Contemporary Art in the Americas Arte Contemporáneo en las Américas
Bearing Witness Bearing Witness

Bearing Witness

Regina José Galindo

Baik Art Los Angeles, California, USA 09/09/2017 – 10/28/2017

Baik Art presents Bearing Witness, a solo exhibition by Regina José Galindo, contemporary Guatemalan performance artist born in 1974, 14 years into the bloody, 36-year armed conflict in Guatemala. By pushing her body to the limit and creating works that depict her own reality as both a Guatemalan and a woman, Galindo challenges the inequities and

Regina José Galindo, Libertad Condicional/Contional Freedom, 2009. Photos, chains, stakes, padlocks, ring of keys. 8 x 10 in. and dimensions variable. Courtesy of the artist and Baik Art. Photo: Michael Underwood Regina José Galindo, Installation view, 2003-2017. Photos, videos, mixed media. Dimensions variable. Courtesy of Baik Art. Photo: Michael Underwood Regina José Galindo, Tierra/Earth, 2013.

Vivian Suter and Elisabeth Wild Vivian Suter and Elisabeth Wild

Vivian Suter and Elisabeth Wild

Elisabeth Wild

Karma International Los Angeles, California, USA 09/15/2017 – 10/28/2017

The gravel avocado and mango trees in their green                 shadows            Volcanoes,                 and their shoot The paintings breath    The paintings move and are moved by the wind              the     

Installation view at Vivian Suter and Elisabeth Wild by Karma International, Los Angeles, 2017. Photo courtesy of the artists and the gallery. Installation view at Vivian Suter and Elisabeth Wild by Karma International, Los Angeles, 2017. Photo courtesy of the artists and the gallery. Installation view at Vivian Suter and Elisabeth Wild by Karma International, Los Angeles,

Primordial Saber Tararear Proverbiales Sílabas… Primordial Saber Tararear Proverbiales Sílabas…

Primordial Saber Tararear Proverbiales Sílabas…

Curated by Abraham Cruzvillegas and Gabriel Kuri

Regen Projects Los Angeles, California, USA 09/09/2017 – 10/28/2017

Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas Regen Projects presents an exhibition curated by gallery artists Abraham Cruzvillegas and Gabriel Kuri concurrent with Pacific Standard Time: Los Angeles / Latin America. The exhibition examines the influence of the Latin American diaspora by bringing together a group of works by

Installation view of Primordial Saber Tararear Proverbiales Sílabas Tonificantes Para Sublevar Tecnocracias Pero Seguir Tenazmente Produciendo Sociedades Tántricas – Pedro Salazar Torres (Partido Socialista Trabajador), curated by Abraham Cruzvillegas and Gabriel Kuri, on the occasion of Pacific Standard Time: LA/LA. Regen Projects, Los Angeles. September 9 – October 28, 2017. Photo: Brian Forrest, Courtesy Regen

Mundos Alternos: Art and Science Fiction in the Americas at UCR ARTSblock Mundos Alternos: Art and Science Fiction in the Americas at UCR ARTSblock

Mundos Alternos: Art and Science Fiction in the Americas at UCR ARTSblock

by Sabrina Tarasoff Riverside, California 09/16/2017 – 02/04/2018

The future is their inseparability yet, at least for the moment, the artists in this show who focus on their slipstream artworks, present islands of materiality for salvation. —Tyler Stallings[1] In 1899, the story goes, two US American sailors left their native shores on a set course for a scientific mission in Southern Polynesia. Their

  Héctor Hernández, Bulca, 2015. Imagen cortesía del artista y UCR ARTSblock. “El futuro es su inseparabilidad y, al menos por el momento, los artistas en esta exhibición que se centran en sus obras de arte, presentan islas de materialidad para la salvación.” – Tyler Stallings.[1] En 1899, como dice la historia, dos marineros estadounidenses

Dysfunctional Formulas of Love Dysfunctional Formulas of Love

Dysfunctional Formulas of Love

Curated with Corazón Del Sol and Víctor Albarracín Llanos

The Box Los Angeles, California, USA 09/17/2017 – 11/04/2017

Artists: Andrés Felipe Uribe, Andrés Matute, Beatriz Eugenia Díaz, Breyner Huertas, Carlos Bonil, Carolina Caycedo, Corazón Del Sol, Eider Yangana, Eusebio Siosi, Gabriel Mejía, Gala Porras-Kim, Henry Palacio, Jennifer Rojas, Juan Guillermo Tamayo, Julio Giraldo, Liliana Vélez, Lorena Espitia, María Angélica Madero, María Buenaventura, María Isabel Rueda, María Mercedes Salgado, Mario Llano, Milena Bonilla, Mugre, Nicolás Vizcaíno, Richard Bent Cano, Tupac Cruz, Vanesa Ortiz, Víctor Albarracín Llanos, William Contreras Alfonso, Wilson Díaz, Yaron Michael Hakim Dysfunctional Formulas of Love brings together 32 Colombian artists in order

Carlos Bonil, Choral Machine: Routine #, 2017, Video animation, obsolete appliances, transformed computer speakers. Dimensions: variable. Courtesy: the artist and The Box, LA. Fredrik Nilsen Studio. Beatriz Eugenia Díaz, Aria No. 23 (left) & Aria No. 15 (right), 2017 (both). Video (left), oil on paper (right),4:44 mins (left), 13 x 69 inches (right). Courtesy: the

Dismantling Gorostiza

Dismantling Gorostiza

Jorge Méndez Blake

1301PE Los Angeles, California, USA 09/09/2017 – 10/21/2017

As part of Pacific Standard Time: LA/LA, 1301PE presents its third exhibition, Dismantling Gorostiza, with Jorge Méndez Blake. Méndez Blake who is known for his play between art, literature and architecture exhibit a new body of work based on multiple texts by Mexican, modern writer José Gorostiza (10 November 1901 – 16 March 1973). Méndez

Jorge Méndez Blake, Dismantling Gorostiza, 2017. Installation view at 1301PE, Los Angeles. Photo: Chris Adler. Jorge Méndez Blake, Dismantling Gorostiza, 2017. Installation view at 1301PE, Los Angeles. Photo: Chris Adler. Detail, Jorge Méndez Blake, Dismantling Gorostiza (Muerte sin fin) / Desmantelando a Gorostiza (Muerte sin fin), 2017, Acrylic on linen, 78 x 95.7 inches. As part of Pacific

El eje del mal

El eje del mal

Radamés "Juni" Figueroa, Adriana Lara, Adriana Martínez, and more...

Ruberta Los Angeles, California, USA 09/10/2017 – 10/22/2017

El eje del mal is the inaugural exhibition at Ruberta, a new collaborative exhibition space in Glendale shared by Galería Agustina Ferreyra (Mexico City / San Juan), Lodos (Mexico City), Proyectos Ultravioleta (Guatemala City), CARNE (Bogota), and BWSMX (Mexico City). Each year, Ruberta will play host to one group exhibition involving all of the participating

Installation view (Diego Salvador Rios, Radamés “Juni” Figueroa, Mariana Murcia). Image courtesy of Ruberta. Cristina Tufiño, Lady Joker, 2017. Cold-finished ceramic. 8” x 7” x 4”. Image courtesy of Ruberta. Cristina Tufiño, Laugh Now Cry Later, 2017. Vinyl on wall. Variable dimensions. Image courtesy of Ruberta. El eje del mal es la exposición con la que se

Radical Women: Latin American Art, 1960-1985, at Hammer Museum, Los Angeles, USA Radical Women: Latin American Art, 1960-1985, at Hammer Museum, Los Angeles, USA

Radical Women: Latin American Art, 1960-1985, at Hammer Museum, Los Angeles, USA

By Nika Simone Chilewich Los Angeles, California, USA 09/15/2017 – 12/31/2017

Radical Women: Latin American Art, 1960-1985 is one of the major exhibitions to come out of Pacific Standard Time: Latin American & Latino Art in LA (LA/LA). Funded by the Getty Foundation [1] the third iteration of this regional program opened this September in over 70 museum institutions and countless galleries and performance spaces from San Diego to

Paz Errázuriz (Chilean, b. 1944), La Palmera (The palm tree), from the series La manzana de Adán (Adam’s Apple), 1987. Gelatin silver print. 15 9/16 × 23 1/2 in. (39.5 × 59.7 cm). Courtesy of the artist and Galeria AFA, Santiago. Artwork © the artist. Radical Women: Latin American Art, 1960-1985 es una de las exposiciones más importantes

A Universal History of Infamy

A Universal History of Infamy

Curated by Rita Gonzalez, José Luis Blondet and Pilar Tompkins Rivas

LACMA Los Angeles, California, USA 08/20/2017 – 02/19/2018

The Los Angeles County Museum of Art presents A Universal History of Infamy featuring sixteen U.S. Latino and Latin American artists and collaborative teams who work across a range of media—from installation and performance to sculpture and video—and adopt methodologies from diverse disciplines, including anthropology, history, linguistics, and literature. Most of the works on view are new projects that

Ángela Bonadies, The Kitchen/La cocina (LA New Times Western School; Onnuri Church; Jin Young Yoon), 2016 and Street Meeting, 2016, 2017 from the series David Alfaro Siqueiros, Street Meeting, LA, 1932, 2016–2017, courtesy of the artist, installation view in A Universal History of Infamy, Los Angeles County Museum of Art, August 20, 2017–February 19, 2018,

No more things

No more things

Lucia Koch

Christopher Grimes Gallery Santa Monica, California, USA 09/09/2017 – 10/28/2017

Christopher Grimes Gallery announces, in conjunction with Pacific Standard Time LA/LA, No more things. Koch presents a continuation of her Fundos series: photographs of the interiors of empty boxes, bags, and packages, manipulated to house and reflect light and mimic architectural scales. Koch began photographing for the Fundos series in 2001 while reading Paul Auster’s dystopian novel,

Lucia Koch, Cleanser, 2017. Pigment print on cotton paper, UV matte laminate. 43-3/8 x 67-1/4 inches | 110 x 172 cm. Image courtesy of Christopher Grimes Gallery. Lucia Koch, Pão, 2017. Pigment print on cotton paper, UV matte laminate. 86-5/8 x 47-1/4 inches | 220 x 120 cm. Image courtesy of Christopher Grimes Gallery Lucia Koch, Cat Food,