DaWire

Felipe Arturo, Estación móvil para hamacas

Over the last decade there have a been a number of exhibitions dedicated to Miami artists. These have been excellent at presenting a generation of homegrown artists, and explaining its internal dynamics and its relationship to previous generations that migrated to, and continue to work in, the city. What these exhibitions haven’t done as consistently is place the work of Miami artists alongside that of their international generational peers in a concrete way–that is, by literally presenting the work side-by-side, on equal footing.[...]

Koen Vanmechelen, Cosmopolitan Chicken Project, photo courtesy Galerie West

Since 1998 Belgian conceptual artist Koen Vanmechelen has been working  on a project titled the ‘Cosmopolitan Chicken Project,’ where he cross-breeds chickens and uses them to address issues related to multiculturalism, globalization, ethics, genetic manipulation and the meaning of life.[...]

Video installation by DaWire. From left, Jason Mena, Disorder and Confusion, Ivan Argote, Retouch, Aggtelek, 2do  Ensayo Escultórico

The second edition of Santurce es Ley, an independent union of galleries and artists, boasted more than 7 galleries/projects and over 60 participating artists. This time around, the roster of participating galleries and projects included 787Studios, DaWire.com, Galería Yemayá, Osviarte, San Juan Street Art, La15, Galería Petrus and Bicijangueo, among others.[...]

Today we are reposting an article on Michael Joaquín Grey’s recent exhibition at MoMA PS1 written by Carla Acevedo and originally published in ArtPulse Magazine. Enjoy!

Michael Joaquin Grey, Perpetual ZOOZ, 2005. Computational cinema with stereo sound, computer, custom software designed with R. Luke DuBois, edition of 5

What’s so special about the color orange? That was the first question I asked myself when entering the Michael Joaquin Gray exhibition at the PS1 Contemporary Art Center. Not an easy question to answer apparently. Having studied both genetics and art simultaneously, Grey’s work concerns the relationships between science, language, technology and art. It is not a matter of bridging the gaps between these disciplines, but more of using each of them in a correlational manner to explore issues of early development, primary experiences and the naturalistic quest for knowledge.[...]

Daniel Arsham, Curtain, 2007: EPS foam, plaster gauze: 6.9 ft x 48 3/4 in

Daniel Arsham‘s work oscillates between the sculptural, the architectural and the performative. His work examines the ways we relate to space and architecture, manipulating materials such as foam and plaster to create works that juxtapose the natural world with the manufactured one.[...]

X.J. Vadera, X, 2010. Metal, acrylic, and pigment, 103/4 x 9 x 3/4”

Catch it while you can or else bring it to a gallery near you.

On a long stroll up the Upper East Side of NYC I decided to finally pop into ELSE, the current exhibition at the Tilton Gallery, co-curated by Derrick Adams and Jack Tilton. After just a couple minutes in the exhibition space the eccentric hood poppin’ sophisticated mind of Adams was clearly visible.[...]

The work of Brazilian artist Rivane Neuenschwander often explores the minuteness and grandeur of everyday actions. In her mid-career retrospective at the New Museum, A Day Like Any Other, the artist conveys these poetic actions through a variety of different media, including film, sculpture, collage, painting, installation and participatory events. From rain-weathered maps to a looped video that follows a wandering soap bubble, Neuenschwander presents small, seemingly insignificant occurrences that become metaphors for translation and transience.[...]

Jorge Ortega del Campo, Thy Kingdom Come

This multiple art form exhibition entitled Non Compos Mentis refers to that unclear and even psychopathological part of the human mind. It is related to subtle nets of machine like, mechanized and automaton humans who live in large urban areas. It provokes an indescribable block of emotions manifest in a variety of machines and artifacts framing this exhibition. A green room simulating an industrial atmosphere, far from any eco considerations, gathers working and domestic realms in a confusing and indiscernible way. [...]

Myritza Castillo, Out of Oil, Light and sound installation, 2010

In Out of Oil, a sound and light installation currently on view at the Museum of Art of Puerto Rico (MAPR), Myritza Castillo addresses the pressing issue of the global dependance on fossil fuels. In it, Castillo delineates with LED lights the contours of a sugarcane plantation in Puerto Rico.[...]

Continuing our partnership with our West Coast friends at DailyServing, today we feature an article written by Rebecca Najdowski on the 29th São Paulo Bienal. Enjoy!

Terreiro: Marilá Dardot Tand Fábio Morais, Longe daqui, aqui mesmo (Far from here, right here)

What makes an art exhibition political?

The 2010 São Paulo Bienal, There is always a cup of sea to sail in, uses Brazilian poet Jorge de Lima’s line as a metaphorical container to address the ambitious theme of art and politics. The head curators Agnaldo Farias and Moacir dos Anjos see the title as an expression of the essential aspiration of the exhibition, “to affirm that the utopian dimension to art is contained within art itself, not outside or beyond it; to affirm the value of poetic intuition in the face of ‘tamed thought‘ that emancipates nothing, though it permeates political parties and even formal educational institutions.” (29th Bienal Catalogue, 21) This is an infinitely large concept in the palm of ones hand.[...]