Contemporary Art in the Americas Arte Contemporáneo en las Américas
Puras cosas nuevas Puras cosas nuevas

Puras cosas nuevas

Curated by Violeta Horcasitas

Pantalla Blanca Mexico City, México 02/08/2017 – 04/01/2017

Artistas: Ramiro Avila, Sara Bichão, Camila Farina, Miguel Fernández de Castro, N. Samara Guzmán Fernández, Isauro Huizar, LBET, Shesho, Ana Navas, Javier Pelaez, Miriam Salado, Taller Vargas, Álvaro Verduzco, Pablo Acevedo, Guillermo Guevara, Bárbara Foulkes Wagner Puras cosas nuevas es una muestra que incluye obra de artistas jóvenes mexicanos y extranjeros. La selección de obra apela, en algunos casos, a elementos de la naturaleza y a la experimentación de sus

Samara Guzmán, Puras cosas nuevas, 2016. Acrílico. Dimensiones variables. Cortesía: Pantalla Blanca. Crédito de la foto: PJ Rountree. Camila Farina, Maîtres (oso y nada), 2015. Impresión en tela. 120 x 140 cm. Cortesía: Pantalla Blanca. Crédito de la foto: PJ Rountree. Vista de exhibición, 2017. Cortesía: Pantalla Blanca. Artistas: Ramiro Avila, Sara Bichão, Camila Farina, Miguel Fernández de Castro, N.

At the Center of the World At the Center of the World

At the Center of the World

Jimmie Durham

Hammer Museum Los Angeles, California, USA 01/29/2017 – 05/07/2017

The Hammer Museum presents Jimmie Durham: At the Center of the World, the first North American retrospective of artist, performer, poet, essayist, and activist Jimmie Durham (b. 1940, Washington, Arkansas) who is one of the most compelling and inventive artists working internationally today. After studying art in Geneva and then returning to the United States

Jimmie Durham: At the Center of the World, Installation view, Hammer Museum, Los Angeles, January 29 – May 7, 2017. Photo: Brian Forrest. Jimmie Durham: At the Center of the World, Installation view, Hammer Museum, Los Angeles, January 29 – May 7, 2017. Photo: Brian Forrest. Jimmie Durham: At the Center of the World, Installation

Margen-Borde-Orilla Margen-Borde-Orilla

Margen-Borde-Orilla

Curated by Patrick Charpenel

Páramo Guadalajara, Jalisco, México 02/03/2017 – 04/04/2017

Artists: Miguel Covarrubias, Germán Cueto, Graciela Iturbide, Juan Kraeppellin, Jesús “Chucho” Reyes Ferreira, Eduardo Terrazas, Francisco Toledo, Germán Venegas and Marius de Zayas Páramo presents the exhibition Margen-Borde-Orilla, curated and organized by Patrick Charpenel. The exhibition presents nine extraordinary modern and contemporary Mexican artists who produced work between 1912 to the present. The exhibition highlights these

Exhibition View, Germán Cueto. Photo by Cary Whittier. Courtesy of Páramo, Guadalajara. Exhibition View, Eduardo Terrazas and Graciela Iturbide. Photo by Cary Whittier. Courtesy of Páramo, Guadalajara. Francisco Toledo, La Patria llora, 1986-1997. Polychrome wax. 76 x 42 x 47 cm. NFS. Colección Charpenel. Courtesy of Páramo, Guadalajara. Artistas: Miguel Covarrubias, Germán Cueto, Graciela Iturbide, Juan

Bad Basket

Bad Basket

Kasia Fudakowski

Lodos Mexico City, México 02/07/2017 – 04/08/2017

Everything that is not a basket, is a bad basket Fudakowski, 2017 Bad Basket presents work created by Fudakowski during her two and a half month stay in Mexico. By acknowledging the sensitivity surrounding contemporary art’s appropriative tendencies against the back drop of Mexico’s history of colonialization and cultural appropriation, Fudakowski places herself in the middle of

Skip that amigo, come out with the salad, 2017. Puerta batiente doble, con un pasaje del cuento ‘Assembly line’ de B. Traven pintado por Martín Hernández Robles, rotulista de la Ciudad de México. Acero, esmalte. 100 x 230 x 5 cm. Cortesía de la artista, Lodos, Ciudad de México y ChertLüdde, Berlín. Fotografía: PJ Rountree.

Ozone Flowers

Ozone Flowers

Michael Assiff

Galería Mascota Mexico City, México 02/08/2017 – 04/08/2017

Ozone Flowers, a show by New York-based painter Michael Assiff, has two pressing events in mind: the onset in 2017 of the Mexican ‘Cap and Trade’ carbon market to reduce greenhouse gasses, and, to the country’s north, the ascent to power of a new climate change-denying political regime. Strung together, the ecological tableaus Assiff creates denote a new world order,

Michael Assiff, Installation View (Hyperaccumulators, Hyperaccumulators), 2017. 40.64 x 50.8 cm each. Courtesy of Galería Mascota, Mexico City. Photo: PJ Rountree. Michael Assiff, Hyperaccumulators (Wedding Hive), 2017. Plastic, latex, UV print on canvas, craft bees. 40.64 x 50.8 cm. Courtesy of Galería Mascota, Mexico City. Photo: PJ Rountree. Michael Assiff & Chelsea Culp, Rex, 2017.

Still Life

Still Life

Rhonda Holberton

CULT San Francisco, California, USA 01/11/2017 – 03/12/2017

Holberton’s work explores the way technology reshapes the relationship between humans and our physical world. As the title Still Life suggests, this exhibition utilizes material and process to transgress the boundary between stillness and life. Unexpected parallels emerge between the organic and constructed such as value and waste, self and other, cognition and physiology, and

Rhonda Holberton, Still Life (vanitas), 2017. Archival Pigment Print. 19 x 23 inches. Courtesy: CULT Aimee Friberg Exhibitions. Photo credit: John Wilson White. Rhonda Holberton, Dust to Dust, 2017. Gold dust, mosquitoes, sugar water, acrylic, nylon. Dimensions variable. Courtesy: CULT Aimee Friberg Exhibitions. Photo credit: John Wilson White. Rhonda Holberton, Front gallery installation view (from