Contemporary Art in the Americas Arte Contemporáneo en las Américas
Verbo 2019 (15ª edición), Brasil Verbo 2019 (15ª edición), Brasil

Verbo 2019 (15ª edición), Brasil

São Paulo & São Luís, Brasil 07/09/2019 – 07/18/2019

Verbetes Galeria Vermelho – São Paulo (SP) Chão SLZ  – São Luís (MA) Re(o)cupa – São Luís (MA) Curated by: Marcos Gallon and Samantha Moreira The historical relation between Brazil and the artistic movements derived from live arts has evolved considerably from it’s more “centralized” beginnings in the 60s to it’s current practice which spreads

Verbetes Galeria Vermelho – São Paulo (SP) Chão SLZ  – São Luís (MA) Re(o)cupa – São Luís (MA) Curaduría por: Marcos Gallon y Samantha Moreira La relación histórica entre Brasil y los movimientos artísticos derivados de las artes vivas ha evolucionado considerablemente desde sus comienzos más “centralizados” en los años sesentas hasta su práctica actual

Forging Territories: Queer Afro and Latinx Contemporary Art Forging Territories: Queer Afro and Latinx Contemporary Art

Forging Territories: Queer Afro and Latinx Contemporary Art

Curated by Rubén Esparza

San Diego Art Institute San Diego, California, USA 06/29/2019 – 11/03/2019

Musings on a Blacktino Critical Optic The year 2019 marks a watershed moment in LGBTQ history as museums and cultural institutions across the country commemorate the fifty-year anniversary of Stonewall, that raucous riot where queers fought back at intrepid police raids at Stonewall Inn in New York’s Greenwich Village in 1969. As with all cultural

Patrisse Cullors, Untitled (2019). Performance for opening night. ©Patrisse Cullors. Photo by ©Philipp Scholz Ritterman and ©Tim Hardy Alma Lopez, Santa, Lucia, Santa Wilgerfortis, Julia Pastrana (2014). ©Alma Lopez. Photo by ©Philipp Scholz Ritterman and ©Tim Hardy Vinnie Garcia, 2nd Puberty (2019). Immersive installation. ©Vinnie Garcia. Photo by ©Philipp Scholz Ritterman and ©Tim Hardy Reflexiones Sobre

«nepantla» y «Una piedra rota no es dos piedras» en Guadalajara, Jalisco, México «nepantla» y «Una piedra rota no es dos piedras» en Guadalajara, Jalisco, México

«nepantla» y «Una piedra rota no es dos piedras» en Guadalajara, Jalisco, México

Por Raúl Rueda Guadalajara, Jalisco, México

From among the fissures: review of nepantla and Una piedra rota no es dos piedras [A broken stone is not two stones] The art of our days has been devoted to abolish certainties. The challenge and dismantling of categories, the means of production and the exhibition space were the starting point, but the constant mobility

Mario Ayala, Souvenir. Imagen cortesía de Gamma Galería De entre las fisuras: reseña de nepantla y Una piedra rota no es dos piedras El arte de nuestros días se ha abocado a abolir las certezas. El desafío y desmantelamiento de las categorías, los medios de producción y del espacio de exposición fueron el punto de partida,

Hyperobjects: Group show at Ballroom Marfa, Texas, USA Hyperobjects: Group show at Ballroom Marfa, Texas, USA

Hyperobjects: Group show at Ballroom Marfa, Texas, USA

By Saúl Hernández-Vargas Marfa, Texas, USA 04/13/2018 – 11/04/2018

The desert, neither uninhabited nor alone: Notes on Hyperobjects, curated by Timothy Morton and Laura Copelin For Cristina Compared to their Chinese and Mesoamerican counterparts, western astronomers were late in observing a wide range of celestial phenomena. It wasn’t until the sixteenth century that Nicolaus Copernicus, drawing on discoveries made by Arab astronomers at the

Emilija Skarnulyte, Sirenomelia, 2018. Video, único canal HD, loop. Imagen cortesía de la artista y Ballroom Marfa. Foto: Alex Marks El desierto, ni deshabitado ni solo: notas sobre Hyperobjects, curada por Timothy Morthon y Laura Copelin Para Cristina A diferencia de los astrónomos chinos, y mesoamericanos, los astrónomos occidentales tardaron en observar la gran variedad de fenómenos

Spring 2018 International Artist-in-Residence at Artpace

Spring 2018 International Artist-in-Residence at Artpace

Rafa Esparza, Kapwani Kiwanga, Carlos Rosales-Silva

Artpace San Antonio, Texas, USA 03/22/2018 – 05/13/2018

ring the bells that still can ring… there is a crack in everything Kapwani Kiwanga In her most recent works, Kapwani Kiwanga appears like a scientist, mobilizing her knowledge in social sciences to develop research projects. Following a singular methodology, she creates specific protocols she uses like filters to observe specificities and capacity to change

Kapwani Kiwanga. Vista de instalación de Suena las campanas que aún suenen…En todo hay grietas, en Artpace, Texas, EE.UU., 2018. Comisionada y producida por Artpace San Antonio. Foto por Charlie Kitchen Suena las campanas que aún suenen… En todo hay grietas Kapwani Kiwanga En sus obras más recientes Kapwani Kiwanga se muestra como una científica,

Pasado mañana Pasado mañana

Pasado mañana

Beatriz Cortez and Rafa Esparza

Commonwealth and Council Los Angeles, USA 01/20/2018 – 03/03/2018

Commonwealth and Council presents Pasado mañana, an exhibition of new work by Beatriz Cortez and Rafa Esparza. Together, they posit immigrant labor as a foundation for building a future in which multiple imaginaries of gender, race, class, and culture become possible. “Pasado mañana,” Spanish for “the day after tomorrow,” translates literally as “when tomorrow has

Beatriz Cortez and Rafa Esparza. Exhibition view of Pasado mañana at Commonwealth and Council, Los Angeles, California, USA, 2018. Courtesy of the artists and Commonwealth and Council, Los Angeles. Photo: Ruben Diaz Beatriz Cortez and Rafa Esparza. Exhibition view of Pasado mañana at Commonwealth and Council, Los Angeles, California, USA, 2018. Courtesy of the artists

Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly, at Bemis Center, Omaha, Nebraska Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly, at Bemis Center, Omaha, Nebraska

Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly, at Bemis Center, Omaha, Nebraska

By Melinda Kozel Omaha, Nebraska, USA 12/07/2017 – 02/24/2018

The Bemis Center of Contemporary Arts debuted Monarchs: Brown and Native Contemporary Artists in the Path of the Butterfly this last winter in Omaha, Nebraska. The exhibit, curated by Risa Puleo—the first to hold title as Curator-in-Residence at the Bemis Center—seeks to address the contemporary result of a long and woven history of movement, as

Salvador Jimenez-Flores, Nopales híbridos: An Imaginary World of a Rascuache-Futurism, 2017. Terra-cotta, porcelain, underglazes, gold luster and terra-cotta slip. 96 x 96 x 96 inches. Courtesy the artist. Photo: Colin Conces El Centro de Arte Contemporáneo Bemis inauguró el invierno pasado en Omaha, Nebraska, Monarchs: Brown and Native Contemporary Artists in the Path of the

Tierra. Sangre. Oro. Tierra. Sangre. Oro.

Tierra. Sangre. Oro.

A project by Rafa Esparza

Ballroom Marfa Marfa, Texas, USA 08/25/2017 – 03/18/2018

Tierra. Sangre. Oro. is a group exhibition envisioned by Rafa Esparza that includes new work by Carmen Argote, Beatriz Cortez, Esparza, Timo Fahler, Eamon Ore-Giron; new and existing photographs by Star Montana; a major body of work by Nao Bustamante; the contributions of adoberos/artists Sandro Cánovas, Maria Garcia, Ruben Rodriguez, as well as many hands from the community

Installation view: (on top) Eamon Ore-Giron, Talking Shit With Quetzalcoatl/ I Like Mexico and Mexico Likes Me, 2017. Wool, copper, adobe. Courtesy the artist; (on the bottom) Rafa Esparza, Raised Adobe Ground for Talking Shit With Quetzalcoatl, 2017. Adobe. Courtesy the artist. Image courtesy of Ballroom Marfa. Carmen Argote, Hunting and Gathering, 2017. Acrylic on muslin fabric, cardboard