Contemporary Art in the Americas Arte Contemporáneo en las Américas
Eventos Fungi II

Eventos Fungi II

Paola De Anda

Parallel /// Oaxaca Oaxaca, México 10/13/2018 – 11/13/2018

Parallel /// Oaxaca presents Eventos Fungi II by Paola De Anda, initiating the program Recent Histories of Contemporary Art in Mexico, a program supported by the Jumex Foundation. The program includes the curatorial review and presentation of artistic works made between 1994 and 2010 whose conceptual and contextual representations deepened the discursive processes and the

Paola De Anda, Eventos Fungi II. “Historias recientes del arte contemporáneo en México”. Vista de instalacion en Parallel /// Oaxaca. Foto cortesía de Parallel /// Oaxaca Paola De Anda, Eventos Fungi II. “Historias recientes del arte contemporáneo en México”. Vista de instalacion en Parallel /// Oaxaca. Foto cortesía de Parallel /// Oaxaca Paola De Anda, Eventos Fungi II.

Guex Liu, Kuu ñunro, Totlalhuan, Nuestra tierra, Our land: Fernando Palma at MACO, Oaxaca, Mexico Guex Liu, Kuu ñunro, Totlalhuan, Nuestra tierra, Our land: Fernando Palma at MACO, Oaxaca, Mexico

Guex Liu, Kuu ñunro, Totlalhuan, Nuestra tierra, Our land: Fernando Palma at MACO, Oaxaca, Mexico

by Dorothée Dupuis Oaxaca, Mexico December 15, 2017 – April 1, 2018

Fernando Palma distrusts humankind. Conversely, he trusts, in affection, animals, plants, and the gods…nature, earth, maize. Hence the exhibition unfolds like a long and complex landscape of various scenes set in the rooms of the museum. The installations are not ordered chronologically and respond to the different architectural conditions and the luminosity of each space—the

Coyote inalienable, 2013. Estructura metálica, cabello, circuitos electrónicos y sensores. Dimensiones variables. Imagen cortesía del artista y Museo de Arte Contemporáneo de Oaxaca Fernando Palma no confía en el ser humano. En cambio confía desde el cariño en los animales, las plantas y los dioses… naturaleza, tierra, maíz. La exposición figura entonces como un paisaje

Elusive Earths III Elusive Earths III

Elusive Earths III

Jennifer Teets - Lorenzo Cirrincione

Parallel Oaxaca Oaxaca, México 04/29/2016 – 06/18/2016

Elusive Earths III is an ongoing in situ work, process, and dialogue between Jennifer Teets and Lorenzo Cirrincione, that looks to the elusiveness of rare clays, soils, and earths with forgotten origins. Over time this research has involved different forms of replication, extraction, and multiplication of processes and their distribution as “clay narratives”. The first step of the

Elusive Earths III / Tierras Esquivas III es una serie de trabajos in situ, procesos y diálogos entre Jennifer Teets y Lorenzo Cirrincione, que mira lo sinuoso/esquivo en arcillas raras, suelos y tierras con orígenes olvidados. Con el tiempo esta investigación ha involucrado diferentes formas de replicación, extracción y multiplicación de procesos y distribución como “narrativas de arcilla”.

Tierra Vaga

Tierra Vaga

Michel François & Harold Ancart

Casa Wabi Puerto Escondido, Oaxaca, México 02/06/2016 – 12/31/2016

As part of the exhibition program of Fundación Casa Wabi, Tierra Vaga displays the work of Michel François (Brussels, 1956) and Harold Ancart (Brussels, 1980). The primary focus of Fundación Casa Wabi’s programs is to harmoniously merge the natural environment – climate, vegetation, beach and above all, local culture – with an artistic experience, making this blend a

As part of the exhibition program of Fundación Casa Wabi, Tierra Vaga displays the work of Michel François (Brussels, 1956) and Harold Ancart (Brussels, 1980). The primary focus of Fundación Casa Wabi’s programs is to harmoniously merge the natural environment – climate, vegetation, beach and above all, local culture – with an artistic experience, making this blend a

Descripción de una entrevista

Descripción de una entrevista

Francesco Pedraglio

Parallel Oaxaca Oaxaca, México 11/20/2015 – 01/07/2016

FACTS – He moves a temporary wall previously constructed to cover one of the two doors and blocks one entrance – With a knife, he cuts a frame into the temporary wall and partially reveals the street behind – He starts talking… – Imagine 9 possible scenarios for Calle Santo Tomas… – Using the leftover

FACTS – He moves a temporary wall previously constructed to cover one of the two doors and blocks one entrance – With a knife, he cuts a frame into the temporary wall and partially reveals the street behind – He starts talking… – Imagine 9 possible scenarios for Calle Santo Tomas… – Using the leftover

Cromática

Cromática

Tania Candiani

Museo de Arte Contemporáneo de Oaxaca (MACO) Oaxaca, México 08/14/2015 – 11/16/2015

From the positivist presumption of the existence of a system of absolute knowledge and truth to the models of Cartesian order that only allowed readings in one particular direction, the majority of models of epistemological organization reflect an obsession with directionality that turns out to be somewhat contradictory, depending on the quantity and variety of

Partiendo de la búsqueda de otros modos de articular el pensamiento, Tania Candiani desarrolla un proyecto específico para el Museo de Arte Contemporáneo de Oaxaca, región conocida por la preservación de diversas tradiciones artesanales, que la artista toma como punto de partida para establecer diferentes relaciones y modelos organizativos de asociaciones sensoriales. Tradiciones ancestrales como los textiles o

La doble visión La doble visión

La doble visión

Sergio Gutiérrez

Parallel Oaxaca Oaxaca, México 05/21/2015 – 06/22/2015

Parallel Oaxaca is proud to present its first collaboration with Oaxaca based artist Sergio Gutierrez, the exhibition “The double vision” combines a series of graphic events looking to corporeal experience as a movile entity tracing architectural, objetual and perceptual spaces. Sergio Gutiérrez´ practice use drawing as a reflexion zone, a complementary time to observation which

Parallel Oaxaca se complace en invitarlo a la primera presentación individual del artista Sergio Gutiérrez. La exhibición “La doble visión” combina una serie de eventos gráficos que consideran la experiencia corporal como una entidad móvil en resonancia con espacios arquitectónicos, objetuales y perceptuales. La práctica de Sergio Gutiérrez usa el dibujo como una zona de

MR MF: AD/HD BY E

MR MF: AD/HD BY E

Carl Palm

Parallel Oaxaca, México 02/14/2015 – 03/14/2015

thirty I rhymes4 to 5 linesof puppy love comatosed on shoresn grill miming mint con-editions n floss less mocap lotion LUSH N ALL THE TIME LUSH N ALL THE TIME LUSH N ALL THE TIME LUSH N ALL THE TIME LUSH .. sings Mr Memory Foam a piece on timing and it sounds as if

thirty I rhymes4 to 5 linesof puppy love comatosed on shoresn grill miming mint con-editions n floss less mocap lotion LUSH N ALL THE TIME LUSH N ALL THE TIME LUSH N ALL THE TIME LUSH N ALL THE TIME LUSH .. sings Mr Memory Foam a piece on timing and it sounds as if

Nyma Graphia Cifra Nyma Graphia Cifra

Nyma Graphia Cifra

Anna M. Szaflarski

Parallel Oaxaca Oaxaca, México 01/17/2015 – 02/13/2015

Parallel Oaxaca is delighted to present Nyma Graphia Cifra, an exhibition and publication by Ayami Awazuhara, Valentina Jager and Anna M. Szaflarski. Nyma Graphia Cifra pairs sculptural form to the ambiguous and morphable nature of language, playing and transforming the linguistic abilities of crafts. The project was initiated as a visual correspondence between the artists,

Parallel Oaxaca se complace en presentar Nyma Graphia Cifra, exposición y publicación de Ayami Awazuhara, Valentina Jager y Anna M. Szaflarski. Nyma Graphia Cifra combina formas escultóricas con la naturaleza maleable del lenguaje, lúdicamente transformando las habilidades lingüísticas de los oficios populares. El proyecto ha iniciado a partir de una correspondencia visual entre las artistas,

Go, gentle scorpio

Go, gentle scorpio

Rodrigo Hernández

Parallel Oaxaca, México 12/19/2014 – 01/11/2015

“The head is the most important part of the figure, The body and the legs are less weighty Active hands are emphasized, like speaking mouths Quantity is used to emphasize intensity. Inactive, unimportant or uninteresting parts are only indicated or neglected. There are even figures without bodies. You will find without my explanation in which

“La cabeza es la parte más importante de la figura, El cuerpo y las piernas son menos pesadas. Las manos activas son enfatizadas, como bocas parlantes. La cantidad es usada para enfatizar la intensidad. Partes inactivas, sin-importancia o sin-interés son solo indicadas o negadas. Hay inclusive figuras sin cuerpos. Encontrarían, sin mi explicación, en qué