Organizada em quatro seções – corpo, política, arquivo, parque – a exposição artevida, com curadoria de Adriano Pedrosa e Rodrigo Moura, incluiu uma grande quantidade e qualidade de trabalhos vindos dos recônditos do globo, com a ambição de “desenvolver conexões e leituras a partir de certas práticas artísticas do período [final dos anos 50 ao início dos anos 80], mediante diferentes conceitos, referências e enquadramentos além dos eurocêntricos”, resume o folheto da exposição.
Archive for the 'Reviews' Category
My first encounter with Zoe Leonard’s work was, paradoxically, with her writing. I say paradoxically because Leonard is mostly known for her photographs and not for her writings. However, I met her work reading her 1992 piece, published for the first time in LTTR No. 5, 2006, “I want a president…”, a passionate, thoughtful and direct claim for civil disobedience and political responsibility. A commitment to humans and cities and our right over our political existence.[...]
Javier Bosques. Nueve Policías, 48” x 56”, 35mm photo in digitial C-Print
What is gained by the aesthetization of crime, politics and/or activism? In Puerto Rico, just as in many other countries around the world, many visual artists are preoccupied with the political issues at hand; not in an utopic attempt to find solutions to the problems, but rather to use art as a mirror in which, hopefully, we can see ourselves, each other and our surroundings. For Puerto Ricans, crime and politics are without a doubt an inescapable reality of everyday life. In his seminal essay on the continuous conundrum of Puerto Rican identity published in 1934 titled Insularismo, Antonio S. Pedreira eloquently states that “since we breathe politics and live politics… we have developed an electoral attitude to measure things” More than 75 years later not much has changed.[...]
“I’m certain they all thought I was a moron,” says Francisco “Tito” Rovira Rullán as we sit in his office on the second story of his San Juan gallery Roberto Paradise; his gallery manager chit-chats away loudly on the phone downstairs with her Hungarian assistant slouching behind the front desk in the heat of the unbearably sunny early afternoon. Situated in a historic wooden colonial house in Santurce, Puerto Rico, all the windows are open and a warm breeze permeates everything. The gallery director’s cigarette smoke drifts slowly towards the window and briskly cuts away down the alley towards the street.[...]
Expanded Window, 2011. Site-specific installation. Acrylic, cable, aluminum.
Rectangular amber filters catch spectators unaware, forming an untouchable structure of lights and shades over the ramp at the entrance of this exhibit curated by Itala Schmelz. Reflecting plexiglas panels form geometric relations, the beam of yellow light fills the room with sparkling reflections, and the color of the sky changes when watching towards the zenith through the filters.[...]
Recently, during the month of April, Mexico City has been the seat of an international contemporary art fair: Zona Maco. Even though the fair has changed its name several times, it has grown to currently become the most successful art fair in Latin America. A great deal of society in Mexico City is always excited by this event. Many artists, collectors and people related to art from abroad come to the city. Parties, dinners and gallery openings are abundant, museums have special events, and bars in Polanco, Roma and Condesa districts, and the historical downtown are full of people talking about art, artists and collectors. Artists, cultural managers and agents, gallerists and curators gather together in order to widen their public relations and magazines publish special issues on contemporary art. Everybody has some kind of fun![...]
An assemblage with concave and convex elements by Thomas Glassford prepares the viewer for a distortion in their perception about the indiscernible limits and differences between established, procedural, formal, abstract or conceptual in contemporary art. Artists working within the context of Mexico, free of the historical and social imperatives, provoke an anamorphosis of vision located in the fold of Being and matter. Much like an erotic act, they speculate through an intimate relationship of art and artist. Matter and intelligible code field converge recreationally as a reflection of the Self. Some features, discovered by the curator Josefa Ortega, operate as a common thread that bring together works by artists from many different lands and ages: analytical construction, unveiling of the quality of material, structural game, time investment, non-referentiality and minimal use of materials. Looking for an evolution in form, the artists here described delve into the archives of abstraction and trends since 1945 such as pop, minimal forms, Arte Povera and conceptualism, using a wide range of media from painting, video, sculpture and object art.
The saying goes that ‘the 30′s are the new 20′s’ and if we consider this in light of ARCO’s 30th anniversary this year, we find that the Madrid-based fair is as youthful as ever. After last year’s controversial edition (many galleries boycotted the fair due to its unbridled growth), ARCO seems to have regained its old-time mystique. Stricter parameters for the fair’s gallery program translated to more spacious stands, a more relaxed viewing experience and reportedly more sales.[...]
Titus Kaphar, This place never felt like home There is no question that nuances of power are central to the work of Titus Kaphar. However, in today’s world, to dis-empower, overpower, or empower is dépassé. To play with power is the name of the game. To cut off the head of power, exploit it, expose [...]