Contemporary Art in the Americas Arte Contemporáneo en las Américas
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

MARGINALIA #28

MARGINALIA #28

By N. Samara Guzmán 09/01/2017 – 09/30/2017

Every month Marginalia invites an artist, curator or project to provide a series of images that will serve as the background of Terremoto, in relation to their practice and current interests. At the end of each month, the identity of our guest is revealed and the whole series of images is unveiled. — Taking advantage of the

Marginalia consiste en la invitación mensual a un artista, curador o proyecto a escoger una serie de imágenes para el fondo de la página de Terremoto en relación con su práctica e intereses del momento. A final de cada mes se revela la identidad del invitadx y se pueden descubrir las imágenes en conjunto. — Aprovechando

Campions

Campions

Curated by Debra Barrera

Jonathan Hopson Gallery Houston, Texas, USA 09/10/2017 – 10/15/2017

Jonathan Hopson is pleased to present Campions, a group show curated by Debra Barrera featuring work by six artist who . While diverse in their style, the works by Brittney Anele, Linda Arredondo, Steven Evans, Jamil Hellu, Liz Rodda, and Talia Shulze. The American ideology of difference has shifted. A recent change has emerged for acceptance of the marginalized

Talia Shulze, rose+lily, 2017. C print, framed. 16 x 20”. Image courtesy of Jonathan Hopson. Installation view. Campions at Jonathan Hopson, 2017. Image courtesy of Jonathan Hopson. Installation view: Brittney Anele, Chained Jumper, 2017. Handmade garment. 57 x 32 x 1″. Image courtesy of Jonathan Hopson Jonathan Hopson is pleased to present Campions, a group show curated by Debra Barrera featuring

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

Secuencia | Proyecto ADN

Secuencia | Proyecto ADN

Máximo Corvalán-Pincheira

Proyectos Impala Ciudad Juárez, Chihuahua, México 08/07/2017 – 10/07/2017

Proyectos Impala presenta el trabajo del artista Máximo Corvalán-Pincheira en su primera exposición individual en México. Corvalán-Pincheira ha desarrollado a lo largo de su trabajo artístico una serie de reflexiones sobre la memoria colectiva y el trauma, abordando acontecimientos políticos y sociales de la historia reciente de América Latina, realidades desde las cuales ha problematizado los

Secuenciación de Población Subalterna (detalle), 2017. Cortesía de Proyectos Impala. Fotografía: Proyectos Impala. Mapa de Nueva York, 2013. Acuarela y lápiz tinta sobre mapa. 73 x 58 cm. Cortesía del artista. Vista de instalación. Bocetos y documentación Proyecto ADN. Cortesía de Proyectos Impala. Fotografía: Proyectos Impala. Proyectos Impala presenta el trabajo del artista Máximo Corvalán-Pincheira en

Samuel Lasso & Adriana Rosell at Sketch

Samuel Lasso & Adriana Rosell at Sketch

Samuel Lasso and Adriana Rosell

Sketch Bogotá, Colombia 08/31/2017 – 10/04/2017

Universo, mundo, suelo, firme, piso, barro, arcilla, patria, país, nación, región, pueblo, terreno, campo, cultivo | Samuel Lasso “The brightness and luminosity of the stone seemingly due to the grace of the sun, however, they make the light of day show, the breadth of the sky, the gloom of the night.” Martin Heidegger, The Origin of the Work of

Samuel Lasso, S/T (Dibujo), 2017. Lápiz sobre papel y hierro galvanizado. 70 x 100 x 2 cm. Cortesía: SKETCH. Foto: Samuel Lasso © Vista de instalación: Samuel Lasso, Ideal de unidad. Cortesía: Sketch. Universo, mundo, suelo, firme, piso, barro, arcilla, patria, país, nación, región, pueblo, terreno, campo, cultivo | Samuel Lasso “El brillo y la luminosidad de la piedra

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,

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

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,

Wrong Happy Hour Wrong Happy Hour

Wrong Happy Hour

Aki Sasamoto

Mendes Wood DM São Paulo, Brazil 08/12/2017 – 09/16/2017

It is with great pleasure that Mendes Wood DM presents the first solo exhibition by Japanese artist Aki Sasamoto in Brazil. The show springs from a performance titled Wrong Happy Hour. For this project, the artist has gathered drawings, installations, videos and performances. Sasamoto’s practice draws on the common ground between sculpture and performance, using

Installation view: Aki Sasamoto, Wrong Happy Hour, 2017. Image courtesy of Mendes Wood DM Installation view: Aki Sasamoto, Wrong Happy Hour, 2017. Image courtesy of Mendes Wood DM Installation view: Aki Sasamoto, Wrong Happy Hour, 2017. Image courtesy of Mendes Wood DM It is with great pleasure that Mendes Wood DM presents the first solo exhibition by Japanese