Contemporary Art in the Americas Arte Contemporáneo en las Américas
So close, far away

So close, far away

Curada por Esteban King y Mia Lopez

Sector 2337 Chicago, Illinois, USA 10/13/2018 – 11/18/2018

This exhibition presents work by a group of artists from Mexico and Chicago who explore the parallels and intersections between art, communication and writing. Organized within the framework of the Lit and Luz Festival, So close, far away brings together a multitude of ways in which poetry, art, and literature manifest in artistic practices. The

Installation view, So close, far away, at Sector 2337, 2018. Image courtesy of the curator Installation view, So close, far away, at Sector 2337, 2018. Image courtesy of the curator Installation view, So close, far away, at Sector 2337, 2018. Image courtesy of the curator Esta exhibición reúne trabajos de un grupo de artistas provenientes

Construyendo puentes. Arte chicano/mexicano de LA a CDMX Construyendo puentes. Arte chicano/mexicano de LA a CDMX

Construyendo puentes. Arte chicano/mexicano de LA a CDMX

Curada por Julián Bermúdez

Museo de Arte Carrillo Gil Ciudad de México 09/21/2018 – 11/25/2018

Nacida a mediados de la década de 1960, junto con los protestantes de la Guerra de Vietnam y el movimiento Black Power a favor de los derechos civiles, la lucha chicana desafió la categorización y los estereotipos burlones ampliamente divulgados entre la población anglosajona, así como a los centros educativos públicos, plagados de deserción, que

Patrick Martínez, América es para los dreamers (detalle), 2016-2017. Cortesía AltaMed Health Services Construyendo puentes. Arte chicano/mexicano de Los Ángeles a Ciudad de México. Vista de sala. Cortesía MACG Construyendo puentes. Arte chicano/mexicano de Los Ángeles a Ciudad de México. Vista de sala. Cortesía MACG. Nacida a mediados de la década de 1960, junto con

Somewhere in Between

Somewhere in Between

David Shrobe

Jenkins Johnson Gallery San Francisco, California, USA 09/22/2018 – 10/27/2018

Jenkins Johnson presents Somewhere in Between, an exhibition of new works by New York based visual artist and painter David Shrobe. He creates paintings and assemblages from repurposed, unconventional, or found materials. Shrobe’s first West Coast solo exhibition is on view through October 27, 2018. Somewhere in Between gives us windows and portals, as the

David Shrobe, Cross-Over, 2018. Acrylic, ink, and fabric on canvas. 34 x 27 inches. Somewhere in Between, Installation view at Jenkins Johnson Gallery. Photo courtesy of Jenkins Johnson Gallery David Shrobe, Night Vision, 2018. Oil, acrylic, graphite, paper, canvas, vinyl, and fabric. 60 x 49 x 2 inches. Somewhere in Between, Installation View at Jenkins Johnson Gallery. Photo courtesy

SITElines Biennial 2018, Santa Fe, New Mexico, USA SITElines Biennial 2018, Santa Fe, New Mexico, USA

SITElines Biennial 2018, Santa Fe, New Mexico, USA

Por Diego del Valle Ríos Santa Fe, New Mexico, USA 08/13/2018 – 01/06/2019

Any idea of a nation is capitalist since it bases its reason for being in continuous practices of dispossession and exploitation. The United States is a country which started to be formed from the assassination of Native peoples in the hands of the colonizers, necropolitics which continues to be a reality despite the constant amnesia

SITElines Biennial 2018. Casa Tomada. Installation view. Image courtesy of SITE Santa Fe Toda idea de nación es capitalista pues sustenta su razón de ser en continuas prácticas de despojo y explotación. EE.UU. es un país que comenzó a formarse a partir del asesinato de los pueblos nativos en manos de los colonizadores, necropolítica que

Gonzalo Reyes Rodriguez Gonzalo Reyes Rodriguez

Gonzalo Reyes Rodriguez

Gonzalo Reyes Rodriguez

Roots + Culture Chicago, Illinois, USA 09/07/2018 – 10/06/2018

Time shifting images exploiting the ambiguities inherent in historicizing the legacy of documentary and representational forms are at the center of new work by Gonzalo Reyes Rodriguez. Employing diverse material from the recent past such as Playboy interviews with the Sandinista National Liberation Front, and declassified School of the America’s psychological operations manuals to question

Installation view, Gonzalo Reyes Rodriguez at Roots & Culture, September 2018. Image courtesy of the artist Installation view, Gonzalo Reyes Rodriguez at Roots & Culture, September 2018. Image courtesy of the artist Installation view, Gonzalo Reyes Rodriguez at Roots & Culture, September 2018. Image courtesy of the artist Time shifting images exploiting the ambiguities inherent

Hot Mess Formalism

Hot Mess Formalism

Sheila Pepe

Bemis Center for Contemporary Arts Omaha, Nebraska, USA 06/28/2018 – 09/15/2018

Sheila Pepe: Hot Mess Formalism examines how the artist often plays with feminist and craft traditions to counter patriarchal notions of recognized or accepted forms of art-making. Because Pepe’s works are often site-dependent, there is a critical relationship to traditional boundaries of museum display that are essential to her sculptural practice. While personal and cultural narratives

Sheila Pepe: Hot Mess Formalism, organized by Phoenix Art Museum, curated by Gilbert Vicario; Installation image courtesy Bemis Center for Contemporary Arts, Omaha, NE, June–September 2018; Photo: Colin Conces Sheila Pepe: Hot Mess Formalism, organized by Phoenix Art Museum, curated by Gilbert Vicario; Installation image courtesy Bemis Center for Contemporary Arts, Omaha, NE, June–September 2018;

From the Page to the Street: Latin American Conceptualism

From the Page to the Street: Latin American Conceptualism

Organized by Julia Detchon

Blanton Museum of Art Austin, Texas, USA 06/30/2018 – 08/26/2018

  From the 1960s to 1980s, artists around the world participated in the profound reorientation of art known as Conceptualism. Thinking critically about entrenched traditions of draftsmanship, painting, and sculpture, artists began to emphasize the idea (or concept) behind a work of art instead of the finished object. In Latin America, this shift involved more

View of From the Page to the Street: Latin American Conceptualism at the Blanton Museum of Art, The University of Texas at Austin, June 30 – August 26. Image courtesy of the Blanton Museum of Art. Alfredo Portillos, Caja con jabones para distintas clases sociales [Box with bars of soap for different social classes], 1974.

Trials in Ancient Technologies

Trials in Ancient Technologies

Gala Porras-Kim

Headlands Center for the Arts San Francisco, USA 07/15/2018 – 08/23/2018

Known for work that mines linguistics and history, Los Angeles–based Artist in Residence Gala Porras-Kim creates formally beautiful, conceptually rigorous projects, often inventing new forms based on fragments of ancient artifacts. While in residence at Headlands Center for the Arts, Porras-Kim has been investigating ancient methodologies of decay and documentation, bringing relief to their residual

Gala Porras-Kim: Trials in Ancient Technologies at Headlands Center for the Arts; photo: Henrik Kam Gala Porras-Kim: Trials in Ancient Technologies at Headlands Center for the Arts: Mesoamerican Negative Space 4, 2018; photo: Henrik Kam Gala Porras-Kim: Trials in Ancient Technologies at Headlands Center for the Arts: Ring Mountain PCNs, 2018; photo: Henrik Kam Known for

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,

Cavernous

Cavernous

Young Joon Kwak and Mutant Salon

Los Angeles Contemporary Exhibitions LACE Los Angeles, California, USA 07/12/2018 – 08/26/2018

LACE’s Summer Residency presents CAVERNOUS by artist Young Joon Kwak and Mutant Salon, a collective of queer-trans-femme-POC artists and performers and a platform for community collaborations. CAVERNOUS is a kaleidoscopic environment that queers the last bastion of manhood in the domestic space—the man cave. CAVERNOUS fractures the patriarchal myth of male privilege and provides an access point for an ongoing critical

Young Joon Kwak & Mutant Salon, CAVERNOUS, installation view. Courtesy of Los Angeles Contemporary Exhibitions (LACE). Photo by Chris Wormald Young Joon Kwak, Vaginis Head Wig II-IV, 2018, Ceramic, paint, custom-made wig Stylist Rosario Ribera from “Hollywood Wigs” owned by Christine & You. Courtesy of Los Angeles Contemporary Exhibitions (LACE). Photo by Chris Wormald Jacinto