12.01.2015 - 30.03.2015
Though amply discussed lately in the global art world, the idea of the margin remains a useful concept to analyze various geopolitical contexts. It guides us to understand where we speak from, and to articulate thoughts on distance or proximity, may they be physical or cultural, in a large span of situations such as art production.
Since its inception as a blog in September 2013, Terremoto magazine aims to act as a facilitator for information exchange in the field of contemporary art in the Americas, basing itself in Mexico City, and feeding on its complexity as a megalopolis.
Using the seismic image as a poetic metaphor for shaken, confrontational, but also possibly transformative times, the magazine proposes a territorial approach seeking to instigate exchanges between distinct linguistic zones of the Americas that don’t often easily dialogue, despite sharing many common cultural, historical, and social problematics.
Terremoto’s inaugural issue, Margen de elección, publishes commissioned bilingual essays and interviews that introduce the magazine’s line of inquiry. The issue examines the idea of the margin from different perspectives, thus questioning the levels of agency that occupying such a position might permit.
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2015
1 2015
12.01.2015
Issue 1: Margins of Election
Emiliano Valdés
In 1987, as Guatemala experiences its first democratic government in 30 years, Galería Imaginaria is founded by a group of young art practitioners committed to experimenting with new modes of production, in a context that had until then been hostile to the freedom of expression.
1 2015
19.01.2015
Issue 1: Margins of Election
Pablo Vargas Lugo, Natalia Valencia
A conversation with Pablo Vargas Lugo spanning some of the interests present in the artist’s oeuvre: non-Western forms of knowledge, music, animism, anachronism, and the idea of the museum as a contemporary space of withdrawal.
1 2015
26.01.2015
Issue 1: Margins of Election
Andrew Berardini
Wandering through some of his most cherished literary references, Andrew Berardini finds freedom between genres, and reveals spaces of critical in-between-ness. If LA is a city that made itself up, why shouldn’t we art writers do the same?
1 2015
02.02.2015
Issue 1: Margins of Election
Rodrigo Hernández, Oliver Martínez-Kandt
Oliver Martínez-Kandt interviews Rodrigo Hernández and considers the artist’s practice as a reflection of a formal intuition, acting between presence and re-presentation. The conversation departs from a lecture in 1940 by Josef Albers entitled, “Truthfulness in Art,” where a series of slides of Mexican pre-Columbian sculptures were shown alongside the question “What is plastic?”.
1 2015
09.02.2015
Issue 1: Margins of Election
Mario Llanos Luna
Mario Llanos Luna discusses the challenges posed by life in the tropics, and formulates a critical approach to the recent international enthusiasm around Colombian contemporary art. His posture takes into account the particular context of Puerto Colombia: a town in the Atlantic coast of Colombia – an ancient port near Barranquilla – where the failures of modernity still haunt the present.
1 2015
09.02.2015
Issue 1: Margins of Election
Magnolia de la Garza
Beyond being a documentary media, photography can also be a sculptural and architectural field, as well as a space to reflect about painting. Departing from Fabiola Menchelli’s work, this text engages with the manifold relations between photography and sculpture, painting and architecture.
1 2015
16.02.2015
Issue 1: Margins of Election
Anna Bella Geiger, Dorothée Dupuis
Interviewed last November in her home in Rio de Janeiro, iconic Brazilian artist Anna Bella Geiger (b. 1933) reveals how art certainly cannot escape history and context, especially when marked with dictatorship, but also how curiosity, tenacity, hope, and luck have been the best allies of her long-standing career.
1 2015
23.02.2015
Issue 1: Margins of Election
Tania Pérez Córdova, Jennifer Teets
Vis-à-vis a 2011 inquiry of the artist’s relatively known text, “Things Above the Ground, Things Below The Ground”, Jennifer Teets probes Pérez Córdova’s interest in the unearthing and birthing of sculptures, age-acceleration, and the uncertainty of function and form – how do objects perform and within their performance can they duplicate and emerge as another?
1 2015
02.03.2015
Issue 1: Margins of Election
Hunter Braithwaite
Through an evolving system of objects and performances, Miami-based artists Domingo Castillo and Hugo Montoya use humor and performative subterfuge to bend the codes and conditions of the art world into funhouse mirrors.
1 2015
23.03.2015
Issue 1: Margins of Election
Ericka Flórez
Ericka Flórez analyzes the relation between the representation of terror in the Gótico Tropical movies—produced by Luis Ospina and Carlos Mayolo in the 1970s and ‘80s in Cali, Colombia—and the persistence of pre-modern beliefs and cosmogonies in the local popular imagination.
1 2015
23.03.2015
Issue 1: Margins of Election
Dean Daderko
Building on his exhibition “Double Life”, with works by Jérôme Bel, Wu Tsang, and Haegue Yang, currently on view at the Contemporary Art Museum Houston, Dean Daderko considers the agency of performers, and understands “movement” in both its physical and sociopolitical capacities.
1 2015
30.03.2015
Issue 1: Margins of Election
Maria Elena Ortiz
Exploring the Antillean Subject: A look into the National Exhibition #7 in the National Gallery of the Bahamas examines the curatorial model of this biennial exhibition in Nassau, highlighting contemporary Caribbean artistic strategies and the influence that the writings of Martinican thinker Édouard Glissant have in the region.
