Contemporary Art in the Americas Arte Contemporáneo en las Américas
Playground

Playground

Curated by Verónica Flom and Camilo Godoy

Dot Fiftyone Gallery Miami, Florida, USA July 31, 2019 – September 14, 2019

The exhibition focuses on childhood as a site for the exploration of fragile, ludic, violent and poetic universes. Together, the artists in this exhibition work with ideas from their childhood as the material to address personal and political moments. From playing as a newscaster to documenting portraits of children who have been the target of

Playground (2019). Installation view. Image courtesy of Dot Fiftyone Gallery Playground (2019). Installation view. Image courtesy of Dot Fiftyone Gallery Playground (2019). Installation view. Image courtesy of Dot Fiftyone Gallery The exhibition focuses on childhood as a site for the exploration of fragile, ludic, violent and poetic universes. Together, the artists in this exhibition work

Candelilla, Coatlicue, and the Breathing Machine Candelilla, Coatlicue, and the Breathing Machine

Candelilla, Coatlicue, and the Breathing Machine

Beatriz Cortez, Candice Lin and Fernando Palma Rodríguez

Ballroom Marfa Marfa, Texas, USA April 5, 2019 – September 8, 2019

Ballroom Marfa presents Candelilla, Coatlicue, and the Breathing Machine, an exhibition with newly commissioned and existing works by Beatriz Cortez, Candice Lin, and Fernando Palma Rodríguez. The title refers to a facet of each artist’s sculptural contribution to the show, which range from wax pours to robotic storytellers to provisional shelters and beyond. The disparate

Fernando Palma Rodríguez, Xipetotec (2018). Stone metates, electronic circuits and sensors. Courtesy the artist, Ballroom Marfa, and House of Gaga Photo by Alex Marks Beatriz Cortez, One Hundred and Four Point Hood Shield (2019). Steel, car hood sections, zip ties. Courtesy the artist, Ballroom Marfa, and Commonwealth and Council Commissioned by Ballroom Marfa Photo by

Reconstrucción

Reconstrucción

Emilia Azcárate, Alessandro Balteo-Yazbeck and others

Miami Biennale Miami, Florida, USA 06/06/2019 – 09/04/2019

In times of intense political and social upheaval, such as that roiling Venezuela currently, symbols of national and cultural significance can be cast in a new light. Techniques of nationalistic propaganda tend to rely on historical images of past greatness to retain support, while oppositional movements challenge the status quo and question the narratives that

Reconstrucción (2019). Vista de instalación. Imagen cortesía de Miami Biennale Reconstrucción (2019). Vista de instalación. Imagen cortesía de Miami Biennale Reconstrucción (2019). Vista de instalación. Imagen cortesía de Miami Biennale En tiempos de agitación política y social intensa, como la que aflige a Venezuela en la actualidad, los símbolos de importancia nacional y cultural pueden

A NonHuman Horizon A NonHuman Horizon

A NonHuman Horizon

Curated by Andrew McNeely

Los Angeles Contemporary Exhibitions Los Angeles, California, USA 06/29/2019 – 09/01/2019

A NonHuman Horizon explores art that situates California’s ecology in meditations of personal and collective social marginalization. By bringing into dialogue work by Andrea Chung, Eddie Rodolfo Aparicio, Jenny Yurshansky, and The Harrison Studio, this exhibition aims to draw into focus larger questions about the entanglement of the natural world and beliefs in human dignity.

A NonHuman Horizon (2019). Installation view. Image courtesy of LACE. Photo by Chris Wormald A NonHuman Horizon (2019). Installation view. Image courtesy of LACE. Photo by Chris Wormald A NonHuman Horizon (2019). Installation view. Image courtesy of LACE. Photo by Chris Wormald A NonHuman Horizon explores art that situates California’s ecology in meditations of personal and collective social

Soul of a Nation: Art in the Age of Black Power 1963-1983 at The Broad, Los Angeles, USA Soul of a Nation: Art in the Age of Black Power 1963-1983 at The Broad, Los Angeles, USA

Soul of a Nation: Art in the Age of Black Power 1963-1983 at The Broad, Los Angeles, USA

By Brandon Drew Holmes Los Angeles, California, USA 03/23/2019 – 09/01/2019

Something predictable happens when white institutions exhibit Black artworks. It doesn’t matter what the artist’s original intentions were or what statements the work speaks on its own. Somehow both artist and work become simplified of their emotions and reality. This expectation of erasure is not surprising, it’s the conscious affect of the Western institution built

Vista de instalación de Soul of a Nation: Art in the Age of Black Power 1963-1983, en The Broad, Los Ángeles. Foto: Pablo Enriquez. Imagen cortesía de The Broad Algo predecible sucede cuando las instituciones blancas exhiben obras de arte Negras. No importa cuáles fueron las intenciones originales de lxs artistas o qué declaraciones hablan a

Quality Time

Quality Time

Curated by ERAS Magazine

Proxyco New York, USA 07/17/2019 – 08/29/2019

Revista ERAS (ERAS Magazine) was created with the aim of being a space for free experimentation and expression. Each issue has a theme that is open to be understood and interpreted in varied ways. We invite a group of collaborators for each issue—artists, writers, musicians, gallerists, curators, scientists, historians—to submit content for four pages of

Quality Time (2019). Installation view. Image courtesy of Proxyco Quality Time (2019). Installation view. Image courtesy of Proxyco Quality Time (2019). Installation view. Image courtesy of Proxyco Revista ERAS (ERAS Magazine) was created with the aim of being a space for free experimentation and expression. Each issue has a theme that is open to be understood and interpreted

Coffee, Rhum, Sugar & Gold: A Postcolonial Paradox

Coffee, Rhum, Sugar & Gold: A Postcolonial Paradox

Curated by Dexter Wimberly and Larry Ossei-Mensah

Museum of the African Diaspora San Francisco, California, USA 05/08/2019 – 08/11/2019

“Those alive to ever-present signifiers of enslavement and colonialism have to look no further than the average bottle of rum. For the labels either contain supposedly comforting artistic renderings of benevolent plantation scenes, or these labels boldly and proudly declare that the product has a centuries-old manufacturing pedigree. We don’t have to do much speculating

Firelei Báez, How to slip out of your body quietly (2018). Acrylic and oil on paper. Collection of Alyssa and Gregory Shannon Angel Otero, Veranda (Sca02), (2013). Fired Steel and glazed porcelain. Courtesy of the artist and Lehmann Maupi Firelei Báez, Love that does not choose you (Collapse the rooms and structures that depend on you to hold

PÒTOPRENS: The Urban Artists of Port-au-Prince PÒTOPRENS: The Urban Artists of Port-au-Prince

PÒTOPRENS: The Urban Artists of Port-au-Prince

Co-curated by Edouard Duval-Carrié and Leah Gordon

Museum of Contemporary Art North Miami North Miami, Florida, USA 04/23/2019 – 08/11/2019

In conjunction with Haitian Heritage Month, the Museum of Contemporary Art North Miami (MOCA) will display PÒTOPRENS: The Urban Artists of Port-au-Prince which brings together the work of over 20 artists working in the Haitian capital. The exhibition highlights Port-au-Prince’s many diverse centers of cultural production, informal street life, religious heritage and mythologies to create

PÒTOPRENS: The Urban Artists of Port-au-Prince (2019). Installation view. Photo by Daniel Bock PÒTOPRENS: The Urban Artists of Port-au-Prince (2019). Installation view. Photo by Daniel Bock PÒTOPRENS: The Urban Artists of Port-au-Prince (2019). Installation view. Photo by Daniel Bock In conjunction with Haitian Heritage Month, the Museum of Contemporary Art North Miami (MOCA) will display PÒTOPRENS: The Urban Artists of Port-au-Prince

Kiss the Hand You Cannot Bite Kiss the Hand You Cannot Bite

Kiss the Hand You Cannot Bite

Pio Abad

KADIST San Francisco, California, USA 06/05/2019 – 08/10/2019

Culminating his residency at KADIST San Francisco, Kiss the Hand You Cannot Bite is Pio Abad’s first solo exhibition in the United States. The newly commissioned body of work draws from multiple histories of exile, resistance, and displacement from the ’70s and ’80s that brought Filipinos to California, home to one of the largest diasporas of

Pio Abad, a selection from the series Untitled (Bolerium) (2019). Digital photocopies. Image courtesy of KADIST Pio Abad, Kiss the Hand You Cannot Bite (2019). Cast concrete. Photo by Jeff Warrin Pio Abad, For Gene (2019), For Silme (2019). Acrylic on canvas. Photo by Jeff Warrin Culminating his residency at KADIST San Francisco, Kiss the

[UNSUBSCRIBE]

[UNSUBSCRIBE]

Curated by GeoVanna Gonzalez and Naiomy Guerrero

Supplement Projects Miami, Florida, USA 06/15/2019 – 08/04/2019

  [Unsubscribe] is a group show comprised of artists who use visual language dominant in the digital realm to engage questions of e-identity formation, and social interactions that play out in our imaginations—despite the absence of a physical presence. The exhibition considers the internet as a place not void of strategic categorization and intervention.  In Will

Danny Agnew (Roots Collective), Black is an Algorithm (2019). Printed t-shirt. Image courtesy of Supplement Projects Pastiche Lumumba, #EndlessScrollingGeneration No.1,2,3,4, animated GIFs. Image courtesy of Supplement Projects [UNSUBSCRIBE], Installation view (2019). Image courtesy of Supplement Projects [Unsubscribe] is a group show comprised of artists who use visual language dominant in the digital realm to engage questions of e-identity