Contemporary Art in the Americas Arte Contemporáneo en las Américas
Wanaawna, Rio Hondo and Other Spirits Wanaawna, Rio Hondo and Other Spirits

Wanaawna, Rio Hondo and Other Spirits

Carolina Caycedo

Orange County Museum of Art Santa Ana, California, USA September 21, 2019 – March 22, 2020

The Orange County Museum of Art (OCMA) presents six new exhibitions of works by artists from the Pacific Rim, all of which consider the complexities of our relationship to the natural world. The exhibitions showcase a diverse group of artists—Carolina Caycedo (United States/Colombia), Daniel Duford (United States), Ximena Garrido-Lecca (Peru), Mulyana (Indonesia), Robert Zhao Renhui

Multiple Clitoris, 2016. Photograph printed on cotton canvas. Courtesy of the artist and Instituto de Visión, Bogotá Carolina Caycedo, Wanaawna, Rio Hondo and Other Spirits (2020). Installation view Wanaawna, 2019. Photograph printed on cotton canvas. Courtesy of the artist, commissioned by OCMA The Orange County Museum of Art (OCMA) presents six new exhibitions of works

Unsettings Unsettings

Unsettings

Curaduría por Km 0.2

Museo de Arte y Diseño de Miramar San Juan, Puerto Rico November 21, 2019 – January 11, 2020

The group exhibition Unsettings presents works by Sofía Gallisá Muriente, Ada Bobonis, Mónica Rodríguez, Carolina Caycedo, and Sofía de Grenade. The project arose out of reflections on transformation occurring in the landscape due to the exploitation of natural resources by systems of domination and as a consequence of inequality in relations of power. Composed of

Sofía de Grenade, Cosechadora n°1 (2019). Resina poliéster, eucaliptol, fierro electropintado Vista de Sala de la muestra Unsettings curada por Km 0.2 en el Museo de Arte y Diseño de Miramar Ada Bobonis, Serie incompletos – objetos de sal y agua, 3/1, 3/2, 3/3 (2019). Fieltro, cemento y yeso La muestra colectiva Unsettings presenta obras

Feminist Histories: Artists after 2000

Feminist Histories: Artists after 2000

Curatorship by Isabella Rjeille

Museu de Arte de São Paulo Assis Chateaubriand São Paulo, Brazil September 22, 2019 – November 17, 2019

Every year MASP’s programme is guided by a thematic axis designed around different histories, created from different perspectives, including fictional and non-fictional, personal and documentary narratives, diverse mediums and distinct temporalities and territories. Histórias da infância (Histories of Childhood) was set up in 2016, followed by Histórias da sexualidade (Histories of Sexuality) in 2017 and Histórias afro-atlânticas

Monica Restrepo, Estatuas (Ella volverá en cualquier momento) (2012-2014). Installation view. Image courtesy of the artist Kaj Osteroth & Lydia Hamann, Staying with the trouble (2019). Credit: Kaj Osteroth & Lydia Hamann Tuesday Smillie, Again (2017). Installation view. Image courtesy of the artist. Credit: Charles Mayer Every year MASP’s programme is guided by a thematic axis

Unraveling Collective Forms Unraveling Collective Forms

Unraveling Collective Forms

Curated by Daniela Lieja Quintanar

LACE Los Angeles, California, USA 04/03/2019 – 05/26/2019

A Quipu or Khipu is a device made of dyed, knotted threads—an ancient Inka, multisensory, extinct language, quipus are the vanished narratives of resistance that this exhibition and public programming. Unraveling Collective Forms knots together artistic reflections centered around collectivity, autonomy, and group manifestations that crack systems. Artist Cecilia Vicuña defines a quipu as “a poem in space, a way to remember, involving the body

Performance Stranger’s Union organized by Arshia Haq, as part of Unraveling Collective Forms. Courtesy of the artists. Photo by Tina June Malek View of exhibition Unraveling Collective Forms at LACE. Courtesy of the artists. Photo by Christopher Wormald View of exhibition Unraveling Collective Forms at LACE. Courtesy of the artists. Photo by Christopher Wormald Desenredar

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

Campos de Invisibilidade

Campos de Invisibilidade

Curated by Cláudio Bueno and Ligia Nobre

Sesc Belenzinho São Paulo, Brazil 11/09/2018 – 02/03/2019

What is outside our field of vision does not cease to exist To open this exhibition with such a statement invites us to reflect on the ecology of problems mobilized by what we shall name here global technological infrastructure. Namely social, economic, technical, symbolic, spiritual, cultural, sexual, political, geographic, environmental aspects, all of which are

 Louis Henderson, Lettre du voyant (2013). Vídeo. Image courtesy of Agência Galo Campos de Invisibilidade (2018). Performance by Aretha Sadick. Photo credits: Marcos Cimardi Campos de Invisibilidade (2018). Installation view. Photo credits: Marcos Cimardi What is outside our field of vision does not cease to exist To open this exhibition with such a statement invites us to reflect on

Made in L.A. 2018, at Hammer Museum, Los Angeles, USA Made in L.A. 2018, at Hammer Museum, Los Angeles, USA

Made in L.A. 2018, at Hammer Museum, Los Angeles, USA

By Carribean Fragoza Los Angeles, California, USA 06/03/2018 – 09/02/2018

Imaginemos Cosas Chingonas: Astonishment and vision in Made in L.A. 2018 Think back to the last time you were astonished by something. I mean genuinely, viscerally astonished so that you felt gripped or overwhelmed in spite of yourself. Astonishment at an art show for the regular art-goer, like blushing for a correteadx, is hard to

Beatriz Cortez, vista de instalación, Made in L.A. 2018, 3 de junio – 2 de septiembre, 2018, Hammer Museum, Los Ángeles. Foto: Brian Forrest. Imagen cortesía de Hammer Museum. Imaginemos cosas chingonas: asombro y visión en Made in L.A. 2018 Piensa en la última vez que te asombró algo. Me refiero a estar asombrado genuinamente,

Dysfunctional Formulas of Love Dysfunctional Formulas of Love

Dysfunctional Formulas of Love

Curated with Corazón Del Sol and Víctor Albarracín Llanos

The Box Los Angeles, California, USA 09/17/2017 – 11/04/2017

Artists: Andrés Felipe Uribe, Andrés Matute, Beatriz Eugenia Díaz, Breyner Huertas, Carlos Bonil, Carolina Caycedo, Corazón Del Sol, Eider Yangana, Eusebio Siosi, Gabriel Mejía, Gala Porras-Kim, Henry Palacio, Jennifer Rojas, Juan Guillermo Tamayo, Julio Giraldo, Liliana Vélez, Lorena Espitia, María Angélica Madero, María Buenaventura, María Isabel Rueda, María Mercedes Salgado, Mario Llano, Milena Bonilla, Mugre, Nicolás Vizcaíno, Richard Bent Cano, Tupac Cruz, Vanesa Ortiz, Víctor Albarracín Llanos, William Contreras Alfonso, Wilson Díaz, Yaron Michael Hakim Dysfunctional Formulas of Love brings together 32 Colombian artists in order

Carlos Bonil, Choral Machine: Routine #, 2017, Video animation, obsolete appliances, transformed computer speakers. Dimensions: variable. Courtesy: the artist and The Box, LA. Fredrik Nilsen Studio. Beatriz Eugenia Díaz, Aria No. 23 (left) & Aria No. 15 (right), 2017 (both). Video (left), oil on paper (right),4:44 mins (left), 13 x 69 inches (right). Courtesy: the

El hambre como maestra/Hunger As Teacher

El hambre como maestra/Hunger As Teacher

Carolina Caycedo

Commonwealth & Council Los Angeles, California, USA 09/09/2017 – 10/21/2017

El hambre como maestra/Hunger as Teacher is part of Carolina Caycedo’s ongoing project Be Dammed in which she collaborates with riverside populations in various bio-regions to address the socio-environmental impacts of dams. While engaged in fieldwork and research, Caycedo gathers objects, film footage, and testimonies. She also produces drawings, collages, sculptures, and films that document

Undammed/Desbloqueada, 2017, Hand-dyed fishing net, lead weights, metal gold pan, Navajo sand- stone, copper T IUD, thread, rope, 64 x 19 x 19 in. Courtesy the artist and Commonwealth Council. Photo: Ruben Diaz. Installation view: El Hambre Como Maestra/Hunger As Teacher, Courtesy the artist and Commonwealth and Council. Photo: Ruben Diaz. Installation view: El Hambre Como Maestra/Hunger

A Universal History of Infamy

A Universal History of Infamy

Curated by Rita Gonzalez, José Luis Blondet and Pilar Tompkins Rivas

LACMA Los Angeles, California, USA 08/20/2017 – 02/19/2018

The Los Angeles County Museum of Art presents A Universal History of Infamy featuring sixteen U.S. Latino and Latin American artists and collaborative teams who work across a range of media—from installation and performance to sculpture and video—and adopt methodologies from diverse disciplines, including anthropology, history, linguistics, and literature. Most of the works on view are new projects that

Ángela Bonadies, The Kitchen/La cocina (LA New Times Western School; Onnuri Church; Jin Young Yoon), 2016 and Street Meeting, 2016, 2017 from the series David Alfaro Siqueiros, Street Meeting, LA, 1932, 2016–2017, courtesy of the artist, installation view in A Universal History of Infamy, Los Angeles County Museum of Art, August 20, 2017–February 19, 2018,