THESE TIMES

April, 2020
New York, New York

Dear all,
TRANS> pleased to launch THESE TIMES, a printed and digital stamp project by 50 artists 50 institutions curated by Sandra Antelo-Suarez.

Each gesture is an artwork made by artists as an immediate response to these times and a tribute to New York City, Ibero-America, Spain and Portugal. Our culture has been whipped with the plague, for which we honor every single being lost, the vulnerable and those facing difficulties in their daily lives. It was made possible through love, grief and solidarity.

United more than ever, much love and hugs

Ibero-America, España & Portugal

OUR CIVIC DURTY TO VOTE IS ONE OF THE POWERS WE HOLD TO END INEQUALITIES AND INJUSTICES IN THE WORLD

 

THESE TIMES:

@these.times.forever

Look for your printed copy in FRIEZE magazine, October issue.

THESE TIMES Team:

Curator: Sandra Antelo-Suarez

In cooperation with Ana Sokoloff. Graphic Design: MattDeFrain, Florencia Lechin, Ana Winograd. Coordination: TristanMacHale.

 

THESE TIMES is made possible through the support of Eugenio López Alonso and Fundación Jumex Arte Contemporaneo.

Additional support is provided by Federico Gonzalez Daboin, Eduardo & Mariana Hochschild, Alexia Hochschild Correa, Dani & Mirella Levinas @luisperezoramas @claudia.ginsberg, AdrianaRosenberg, EricSchimmel and @pfeiffervivian. Special thank you to @CharpenelPatrick @AdrianoPedrosa, Rosa & Carlos de la Cruz, Michy Marxuach, Isabela Mora and Esthella Provas.

 

THESE TIMES is a project of TRANS>, a non-profit organization based in New York City. Since its inception in 1995, TRANS> has located itself in a transitional space and through the mediums of art and culture, has designed new cartographies, subverted rigid codes and encourages unexpected dialogues. TRANS>believes in a tradition of multiple views and constant change. It respondes to the immediate creative needs of artists and urgencies of the times. Among TRANS> projects are the journal TRANS> arts.cultures.media, Don’t Trust Anyone over Thirty: Entertainment by Dan Graham, Tony Oursler and Rodney Graham, a 60 min. live rock-opera puppet concert and Smile Without a Cat: A Celebration of Anne Lee’s Vanishing, a fire works project by Pierre Huyghe and Philippe Parreno.

 

THESE TIMES artists and Institutions:

Arco, Leonor Antunes, Museu de Arte de São Paulo, Fernando Arias, Museo de Arte Moderno de Bogotá, Stefan Brüggemann, Museo Jumex, Paulo Bruscky, Nara Roesler, Vivian Caccuri, A Gentil Carioca, Marcela Cantuária, Alberto Casar, Mac Lima, Leda Catunda, Fortes D’aloia & Gabriel, Feliciano Centurión, Americas Society, Lia Chaia, Galeria Vermelho, Gabriel Chaile, Proa21, Marcelo Cipis, Bergamin & Gomide, Minerva Cuevas, Kurimanzutto, Mariana Castillo Deball, Museo Amparo, Teresa del Solar, Travesía Cuatro, Can, Embajada, Luis Flores, El museo del barrio, Regina José Galindo, Proyectos Ultravioleta, Felix Gonzalez-Torres, De la Cruz Collection, Cristina Iglesias, Casa del Faro, Isla de Santa Clara, Donostia, Leandro Katz, Henrique Faria, Herlitzka + Faria, Artur Lescher, Nara Roesler, Laura Lima, Diana lópez , @accionlibertad, Mateo lópez, Galería Luisa Strina, Gilda Mantilla, Livia Benavides, Beatriz Milhazes, Wynnie Mynerva, Ginsberg Galería, Ernesto Neto, Juan José Olavarría, Galería Municipal de Arte Pancho Fierro, Damián Ortega, Kurimazutto, Bernardo Ortiz, Casas Riegner, Silvana Pestana, Gala Porras-Kim, Rose Art Museum, Lab, Leticia Ramos, Mendes Wood Dm, Ana Roldán, Instituto de Visión, Anri Sala, Centro Botín, Francesco João Scavarda, Alejandra Seeber, Barro, Santiago Sierra, Helga de Alvear, Juan Sorrentino, Fundación Proa, Daniel Steegmann Mangrané, Mario Garcia Torres, Museo de Arte Contemporáneo de Monterrey, Oriol Vilanova, Kotaro Nukaga, Héctor Zamora, The Met, Zona Maco.

#TheseTimes #Stampsbyartists #Postagebyartists # LOVEstamps #TRANS> #sandraantelosuarez #TheseTimesForever #VOTE #VotingIsDemocracy #SaveTheUSPS #TogetherMoreThanEver #SiempreUnidos

ALBERTO CASARI (b. Lima, Peru, 1955) #AlbertoCasari; It is a collage of images cropped and extracted from a magazine with colorful backgrounds of living nature and where a black background is juxtaposed and dominated.  At the heart of the work there is a light and it is this that speaks of hope. FOREVER indicates a possible exit road.

Colors of the living nature, green, blue and orange, again a large part of the work immersed in darkness with a human image (?) lit in the dark, but a candle lit peeks to illuminate this dark part… there is hope. FOREVER indicates LIGHT.

Es un collage de imágenes recortadas y extraídas de una revista con fondos de colores de la naturaleza viva y donde se yuxtapone y domina  un fondo negro.  En el corazón de la obra existe una luz y es esta que habla de esperanza. FOREVER indica una via de salida posible.

Colores de la naturaleza viva, verde, azul y naranja, nuevamente una gran parte de la obra sumida en la oscuridad con una imagen humana (?) encendida en la oscuridad , pero una vela prendida asoma para iluminar esta parte oscura…hay esperanza. FOREVER indica LUZ.

Recent exhibitions include ‘Nosotros estamos aquí’ at @museo_maclima curated by #GiulianaVidarte and ‘Contingentes’ at @wugaleria.

 

ALEJANDRA SEEBER (b. Buenos Aires, Argentina, 1969) @alejandraseeber_studio work has been described as having a dialogic approach to painting, where intentionality and random procedures, failings and acceptance operate together without hierarchy. She conceptualizes painting, not from historical references or social conventions but from a visual culture crossed by alternative rock, theatrical stage designs, musical shows, the city’s underground, the digital softwares and the technological novelty in publicity characteristic of the end of the last century. Laying her eyes in domestic interiors, architecture and decorations, Seeber finds an image of the world that she rapidly blows up in stains and squirts that scatter through the canvas making it impossible to see the difference between in and out, between figures and abstraction.

Recent exhibitions include ‘La forma de la Boca’ at @usinadelarte curated by @florencia.malbran and ‘Getaways’and “Rather Ripped” at @hauslercontemporary. Ca-za Museo del Bronx, curated by Sofia Hernandez Chong Huy. Upcoming exhibitions include ‘Fuera de serie’ with @ledacatunda at @museomalba curated by #FranciscoLemus.

 

ANA ROLDÁN (b. Mexico City, Mexico, 1977) @naldorana; when I said ”Have a look at my stamps” I was innocent. As everything yesterday – gardening, making preserves, knitting – is the new red, blue, yellow, I was confident you’d come. I honestly thought it would be about my stamp. Now I never know which knee is yours and which is mine.

Ana Roldán (n. México, DF, México, 1977); Cuando dije “Echa un vistazo a mis timbres”, yo era inocente. Como todo ayer – jardinería, hacer conservas, tejido – es el nuevo rojo, azul, amarillo, estaba segura de que vendrías. Honestamente pensé que se trataría de mi timbre. Ahora nunca se cual rodilla es tuya y cual es mía.

Recent exhibitions include ‘Bewegung und Kunst’ at @zugsports curated by @dorotheastrauss and ‘Portadores de sentido’ at @museoamparo curated by @cppcisneros and @pillihdz. Upcoming exhibitions include ‘It’s only moonlight’ at @annex14.

 

ANRI SALA (b. Tirana, Albania, 1974) #AnriSala; By tying the insignia of revolution to a palindromic thought – the chicken and egg causality dilemma – the stamp aims at the uncertainties and the misgivings of these times.

Anri Sala (n. Tirana, Albania, 1974) #AnriSala; Al enlazar la insignia de la revolución al pensamiento palíndromo – la casualidad del dilema del huevo y el pollo– este sello postal  apunta a las incertidumbres y recelos de estos tiempos.

Recent exhibitions include ‘AS YOU GO’ at @fundacionbotin and ‘AS YOU GO’ at @castellodirivoli

 

ARCO From 24 to 28 February 2021, the world of contemporary art will celebrate ARCOmadrid’s 40th Anniversary.

ARCOmadrid 2021 will bring together a selection of the top international galleries that have been part of ARCOmadrid’s journey since the beginning to participate in the central section of the fair on the occasion of its 40th anniversary: ARCO’s 40th Anniversary (curated by María Inés Rodríguez; Sergio Rubira and Francesco Stocchi).

This tribute to ARCO is presented as a complement to the content that will be presented by the galleries selected by the Organising Committee to take part in the General Programme, and the participants in the Opening section, which will be selected by Övül Durmuşoğlu and Julia Morandeira.

 

ARTUR LESCHER. For more than thirty years, Artur Lescher (b. Sao Paulo, Brazil, 1962) @artur_lescher has presented solid work as a sculptor, researching on the articulation of materials, thoughts and forms. Although Lescher’s work is strongly associated with industrial processes, through which he achieves extreme refinement and rigor, the purpose of his production goes beyond form. This contradiction leaves room for myth and imagination, which are essential elements for the construction of his minimal landscape.

Por mais de 30 anos, Artur Lescher (n. São Paulo, Brasil, 1962) tem desenvolvido um sólido trabalho como escultor, pesquisando sobre a articulação de materiais, pensamentos e formas. Embora o trabalho de Lescher esteja fortemente associado ao processo industrial, pelo qual ele alcança extremo refinamento e rigor, o objetivo de sua produção vai além da forma. Essa contradição deixa espaço para o mito e a imaginação, elementos essenciais para a construção de sua paisagem mínima.

Recent exhibitions include ‘Suspensão’ at @Pinacotecaspaulo curated by #CamilaBechelany and ‘Asterismos’ at @Alminerech. Upcoming exhibitions include solo shows at @galerianararoesler and at @fundacaoibere.

 

BEATRIZ MILHAZES (b. Rio de Janeiro, Brazil, 1960) is characterised by sensual colour, optical movement and energetic visual cadences, fusing a diverse repertoire of images and forms. Her practice includes painting, collage collage and printmaking. Rigorously structured compositions are influenced by Henri Matisse, Wassily Kandinsky and Sonia Delaunay, as well as Brazilian modernists Tarsila do Amaral and Oswald de Andrade, and local culture, music and architecture. The result is a unique synthesis of indexes that merges high and low culture, art and craft.

Recent exhibitions include ‘Using Walls, Floors, and Ceilings’ at @thejewishmuseum curated by @kellytaxter and ‘Beatriz Milhazes: Jardim Botânico’ at @pamm curated by @tobiasostrander. Upcoming exhibitions include ‘Beatriz Milhazes: Avenida Paulista’ at @masp and @itaucultural curated by @adrianopedrosa and #IvoMesquita.

 

BERNARDO ORTIZ (b. Bogota, Colombia, 1972) #BernardoOrtiz; An inbreeding of words that produce a surprisingly political (and imaginary) beast.

Bernardo Ortiz (n. Bogotá, Colombia, 1972); Un  apareamiento de palabras que produce una bestia política inimaginada.

Recent exhibitions include ‘Baja Resolución’ at @casasriegner and ‘Amerikanische Lieder’ at @siobhandaviesdance curated by #LaurenWright. Upcoming exhibitions include ‘Untitled’ at @havremagasinet curated by #MariangelaMendez.

 

CAN JORGE GONZALEZ (b. San Juan, Puerto Rico, 1981) @jigs_pr; practice involves the creation of mutual learning spaces as critical articulations in awareness of land, resources, and territory. Determined to build community regeneration, the project Escuela de Oficios, a collective work platform underlying his practice, promotes the work of indigenous knowledge holders of the Borikua archipelago. Currently, González is part of the efforts of Organización del Pueblo Can-Jíbaro de Boriké (CAN), an independent collective of indigenous cultural workers composed of community organizers, activists, thinkers, educators, agriculturists, and artists, to make accessible and politicize the perspectives of the indigenous peoples of Borikén and the Caribbean in all matters relevant to land and territory: colonization, worldview, reparations, history, spirituality, amidst others topics concerning the communities of the region. As a collective, CAN reaffirms their identity as Can-Jíbaros, descendants of the Serpent, with beliefs present among the Borikua Jíbaro people and their Caribbean siblings.

Recent exhibitions include ‘Abusos de las formas’ curated by #MauricioMarcín and ‘And other such stories’ at @chicagoarchitecturebiennial curated by #YesomiUmolu #SepakeAngiama and #PauloTavares.

 

DAMIAN ORTEGA With his sense of wit and humor, Damián Ortega (b. Mexico City, 1967) @damianortegastudio deconstructs familiar objects and processes, altering their functions and transforming them into novel experiences and scenarios. Ortega’s work plays with a scale that ranges from the molecular to the cosmic: for him, the work of art is always an action, an event. His experiments inhabit a space where possibility and the everyday converge, to activate a transcendent new way of looking at simple objects and routine interactions.

A través del ingenio y el humor, Damián Ortega (n. Ciudad de México, 1967) deconstruye objetos y procesos conocidos al alterar sus funciones y transformarlos en experiencias novedosas y situaciones hipotéticas. Ortega se mueve en una escala que va de lo molecular a lo cósmico. Para él la obra de arte es siempre una acción: un evento. Sus experimentos existen en un espacio donde lo posible y lo cotidiano convergen para activar una nueva y trascendente forma de mirar a los objetos ordinarios y las interacciones rutinarias.

Recent solo exhibitions include ‘Porous Structures’ at @gladstone.gallery, ‘Estridentópolis at @adrianrosenfeldgallery in collaboration with @kurimanzutto and ‘The Modern Garden’ at @garagemca.

 

DANIEL STEEGMAN MANGRANÉ (b. Barcelona, Spain, 1977) @animal_que_no_existeix; practice encompasses a wide range of media, including film, sculpture, sound, gardens and drawing, delving into subtle, poetic but however raw experimentations that question the relationship between world and language.

Although mainly conceptually informed, his installations engage the imagination of the spectator and display a strong concern with the existence and features of concrete objects.The artist is particularly interested in biological and morphogenetic processes, which he uses as inspiration for the creation of works that undermine the boundaries between organic and man-made aesthetics and the traditional separations between culture and nature, or between subjects and objects.

Recent exhibitions include ‘A Leaf Shaped Animal Draws The Hand’ at @Pirelli_HangarBicocca curated by #LuciaAspesi and #FiammettaGirocoli.

 

DIANA LOPEZ (b.Philadelphia, 1968)  Venezuelan artist @studio.diana.lopez.

Language defines, contains and manifests our connection with the environment. Language builds our identity, it is the mechanism that engages the variables of our personal and collective experience. Inverted Syllabary  is a photographic series produced in 2017 with mobile types formerly used to print texts, today they are objects in disuse.

Recent exhibitions :

Referencias Cruzadas  @mac_panama

For Freedoms @hffanewyork

El mañana no existe @beatrizgilgaleria

Anti-Readymade @espaciomonitor

La locura más peligrosa de América #PanchoFierro

 

ERNESTO NETO. Since the beginning of his career Ernesto Neto (b. Rio de Janeiro, Brazil, 1964) has sought to challenge and expand the lexicon of sculpture, exploring formal and symbolic connections between different materials — polyamide, elastane, lead, spices, styrofoam, steel, among others — with the force of gravity as an underlying element. Lately he has turned to natural dye fabrics and wood, and embraced physical interaction as a fundamental aspect of his practice. The organic shapes of the works echo the forms and colors of living organisms. Neto’s wearable sculptures and interactive installations activate the senses, inviting us to indulge in meditative states and reconnect with the sacred.

Recent exhibitions include ‘Sopro’ at @pinacotecasp curated by @valeria_piccoli and ‘Ernesto Neto: Soplo’ at @museumalba curated by @volzjochen and @valeria_piccoli. Upcoming exhibitions include ‘Ernesto Neto: Soplo’ at @ccplm curated by @volzjochen and @valeria_piccoli.

FELICIANO CENTURION (b. San Ignacio, Paraguay, 1962) #FelicianoCenturion; Blanket: everyday object, easily available, warmth, shelter, protection. Affective, sensorial support. The painting is another emotional charge, that translates feelings. Removed from its everyday context, the blanket becomes a support for painting, in itself an artistic object that, hanging on the wall, can make us recall ancient tapestries. It is essential that we “choose” the materials with which we work. Our consumer society offers us an infinite selection that we can “appropriate” to make “new objects” with which we can live. But once we decontextualize them, assemble them, paint them, or assail them, they reveal that they passed through our feelings. Consummated love. The eclecticism of our times, whose diversity of languages and information demand a deeper engagement from us, allows us to “appropriate” with complete freedom so that we can express ourselves.

Recent exhibitions include ‘Feliciano Centurión: Abrigo’ at @americassociety.visualarts curated by @gperezbarreiro.

 

FELIX GONZALEZ-TORRES (b. Guáimaro, Cuba, 1957); The work of Felix Gonzalez-Torres is profoundly anchored to concepts of materiality, time, loss, regeneration, and generosity. #FelixGonzalezTorres @delacruzcollection

 

FERNANDO ARIAS ‘I have to declare that Fernando Arias (b. Armenia, Colombia, 1963) @fernando.arias.artwork is one of the most irreverent, subversive, ironic, disenchanted, cynical, iconoclastic artists I have ever worked with – and those who know my curatorial practice will be aware of how much weight this statement carries. In the last thirty years, his radical, polemical, and transgressive work has faced the illusive borders between art and life, art and media, art and society, as well as art and activism, while often looking through the lens of a caustic irony at uncomfortable issues connected to trauma, the abject (J. Kristeva), diseased or damaged bodies, religion, politics, race, gender, LGBTQ+ rights, class, sex, but also to battles for social justice, against environmental exploitation, in support of oppressed subjects and minorities.’ Text from @eugenioviola_official

 

FRANCESCO JOÃO SCAVARDA (b.Milan, Italy, 1987) @francescojoao; I want to talk about painting.

What painting is?

Francesco João Scavarda (n. Milan, Italia, 1987); Quero falar sobre pintura.

O que è una pintura?

Recent exhibitions include ‘Francesco Joao’ at @mendeswooddm and @Hot_Wheels_Athens curated by @francescotenaglia.

 

GABRIEL CHAILE En las obras de Gabriel Chaile (n.Tucumán, Argentina, 1985) @soychaile; hay un cruce entre la antropología, la teología-religión y el arte en diferentes formas que se dejan atravesar por el sentido del humor, lo poético, lo simbólico y lo político. Le gusta pensarse como un comunicador de imágenes que llega a ellas a través de observaciones contextuales y para eso se toma a sí mismo y a su contexto como objeto de estudio.

Recent exhibitions include ‘Genealogía de la Forma’ at @barro_cc curated by @andrei.fdz and  ‘Esta Canción ya tuvo aplausos’ at @chertluedde.

 

GALA PORRAS-KIM (b. Bogota, Colombia, 1984) @itsgala My contribution is an image of Pangaea which was when the world was physically connected.

Gala Porras-Kim (n. Bogotá, Colombia, 1984); Mi contribución es una imagen the Pangaea que fue cuando el mundo estaba conectado físicamente.

Recent exhibitions include ‘Immortality’ at @ural_biennial  curated by @xiaoyuxiaoyuxiaoyu and the Whitney Biennial at the @whitneymuseum curated by @rjkhckly and @janepanetta. Upcoming exhibitions include ‘Asymptote towards an ambiguous horizon’ at @kadistkadist curated by @oystercrackersandwiches.

 

GILDA MANTILLA (b. Los Angeles, USA, 1967) #GildaMantilla; In 2010 I started a period of research and work using archival material from the libraries of the Amazon city of Iquitos with my partner Raimond Chaves. Our aim has been to question the capacities of images associated with specific territories, make it possible to read them against the grain and associate them with new meanings.

Gilda Mantilla (n. Los Angeles, EEUU, 1967); En 2010 inicié un periodo de investigación y trabajo usando los archivos de las bibliotecas de la ciudad amazónica de Iquitos junto a mi compañero Raimond Chaves. Nuestro propósito ha sido cuestionar las capacidades de las imágenes asociadas a territorios específicos, hacer posible lecturas en contra de las corrientes y asociarlas a nuevos significados.
Recent exhibitions include ‘EL Calor Derrite Los Estilos’ at @centrocentrocibeles curated by @vtorrente63 and ‘Nuevos Errores’ at @bis_oficinadeproyectos.

 

HÉCTOR ZAMORA (b.Mexico City, Mexico, 1974) #HectorZamora, Pile of bricks. The image is the result of research carried out in Galicia, Spain, for the De / codification project carried out at the RAC Foundation. The photo was taken in 2016 at the CAMPO brick factory.

Héctor Zamora (n. México, DF, 1974), Pila de ladrillos. Es imagen es resultado de la investigación realizada en Galicia, España, para el proyecto De/codificación realizado en Fundación RAC. La foto fue tomada en 2016 en la fábrica de ladrillos CAMPO.

Recent exhibitions include ‘Dhaka Art Summit’ @samdaniartfoundation curated by @dhakadiana and ‘Walking Through Walls’ at @gropiusbau curated by @sbardaouil and @till.fellrath. Upcoming exhibitions include ‘Lattice Detour’ at @metmuseum curated by #IriaCandela.

 

JUAN JOSÉ OLAVARRÍA (b. Venezuela, 1969) @j.j.olavarria.g; His practice is propelled by the past paradox as something that has not been able to close and at the same time is unrepeatable. Conscious of the performative aspect of remembrance and the irrepresentable condition of the memory, it does not pretend to restore them, but to show as contradictory processes.

“No archive contains History: it only withholds -aided by a discoverer–the arbitrary story of its own creation, never announced; which is its own auto fabrication and the fabrication of possibilities of histories.”

Recent exhibitions include ‘La locura más peligrosa de America’ curated by @leticiaargus at #GaleríaMunicipalDeArtePanchoFierro.

 

JUAN SORRENTINO (b. Chaco, Argentina, 1978) @juansorrentino; My work is based on inquisitive interactions with objects and materials through sound. While my materials and processes vary from project to project my methodology and formal concerns are consistent.

Mi trabajo está basado  en interacciones inquisitivas con objetos y materiales a través del sonido. Si bien mis materiales y procesos varían de un proyecto a otro, mi metodología y mis preocupaciones formales son consistentes.

Upcoming exhibitions include ‘GABINETE DE CURIOSIDADES’ at @fundacion_proa  curated by  @sigismonddevajay and ‘SOLO SHOW’ at @artebafundacion and @acefalagaleria curated by @sigismonddevajay.

 

LAURA LIMA (b. Governador Valadares, Brazil, 1971) @l_aura_l_ima; Glove, stamp-instructions for a drawing to be made on a hand: the pigmentation of a fabric woven on the skin made with ink, which can be redone every day. This stamp is a guide / inspiration for the drawing.

Laura Lima (n. Governador Valadares, Brasil, 1971) @__lauralima__; Luva, selo instrução de um desenho a ser feito sobre a mão: a pigmentação de uma trama tecido sobre a pele feita com tinta, podendo ser refeita todos os dias, este selo serve como orientação/inspiração para o desenho.

Recent exhibitions include ‘Qual’ at @galerialuisastrina and ‘Balé Literal’ at @agentilcarioca. Upcoming exhibitions include ‘Lost in Translation’ at @agentilcarioca.

 

LEANDRO KATZ (b. Buenos Aires, 1938) @leandro.katz – Nightworks. Works made during the night, the Lunar Alphabet, and Labná Arch, explore the possibilities of photographic records through a system of producing long-term projects. The Lunar Alphabet builds a parallel between the lunar month and twenty-seven characters to create a night reading system. The Labná Arch uses the rare technique of open flash. The image is imparted on the negative by illuminating the scene with multiple firings from a portable flash following a previously calculated plan.

Recent exhibitions include ‘WORDS/MATTER’ at @blantonmuseum curated by #BeverlyAdams and #FlorenciaBazzanoNelson and ‘Viaje a la Luna: A to Z’ at @cimagen curated by #ElenaNavarro and @schoolio. Upcoming exhibitions include ‘Metropotamia’ at @museodelcineba curated by #PaulaFelixDidier and #LeandroListorti

 

LEDA CATUNDA (b. São Paulo, 1961) @ledacatunda has appropriated objects and images and used them as raw material in her art making, simultaneously challenging and mirroring the image ravenousness of our time. Catunda is particularly interested in pop culture, consumerism, taste, and the idea of belonging. The artist creates paintings using multiple fabrics — velvet, silk, voile, to name a few — and patterned textiles, which already exist or may derive from her repertoire of drawings and images. Those fabrics are either layered, granting movement and tactility to the works, or used to upholster padded surfaces. Paint is applied as a sort of finishing touch, completing the process of conjuring up drops, cells, tongues, among other bodily shapes.

Recent solo exhibitions include ‘I Love You I Love You Baby’ (2016) at @institutotomieothake curated by @paulomiyada and at 33ª Bienal de São Paulo @bienalsaopaulo curated by @sofiadborges. A current exhibition is ‘FUERA DE SERIE: SEEBER CATUNDA’ at @museomalba curated by @franciscolemus_.

 

LEONOR ANTUNES (b. Lisbon, Portugal, 1972) @leonorleonorantunes; having spent a lot of time in my studio in Berlin, these days with Olga my daughter who is 9 years old, we were thinking on how to create a celebration without the actual event… from the  Carnival in Brazil to “Tears” a photograph by Man Ray, where he uses glass pearls to symbolize the tears on the model’s face. Olga is wearing her peacock eyelashes and her favorite stickers…

Leonor Antunes (n. Lisboa, Portugal, 1972); Nestes últimos meses, tenho passado mais tempo no meu atelier em Berlim, com a minha filha Olga que tem 9 anos. Começamos a pensar em como celebrar um evento sem o evento… do Carnaval Brasileiro,  à fotografia de  Man Ray, “Tears” (Lágrimas) cuja modelo usa pérolas de vidro na cara para simbolizar lágrimas… Olga decidiu então usar as suas pestanas de Pavão, e um dos seus autocolantes favoritos…

Recent exhibitions include ‘vides, intervales et joints’ at @mudamlux curated by @suzanne_mcotter and a solo exhibition at @theboxplymouth curated by @nicolettalambertucci.

 

LETICIA RAMOS (b. Santo Antonio da Patrulha, Brazil, 1976) @leatomica is an art-scientist, a traveller who goes through the centuries revolving invention in ways of representing the world. From historical events and natural phenomenons, she builds  symbolic connections between politics, science and imagination where future and past  are crossed. In her precise investigation regarding analog photography, she uses sculpture , scale model and special effects to create imaginary landscapes, narratives and fabulations that are formalized in photography , film and installation.

Letícia Ramos (n. Santo Antonio da Patrulha, Brasil, 1976) é uma artista cientista que atravessa os séculos pesquisando as invenções dos meios de representar o mundo. Parte de eventos históricos e fenómenos naturais para tratar das conexões simbólicas entre política, ciência e imaginação onde o futuro e o passado se sobrepõem. Em sua rigorosa  investigação do meio fotográfico analogico utiliza a  escultura ,a maquete e  técnicas de  efeitos especiais para criar paisagens imaginárias, narrativas e fabulações que se  formalizam em  fotografia, instalação e filme.

Recent exhibitions include ‘Resilience and Reverberation’ at @mendeswooddm and ‘Historia Universal de los terramotos’ at @pivoartepesquisa.

 

LIA CHAIA (b. Sao Paulo, Brazil, 1978) @lia_chaia lives and works in São Paulo. She has a degree in Fine Arts from FAAP and in parallel studied dance and clown. His work moves through different languages, such as photography, video, performance and installation. She understands multidisciplinarity as a way of relating to the contemporary world and, in this sense, seeks to dissolve the boundaries between supports. Her research is developed in the investigation of the body and the environment, be it urban or natural.

Recent exhibitions include ‘Febril’ at @galeriavermelho, ‘É como dançar sobre a arquitetura’ at @institutotomieohtake curated by @paulomyada, and ‘Life, still life’ at @galeriapresenca curated by @alexandremelo.

 

LUIS FLORES (b. West Covina, California, 1985) @papabearflo;In this moment I can’t help but think about the immediacy of impact my actions have not only on myself, but everyone around me. The words “nothing happens in isolation”, could not ring more true. It’s all for you and me.

Luis Flores (n. West Covina, California, 1985);En este momento no puedo evitar pensar en la urgencia del impacto que mis acciones tienen no solo en mí, sino en todos los que me rodean. Las palabras “nada sucede de forma aislada”, no podría sonar más cierto. Es todo para ti y para mí.

 

MARCELA CANTUÁRIA (b. Rio de Janeiro, Brazil) @marcelacantuaria; I believe in the power that the images carry to reinvent the present time. I do this in a conscious and intuitive, realistic and dreamlike way. Creating magical places with painting has been a solution that I found as a refuge from the dystopia we live in. Our generation depends on images to exist, they work like a compass. I am interested in creating compositions that flirt with new horizons, using painting as a device to fight the status quo. All the significant changes that have happened in history have gone through the imagination. I believe that painting, when it is based on facts and united with fantasy, can pre-figure new horizons of hope. There is something paradoxical about painting that attracts me a lot. It is about seeing color taking shape, shape earning meaning beyond the artistic place and finding themselves in the social, political and historical environment. All this reflective and silent movement of the painting always seems to be screaming.

Recent exhibitions include ‘La larga noche de los 500 años’ at @agentilcarioca curated by @aldonesnino and ‘Suturar Libertar’ at @/cma.heliooiticica curated by @joycedelfim. An upcoming conversation is with @pollyquint for @apalavra.solta.

 

MARCELO CIPIS (b. Sao Paulo, Brazil, 1959) @cipismarcelo1; In this seal, we see a surrealist figure, an unpredictable being made up of a large head and tiny legs, devoid of a body. More than Deleuze’s “body without organs”, here we have a bodiless person looking for a heart, like the lion of the Wizard of Oz. In these very unusual times, it is important to think about our existence in a broader and deeper way. Being at home has become as real as being inside – that we can inhabit our bodies, our homes and care for one another.

Marcelo Cipis (n. São Paulo, Brasil, 1959); Nesse selo, vemos uma figura surrealista, um ser imprevisível constituído por uma grande cabeça e diminutas pernas, destituído de um corpo. Mais do que “um corpo sem órgãos” de Deleuze, aqui temos um ser sem corpo à procura de um coração, como o leão do Mágico de Oz. Nesse momento tão atípico, faz se importante pensar na nossa existência de forma mais ampla e profunda, buscar um equilíbrio entre mente, corpo, emoções e anseios. Estar em casa se tornou tão real quanto estar dentro de si – que possamos habitar nosso corpo, nossa casa e cuidar um dos outros.

 

MARIANA CASTILLO DEBALL(b. Mexico City, Mexico, 1975) @marianacastillodeball; @museoamparo

The first jigsaw puzzle was made from a map. This shows only a part of the wide production, dissemination, and use of maps by society. Mapping in the 16th century was a common, even a casually acquired skill. Each man made at least a single map in a lifetime. It seems to have been an accepted way to pay one’s respect to one’s home while contributing to the knowledge of it.

Mariana Castillo Deball (n. Ciudad de México, México, 1975); El primer rompecabezas fue realizado a partir de un mapa. Esto muestra sólo una parte de la amplia producción, diseminación y uso de los mapas por la sociedad. En el siglo XVI, cartografiar era una habilidad común y se adquiría casualmente. Cada hombre realizaba al menos un mapa en su vida. Parece que fue una manera aceptada de homenajear el hogar de cada uno, al mismo tiempo que se contribuía al conocimiento del mismo.

Recent exhibitions include ‘Replaying Life’s Tape’ at @mumamonash and @ace_open and ‘Finding Oneself Outside’ at @newmuseum. Upcoming exhibitions include ‘Between making and knowing something’ at @mao_gallery.

 

MARIO GARCIA TORRES (b. Monclova, Mexico, 1975) #MarioGarciaTorres; This is the sketch of a large fountain, to be presented for the first time early next year at the Museo de Arte Contemporáneo de Monterrey. The sculpture depicts a fantasy moment of a 120 meter-long metal hose, which is connected to a faucet inside the gallery and ends in a small drain at the museum’s outside patio. This is the third version of the series that extends the years long artist’s dialogue with the practice of the late artist Alighiero Boetti. This one makes reference to the last self-portrait by the italian artist tituled Mi Fuma il Cervello where he is depicted holding a hose.

Recent exhibitions include ‘Illusion Brought Me Here’ at @Weils_Brussels and @walkerartcenter curated by #CarolineDumalin. Upcoming exhibitions include a solo show @museomarco curated by @taiyanapimentel.

 

MATEO LOPEZ Recent exhibitions include ‘The Gardeners’ at @proyectosultravioleta and ‘This might be a place for hummingbirds’ at #GalerieImKornerpark curated by #CaglaIlk and #AntjeWeitzel.

 

MINERVA CUEVAS (b. Mexico City, Mexico, 1975) @micadust; June Almeida was the first to identify the human coronavirus in 1964.

“Feisty and lacking formal education, she was largely forgotten –until Covid-19 came along. But the daughter of a Glasgow bus driver is still playing a major role in the fight against coronavirus, nearly 13 years after her death. June Almeida, the virologist who discovered the first human coronavirus, has been hailed as “one of the greatest scientists of her generation”.

Minerva Cuevas (n. Ciudad de México, México, 1975); June Almeida fue la primera científica en identificar el coronavirus humano en 1964. “Energética y sin educación formal, fue olvidada hasta que llegó el COVID-19. Pero ella, la hija de un chofer de autobuses de Glasgow todavía juega un rol primordial en la lucha contra el coronavirus: a casi 13 años de su muerte es aclamada como “una de las más grandes científicas de su generación”.

Recent exhibitions include ‘No Room To Play’ at @daad_artists and ‘Disidencia’ at @mishkingallery curated by #GabrielBogossian #SolangeFarkas and #AlainaClaireFeldman. Upcoming exhibitions include ‘Witch Hunt’ at @hammer_museum curated by @cornelia.butler and @anneellegood.

 

ORIOL VILANOVA By rummaging through flea markets, Oriol Vilanova’s (b. Manresa, Spain, 1980) @oriolvilanova favorite places for research, he built up a collection of postcards to create a “thinking machine” that provides the conceptual foundations for his plays, installations and performances.

Los rastros y los mercadillos son sus espacios predilectos de investigación, gracias a los cuales ha construido una colección de postales que usa como “máquina de pensar” y que se ha convertido en base conceptual para sus obras de teatro, instalaciones y performances.

Recent exhibitions include ‘Our world is burning’ at @palaisdetokyo curated by @curating_world and @fabiendanesi and ‘Anything, everything’ at @albrightknox curated by @tinariversryan. Upcoming exhibitions include ‘Chinese Whispers #10’ at @meessendeclercq and ‘Cabinet13’ at @machornu.

 

PAULO BRUSCKY (n. Recife, Brasil, 1949) @paulobruscky; A virulência da Arte é maior do que a solidão do Corona Vírus. Paulo Bruscky, 2020. // The virulence of Art is greater than the loneliness from the Coronavirus. Paulo Bruscky, 2020

Recent exhibitions include ‘Eteceterate’ at @fundacionluisseoane and ‘The Gallery will be Fumigated of Art’ at @richardsaltoungallery.

 

PROA 21 Recent exhibitions include ‘The Gardeners’ at @proyectosultravioleta and ‘This might be a place for hummingbirds’ at #GalerieImKornerpark curated by #CaglaIlk and #AntjeWeitzel.

 

REGINA JOSE GALINDO (b. Guatemala City, Guatemala, 1974) @galindoreginajose; WE ARE ALIVE

in the midst of the crisis we repeat it as a mantra

we shout it to the four winds, we are still alive.

Regina Jose Galindo (b. Guatemala City, Guatemala, 1974); ESTAMOS VIVOS

en medio de la crisis lo repetimos como mantra

lo gritamos a los cuatros vientos,  estamos vivos, aún.

Recent exhibitions include ‘The Gardeners’ at @proyectosultravioleta and ‘This might be a place for hummingbirds’ at #GalerieImKornerpark curated by #CaglaIlk and #AntjeWeitzel.

 

SANTIAGO SIERRA (b. Madrid, Spain, 1966) @estudiosantiagosierra  Retomando y actualizando algunas estrategias propias del Minimalismo, el Arte Conceptual y la performance de los años setenta, Sierra interrumpe los flujos de capital y mercancías, contrata a trabajadores para desvelar su situación precaria, explora los mecanismos de segregación racial que se derivan de las desigualdades económicas, e impugna los relatos que legitiman una democracia sustentada sobre la violencia de estado.

Revisiting and refiguring certain strategies characterising the Minimalist, Conceptual and Performance Art of the 1960s and 70s, Sierra interrupts flows of capital and goods; he hires labourers to reveal their precarious circumstances; he explores the mechanisms of racial segregation derived from economic inequalities; and refutes the stories that legitimate a democracy based on state violence.

Recent exhibitions include ‘LATEST WORKS’ at @galeriahelgadealvear and ‘52 CANVASES EXPOSED TO THE AIR OF MEXICO CITY’ at @l_a_b_o_r.

 

SILVANA PESTANA (b. Lima, Peru, 1967) @silvanapestanastudio; work developed around the social phenomena that exists because of extractive capitalism among Peru’s territory. Her research core are activities such as illegal mining, to then reflect on the human cost of such practices. Extractive capitalism as state policy on a territory whose population has been ruled ancestrally under different definitions of exchange (and community).

La obra de Silvana Pestana (n. Lima, Perú, 1967) se desarrolla alrededor de los fenómenos sociales que existen a causa del capitalismo extractivo en diferentes territorios del Perú. Su investigación toma como punto de partida actividades como la minería ilegal para luego reflexionar sobre el costo humano de dichas prácticas. El capitalismo extractivo como política de Estado sobre un territorio cuya población se ha regido ancestralmente bajo definiciones distintas de intercambio (y comunidad); se constituye en un acto colonialista, y trae consigo la creación de submundos de voracidad destructiva. La prostitución forzosa, trata ilegal de personas y el trabajo en condiciones de esclavitud se ejercen diariamente en una suerte de imperio paralelo al legal, en impunidad absoluta.

Recent exhibitions include ‘Mother of Go(l)d’ at @ginsberggaleria curated by @GustavoBuntinx and ‘Underworld’ at @ginsberggaleria curated by @JeromeSans.

 

STEFAN BRUGGEMANN (b. Mexico City, Mexico, 1975) @stefanbruggemann; the work generates a doubt.

Recent exhibitions include:

‘Extra!’ at @centrepompidou and ‘Headlines and Last Lines in the Movies (Guernica).’

 

TERESA SOLAR (b. Madrid, Spain, 1985) @tere_solar works across sculpture, video, drawing and photography. The artist’s imaginary has a strong narrative drive, in her exhibition projects she creates complex worlds that either draw from literary works of fiction, Natural History or more terrestrial narratives that are close to her personal story. The daughter of a Spanish father and an Egyptian mother, Solar speaks Arabic, but she can’t read or write it, and this circumstance has greatly imbued her work, in which everything is a game with transit, language and its changing translation processes. The cultural and linguistic implications of her dual identity are palpable in her work as she constantly explores the transformation of matter, her objects constituting a hybrid between the manmade, the natural and the mythical.

Recent exhibitions include ‘Forms of fleeing’ at @travesiacuatro and ‘Flotation Line’ at @institutkunst curated by @the_chus_martinez. Upcoming exhibitions include @liverpoolbiennial curated by @many_moscoso.

 

VIVIAN CACCURI. Brazilian artist, lives and works in Rio de Janeiro. Vivian Caccuri (b. São Paulo, 1986) @viviancaccuri experiences sound in unusual compositions that disorient the conventional arrangement of everyday experiments. Sound systems, microphones, speakers, mosquitoes, nets, lamps and candles are some of the elements present in her installations and performances, which move visible and invisible, audible and inaudible layers. Vivian uses thinning tools, her music connects temporal dimensions that dig the space. Weight, volume and balance – dear to sculptural questions – embody the author’s experiments and creations, which vary in scale, from the quietest mosquito noise to highly vociferous productions.

Recent exhibitions include ‘The Fever Hand’ at @serpentinegalleries curated by @lpietroiusti and @filipaaaaaaaaaa and ‘Mosquitos Also Cry’ at @labiennaledivenezia curated by @theaaroncezar and @rugoffralph. Upcoming exhibitions include ‘Mosquito Shrine III’ at @icamiami curated by @alexgartenfeld.

 

WYNNIE MYNERVA (b. Lima, Peru, 1993) @wynnie_mynerva; I grew up in Villa el Salvador, a district in the south of Lima, with sexual landscapes of violence. I come from a neighborhood where prostitution was a common occupation of entire families. Prostitution associated with unhealthy and violent conditions of forced labor. I always work from my memories, maybe the strength that everyone perceives in my works is nothing more than fear seeking to be redeemed. And it is this fear that lately seeks to rejoice in kinder landscapes, perhaps some changes have been drawn there.

Recent exhibitions include ‘A Garden of Earthly Delights’ at @museoamano and ‘Sex Machine’ at @ginsberggaleria. Upcoming exhibitions include a solo show @otraferiadearte.

 

ZONA MACO (Monterrey, México, 2002) @zonamaco; is an art fair platform, which includes ZONAMACO México Arte Contemporáneo, ZsONAMACO Diseño, ZsONAMACO Salón and ZsONAMACO Foto, being the most important in Latin America.

ZsONAMACO 2020 brings together 72,000 visitors and gathers more than 210 exhibitors from 26 different countries.

Parallel to this, a wide range of conversations are presented in the conference program, and different acquisition awards are given. Art and photography books are presented at ZsONAMACO Libros and a VIP and parallel activities program takes place in different points of the city.

PROA

08.24.2020

These Times: un proyecto por 50 artistas y 50 instituciones

http://proa.org/proanoticias/2020/08/24/these-times-un-proyecto-por-50-artistas-y-50-instituciones/

 

 

Clarín.com – Revista Ñ

08.27.2020

Arte en estampillas para este tiempo, un premio para el Museo Evita y el documental de Ai Weiwei sobre Wuhan

https://www.clarin.com/revista-enie/arte-estampillas-tiempo-premio-museo-evita-documental-ai-weiwei-wuhan_0_hBuViiucv.html