Contemporary Art in the Americas Arte Contemporáneo en las Américas
Distancia doble: Ana Bidart y Armando Rosales en ESPAC, Ciudad de México Distancia doble: Ana Bidart y Armando Rosales en ESPAC, Ciudad de México

Distancia doble: Ana Bidart y Armando Rosales en ESPAC, Ciudad de México

Por Diego Del Valle Ríos Ciudad de México, México 02/01/2019 – 05/18/2019

Some time ago I began to suspect the immutability of the oh-so famous institutionalized “white cube”. I suspect its hygienic illumination, the distance that prevails in its social dynamics, the numb language that sustains it. Too predictable. Too stable. And although the purity and sterilization created by modernity have undoubtedly been contaminated by dissident and

Vista de instalación, Distancia doble: Ana Bidart y Armando Rosales, ESPAC, Ciudad de México, 2019. Imagen cortesía de ESPAC Hace tiempo que comencé a sospechar sobre la inmutabilidad del famoso “cubo blanco” institucionalizado. Sospecho de su higiénica iluminación artificial, de la distancia que prevalece en sus dinámicas sociales, del lenguaje entumido que le da sustento. Demasiado

57th Carnegie International, Pittsburgh, Pennsylvania, USA 57th Carnegie International, Pittsburgh, Pennsylvania, USA

57th Carnegie International, Pittsburgh, Pennsylvania, USA

By Noah Simblist Carnegie Museum of Art 10/13/2018 – 03/25/2019

Passing for Beauty: Does an exhibition need to look political to be political? It begins with joy. Or, more precisely, “museum joy.” This is the aim that curator Ingrid Schaffner has articulated for the 57th Edition of the Carnegie International. It is emblazoned on the requisite tote bag and highlighted in The Guide, the first

Alex Da Corte, Rubber Pencil Devil, 2018, 57º Carnegie International. Foto: Tom Little. Cortesía del artista y Karma New York Aparentar belleza: ¿una exposición necesita parecer política para ser política? Comienza con alegría. O, más bien, “alegría del museo”. Éste es el objetivo que la curadora Ingrid Schaffner ha articulado para la 57º edición de Carnegie International.

Bienal de MexiCali 2018: CALAFIA, California, USA Bienal de MexiCali 2018: CALAFIA, California, USA

Bienal de MexiCali 2018: CALAFIA, California, USA

By Arden Decker California, USA 10/06/2018 – 12/15/2018

CALAFIA: Manifesting the Terrestrial Paradise The MexiCali Biennial, now presenting its fourth edition, is a bi-national initiative curated by Ed Gomez, Luis G. Hernández, Daniela Lieja Quintanar, and April Lillard-Gómez taking place in venues on both sides of the California-Mexican border throughout this year. The biennial opened earlier this summer with a two-day series of

Artwork by Luis Alonso Sanchez. Installation view, CALAFIA: Manifesting the Terrestrial Paradise at the Robert and Frances Fullerton Museum of Art. Image courtesy of the MexiCali Biennial CALAFIA: Manifestando el paraíso terrenal La Bienal de MexiCali, presentando ahora su cuarta edición, es una iniciativa binacional curada por Ed Gomez, Luis G. Hernández, Daniela Lieja Quintanar, y April

Made in L.A. 2018, at Hammer Museum, Los Angeles, USA Made in L.A. 2018, at Hammer Museum, Los Angeles, USA

Made in L.A. 2018, at Hammer Museum, Los Angeles, USA

By Carribean Fragoza Los Angeles, California, USA 06/03/2018 – 09/02/2018

Imaginemos Cosas Chingonas: Astonishment and vision in Made in L.A. 2018 Think back to the last time you were astonished by something. I mean genuinely, viscerally astonished so that you felt gripped or overwhelmed in spite of yourself. Astonishment at an art show for the regular art-goer, like blushing for a correteadx, is hard to

Beatriz Cortez, vista de instalación, Made in L.A. 2018, 3 de junio – 2 de septiembre, 2018, Hammer Museum, Los Ángeles. Foto: Brian Forrest. Imagen cortesía de Hammer Museum. Imaginemos cosas chingonas: asombro y visión en Made in L.A. 2018 Piensa en la última vez que te asombró algo. Me refiero a estar asombrado genuinamente,