha rehusado a encajar en las políticas consensuales de representación

Antes da última queima Antes da última queima

Antes da última queima

Raquel Versieux

Galeria Ibeu Rio de Janeiro, Brazil 08/19/2015 – 09/25/2015

Before the Ultimate Fire Disease means that the body is in a state of withdrawal and can be compared with a city under attack in which everybody can be accepted so long as they are able to climb to a higher and more fortified region so their bodies can be rescued. Whether refuge is sought

Before the Ultimate Fire Disease means that the body is in a state of withdrawal and can be compared with a city under attack in which everybody can be accepted so long as they are able to climb to a higher and more fortified region so their bodies can be rescued. Whether refuge is sought

Tree House Down

Tree House Down

Amir Mogharabi, Emanuel Röhss, Jānis Avotiņš, and more

Ibid. Los Angeles, California, USA 08/11/2015 – 09/26/2015

Artists: Amir Mogharabi, Emanuel Röhss, Jānis Avotiņš, Joe Zorrilla, Lauren Elder, Carsten Nicolai, Rallou Panagiotou, Michael Portnoy, Sebastian Lloyd Rees, Christoph Weber, David Adamo, Christopher Orr, Olivier Richon, Torbjørn Rødland, Mark Mack Ibid. Los Angeles hosts a project inviting artists to exhibit and create new works. The event broadens a research-based initiative that monitors the process of dismantling the gallery’s current premises. Tree

Artists: Amir Mogharabi, Emanuel Röhss, Jānis Avotiņš, Joe Zorrilla, Lauren Elder, Carsten Nicolai, Rallou Panagiotou, Michael Portnoy, Sebastian Lloyd Rees, Christoph Weber, David Adamo, Christopher Orr, Olivier Richon, Torbjørn Rødland, Mark Mack Ibid. Los Angeles hosts a project inviting artists to exhibit and create new works. The event broadens a research-based initiative that monitors the process of dismantling the gallery’s current premises. Tree

The Recorder Was Left On, Or The Closer I Get To The End The More I Rewrite The Beginning

The Recorder Was Left On, Or The Closer I Get To The End The More I Rewrite The Beginning

Curated by Suzy Halajian

Los Angeles Contemporary Archive (LACA) Los Angeles 07/08/2015 – 09/26/2015

It is much simpler to come to a conclusion, or a pause perhaps, rather than to return to the beginning again and again. The same is true of returning to a source, which appears new upon each inspection. It shifts, it reacts, it digresses, it is read differently and is experienced in unfamiliar ways. Perspectives

It is much simpler to come to a conclusion, or a pause perhaps, rather than to return to the beginning again and again. The same is true of returning to a source, which appears new upon each inspection. It shifts, it reacts, it digresses, it is read differently and is experienced in unfamiliar ways. Perspectives

EMERGENCIA – contextos volcánicos EMERGENCIA – contextos volcánicos

EMERGENCIA – contextos volcánicos

Adriana Arroyo

TEOR/éTica San José, Costa Rica 07/15/2015 – 09/26/2015

Although the Central American Isthmus and the Caribbean region are connected by underground volcanic chains, and therefore could be considered as a unified geographical region, the countries located in the area are highly diverse and their societies and idiosyncrasies are considerably different. In this regional context, the diverse artistic communities face a double state of

Entre las comunidades artísticas de una región como lo es la del Istmo centroamericano y el Caribe, conectada subterráneamente por cadenas volcánicas que incluyen al archipiélago caribeño, pero con sociedades e idiosincrasias muy distintas, existe un doble estado de emergencia. Por un lado, está la emergencia de una generación joven de productores en el arte,

ArtRio ArtRio

ArtRio

By João Laia Rio de Janeiro 09/09/2015 – 09/13/2015

ArtRio 2015 Week: Under the shadow of a cultural renaissance The morning of Wednesday, September 9th greeted the early guests of the preview of the carioca fair with grey, heavy clouds that darkened the sky and threatened heavy rain. This was undoubtedly a dire omen for the fair, as Brazil’s economic boom is by now

Pedro Agilson, Oca Lage. Exposição CFB 25 Anos ArtRio 2015: bajo la sombra de un renacimiento cultural El miércoles 9 de septiembre, la mañana recibió a los primeros visitantes del preview de la feria carioca con un cielo oscurecido y una amenaza de lluvia, sin duda un presagio de las perspectivas pesimistas para la feria,

Landscape as a Brain Landscape as a Brain

Landscape as a Brain

Andrea Galvani

Curro & Poncho Zapopan, Jalisco, México 07/18/2015 – 09/25/2015

Landscapes pierced, fractured, deconstructed, and exploded into thousands of pieces. Landscapes used as weapons, protective shields, habitable structures. Contorted landscapes, reassembled and restored, divided into new archaeological remains. Curro y Poncho is proud to present Landscape as a Brain: Mimesis de un anti-monumento — Andrea Galvani’s premier solo exhibition in Guadalajara — on view July 18 –

Paisajes fracturados, perforados, deconstruidos y resquebrajados en miles de pedazos. Paisajes utilizados como armas, escudos protectores o estructuras habitables. Paisajes contorsionados que, reensamblados y restaurados, son repartidos en nuevos vestigios arqueológicos. Landscape as a Brain es una retrospectiva de los proyectos realizados por el artista desde el 2005 a la fecha. Como una visión interdisciplinaria del

Faux Pas

Faux Pas

Organized by Shanaynay

Fahrenheit Los Angeles, California, USA 07/18/2015 – 09/26/2015

A faux pas, of course, is per definition a false step, or indiscretion. The ‘do-not’ in every Vogue etiquette book. A slip of the tongue, or mispronunciation. Comme tu veux. More didactically, the faux-pas enacts a breach of etiquette, which in a rather équivoque, interpretation, professes sudden potential for resistance. This is exemplified in the very un-chic

A faux pas, of course, is per definition a false step, or indiscretion. The ‘do-not’ in every Vogue etiquette book. A slip of the tongue, or mispronunciation. Comme tu veux. More didactically, the faux-pas enacts a breach of etiquette, which in a rather équivoque, interpretation, professes sudden potential for resistance. This is exemplified in the very un-chic

One month without filming One month without filming

One month without filming

Pedro Paiva

REDCAT Los Angeles, California, USA 07/11/2015 – 09/20/2015

The Gallery at REDCAT presents the commissioned exhibition One month without filming, a multi-projector 16mm film installation by artists João Maria Gusmão and Pedro Paiva. The work of Portuguese artists João Maria Gusmão and Pedro Paiva, who have worked collaboratively since 2001, is characterized by the use of silent films and other analog forms of expression to

The Gallery at REDCAT presents the commissioned exhibition One month without filming, a multi-projector 16mm film installation by artists João Maria Gusmão and Pedro Paiva. The work of Portuguese artists João Maria Gusmão and Pedro Paiva, who have worked collaboratively since 2001, is characterized by the use of silent films and other analog forms of expression to