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	<title>DaWire</title>
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	<lastBuildDate>Mon, 30 Jan 2012 12:38:54 +0000</lastBuildDate>
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		<title>Hannes Zebedin</title>
		<link>http://dawire.com/2012/01/30/hannes-zebedin/</link>
		<comments>http://dawire.com/2012/01/30/hannes-zebedin/#comments</comments>
		<pubDate>Mon, 30 Jan 2012 11:32:45 +0000</pubDate>
		<dc:creator>dawire</dc:creator>
				<category><![CDATA[Artists]]></category>
		<category><![CDATA[AREA]]></category>
		<category><![CDATA[Hannes Zebedin]]></category>
		<category><![CDATA[Minimalism]]></category>
		<category><![CDATA[Political]]></category>

		<guid isPermaLink="false">http://dawire.com/?p=8235</guid>
		<description><![CDATA[Hannes Zebedin: Political Minimalism at AREA
 
This past November AREA: Lugar de Proyectos invited Austrian artist Hannes Zebedin (Lienz, 1976) to take up residence in AREA’s exhibition space in Caguas, Puerto Rico,  where he created a series of site-specific minimal interventions resulting from first-hand observation and investigation (through casual conversations) of the island’s political and socio-economic climate. Zebedin, a seasoned traveler, is often invited to international spaces and institutions to create temporary interventions that respond to particular political contexts, redefined and interpreted through the discerning eye of the ‘foreigner’ or ‘stranger.’ In this particular context, Puerto Rico’s elegantly worded yet ambiguous political status figured predominantly in Zebedin’s work.[...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>The Dialectic City: Document &#124; Context at Laboratorio de Artes Binarios</title>
		<link>http://dawire.com/2012/01/23/the-dialectic-city-document-context-at-laboratorio-de-artes-binarios/</link>
		<comments>http://dawire.com/2012/01/23/the-dialectic-city-document-context-at-laboratorio-de-artes-binarios/#comments</comments>
		<pubDate>Mon, 23 Jan 2012 11:48:49 +0000</pubDate>
		<dc:creator>dawire</dc:creator>
				<category><![CDATA[Essays]]></category>
		<category><![CDATA[Exhibitions]]></category>
		<category><![CDATA[Adriana Bustos]]></category>
		<category><![CDATA[Alexander Apóstol]]></category>
		<category><![CDATA[Carla Acevedo Yates]]></category>
		<category><![CDATA[David Lamelas]]></category>
		<category><![CDATA[Francis Alÿs]]></category>
		<category><![CDATA[Ivan Argote]]></category>
		<category><![CDATA[Jason Mena]]></category>
		<category><![CDATA[José Luis Cortés]]></category>
		<category><![CDATA[Juan Alberto Negroni]]></category>
		<category><![CDATA[Laboratorio de Artes Binarios]]></category>
		<category><![CDATA[Norma Vila Rivero]]></category>
		<category><![CDATA[Omar Velázquez]]></category>
		<category><![CDATA[The Dialectic City]]></category>
		<category><![CDATA[Victor Sosa]]></category>

		<guid isPermaLink="false">http://dawire.com/?p=8149</guid>
		<description><![CDATA[Hey there! Below you can find the catalogue essay for the exhibition The Dialectic City: Document &#124; Context that closed last November at Laboratorio de Artes Binarios. Enjoy! -Carla Acevedo-Yates “To capture a city in an image means following its movement.” Nicolas Bourriaud, The Radicant The city is comprised of colliding elements; conflicting mechanisms that through [...]]]></description>
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		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Rabindranat Díaz-Cardona &amp; Hector Madera-González</title>
		<link>http://dawire.com/2011/12/28/rabindranat-diaz-cardona-hector-madera-gonzalez/</link>
		<comments>http://dawire.com/2011/12/28/rabindranat-diaz-cardona-hector-madera-gonzalez/#comments</comments>
		<pubDate>Wed, 28 Dec 2011 11:44:25 +0000</pubDate>
		<dc:creator>dawire</dc:creator>
				<category><![CDATA[Exhibitions]]></category>
		<category><![CDATA[Hector Madera-Gonzalez]]></category>
		<category><![CDATA[metro plataformaorganizada]]></category>
		<category><![CDATA[Rabindranat Diaz-Cardona]]></category>

		<guid isPermaLink="false">http://dawire.com/?p=8180</guid>
		<description><![CDATA[Rabindranat Díaz-Cardona, Hábitat, installation view
Two separate solo shows will open this week at METRO: plataformaorganizada in San Juan; Habitat by Rabindranat Díaz-Cardona and El pah-pay lone by Héctor Madera-González. Both artists live and work abroad, Díaz-Cardona in Madrid and Madera-González in Brooklyn, New  York. For Díaz-Cardona, this is his first solo presentation in over four years.[...]]]></description>
		<wfw:commentRss>http://dawire.com/2011/12/28/rabindranat-diaz-cardona-hector-madera-gonzalez/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Short Book Review: Jac Leirner in Conversation with Adele Nelson</title>
		<link>http://dawire.com/2011/12/22/book-review-jac-leirner-in-conversation-with-adele-nelson/</link>
		<comments>http://dawire.com/2011/12/22/book-review-jac-leirner-in-conversation-with-adele-nelson/#comments</comments>
		<pubDate>Thu, 22 Dec 2011 10:05:35 +0000</pubDate>
		<dc:creator>dawire</dc:creator>
				<category><![CDATA[Books]]></category>
		<category><![CDATA[adele nelson]]></category>
		<category><![CDATA[Colección Patricia Phelps de Cisneros]]></category>
		<category><![CDATA[jac leirner]]></category>

		<guid isPermaLink="false">http://dawire.com/?p=8097</guid>
		<description><![CDATA[It’s interesting to read an in-depth conversation with an artist that really gets to the core of their practice and the choices that lead to their relevance in art history. Entertaining and informative, Jac Leirner in Conversation with Adele Nelson describes Leirner’s personal background, process and work. Born to a family of collectors, Brazilian-born Leirner was one of the first contemporary artists from Latin America whose work was acquired by the MoMA.[...]]]></description>
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		<item>
		<title>Trópico Abierto: Gran Bienal Tropical</title>
		<link>http://dawire.com/2011/12/13/tropico-abierto-gran-bienal-tropical/</link>
		<comments>http://dawire.com/2011/12/13/tropico-abierto-gran-bienal-tropical/#comments</comments>
		<pubDate>Tue, 13 Dec 2011 11:08:18 +0000</pubDate>
		<dc:creator>dawire</dc:creator>
				<category><![CDATA[Events]]></category>
		<category><![CDATA[Gran Bienal Tropical]]></category>
		<category><![CDATA[Pablo León de la Barra]]></category>
		<category><![CDATA[Piñones]]></category>

		<guid isPermaLink="false">http://dawire.com/?p=8115</guid>
		<description><![CDATA[Guillermo Rodriguez
Saturday, December 10th La Loseta, a year-long exhibition program initiated by artist Radamés "Juni" Figueroa, closed its exhibition cycle with Tropico Abierto, Gran Bienal Tropical, a project curated by London-based curator Pablo León de la Barra. Transforming the conventional sterile white cube into a jungle 'green cube,' de la Barra and friends staged a series of works and interventions at the beach in Piñones (Puerto Rico) and the area surrounding Kiosko La Comai; a typical beach front kiosque serving local food and drinks.[...]]]></description>
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		<slash:comments>3</slash:comments>
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		<item>
		<title>Omar Obdulio Peña Forty at METRO</title>
		<link>http://dawire.com/2011/11/08/omar-obdulio-pena-forty-at-metro/</link>
		<comments>http://dawire.com/2011/11/08/omar-obdulio-pena-forty-at-metro/#comments</comments>
		<pubDate>Tue, 08 Nov 2011 11:34:04 +0000</pubDate>
		<dc:creator>dawire</dc:creator>
				<category><![CDATA[Exhibitions]]></category>
		<category><![CDATA[METRO]]></category>
		<category><![CDATA[Omar Obdulio Peña Forty]]></category>

		<guid isPermaLink="false">http://dawire.com/?p=8103</guid>
		<description><![CDATA[Red, white and blue… these three colors when combined elicit multiple significations and visual connotations. They can be associated with a specific country, a patriotic sentiment, or a consumer brand, but in Omar Obdulio Peña Forty’s work they embody a practice of everyday life; the barbershop and its long-standing history as a place of congregation at the intersection of differing trades. La brega plural, Peña Forty’s most recent exhibition at METRO:plataformaorganizada, gathers a selection of recent videos, sculptures, paintings and photographs that approach the barbershop as a plural space of creation and transformation, appropriating its aesthetic values and reconsidering it in an artistic context.[...]]]></description>
		<wfw:commentRss>http://dawire.com/2011/11/08/omar-obdulio-pena-forty-at-metro/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>Katinka Bock</title>
		<link>http://dawire.com/2011/10/31/katinka-bock/</link>
		<comments>http://dawire.com/2011/10/31/katinka-bock/#comments</comments>
		<pubDate>Mon, 31 Oct 2011 12:13:50 +0000</pubDate>
		<dc:creator>dawire</dc:creator>
				<category><![CDATA[Sculpture]]></category>
		<category><![CDATA[katinka bock]]></category>

		<guid isPermaLink="false">http://dawire.com/?p=8035</guid>
		<description><![CDATA[Katinka Bock was born in Frankfurt am Main in 1976. She studied in Berlin, Dresden, Paris, and then at the École Nationale des Beaux-Arts in Lyon, before coming to Paris in 2007 for a residency lasting several months at the Cité des Arts. Although she was based in Berlin, circumstances have led her to stay on in the French capital. Sculpture has always been at the heart of her studies and interests, though she has also experimented extensively with video, performance art and projects for public spaces. Since coming to Paris, she has ceased to work on collaborative projects, and she finds that the most fertile place for her is not her studio or house, but her mind itself]]></description>
		<wfw:commentRss>http://dawire.com/2011/10/31/katinka-bock/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
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		<item>
		<title>Conversation with Steve Schepens</title>
		<link>http://dawire.com/2011/09/23/conversation-with-steve-schepens/</link>
		<comments>http://dawire.com/2011/09/23/conversation-with-steve-schepens/#comments</comments>
		<pubDate>Fri, 23 Sep 2011 11:30:26 +0000</pubDate>
		<dc:creator>dawire</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Steve Schepens]]></category>

		<guid isPermaLink="false">http://dawire.com/?p=8046</guid>
		<description><![CDATA[Carla Acevedo-Yates: Hi Steve, it’s a pleasure to speak with you once again! During our last interview, we spoke about the reasons that lead you to depart from painting and move to other mediums such as sculpture and performance. Since 2002, you have titled these works HORROR, but your recent work marks another departure with different and more complex titles, even though they also convey a sense of mystery and irony. Can you explain the reasons for this choice?
Steve Schepens: Dear Carla, the pleasure is completely mine!
Indeed, the HORROR works form a very important and vast cluster within my oeuvre, also the new titles are rooted in there. The sculpture THE BERMUDA TRIANGLE IS A FRAUD which was first presented at the Art in the City exhibition during the ARTBRUSSELS art fair in April and the exhibition BLUE MUSSEL BINGE DRINKING at Marianne Friis Gallery in Copenhagen in June both mark the start of the new period. The art-works can be seen as anchors for future creations.
[...]]]></description>
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		<slash:comments>0</slash:comments>
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		<item>
		<title>Sebastián Vallejo: The Experience of Colliding Systems</title>
		<link>http://dawire.com/2011/09/21/sebastian-vallejo-the-experience-of-colliding-systems/</link>
		<comments>http://dawire.com/2011/09/21/sebastian-vallejo-the-experience-of-colliding-systems/#comments</comments>
		<pubDate>Wed, 21 Sep 2011 04:02:16 +0000</pubDate>
		<dc:creator>dawire</dc:creator>
				<category><![CDATA[Exhibitions]]></category>
		<category><![CDATA[Sebastian Vallejo]]></category>

		<guid isPermaLink="false">http://dawire.com/?p=8069</guid>
		<description><![CDATA[Nothing like a Summer Storm, 2010, oil paint, acrylic paint, spray paint, plastic bags, fabric, glitter and color pencil on canvas, 48"x60"
Wavering between figuration and abstraction, Sebastian Vallejo’s paintings are precise but expressive exercises in light, form and color. In them, bright colors collide with defined forms and structures that, combined with a mixed media approach provide an engaging visual experience that rests in conflicting polarities.[...]]]></description>
		<wfw:commentRss>http://dawire.com/2011/09/21/sebastian-vallejo-the-experience-of-colliding-systems/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Review: Cold America</title>
		<link>http://dawire.com/2011/09/14/review-cold-america/</link>
		<comments>http://dawire.com/2011/09/14/review-cold-america/#comments</comments>
		<pubDate>Wed, 14 Sep 2011 11:17:43 +0000</pubDate>
		<dc:creator>dawire</dc:creator>
				<category><![CDATA[Books]]></category>
		<category><![CDATA[américa fría]]></category>
		<category><![CDATA[cold america]]></category>
		<category><![CDATA[fundación juan march]]></category>
		<category><![CDATA[geometric abstraction]]></category>
		<category><![CDATA[latin america]]></category>

		<guid isPermaLink="false">http://dawire.com/?p=7993</guid>
		<description><![CDATA[This past May the Fundación Juan March in Madrid closed the survey exhibition Cold America: Geometric Abstraction in Latin America (1934-1973). The exhibition gathered over 300 works by more than 60 artists, taking as a point of departure two very specific return trips from Europe that offered a chronological structure to the show; Joaquín Torres-García’s return to Uruguay in 1934, and Jesús Rafael Soto’s return to Venezuela in 1973. The exhibition’s strength lies in showcasing in an European institution a comprehensive visual tracing of the complex histories of geometric abstraction in Latin America; a legacy grounded on the aesthetic language of the European constructivist project which, renewed and transformed, thrived throughout Latin America well into the 1960s and 1970s. The title of the show, Cold America, alludes to the tradition's rational and objective forms which revealed chromatic structures and experiments in a diverse array of mediums such as painting, sculpture, photography and architecture.[...]]]></description>
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