Contemporary Art in the Americas Arte Contemporáneo en las Américas
Nearly Contemporary Nearly Contemporary

Nearly Contemporary

Odalis Valdivieso

ArtCenter/South Florida's Windows @ Walgreens Miami, Florida, USA 11/25/2017 – 02/18/2018

Nearly Contemporary is an exhibition featuring a new series of works on paper and wood panel by Miami-based artist Odalis Valdivieso. The project is part of ArtCenter/South Florida’s Windows @ Walgreens program. Fragments of internal dialogues about the exhibition Odalis Valdivieso … On the exhibition Odalis Valdivieso To me, an exhibition is specifically defined as

Odalis Valdivieso. Installation view of Nearly Contemporary, ArtCenter/South Florida’s Windows @ Walgreens program, 2017-2018. Courtesy of ArtCenter/South Florida Odalis Valdivieso. Installation view of Nearly Contemporary, ArtCenter/South Florida’s Windows @ Walgreens program, 2017-2018. Courtesy of ArtCenter/South Florida Odalis Valdivieso. Installation view of Nearly Contemporary, ArtCenter/South Florida’s Windows @ Walgreens program, 2017-2018. Courtesy of ArtCenter/South Florida Nearly

Selected Drawings

Selected Drawings

Elsa-Louise Manceaux and Diego Salvador Rios

Ruberta Glendale, California, USA 01/20/2018 – 02/18/2018

Lodos presents Selected Drawings, a two-person exhibition by Mexico City-based artists Elsa-Louise Manceaux and Diego Salvador Rios. The show is comprised of a selection of drawings made between 2008 and 2018. Selected Drawings is an attempt to map a daily occurrence in both artists’ practices. Both Manceaux and Salvador Rios see drawing as research towards different

Elsa-Louise Manceaux and Diego Salvador Rios. Installation view of Selected Drawings, Ruberta, Los Angeles, 2018. Courtesy of Ruberta Elsa-Louise Manceaux and Diego Salvador Rios. Installation view of Selected Drawings, Ruberta, Los Angeles, 2018. Courtesy of Ruberta Elsa-Louise Manceaux and Diego Salvador Rios. Installation view of Selected Drawings, Ruberta, Los Angeles, 2018. Courtesy of Ruberta Lodos

Soon I will be done

Soon I will be done

Natalia Ortega Gámez

Organizado por Sindicato, en Museo Fernando Peña Defilló Santo Domingo, República Dominicana 11/22/2017 – 02/11/2018

Todo es táctil –  “No tenemos ni el tiempo ni el espacio necesarios para hacernos con un alma”. – Julia Kristeva ¿Cómo crear objetos o formas que logren transmitir lo que desborda la mente o afecta el cuerpo? ¿Cómo y cuándo las ideas y los sentimientos se vuelven objetos o formas? Estas son preguntas habituales en los

Natalia Ortega Gámez. Vista de la instalación Soon I Will Be Done, Santo Doningo, República Dominicana, 2017. Cortesía de Sindicato y Museo Fernando Peña Defilló Natalia Ortega Gámez. Vista de la instalación Soon I Will Be Done, Santo Doningo, República Dominicana, 2017. Cortesía de Sindicato y Museo Fernando Peña Defilló Natalia Ortega Gámez. Vista de la instalación

A Curious Herbal

A Curious Herbal

Genevieve Belleveau, Brian Khek, Dwyer Kilcollin, and more...

Garden Los Angeles, California, USA 01/19/2018 – 03/03/2018

Artists: Genevieve Belleveau, Brian Khek, Dwyer Kilcollin, Arden Surdam, Naoki Sutter-Shudo, Alice Wang Garden returns with A Curious Herbal, a group exhibition that investigates varying approaches to botanical representation. Utilizing imagery of flowers, fauna, fruits, and plants, the works included invoke themes of utility and ornament, preservation and mortality, collection and the Archive, arrangement and display. A Curious

A Curious Herbal, Garden, 2018, installation view. Courtesy Garden, Los Angeles. Photo: Jeff McLane. Genevieve Belleveau, Bloom & Bust II, 2018. Frosted acrylic, latex, flowers, plastic. 8.5 x 5.5 x 2.25 inches. Courtesy the artist and Garden, Los Angeles. Photo: Jeff McLane. Genevieve Belleveau, Transactional Aesthetics, 2018. Performed with Themba Alleyne.Durational performance with spoken word,

Trampa de liquidez

Trampa de liquidez

Irina Kirchuk

ZMUD Buenos Aires, Argentina 11/30/2017 – 03/10/2018

[OPENING #36] SALA 1 – Trampa de liquidez, by Irina Kirchuk November 30, 2017 – March 10, 2018

Installation view. Irina Kirchuk. Courtesy: ZMUD gallery. Photo credit: Javier Agustin Rojas Frigidaire, 2017. Refrigerator and freezer doors, resin, 160 x 80 x 17 cm. Courtesy: ZMUD gallery. Photo credit: Javier Agustin Rojas Frizzé, 2017. Light sockets made of wood and plasticine, 12 x 100 cm. Courtesy: ZMUD gallery. Photo credit: Javier Agustin Rojas [OPENING

We live in the best city of South America We live in the best city of South America

We live in the best city of South America

Curated by Bernardo José de Souza and Victor Gorgulho

Fundação Iberê Camargo Porto Alegre, Brazil 09/30/2017 – 02/04/2018

Possibly the most explosive of movements in Brazilian culture, Tropicalism is now five decades old since its first signs of life in 1967. The much talked about anniversary of the movement, however, imposes the urgency of a critical revision that surpasses any other fleeting impulse for mere celebrations. Half a century after its release, the

Carlos Vergara, Poder, da série Carnaval, 1972. Print. Courtesy of the artist Traplev, Sganzerla sampler, 2016. Hand painting on plastic canvas. Courtesy of the artist Maria Sábato, Lava-Jato – Lavagem integral, 2016. Courtesy of the artist Possibly the most explosive of movements in Brazilian culture, Tropicalism is now five decades old since its first signs

Partidas simultáneas

Partidas simultáneas

Estefanía Landesmann

Pasto Galería Buenos Aires, Argentina 11/10/2017 – 01/31/2018

  Partidas simultáneas presenta los últimos trabajos de Estefanía Landesmann. Curada por Jorge Macchi, la muestra plantea una reflexión sobre el lenguaje fotográfico, cuestionando convenciones propias del medio como la elocuencia de la imagen, su bidimensionalidad, su capacidad para registrar de manera objetiva o, incluso, la deuda que arrastra con la pintura. Fugando hacia un

Vista de instalación. Estefanía Landesmann, Partidas simultáneas. 2017-2018. Imagen cortesía de Pasto Galería. Foto: Estefanía Landesmann Vista de instalación. Estefanía Landesmann, Partidas simultáneas. 2017-2018. Imagen cortesía de Pasto Galería. Foto: Estefanía Landesmann Sin título 1 (Partidas Simultáneas) [detalle], 2017. Fotografía impresa Inkjet sobre papel. Enhanced Matte colgada de soporte de acero. 90 x 135 x

Polyethylene-Insulated Smear Polyethylene-Insulated Smear

Polyethylene-Insulated Smear

Nina Canell

Mendes Wood DM São Paulo, Brazil 11/27/2017 – 01/30/2018

Ready to join the migration my mail might have gotten lost from server to floral chorus in a spam filter taking the infinitesimal conduction of trees into account in the process so that you don’t think I’m entirely some sort of medieval hermit with vegetable metabolism marked unread on an epic almost sentimental journey of

Nina Canell. Installation view of Polyethylene-Insulated Smear, Mendes Wood DM, São Paulo, Brazil, 2017. Courtesy of Medes Wood DM Nina Canell. Installation view of Polyethylene-Insulated Smear, Mendes Wood DM, São Paulo, Brazil, 2017. Courtesy of Medes Wood DM Nina Canell. Installation view of Polyethylene-Insulated Smear, Mendes Wood DM, São Paulo, Brazil, 2017. Courtesy of Medes

Mírame

Mírame

by Joey Terrill

A cross-generational narrative of queer Chicanx and Latinx artists finds a common space in LA. I don’t attempt a critique of Pacific Standard Time or the myriad queer Latinx works that will be presented in it. What I offer instead is a personal reflection as a gay Chicano artist who is beginning to be considered an “elder” in the queer community, an

A cross-generational narrative of queer Chicanx and Latinx artists finds a common space in LA. Gabriel Garcia Roman, Carlos & Fernando, 2015. Silkscreen print. Photo courtesy of the artist. I don’t attempt a critique of Pacific Standard Time or the myriad queer Latinx works that will be presented in it. What I offer instead is a personal reflection as