Contemporary Art in the Americas Arte Contemporáneo en las Américas
Borrador para una exposición sin título (cap. III) Borrador para una exposición sin título (cap. III)

Borrador para una exposición sin título (cap. III)

Cabello/Carceller

Museo Universitario Arte Contemporáneo Ciudad de México 02/09/2019 – 05/26/2019

Since 1992, Cabello/Carceller have been engaged in a joint artistic project revolving around the critique of the hegemonic visual culture. Using tools from feminist, queer and decolonial theory and from visual and cultural studies, over the years they have produced a body of interdisciplinary work that questions the neoliberal model of social production. Following Cabello/Carceller’s

Cabello/Carceller, Drag modelos (2007-en proceso). Fotografías y textos. Foto: cortesía de las artistas Cabello/Carceller, Off Escena: Si yo fuera… (2010-11). Video, 16’30’’. Foto: cortesía de las artistas Cabello/Carceller, Un beso (1996). Video, 4’ en loop. Colección Fundación ARCO. Centro de Arte Dos de Mayo, Móstoles. Foto: cortesía de las artistas Desde 1992, Cabello/Carceller (París, 1963/Madrid,

Common Grounds Common Grounds

Common Grounds

Manuel Mendoza Sánchez

Embajada San Juan, Puerto Rico 03/23/2019 – 05/25/2019

Common Grounds: the (Un)Translation of Culture How do you translate culture? Or, more precisely, is the translation of culture possible? If we stick to the etymological origin of the word, trans|late—the transfer of a thing from one place to another—the answer seems obvious. And the thing is, we have never had access to so much

Manuel Mendoza, Common Grounds (installation view), 2019. Image courtesy of Embajada Manuel Mendoza, Hierba mala nunca muere (Bad weed never dies), 2018. Concrete, inkjet printed images, water based paint, sealed with car resin. 11.5 x 13 inches. Image courtesy of Embajada Manuel Mendoza, Common Grounds (installation view), 2019. Image courtesy of Embajada Common Grounds: the (Un)Translation of Culture

Huma Bhabha: They Live Huma Bhabha: They Live

Huma Bhabha: They Live

Huma Bhabha

Institute of Contemporary Art Boston Boston, Massachusetts, USA 03/23/2019 – 05/27/2019

The Institute of Contemporary Art/Boston (ICA) presents Huma Bhabha: They Live, the largest survey of the artist’s work to date. Spanning over two decades of Bhabha’s work, this major exhibition features sculpture, drawing, and photography, and considers the artist’s engagement with the human figure. Best known for her sculptures, Bhabha uses a wide variety of

Installation view, Huma Bhabha: They Live, Institute of Contemporary Art/Boston, 2019. Photo by Charles Mayer Photography Installation view, Huma Bhabha: They Live, Institute of Contemporary Art/Boston, 2019. Photo by Charles Mayer Photography Installation view, Huma Bhabha: They Live, Institute of Contemporary Art/Boston, 2019. Photo by Charles Mayer Photography The Institute of Contemporary Art/Boston (ICA) presents

I’m Not Drunk I’m Not Drunk

I’m Not Drunk

Curaduría por Radamés “Juni” Figueroa

km 0.2 San Juan, Puerto Rico 03/28/2019 – 05/16/2019

I’m not drunk es un proyecto curado por Radamés Juni Figueroa para km 0.2. El proyecto retoma una iniciativa hecha por el artista desde al año 2011 titulada La Loseta. La Loseta fue una plataforma expositiva que albergó un total de 12 exhibiciones y varios eventos durante el 2011. La idea primordial de este proyecto

Chloe Wilcox, HA! HA! HA! (2019). Medio mixto. Imagen cortesía de km 0.2 Cristina Tufiño, Dos de hamburger (2019). Yeso. Imagen cortesía de km 0.2 Carolina Caycedo, Lolita Lebron (2018). Tinta sobre papel; Monica Rodríguez, Arsenal rodante (2014). Madera de flor de maga; Carolina Caycedo, Iris Chacon (2018). Tinta sobre papel. Imagen cortesía de km 2.0

TANSTAAFL: There’s no such thing as a free lunch & Division Lamp TANSTAAFL: There’s no such thing as a free lunch & Division Lamp

TANSTAAFL: There’s no such thing as a free lunch & Division Lamp

Ignacio Gatica and Gregory Kalliche

Interstate Projects Brooklyn, New York, USA 04/05/2019 – 05/05/2019

TANSTAAFL: There’s no such thing as a free lunch For his first US solo exhibition, Ignacio Gatica presents TANSTAAFL: There’s no such thing as a free lunch, a new series of work that maps out distinct forms of technology and quotidian interfaces throughout the gallery space. The aphorism the show takes as its title was

Ignacio Gatica, TANSTAAFL: There’s no such thing as a free lunch (2019). Installation view. Image courtesy of the artist Ignacio Gatica, TANSTAAFL: There’s no such thing as a free lunch (2019). Installation view. Image courtesy of the artist TANSTAAFL: There’s no such thing as a free lunch For his first US solo exhibition, Ignacio Gatica presents TANSTAAFL: There’s no

Descolonización como apocalipsis

Descolonización como apocalipsis

Artist Jota Mombaça questions the concept of decolonization posed by Frantz Fanon and deepens in the potencies that emerge out of the idea of destroying the world as a medullary axis in order to repose the coloniality and, along that, imagine other spaces which diverge from discourses of this nature.

La artista Jota Mombaça pone en cuestión el concepto de descolonización planteado por Frantz Fanon y ahonda en las potencias que emergen de la idea de destruir el mundo como eje medular para el replanteamiento de la colonialidad y, de la mano con ello, imaginar espacios otros que diverjan de discursos de esta índole.

— Jota Mombaça
SOME TAGS: ALGUNOS TAGS:

Ines Doujak and John Barker

Cornucopia

Cornucopia

Charlie Billingham

Museo de Arte de Zapopan Charlie Billingham 02/05/2019 – 05/12/2019

To create his paintings Charlie Billingham uses fragments of imagery from historic British drawings and etchings. His main interest is in the satirical prints of the late eighteenth and early nineteenth centuries, which mostly fall into the late Georgian and Regency eras. Drawing on imagery from the likes of James Gillray (1756-1815), Thomas Rowlandson (1756-1827)

Charlie Billingham, Cornucopia (2019). Vista de instalación. Imagen cortesía de Museo de Arte de Zapopan Charlie Billingham, Cornucopia (2019). Vista de instalación. Imagen cortesía de Museo de Arte de Zapopan Charlie Billingham, Cornucopia (2019). Vista de instalación. Imagen cortesía de Museo de Arte de Zapopan Para crear sus pinturas, Charlie Billingham recurre a fragmentos de imágenes de dibujos y bocetos históricos

«Amarillo, azul y roto. Años 90: arte y crisis en Ecuador» en el Centro de Arte Contemporáneo de Quito «Amarillo, azul y roto. Años 90: arte y crisis en Ecuador» en el Centro de Arte Contemporáneo de Quito

«Amarillo, azul y roto. Años 90: arte y crisis en Ecuador» en el Centro de Arte Contemporáneo de Quito

Por Albeley Rodríguez-Bencomo 01/23/2019 – 05/26/2019

Memories From Art: The Years of Crisis or Ecuador in a Broken Decade Amarillo, azul y roto. Años 90: arte y crisis en Ecuador [Yellow, Blue and Broken. The 90s: Art and Crisis in Ecuador], whose title alludes to the Ecuadorian tricolor flag, as a symbol of the torn, interrupted nation, is an exhibition that is presented

Vista general de la exhibición Amarillo, azul y roto. Años 90: arte y crisis en Ecuador. Pabellón 4 – Centro de Arte Contemporáneo de Quito. Imagen cortesía del CAC Quito Memorias desde el arte: Los años de crisis o Ecuador en una década rota Amarillo, azul y roto. Años 90: arte y crisis en Ecuador, cuyo título

Sangre y Sol

Sangre y Sol

Sara Mejia Kriendler

The Chimney Brooklyn, New York, USA 03/15/2019 – 05/05/2019

What myth do you live by? —Joseph Campbell In Sangre y Sol, Sara Mejia Kriendler’s first solo exhibition at The Chimney, the Colombian-American artist juxtaposes two large scale sculptures that explore the conflict between the sacred and the profane, the disposable and the everlasting, the earthly and the otherworldly. In 2015, Kriendler returned to Colombia for

Sara Mejia Kriendler, Sangre (2019). Terracotta. Courtesy of the artist and The Chimney. Photography by Reggie Shiobara Sara Mejia Kriendler, Sol (2019). Gold foil. Courtesy of the artist and The Chimney. Photography by Reggie Shiobara Sara Mejia Kriendler, Sangre (2019). Terracotta. Courtesy of the artist and The Chimney. Photography by Reggie Shiobara What myth do you

Marginalia #47

Marginalia #47

Por Emma Kohlmann 04/01/2019 – 04/30/2019

Every month Marginalia invites an artist, curator or project to provide a series of images that will serve as the background of Terremoto, in relation to their practice and current interests. At the end of each month, the whole series of images is unveiled. 43. Could it be true we live on earth? On earth forever? Just

Marginalia consiste en la invitación mensual a unx artista, curadorx o proyecto a escoger una serie de imágenes para el fondo de la página de Terremoto en relación con su práctica e intereses del momento. A final de cada mes se revela el conjunto de las imágenes publicadas y un texto que las contextualiza.   ¿Acaso de