Contemporary Art in the Americas Arte Contemporáneo en las Américas
Obsidian Ladder Obsidian Ladder

Obsidian Ladder

Donna Huanca

Marciano Art Foundation Los Angeles, California, USA 06/28/2019 – 12/01/2019

Marciano Art Foundation (MAF) presents Obsidian Ladder, the first large-scale solo exhibition in the United States by Bolivian American artist Donna Huanca. Huanca’s site-specific installation for MAF’s 13,000-square-foot Theater Gallery reveals a new topography of triggered senses, combining sound, scent, and live performance. These elements are experienced together against a constellation of carved steel sculptures and

Installation view of Donna Huanca: Obsidian Ladder (2019). Courtesy the artist, Marciano Art Foundation, Los Angeles and Peres Projects, Berlin. Photo by Joshua White/JWPictures.com Installation view of Donna Huanca: Obsidian Ladder (2019). Courtesy the artist, Marciano Art Foundation, Los Angeles and Peres Projects, Berlin. Photo by Joshua White/JWPictures.com Installation view of Donna Huanca: Obsidian Ladder

TANSTAAFL: There’s no such thing as a free lunch & Division Lamp TANSTAAFL: There’s no such thing as a free lunch & Division Lamp

TANSTAAFL: There’s no such thing as a free lunch & Division Lamp

Ignacio Gatica and Gregory Kalliche

Interstate Projects Brooklyn, New York, USA 04/05/2019 – 05/05/2019

TANSTAAFL: There’s no such thing as a free lunch For his first US solo exhibition, Ignacio Gatica presents TANSTAAFL: There’s no such thing as a free lunch, a new series of work that maps out distinct forms of technology and quotidian interfaces throughout the gallery space. The aphorism the show takes as its title was

Ignacio Gatica, TANSTAAFL: There’s no such thing as a free lunch (2019). Installation view. Image courtesy of the artist Ignacio Gatica, TANSTAAFL: There’s no such thing as a free lunch (2019). Installation view. Image courtesy of the artist TANSTAAFL: There’s no such thing as a free lunch For his first US solo exhibition, Ignacio Gatica presents TANSTAAFL: There’s no

Sangre y Sol

Sangre y Sol

Sara Mejia Kriendler

The Chimney Brooklyn, New York, USA 03/15/2019 – 05/05/2019

What myth do you live by? —Joseph Campbell In Sangre y Sol, Sara Mejia Kriendler’s first solo exhibition at The Chimney, the Colombian-American artist juxtaposes two large scale sculptures that explore the conflict between the sacred and the profane, the disposable and the everlasting, the earthly and the otherworldly. In 2015, Kriendler returned to Colombia for

Sara Mejia Kriendler, Sangre (2019). Terracotta. Courtesy of the artist and The Chimney. Photography by Reggie Shiobara Sara Mejia Kriendler, Sol (2019). Gold foil. Courtesy of the artist and The Chimney. Photography by Reggie Shiobara Sara Mejia Kriendler, Sangre (2019). Terracotta. Courtesy of the artist and The Chimney. Photography by Reggie Shiobara What myth do you

Decomiso Decomiso

Decomiso

Faivovich and Goldberg

ASU Art Museum Tempe, Arizona, USA 10/20/2018 – 05/04/2019

Who owns the sky? Or for that matter, anything that falls from the sky? Certain indigenous groups such as the Australian Aboriginal Warrabri believe that a meteorite represents past, present and future realities, which are at once parallel to our own. Fallen matter has the power to compress time. The work of Faivovich & Goldberg

Faivovich and Goldberg, May 11, 2016. Seized Campo del Cielo meteorites at the State’s Attorney Office, Santiago del Estero, Argentina. Courtesy of Coleccion Alec Oxenford, Buenos Aires Faivovich and Goldberg, Decomiso (2018). Installation view. Photo by Craig Smith. Image courtesy of ASU Art Museum Faivovich and Goldberg, Decomiso (2018). Installation view. Photo by Craig Smith.

Campo abierto Campo abierto

Campo abierto

Sheila Hicks

The Bass Miami, Florida, USA 04/13/2019 – 09/29/2019

Grouping works of art from various periods, Campo abierto (Open Field) explores the formal, social and environmental aspects of landscape that have been present, yet rarely examined, throughout Sheila Hicks’ expansive career. Prompting contemplations on collaboration, dialogue and discussion, the exhibition is rooted in the reconfiguration of Escalade Beyond Chromatic Lands (2016-2017), the artist’s vast installation produced for the

Sheila Hicks, Campo Abierto (2019). Installation view . Image courtesy of The Bass. Sheila Hicks, Campo Abierto (2019).Installation view. Image courtesy of The Bass. Sheila Hicks, Campo Abierto (2019). Installation view. Image courtesy of The Bass. Grouping works of art from various periods, Campo abierto (Open Field) explores the formal, social and environmental aspects of landscape that

Fetish King: Seminal Photographs 1986-2019 Fetish King: Seminal Photographs 1986-2019

Fetish King: Seminal Photographs 1986-2019

Rick Castro

Tom of Finland Foundation Los Angeles, California, USA 04/06/2019 – 04/27/2019

Curated by Ruben Esparza Born in Los Angeles in 1958, Rick Castro began his early career working as a fashion stylist and clothing designer. His clients over the years have included Bette Midler, David Bowie, Herb Ritts, Joel-Peter Witkin and magazines like Interview, GQ, Rolling Stone, and Vanity Fair. Castro first became a freelance photographer

Rick Castro, Fetish King: Seminal Photographs 1986-2019. Installation view at Tom of Finland Foundation, 2019. Image courtesy of the artist Rick Castro, Fetish King: Seminal Photographs 1986-2019. Installation view at Tom of Finland Foundation. Image courtesy of the artist Rick Castro, Fetish King: Seminal Photographs 1986-2019. Installation view at Tom of Finland Foundation. Image courtesy

The Discipline of the Cave The Discipline of the Cave

The Discipline of the Cave

Gabriel Rico

Aspen Art Museum Aspen, Colorado, USA 03/09/2019 – 06/16/2019

The Aspen Art Museum announces the solo exhibition presentation of Guadalajara, Mexico–based sculptor and installation artist Gabriel Rico: The Discipline of the Cave, on view in AAM Galleries. Combining aesthetic traditions associated with the Arte Povera movement and influenced by scientific, philosophical, and geometric principles, Rico collects the fragments, found objects, and materials of contemporary

Gabriel Rico, The Discipline of the Cave (2019). Installation view. Aspen Art Museum. Photo: Tony Prikryl Gabriel Rico, The Discipline of the Cave (2019). Installation view. Aspen Art Museum. Photo: Tony Prikryl Gabriel Rico, The Discipline of the Cave (2019). Installation view. Aspen Art Museum. Photo: Tony Prikryl The Aspen Art Museum announces the solo

Take My Money / Take My Body Take My Money / Take My Body

Take My Money / Take My Body

Curated by Narei Choi and Nicolas Orozco-Valdivia

LACE Los Angeles, California, USA 01/03/2019 – 02/24/2019

Featuring artists: Peggy Ahwesh, Olivia Campbell, Jiwon Choi, Mike Grimm, Han Sol Ip, Gelare Khoshgozaran, Ahmet Öğüt, Levi Orta, and Chung Qin In Take My Money / Take My Body, K-Pop is an entry point for a question about the promises of popular media within highly bureaucratic, surveilled, and macro-scaled communities such as corporations / nations. Whether a data-mining social platform, exploitative culture industry, or resurgent

Exhibition view Take My Money/Take My Body, LACE Emerging Curators Program 2019. Courtesy of LACE. Photo by Chris Wormald Detail of Objet petit aby Han Sol Ip & Chung Qin, from exhibition Take My Money/Take My Body, LACE Emerging Curators Program 2019. Courtesy of LACE. Photo by Chris Wormald Exhibition view Take My Money/Take My

Tamborine Tamborine

Tamborine

Kenneth Tam

Commonwealth and Council Los Angeles, California, USA 01/19/2019 – 03/02/2019

Tamborine presents Kenneth Tam’s recent work dealing with rituals of masculinity and their capacity to both reinforce and disrupt conventional norms. Rites of passage initiate young men into social codes of adulthood, giving them the chance to test out their mature selves and rehearse normative patterns of behavior. But they also open a space of vulnerability

Kenneth Tam, All of M. Video still. Image courtesy of Commonwealth and Council Kenneth Tam, Tamborine (2019). Installation view. Image courtesy of Commonwealth and Council Kenneth Tam, All of M. Video still. Image courtesy of Common Wealth and Council Tamborine presents Kenneth Tam’s recent work dealing with rituals of masculinity and their capacity to both reinforce and disrupt conventional norms.

Regeneración: Three Generations of Revolutionary Ideology at the Vincent Price Art Museum, Los Angeles, USA Regeneración: Three Generations of Revolutionary Ideology at the Vincent Price Art Museum, Los Angeles, USA

Regeneración: Three Generations of Revolutionary Ideology at the Vincent Price Art Museum, Los Angeles, USA

By Matthew Stromberg Los Angeles, California, USA 09/29/2018 – 02/16/2019

As right-wing movements take hold across the globe—from the US to Brazil to Europe—liberal progressives are confronted with an existential crisis. Feeling betrayed and disillusioned with the promises of the institutional Left, they must search for new forms of resistance to cultural conservatism, xenophobia, and destructive capitalist ideologies that are enacting real violence upon already

Harry Gamboa Jr., “He Threw a Rock at Me” presentada en Regeneración (Los Ángeles), vol. 1, no. 9, 1971. Cortesía de Harry Gamboa Jr. (Editor, Regeneración, Volumen 2, 1971–75) A medida que los movimientos de derecha se afianzan en todo el mundo —desde Estados Unidos hasta Brasil y Europa— los progresistas liberales se enfrentan a