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

Maintainers

Nairy Baghramian

kurimanzutto Ciudad de México, México 02/10/2018 – 03/03/2018

For her first exhibition at kurimanzutto, Nairy Baghramian presents recent sculptures collectively titled Maintainers. Each work consists of three interdependent elements—raw aluminum casts, colored wax forms and lacquer painted braces. While presented in a disparate composition within the gallery space, all of the elements resonate with a visible correlation and an inherent potential for interdependence

Nairy Baghramian, installation view of Maintainers, 2017. Courtesy of the artist and kurimanzutto, Mexico City Nairy Baghramian, installation view of Maintainers, 2017. Courtesy of the artist and kurimanzutto, Mexico City Nairy Baghramian, installation view of Maintainers, 2017. Courtesy of the artist and kurimanzutto, Mexico City Para su primera exhibición en kurimanzutto, Nairy Baghramian presenta un

The New Sun of the Aztecs The New Sun of the Aztecs

The New Sun of the Aztecs

Etel Adnan

Organized by kurimanzutto Mexico City 07/01/2017 – 08/20/2017

Abstract art was the equivalent of poetic expression; I didn’t need to use words, but colors and lines. I did not need to belong to a language-oriented culture but to an open form of expression. – Etel Adnan The sixth edition of Sonora 128 is host to the Lebanese-American artist and poet Etel Adnan, whose work

Etel Adnan, vista de instalación de The New Sun of the Aztecs, Sonora 128, Ciudad de México, 2017. Cortesía de la artista y kurimanzutto, Ciudad de México. Foto: PJ Rountree Etel Adnan, vista de instalación de The New Sun of the Aztecs, Sonora 128, Ciudad de México, 2017. Cortesía de la artista y kurimanzutto, Ciudad

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

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

kriziz

kriziz

ektor garcia

kurimanzutto Mexico City, México 11/12/2016 – 12/17/2016

Curated by Chris Sharp kurimanzutto presents a solo exhibition of the Mexican-American artist ektor garcia. His work synthesizes an interest in queer culture and arts and crafts traditions with strong roots in Mexico. Although he is ostensibly a sculptor, his works tend to be so elaborately installed and involuted that it is hard to say

ektor garcia, vistas de instalación de kriziz, kurimanzutto, Ciudad de México, 2016. Cortesía del artista y kurimanzutto, Ciudad de México, 2016. Foto: Abigail Enzaldo ektor garcia, vistas de instalación de kriziz, kurimanzutto, Ciudad de México, 2016. Cortesía del artista y kurimanzutto, Ciudad de México, 2016. Foto: Abigail Enzaldo ektor garcia, vistas de instalación de kriziz,

Pale Fire

Pale Fire

Marieta Chirulescu

kurimanzutto Mexico City, México 11/12/2016 – 12/17/2016

Marieta Chirulescu’s work captures the technical irregularities and misregistrations that occur throughout digital and analog processes of image making, producing pieces that speculate on and question the inherent nature of painting. Her creative process is one of breaking down, erasing, recopying, rereading, re-searching, throwing away and rediscovering images in their own right, especially those that would seem to portray ‘nothing’. Scanned empty

Untitled, 2016, Inkjet print, paint on canvas. 180 x 115 cm. (70.87 x 45.28 in.). Credit Line: Courtesy of the artist and kurimanzutto, Mexico City. Photo: Nick Ash, 2016 Vistas de instalación de Pale Fire, kurimanzutto, 2016. Cortesía de la artista y kurimanzutto, Ciudad de México. Foto: Abigail Enzaldo. Vistas de instalación de Pale Fire,

qARADISE

qARADISE

Nobuyoshi Araki

Organized by kurimanzutto Mexico City 09/01/2016 – 11/30/2016

Araki has long been recognized as a master of his medium, whose work captures the link between the I & eye, where photography is the observation of life and death embraced in life, or life embraced in death. Through countless exhibitions and publications, he has tirelessly experimented with the boundaries of photographic form, painting, writing, scratching or collaging

Desde hace tiempo Araki es reconocido como un maestro de la fotografía, cuyo trabajo captura la relación entre el Yo y el ojo. A través de incontables exposiciones y publicaciones se ha dedicado a observar la vida y la muerte abrazadas en vida, o la vida abrazada en la muerte. Araki experimenta con los límites de la fotografía: pinta, escribe,

Extinción de dominio Extinción de dominio

Extinción de dominio

Jonathan Hernández

kurimanzutto Mexico City, México 09/22/2016 – 10/29/2016

Over the course of two years, the artist attended public auctions in Mexico, acquiring a series of assets that had been seized from organized crime by the authorities. His acquisitions then became the primary material for the realization of the works currently on display. In dissecting this inventory, Hernandez reflects on the turbulent reality of contemporary Mexico and the attending

Durante poco más de dos años el artista adquirió en subastas públicas una serie de bienes incautados al crimen organizado en nuestro país, convirtiendo los lotes obtenidos en materia prima para la realización de las obras que conforman esta muestra. A manera de disección a un inventario, Hernández reflexiona acerca de la turbulenta realidad mexicana y sus implicaciones políticas, económicas,

Achiote

Achiote

Antonio Caro

Organized by kurimanzutto Mexico City, Mexico 06/01/2016 – 08/31/2016

For the second edition of sonora 128, artist Antonio Caro (Bogotá, 1950) presents Achiote (2001) a piece that began when the artist received a large sheet of Mexican amate paper (an indigenous variety of bark paper) in 1990. Two years later, during Proyecto 500 (1987-1992), a series of presentations organized to reflect upon the identity in the Americas five hundred years after Cristobal Colon’s arrival, Caro pondered how to

Para la segunda edición de sonora 128 el artista Antonio Caro (Bogotá, 1950) presenta Achiote (2002), una pieza que comenzó tras haber recibido un papel amate mexicano en 1990. Dos años después, durante la serie de presentaciones Proyecto 500 (1987-1992) organizadas para reflexionar sobre la identidad americana a quinientos años de la llegada de Cristóbal Colón, Caro pensó en la posibilidad de materializar las conferencias e intercambios del

No se puede hacer una revolución con guantes de seda No se puede hacer una revolución con guantes de seda

No se puede hacer una revolución con guantes de seda

Wilfredo Prieto

kurimanzutto Mexico City, Mexico 05/28/2016 – 08/27/2016

You can’t make a revolution with silk gloves kurimanzutto presents the solo exhibition No se puede hacer una revolución con guantes de seda by Cuban artist Wilfredo Prieto. Returning to Mexico after his solo exhibition at the Sala de Arte Público Siqueiros in 2012, the artist will present a series of small interventions both inside and outside the exhibition space. Almost shocking in their

kurimanzutto presenta No se puede hacer una revolución con guantes de seda de Wilfredo Prieto. Después de su exhibición individual en la Sala de Arte Público Siqueiros en 2012, el artista cubano regresa a México con una serie de pequeñas intervenciones dentro y fuera del espacio expositivo. Marcadas por una sencillez casi escandalosa, las esculturas e instalaciones de Wilfredo Prieto se caracterizan por emplear objetos