Contemporary Art in the Americas Arte Contemporáneo en las Américas
Legado Fantasma Legado Fantasma

Legado Fantasma

Théo Mercier

Galería Marso Mexico City, México 11/10/2017 – 01/13/2018

For the Phantom Legacy project, Théo Mercier has decided to tear down the old walls and ceilings of the exhibition halls of the MARSO gallery. The debris lays on the floor in the manner of a ruin. There is something of the history of the place that collapses with this act. The remains of the

Théo Mercier. Vista de la exhibición Legado Fantasma, Galería Marso, Ciudad de México, 2017. Cortesía Galería Marso y Théo Mercier Théo Mercier. Vista de la exhibición Legado Fantasma, Galería Marso, Ciudad de México, 2017. Cortesía Galería Marso y Théo Mercier Théo Mercier. Vista de la exhibición Legado Fantasma, Galería Marso, Ciudad de México, 2017. Cortesía

Regañando Regañando

Regañando

Curated by Dorothée Dupuis

Squash Editions Mexico City 11/10/2017 – 11/12/2017

A group show curated by Dorothée Dupuis. With Fabienne Audéoud, Andrew Birk, Andrea Bowers, Dan Finsel, Ana Gallardo, Natalia Ibáñez Lario, Héctor Jiménez, Paloma Contreras Lomas, Érika Ordosgoitti, Lili Reynaud-Dewar, Betzabeth Torres, Claire Van Lubeek and a book by Sophie Calle. Regañando invites 13 Mexican and international artists who employ in their work a rhetoric

Regañando, 2017. Vista de la exposición en Squash Editions. Cortesía de Squash Editions Regañando, 2017. Vista de la exposición en Squash Editions. Cortesía de Squash Editions Regañando, 2017. Vista de la exposición en Squash Editions. Cortesía de Squash Editions Una exposición colectiva curada por Dorothée Dupuis. Con Fabienne Audéoud, Andrew Birk, Andrea Bowers, Dan Finsel,

Perhaps esperanza waiting or sunset Perhaps esperanza waiting or sunset

Perhaps esperanza waiting or sunset

Rometti Costales

joségarcía ,mx Mexico City, México 10/14/2017 – 12/16/2017

It was 1979 when anthropologist Walter F. Morris Jr. published A catalog of textiles and folkart of Chiapas, an extensive inventory of three fabric collections, patterns and other regional objects. In this self-edited volume black&white, almost abstract images, which reduce the cataloged artifacts to a series of contrasting planes, appear along with greatly detailed descriptive texts. Few Augusts ago,on

Rometti Costales, Installation view, 2017. Courtesy of joségarcÍa ,mx. Photo: White Balance Rometti Costales, Installation view, 2017. Courtesy of joségarcÍa ,mx. Photo: White Balance Rometti Costales, around the mouth and eyes, 2017. Variable dimensions. Courtesy of joségarcÍa ,mx. Photo: White Balance Corría el año 1979 cuando el antropólogo Walter F. Morris Jr. publica A Catalog of

Djamil Djamil

Djamil

Lin May Saeed

Lulu Mexico City, México 09/30/2017 – 11/18/2017

Lin May Saeed makes sculptures, sculptural reliefs, drawings, works on paper and video. Known to use non-traditional materials, such as and especially styrofoam, Saeed’s work is directly linked to and thematically informed by her interest in animals and her commitment to animal activism. Her work deals with the exploitation of animals, their depiction, liberation, and

Lin May Saeed, Mural, 2017. Charcoal drawing in situ, Dimensions variable. Image courtesy of Lulu. Installation view. Image courtesy of Lulu. Lin May Saeed, Teneen Albaher Relief III, 2017. Styrofoam, steel, acrylic paint, 33,5 x 47 x 12,5 cm. Image courtesy of Lulu. Lin May Saeed hace escultura, relieves escultóricos, dibujos, trabajos en papel y

Nunca Godo

Nunca Godo

Diego Salvador Ríos

Lodos Ciudad de México 10/07/2017 – 11/18/2017

Diego, papito, papá Pinillos, Before the past takes everything away, I would like to share with you some images that have stuck in my head. Actually, they all talk about the past, so don’t feel the need to trust them. Inevitably they will disappear. They are only representations. Ideas about you. Or rather, reproductions of

Installation view. Diego Salvador Rios, Nunca Godo, 2017. Imagen cortesía de Lodos. Installation view. Diego Salvador Rios, Nunca Godo, 2017. Imagen cortesía de Lodos. Installation view. Diego Salvador Rios, Nunca Godo, 2017. Imagen cortesía de Lodos. Diego, papito, papá Pinillos, Antes de que todo se lo lleve el pasado, quisiera compartirte algunas imágenes que se

Forensic Architecture: Hacia una estética investigativa, at MUAC, Mexico City Forensic Architecture: Hacia una estética investigativa, at MUAC, Mexico City

Forensic Architecture: Hacia una estética investigativa, at MUAC, Mexico City

By Ariadna Ramonetti Mexico City, México 09/09/2017 – 01/07/2018

An archeology of defeat A tool remains marginal, or little used, until there exists a social machine or collective assemblage which is capable of taking it into its ‘phylum’ Claire Parnet in dialogue with Gilles Deleuze, 1987 In her article “Mujeres blancas buscando salvar mujeres color café”[1], Karina Bidaseca defines contemporary savior rhetoric, with its

Forensic Architecture. Hacia una estética investigativa. Vista de instalación. Imagen cortesía del Museo Universitario de Arte Contemporáneo (MUAC). Una arqueología de la derrota Una herramienta seguirá siendo marginal o poco empleada mientras no exista la máquina social o el agenciamiento colectivo capaz de incluirla en su «phylum». Claire Parnet en diálogo con Gilles Deleuze, 1980. En su texto

Fragmentos de un discurso amoroso Fragmentos de un discurso amoroso

Fragmentos de un discurso amoroso

Priscilla Monge

Luis Adelantado Mexico City, México 09/21/2017 – 11/10/2017

“The love discourse is today one of an extreme solitude” Roland Barthes “Fragmentos de un discurso amoroso”, el título de esta exposición, es retomado del famoso libro homónimo de Roland Barthes que hace un recorrido y reconstrucción de la manera en que distintos autores han abordado el amor como tema a través de la historia,

Mis sueños son peligrosos, 2017. Embroidery (Polyptych). 121 x 255 cm. Cortesía y crédito de la foto: Galería Luis Adelantado. Sábana (detail), 2017. Embroidery. 600 x 1200 cm. Cortesía y crédito de la foto: Galería Luis Adelantado. Ella apagó la última llama que quedaba, 2017. Fotografía Polaroid intervenida con óleo y carbón. 170 x 150

Josephine Meckseper

Josephine Meckseper

Josephine Meckseper

Proyectos Monclova Mexico City, México 09/22/2017 – 10/28/2017

Meckseper’s practice is premised in a consideration of the visual and material cultures of consumerism, art history, counter-culture, and 20th century modes of display through installations, assemblages, and film. Using methods of retail display such as glass vitrines, shelves, shop windows, combined with a methodical and confrontational use of mirrors and reflection, her work establishes

Vista de instalación en Josephine Meckseper, PROYECTOSMONCLOVA, Ciudad de México, 2017, Cortesía de Josephine Meckseper y PROYECTOSMONCLOVA, Foto: Rodrigo Viñas Sin título, 2013, Acrílico sobre madera, 56.5 x 21.6 x 21.6 cm Cortesía de Josephine Meckseper y PROYECTOSMONCLOVA © Josephine Meckseper Dirty Hands, 2016, Acrílico sobre tela, aluminio fundido, acero inoxidable, madera, joyas y Chemental laminado

Polifonías Polifonías

Polifonías

Athina Ioannou

Galería Hilario Galguera Mexico City, Mexico 08/31/2017 – 10/08/2017

Polifonías is a visual composition of multiple pictorial voices, a harmonious ensemble organically conformed by subtle elements which make it coexist with the place it was thought for. Departing from an idea that evolves depending on its context, Ioannou creates her work in relation to the exhibition site, observing the environment deeply and establishing ties between its

Athina Ioannou, Composizione da camera per più voci, 2017, Noventa triángulos de tela de algodón cubiertos con aceite de linaza, tensores y cable de metal, Medidas variables, Cortesía: Galería Hilario Galguera, Crédito de la foto: Sergio López. Athina Ioannou, The Question of the Helix as a Broken Cross Composition (Detalle), 2017, Tubos y vigas de

I Have Erections Too

I Have Erections Too

Gwladys Alonzo

El cuarto de máquinas Mexico City, México 08/26/2017 – 10/28/2017

“The limits of my language mean the limits of my world” – Ludwig Wittgenstein The verb to erect carries two cardinal connotations necessary to understand the sculptural explorations proposed by Gwladys Alonzo’s practice: raising or building a body in space and giving an entity or common object a greater or special relevance. Beyond the Electra’s

Gwladys Alonzo, Uso III, 2017, Azulejo, cemento, rejilla de metal, alambre, aerosol, 208 × 56 × 14 cm, Photo: Sergio López, Courtesy: El cuarto de máquinas. Gwladys Alonzo, Image I, 2017, Madera aglomerada, 72 × 60 × 2 cm, Photo: Sergio López, Courtesy: El cuarto de máquinas. Gwladys Alonzo, Circulación III, 2017, Ladrillo de barro,