Contemporary Art in the Americas Arte Contemporáneo en las Américas
Marginalia #44

Marginalia #44

Por Felipe Arturo, Jessica Briceño Cisneros y Leyla Cárdenas 01/01/2019 – 01/31/2019

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 identity of our guest is revealed and the whole series of images is unveiled.   Felipe Arturo My interest

Marginalia consiste en la invitación mensual a un artista, curador 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 la identidad del invitadx y se pueden descubrir las imágenes en conjunto.   Felipe

–one way or other–

–one way or other–

Edmund de Waal

MAK Center for Art and Architecture  Los Ángeles, California, USA 09/16/2018 – 01/06/2019

Renowned London-based artist and writer Edmund de Waal makes his first architectural intervention in the U.S. with an exhibition at the MAK Center for Art and Architecture at the Schindler House in West Hollywood, California. Titled –one way or other–, de Waal’s exhibition includes new and recent sculptures responding directly to the materials and integrated spaces of

Edmund de Waal, Letters de Londres: Sur l’Optique de Mr Newton (2016) ©MAK Center / Joshua White Edmund de Waal, case study #2 (2015) ©MAK Center / Joshua White Edmund de Waal, case study #1 (2015) ©MAK Center / Joshua White Renowned London-based artist and writer Edmund de Waal makes his first architectural intervention in the U.S.

Let the Building Be the Sign Let the Building Be the Sign

Let the Building Be the Sign

by Anthony Carfello and Brian Mann

From Missions to Mission-style to Mission-branded cubes: how Taco Bell architecture tells us the history of Southern California. “You let the building be the sign” was architect Robert McKay’s promise. His 1962 roadside masterwork shot up at 7126 Firestone Boulevard in the southeastern L.A. County suburb of Downey. A collage of allusions to California’s twenty-one

The first Taco Bell. Downey, CA, 1962. Photo courtesy of Taco Bell Corp. From Missions to Mission-style to Mission-branded cubes: how Taco Bell architecture tells us the history of Southern California. “You let the building be the sign” was architect Robert McKay’s promise. His 1962 roadside masterwork shot up at 7126 Firestone Boulevard in the

Cuevas civilizadas

Cuevas civilizadas

Curated by Rodrigo Ortiz Monasterio

Ladera Oeste Guadalajara, Jalisco, México 03/16/2017 – 06/17/2017

Artists: Leonor Antunes, Roma Cortina, Rometti Costales, Mario García Torres, Pablo Ortiz Monasterio, Francesco Pedraglio The story of the house is obscure. At the end of the 1940s, a businessman and his spouse decided to build a new house, on the same land, just in front of the one they were living. It was an extensive property, as

Fotografía de Saúl Molina del Arquitecto Carlos Lazo Barreiro en su despacho de la calle Sonora, número 80. Fondo Saúl Molina Barbosa/Carlos Lazo Barreiro, IISUE/AHUNAM. Francesco Pedraglio, La mosca y la historia de la cueva (Facts Are Fluid Series 02) [detalle], 2017. Dos relatos, barras de aluminio, plástico pintado a mano sobre bastidores. Cortesía del

White Lies

White Lies

Lucas Simões

Lora Reynolds Gallery Austin, Texas, USA 04/08/2017 – 05/27/2017

Lucas Simões’s Abismo sculptures, whether freestanding or hanging on the wall, combine geometric shapes cast in concrete, stacks of tracing paper, and sometimes thin sheets of wood, copper, or brass. Simões precisely aligns hundreds of sheets of paper and pinches them between or drapes them over concrete forms without internal supports or glue —only gravity

Lucas Simões, White Lies 7, 2017. Concrete, paper, gold leaf, and steel. 57 x 13-1/4 x 10-3/4 inches. Courtesy of the artist. Installation view. Courtesy of the artist. Installation view. Courtesy of the artist. Lucas Simões’s Abismo sculptures, whether freestanding or hanging on the wall, combine geometric shapes cast in concrete, stacks of tracing paper,