Contemporary Art in the Americas Arte Contemporáneo en las Américas
Doble fondo Doble fondo

Doble fondo

Tercerunquinto

Proyectos Monclova Mexico City, México 02/07/2017 – 03/11/2017

By Sophie Goltz In 1927 Robert Musil wrote: «There is nothing in this world as invisible as a monument. They are no doubt erected to be seen —indeed, to attract attention. But at the same time they are impregnated with something that repels attention.»[1] Full in its golden pride flies the Ángel de la Independencia over Avenida

Exhibition view: (Fore ground right) Gramática de la tristeza [The grammar of sadness], 2017. 1 channel video, color, sounds 3’26”; (Clockwise beginning Foreground left) Paños [cloths], Paños [cloths], Paños [cloths], Paños [cloths], 2017. Spray on cotton painting polyptych; (Floor) Doble Fondo [False bottom], 2017. Concret and wood. Courtesy: Proyectos Monclova. Photo credit: Rodrigo Viñas.Grafiti. Representación

Lo firme en el centro encuentra correspondencia

Lo firme en el centro encuentra correspondencia

Catalina Schliebener, Diego Figueroa, Elena Losón, and more...

HACHE Buenos Aires, Argentina 01/17/2017 – 02/17/2017

Hache Galería presenta Lo firme en el centro encuentra correspondencia, exhibición de pinturas, collages, dibujos, esculturas y videos, de todos los artistas de la galería. En 2016, HACHE abrió las puertas de su nuevo espacio, uniéndose al circuito de galerías de Villa Crespo y continuó fortaleciendo su identidad dentro de la escena del arte contemporáneo argentino. En

Vista de instalación (de izquierda a derecha): Diego Figueroa, Sin título (melancolía), 2016. Acrílico sobre tela. 96 x 76 cm; Diego Figueroa, Sin título (melancolía), 2016. Acrílico sobre papel. 50 x 38 cm; Eugenia Calvo, Experiencia ajena 1, 2010-2013. Video. Cortesía de Hache Galería, Buenos Aires. Vista de instalación, 2017. Cortesía de Hache Galería, Buenos

The Greatest Arrogance

The Greatest Arrogance

Gregory Kalliche

ASHES / ASHES San Francisco, California, USA 01/10/2017 – 02/25/2017

They thought: I wonder if I could grow a chair? Then grow a person to sit in it, and another to join them once the first fully integrates. Or even start from the next step back and grow the lights from scratch too. Start the knot tying, sapling bending —putty sculpt that wing into a

Gregory Kalliche, The Greatest Arrogance, 2016. Single-channel video, color and sound. 3:23 min. Courtesy of ASHES / ASHES, San Francisco. Gregory Kalliche, The Greatest Arrogance, 2016. Single-channel video, color and sound. 3:23 min. Courtesy of ASHES / ASHES, San Francisco. Gregory Kalliche, Understudies, 2016. Ultraviolet LEDs with aluminum channel and power supply, UV sensitive PVC

Alien Linguistic Lab

Alien Linguistic Lab

Sarah Ancelle Schönfeld

Gildar Gallery Denver, Colorado, USA 01/13/2017 – 02/18/2017

Gildar Gallery presents Alien Linguistic Lab, the US solo debut of Berlin-based artist Sarah Ancelle Schönfeld. Schönfeld’s broad practice encompassing sculpture, performance, installation, and photography is informed as much by indigenous perspectivism as the spiritual dimension of science and technology. In this exhibition, Schönfeld offers a series of treatments for our current state of high

Sarah Ancelle Schönfeld, Alien Linguistic Lab. Installation view with Shamanistic Travel Equipment/ Coat IX, X and Octopus Oracle. Sarah Ancelle Schönfeld, Shamanistic Travel Equipment/ Coat IIX, IX and Flying Sorcerer/ Saucers Sarah Ancelle Schönfeld, opening workshop Flying Sorcerer. IKEA plate thrown on the wall, glued together. Gildar Gallery presents Alien Linguistic Lab, the US solo

OROXXO OROXXO

OROXXO

Gabriel Orozco

kurimanzutto Mexico City, México 02/08/2017 – 03/16/2017

“Purchasing is much more than the mere satisfying of everyday needs: it is the important ritual of public and communal life, through which identity is created and changed.” Max Hollein, ‘Shopping,’ in Shopping: A Century of Art and Consumer Culture, Tate (2003) Gabriel Orozco proposes a game where logos and the rules of the market are set against each

Gabriel Orozco, 2017. Cortesía del artista y kurimanzutto, Ciudad de México 2017. Foto: Estudio Michel Zabé. Gabriel Orozco, 2017. Cortesía del artista y kurimanzutto, Ciudad de México 2017. Foto: Estudio Michel Zabé. Gabriel Orozco, 2017. Cortesía del artista y kurimanzutto, Ciudad de México 2017. Foto: Estudio Michel Zabé. “Comprar es más que satisfacer las necesidades

Darío Villalba. Obras 1974-2015 Darío Villalba. Obras 1974-2015

Darío Villalba. Obras 1974-2015

Darío Villalba

Museo de Arte Carrillo Gil Mexico City, México 02/03/2017 – 05/14/2017

El Museo de Arte Carrillo Gil (MACG) presenta la muestra Darío Villalba. Obras 1974-2015, curada por Carlos E. Palacios y que exhibe la evolución creativa de un artista considerado paradigmático e innovador del arte contemporáneo español. Un autor cuya producción es a menudo inclasificable, y donde lo constante es la oscilación entre la pintura y

Jeans-Mármol, 2001. Mixta sobre photolinen. 240 x 340 cm. Ed. 3.. Cortesía: Galería Luis Adelantado. Red Branches on my Exhibition in the Lousian Museum of Denmark-I, 1993. Mixta sobre photolinen y lienzo. 175 x 145 cm. Cortesía: Galería Luis Adelantado. Vista de instalación, 2017. Cortesía de Museo de Arte Carrillo Gil, Ciudad de México. El

Caída libre Caída libre

Caída libre

Miguel Calderón

kurimanzutto off-site Mexico City, México 01/26/2017 – 02/25/2017

kurimanzutto presents Caída libre, the most recent solo exhibition by Miguel Calderón. For the artist, hawks symbolize the connection between human and nature. When these animals go out to hunt they create a bridge between the falconer and the heavens, they may be lost from sight behind the clouds but they always return to the glove, faithful to the symbiotic

Miguel Calderón, installation view of Caída libre, 2017. Courtesy of the artist and kurimanzutto, Mexico City 2017. Miguel Calderón, installation view of Caída libre, 2017. Courtesy of the artist and kurimanzutto, Mexico City 2017. Miguel Calderón, video still of Camaleón, 2016. Courtesy of the artist and kurimanzutto, Mexico City, 2016. kurimanzutto presentar Caída libre, la

Chlorophylle Chlorophylle

Chlorophylle

Annabelle Arlie

Jonathan Hopson Houston, Texas, USA 01/22/2017 – 03/05/2017

Chlorophylle is an RGB echo of wilderness. Glossy posters of endangered animals feed through quilting looms set against a photo backdrop of dense bamboo forest. Plants create energy from light through photosynthesis: an absorption of energy through green pigment. Looking at this email we see the color green through the additive color mechanism of RGB

Safari, 2017. Hoop quilting stand, poster. 44 x 28 x 36”. Courtesy of Jonathan Hopson. Photo: Jonathan Hopson. To cling on to, 2017. Quilting frame, poster. 46 x 64 x 36”. Courtesy of Jonathan Hopson. Photo: Jonathan Hopson. Untitled, 2017. Hand quilting frame, poster. 32 x 40 x 72”. Courtesy of Jonathan Hopson. Photo: Jonathan

359 días en 19 meses 359 días en 19 meses

359 días en 19 meses

Jorge González

Embajada San Juan, Puerto Rico 01/07/2017 – 03/11/2017

Jorge Gonzalez’s recent work serves as a platform for the recuperation of marginalized vernacular material culture in an attempt to produce new narratives between the indigenous and the modern. The ongoing research that informs his practice draws material from the study of botany, ethnology, history, pedagogy, architecture and design. For González’s recent participation in the

Jorge González, 359 dias en 19 meses (359 days in 19 months), 2016. Installation view. Dimensions variable. Courtesy of Embajada, San Juan. Jorge González, After Arklu table chair (detail), 2016. Woven cotton cord on constructed wood. 32.5 x 17.25 x 18 inches. Courtesy of Embajada, San Juan. Jorge González, After Villalobos (work in progress), 2016.

El tiempo dirá

El tiempo dirá

Curated by Thomas Boutoux and Paola Santoscoy

Museo Experimento El Eco Mexico City, México 12/09/2016 – 02/26/2017

Artists: Boris Achour, Camille Blatrix, Katinka Bock, Isabelle Cornaro, Tatiana Trouvé, Lili Reynaud-Dewar and Raphaël Zarka Winning a prize is an honor, a reward, a bliss. It is a feeling more than anything else. Even the attention it brings to the winner is a fugitive one. Prize-winners come and go, like seasons. An exhibition based on

Vista de sala principal. De izquierda a derecha: Boris Achour, News from Friends (André Caderé), 2016. Tarjeta postal / postcard; Katinka Bock, Smog, 2016. Bronce / bronze; Tatiana Trouvé, The Guardian, 2013. Bronce patinado, cobre, pintura / patinated bronze, cooper, paint; Boris Achour, Leftovers (Nora), 2016. Lámpara, poliestireno, cable / lamp, polystyrene, cable; Isabelle Cornaro,