Contemporary Art in the Americas Arte Contemporáneo en las Américas
Cuando el recuerdo se convierte en polvo Cuando el recuerdo se convierte en polvo

Cuando el recuerdo se convierte en polvo

Ricardo Miguel Hernández

South Florida Latin American Photography Forum Miami, USA - La Habana, Cuba August 1, 2020 – October 27, 2020

The countryside areas of Cuba, the wall of the boardwalk, the sugar harvest; portraits of wealthy men and women, vintage cars, iconic characters, the people in their massiveness, women in contrasting settings, the guano hat, the military uniform, diverse settings of Cuban geography and other regions, constitute some of the micro-stories that are collected in

Ricardo Miguel Hernández, Sin título. Imagen cortesía del artista Ricardo Miguel Hernández, Sin título. Imagen cortesía del artista Ricardo Miguel Hernández, Sin título. Imagen cortesía del artista Los campos de Cuba, el muro del malecón, la zafra azucarera, retratos de mujeres y hombres de diferentes clases sociales, autos de época, personajes icónicos, el pueblo en

Historias invertidas Historias invertidas

Historias invertidas

Esvin Alarcón Lam

META Miami Miami, Florida, USA January 30, 2020 – April 16, 2020

For Esvin Alarcón Lam, a young artist coming of age in present-day Guatemala, both his country’s and his own social, geographical and historical vantage points serve as the same points of departure for his creative practice. In the digital, ever-connected present, these perspectives serve Alarcón Lam as an impetus to mine both the physical and

Esvin Alarcón Lam, Historias invertidas (2020). Installation view. Image courtesy of META Miami Esvin Alarcón Lam, Historias invertidas (2020). Installation view. Image courtesy of META Miami Esvin Alarcón Lam, Historias invertidas (2020). Installation view. Image courtesy of META Miami For Esvin Alarcón Lam, a young artist coming of age in present-day Guatemala, both his country’s

The Body Says, I Am a Fiesta: The Figure in Latin American Art The Body Says, I Am a Fiesta: The Figure in Latin American Art

The Body Says, I Am a Fiesta: The Figure in Latin American Art

Curated by J. Rachel Gustafson

Norton Museum of Art West Palm Beach, Florida, USA October 4, 2019 – March 1, 2020

The Norton Museum of Art today announced its fall exhibition, The Body Says, I Am a Fiesta: The Figure in Latin American Art, which is the first in a planned series of projects dedicated to Latin American artists. Largely drawn from the Norton’s permanent collection, the exhibition addresses ideas about the body and its symbolic

Francisco Zúñiga (Mexican, born Costa Rica, 1912 – 1998), Desnudo Reclinado (Reclining Nude), 1970. Sepia crayon on ivory paper. Gift of Fels Hecht/The Fels Hecht Collection, 89.94 © Fundación Zúñiga Laborde A. C. Installation image of The Body Says, I Am a Fiesta: The Figure in Latin American Art at the Norton Museum of Art.

Dilatantes Dilatantes

Dilatantes

Mercedes Elena González

META Miami with Henrique Faria Fine Art Miami, Florida, USA September 11, 2019 – January 23, 2020

  Hybridizations When observing the components of Mercedes Elena González’s recent work, grouped together here under the title Dilatantes, we could assume that they form an integral part of an “archive” or “register” of successive previous works. With this temporal recuperation, González establishes a formal and conceptual continuity that is a function of the traces

Mercedes Elena González, Dilatantes (2019). Vista de instalación. Imagen cortesía de Miami Biennale Mercedes Elena González, Dilatantes (2019). Vista de instalación. Imagen cortesía de Miami Biennale Mercedes Elena González, Dilatantes (2019). Vista de instalación. Imagen cortesía de Miami Biennale Hibridaciones Al observar los componentes de la obra reciente de Mercedes Elena González, agrupados bajo el título Dilatantes, podemos asumir que son

Where the Oceans Meet Where the Oceans Meet

Where the Oceans Meet

Curated by Hans Ulrich Obrist, Asad Raza, Gabriela Rangel, and Rina Carvajal

Museum of Art and Design at MDC Miami, Florida, USA April 5, 2019 – September 29, 2019

  Museum of Art and Design (MOAD) at Miami Dade College (MDC) presents Where the Oceans Meet, an exhibition of modern and contemporary art that resonates with the pioneering thought of two Caribbean writers, Lydia Cabrera and Édouard Glissant. The international group of thirty-nine artists and collectives in the exhibition consider notions of shifting and

Lani Maestro, A Book Thick Of Ocean ( 1993). Photo by Lincoln Mulcahy. Courtesy of the artist. Ana Mendieta, Fundamento Palo Monte: Silueta Series (Gunpowder Works) (1980). Photo Credit: Vieri Tomaselli. © The Estate of Ana Mendieta Collection, LLC. Courtesy Galerie Lelong & Co. Courtesy of The Ella Fontanals Cisneros Collection, Miami Yto Barrada. Film

Playground

Playground

Curated by Verónica Flom and Camilo Godoy

Dot Fiftyone Gallery Miami, Florida, USA July 31, 2019 – September 14, 2019

The exhibition focuses on childhood as a site for the exploration of fragile, ludic, violent and poetic universes. Together, the artists in this exhibition work with ideas from their childhood as the material to address personal and political moments. From playing as a newscaster to documenting portraits of children who have been the target of

Playground (2019). Installation view. Image courtesy of Dot Fiftyone Gallery Playground (2019). Installation view. Image courtesy of Dot Fiftyone Gallery Playground (2019). Installation view. Image courtesy of Dot Fiftyone Gallery The exhibition focuses on childhood as a site for the exploration of fragile, ludic, violent and poetic universes. Together, the artists in this exhibition work

Reconstrucción

Reconstrucción

Emilia Azcárate, Alessandro Balteo-Yazbeck and others

Miami Biennale Miami, Florida, USA 06/06/2019 – 09/04/2019

In times of intense political and social upheaval, such as that roiling Venezuela currently, symbols of national and cultural significance can be cast in a new light. Techniques of nationalistic propaganda tend to rely on historical images of past greatness to retain support, while oppositional movements challenge the status quo and question the narratives that

Reconstrucción (2019). Vista de instalación. Imagen cortesía de Miami Biennale Reconstrucción (2019). Vista de instalación. Imagen cortesía de Miami Biennale Reconstrucción (2019). Vista de instalación. Imagen cortesía de Miami Biennale En tiempos de agitación política y social intensa, como la que aflige a Venezuela en la actualidad, los símbolos de importancia nacional y cultural pueden

[UNSUBSCRIBE]

[UNSUBSCRIBE]

Curated by GeoVanna Gonzalez and Naiomy Guerrero

Supplement Projects Miami, Florida, USA 06/15/2019 – 08/04/2019

  [Unsubscribe] is a group show comprised of artists who use visual language dominant in the digital realm to engage questions of e-identity formation, and social interactions that play out in our imaginations—despite the absence of a physical presence. The exhibition considers the internet as a place not void of strategic categorization and intervention.  In Will

Danny Agnew (Roots Collective), Black is an Algorithm (2019). Printed t-shirt. Image courtesy of Supplement Projects Pastiche Lumumba, #EndlessScrollingGeneration No.1,2,3,4, animated GIFs. Image courtesy of Supplement Projects [UNSUBSCRIBE], Installation view (2019). Image courtesy of Supplement Projects [Unsubscribe] is a group show comprised of artists who use visual language dominant in the digital realm to engage questions of e-identity

Hólǫ́—it xistz

Hólǫ́—it xistz

Eric-Paul Riege

ICA Miami Miami, Florida, USA 05/18/2019 – 11/03/2019

Eric Paul Riege: Hólǫ́—it xistz is the first institutional exhibition dedicated to the work of the emerging Navajo artist. Activating the long-held Navajo tradition of weaving and drawing from the mythical stories that are bound to this tradition, Riege generates stories through woven wearables, looms, thread, ephemeral architectures, and durational performances. Riege’s work also celebrates,

Eric-Paul Riege, study 2 for Hólǫ́—it xistz (2018). Digital collage. Courtesy the artist Eric-Paul Riege, Hólǫ́—it xistz (2019). Installation view. Photo: Fredrik Nilsen Studio Eric-Paul Riege, Hólǫ́—it xistz (2019). Installation view. Photo: Fredrik Nilsen Studio Eric Paul Riege: Hólǫ́—it xistz is the first institutional exhibition dedicated to the work of the emerging Navajo artist. Activating the

Campo abierto Campo abierto

Campo abierto

Sheila Hicks

The Bass Miami, Florida, USA 04/13/2019 – 09/29/2019

Grouping works of art from various periods, Campo abierto (Open Field) explores the formal, social and environmental aspects of landscape that have been present, yet rarely examined, throughout Sheila Hicks’ expansive career. Prompting contemplations on collaboration, dialogue and discussion, the exhibition is rooted in the reconfiguration of Escalade Beyond Chromatic Lands (2016-2017), the artist’s vast installation produced for the

Sheila Hicks, Campo Abierto (2019). Installation view . Image courtesy of The Bass. Sheila Hicks, Campo Abierto (2019).Installation view. Image courtesy of The Bass. Sheila Hicks, Campo Abierto (2019). Installation view. Image courtesy of The Bass. Grouping works of art from various periods, Campo abierto (Open Field) explores the formal, social and environmental aspects of landscape that