MACRO ASILO
Curatore Giorgio de Finis
1 ottobre 2018 - 31 dicembre 2019
Museo d'Arte Contemporanea Roma MACRO
Rome

Il 30 settembre con una festa aperta a tutti ha inaugurato il progetto sperimentale Macro Asilo che caratterizzerà il Macro di via Nizza per 15 mesi, fino al 31 dicembre 2019. Il nuovo dispositivo ideato da Giorgio de Finis, curatore del progetto, trasformerà l’intero museo in un vero e proprio organismo vivente, “ospitale” e relazionale, che inviterà all'incontro e alla collaborazione persone, saperi e discipline in una logica di costante apertura e partecipazione della città e del pubblico. L’ingresso sarà, infatti, libero per tutti.

L’idea stessa di istituzione museale in questo percorso punta a essere rinnovata con l’intento di tessere una relazione nuova e prolifica tra l'arte e la città. La sperimentazione, in tal senso, riguarda proprio il Museo di arte contemporanea della città e ne indaga la sua funzione civica di istituzione che opera nel tempo presente sulla produzione di sapere, senso e conoscenza, che attraverso l’arte si riesce a mettere a disposizione delle persone. Il Macro Asilo è il primo tassello del Polo del Contemporaneo e del Futuro che si configura come presenza complementare rispetto alle altre istituzioni come MAXXI e Galleria Nazionale, per mettere a disposizione di chi abita in città uno spettro ricco di punti di vista ed esperienze.
È da questa sfida che è partito il lavoro di de Finis, in stretta collaborazione con l’Azienda Speciale Palaexpo, che dal 1 gennaio 2018 gestisce il Museo, e la Sovrintendenza Capitolina che, in quanto struttura di Roma Capitale, preserva la responsabilità sulla conservazione e valorizzazione della collezione del Museo nonché del suo Archivio e della Biblioteca.

Per consentire tutto questo si è partiti da un totale ripensamento degli spazi stessi del Museo e della sua articolazione. Il nuovo progetto di allestimento è stato realizzato dall’architetto Carmelo Baglivo.

Entrando nel Museo il pubblico si troverà di fronte a uno spazio profondamente diverso potendo attraversare in maniera libera e casuale tanti diversi ambienti tematici tra cui il salone dei forum, dove a parete verrà presentata con una grande quadreria una selezione delle opere della Collezione, una sorta di invito “visivo” a collaborare e stare insieme; al centro di questo salone, il “Tavolo dei tavoli” opera abitabile realizzata per l’occasione da Michelangelo Pistoletto.

Tra le nuove stanze anche quella dedicata a Rome (nome plurale di città), la stanza delle parole (dedicata al vocabolario del contemporaneo), quella di lettura, la stanza dei media e della radio, le stanze-atelier (quattro spazi gemelli progettati per gli artisti che realizzeranno un'opera all'interno del museo). Inoltre tre “ambienti” d'artista, stanze-opera che ospiteranno progetti partecipati, installazioni, performance, aggiungendo, nel corso del tempo, altri 50 ambienti a tema che si sommeranno a quelli già proposti dal museo.

Il Museo sarà aperto dal martedì alla domenica dalle 10 alle 20 e il sabato fino alle 22. La programmazione non prevederà quindi un tradizionale calendario di mostre, ma un palinsesto quotidiano di eventi, incontri, laboratori, installazioni, performances e più in generale ospiterà ogni altra forma e pratica che gli artisti, lavorando nel Museo, svilupperanno e sapranno quindi proporre ai visitatori.

Ogni giorno saranno previste proiezioni di video d’arte su un maxischermo appositamente allestito; incontri, “autoritratti”, convegni, presentazioni e rassegne nell’auditorium e nella sala cinema. È inoltre previsto un ciclo di lectio magistralis a cadenza settimanale, oltre ad una serie di eventi a carattere spettacolare che si terranno sul palco allestito nel foyer, che ospiterà in particolare il sabato sera, musica, danza e teatro.

Il lavoro portato avanti in questi mesi nella ricerca degli artisti è stato parte essenziale del complessivo ripensamento del dispositivo museale fino a qui descritto e ha portato ad oggi alla realizzazione di un programma che comprende: 250 artisti che realizzeranno un'opera negli atelier del museo, 400 opere di videoarte (1 video al giorno), 50 stanze d'artista, 100 parole x 10 incontri = 1000 lezioni (dizionario del contemporaneo), 60 concerti del sabato sera, 180 lectio magistralis e 900 autoritratti.

Tra gli artisti presenti in calendario nei primi mesi di attività figurano: Michelangelo Pistoletto, Daniel Buren, Dora Garcia, Krysztof Bednarski, Pietro Gilardi, Alberto Garutti, Marzia Migliora, Liliana Moro, Pablo Echaurren, Gianni Pettena, Melania Mazzucco, Elina Chauvet, Wim Wenders, Alfredo Pirri, Gianni Asdrubali, Giovanni Albanese, Gianfranco Notargiacomo, Ria Lussi, Piero Mottola, Giuseppe Stampone, Fabrizio Crisafulli, il collettivo Stalker.

Ognuno di questi artisti lascerà al Macro il segno del suo lavoro, una moltitudine di atti, pratiche e forme di ricerca che alimenteranno per accumulazione progressiva un vero e proprio archivio materiale di questa esperienza. Un archivio che oltre ad avere uno spazio fisico nel Museo avrà poi un costante rimando sulla rete e sui social per testimoniare e rappresentare, in maniera continuativa, e in qualche modo riproducibile, il lavoro che all’interno del Museo verrà portato avanti.

A questi si aggiungono poi quelli che porteranno la loro testimonianza nelle lectio magistralis tra cui ad oggi Nicolas Bourriaud, Claire Bishop, Jacques Rancière, Paul Preciado, Mary Ann Caws, Don Thompson, Calum Storrie, Sally Price, Juan Josè Lahuerta, Paul Werner, Peter Weibel, Michel Maffesoli, Massimo Cacciari, Giacomo Marramao, Carlo Ratti, Alessandro Dal Lago e Serena Giordano.

Il Museo si apre così alla città tutta a partire anche dalla sua relazione con il quartiere in cui si inserisce, per questo i suoi spazi saranno costantemente aperti e attraversabili in tutte le loro diverse articolazioni dall’ingresso storico di Via Reggio Emilia alla nuova ala di Via Nizza, valorizzando anche la qualità e vivibilità dei suoi grandi volumi, dalla piazza, alla galleria al foyer. Un museo che si fa città, quartiere e ancora di più esperienza collettiva.

https://www.museomacro.it/




Relational Undercurrents: Contemporary Art of the Caribbean Archipelago
Curated by Tatiana Flores
On view from Saturday, October 13, 2018, to Sunday, January 13, 2019
Florida International University (FIU)
Patricia & Phillip Frost Art Museum
Florida

Relational Undercurrents: Contemporary Art of the Caribbean Archipelago is a major survey exhibition of twenty-first century art from islands throughout the Caribbean basin. Four sections reveal thematic ideas shared by artists whose roots are in the Caribbean: Conceptual Mappings, Perpetual Horizons, Landscape Ecologies and Representational Acts. The exhibition features artists whose painting, installation art, sculpture, photography, video, and performance pieces challenge the notion that the Caribbean is insulated and fragmented. This groundbreaking exhibition highlights the undercurrents that connect Caribbean cultures and countries.

Curated by Tatiana Flores, Associate Professor of Art History and Latino and Caribbean Studies at Rutgers University, this exhibition was organized by the Museum of Latin American Art in Long Beach, California, as part of The Getty Foundation’s Pacific Standard Time: LA/LA, an initiative examining the artistic legacy of Latin America and U.S. Latinos through a series of exhibitions and related programs

The accompanying catalogue includes essays by curators, critics, and scholars that discuss particular artistic traditions in Cuban, Puerto Rican, Dominican, and Haitian art, and theorize the broader decolonial and archipelagic conceptual frameworks. The catalogue is coedited by Tatiana Flores and Michelle Ann Stephens, Professor of English and Latino and Caribbean Studies at Rutgers University, New Brunswick.

Artists: Allora & Calzadilla, Tania Bruguera, Jason Mena, Janine Antoni, Yoan Capote, María Magdalena Campos-Pons, Firelei Báez, Beatriz Santiago Muñoz, Angel Otero, Jimmy Robert, Ebony G. Patterson, Carlos Martiel, Maria Martinez-Cañas, Maria Elena González, David Bade, Sasha Huber, Miguel Luciano, Barbara Prezeau, Jorge Pineda, Humberto Diaz, Jeanette Ehlers, Manuel Piña, Adler Guerrier, Scherezade Garcia, Glenda León, Quisqueya Henriquez, Karlo Ibarra, Guerra de la Paz, Jean Ulrick Désert, Maxence Denis, Edgar Endress, Elia Alba, Antonia Wright, Juana Valdes, Edouard Duval-Carrié, Roberto Stephenson, Raquel Paiewonsky, Blue Curry, Ibrahim Miranda, Nicole Awai, Tony Cruz, Christopher Cozier, Didier William, Sofia Maldonado, Sofía Gallisá Muriente, Nayda Collazo-Llorens, Charles Juhasz Alvarado, Frances Gallardo, Marlon Griffith, Ewan Atkinson, Tony Capellán, Ernest Breleur, Deborah Jack, Vladimir Cybil, Engel Leonardo, Nyugen Smith, Lilian Garcia-Roig, Fausto Ortiz, Joiri Minaya, Cosmo Whyte, Marc Latamie, Lisa C. Soto, Limber Vilorio, Ellen Spijkstra, Charo Oquet, Marianela Orozco, Nadia Huggins, Myrlande Constant, Camille Chedda, Kishan Munroe, David Sanson, David Gumbs, Jean-Luc de Laguarigue, Lynn Parotti, Andil Gosine, Ricardo de Armas, Fermín Ceballos, Kim Brown, Laura Castro, René Emil Bergsma, Glenda Salazar Leyva, Natusha Croes, Charles Campbell, Sandra Stephens, Samir Bernárdez Cabrera, Jorge Luís Bradshaw Venzant

Relational Undercurrents exhibition catalogue was published by the Museum of Latin American Art in collaboration with Fresco Books / SF Design, LLC. Distributed by Duke University Press.

Support for this exhibition is made possible through the Funding Arts Network (FAN)
Organized By: Museum of Latin American Art in Long Beach, California

https://frost.fiu.edu/




Between One and Zero
Curated by FOLD
October 12, 2018
University of Nebraska-Lincoln
Room 104, Architecture Hall
Nebraska

FOLD is a curatorial and publishing platform formed by graduate students of the College of Architecture at the University of Nebraska-Lincoln. Fold brings in an experimental setting cultural production of serious gravitas. Fold presents positions and discourses on contemporary architecture, popular culture, and art. The platform borrows its name from the print industry expression 'above the fold' in order to highlight critical concepts through the works of international architects, writers, and artists.

Lecture and Conversation at Architecture Hall:

AARON BETSKY LECTURE & CONVERSATION
October 12, 5 pm
Room 127, Architecture Hall
University of Nebraska-Lincoln

We’re thrilled to invite you to a presentation and discussion on “Architecture and the Future” by curator, author, and director of The School of Architecture at Taliesin, Aaron Betsky.
Following the presentation and discussion with Betsky, graduate students from our curatorial and publishing seminars will inaugurate two exhibitions dealing with contemporary mediums of architectural and art representation with the works of artists, architects, photographers and poets from Latin America, Europe, Africa and Asia, and a temporary reading room with a selection of independent architecture and design magazines from all around the world.

Exhibition Openings at Architecture Hall:

ME MYSELF & MY AVATAR
October 12 from 6 pm
Room 233, Architecture Hall
University of Nebraska-Lincoln

FOLD is excited to present the third exhibition of its fall 2019 exhibition series “Me, Myself and My Avatar”. The group show presents works by LaTurbo Avedon, Juanito Olivarria/Luxigon, Pedro Bandeira and 18:25 Empreiteiros digitais and Sebastian Alonso Bessonart.

THE RETURN OF THE READING ROOM
October 12 from 6 pm
Corbu Lounge, Architecture Hall
University of Nebraska-Lincoln

FOLD is also presenting the second edition of The Reading Room, a showcase of international independent and alternative publications on architecture and urbanism. The Return of the Reading Room presents Real Review, San Rocco, MONU, Product Placement, Dirty Furniture, LOG, Clog, WASH, Friendly Fire, CARTHA, Works That Work, Gratuitous Type, Dolce Stil Criollo, NON-ISSUE and FOLD.

BETWEEN ONE & ZERO
October 12 from 6 pm
Room 104, Architecture Hall
University of Nebraska-Lincoln

In his essay ‘Weak Universalism’ Boris Groys discusses the possibility of radical reduction of the image (of art, architecture) to a “pure relationship between image and frame, between contemplated object and field contemplation, between one and zero.” In this reduction, pure forms challenge the symbolic, ideological, programmatic, idealistic and utopian imperatives of images. A form of “weak universalism” (radical abstraction) is reached when architecture finds itself “between one and zero,” as the most simple of forms carry the deepest connections with our historical, material and ideological history.

Between One and Zero presents drawings, fashion items, poetry, photography, and video works to challenge the iconographic role of architecture as an act of radical reduction. Work by Bruna Canepa, Rem D. Koolhaas/United Nude, Jason Mena, Oliver Haidutschek, Matteo Ghidoni/Salottobuono, Christopher Rey Perez, and Wolff Architects will be featured.

https://www.unl.edu/




XVIII Bienal de Pintura Rufino Tamayo
Inaugura el 20 de septiembre del 2018 a las 7:00 p.m.
Museo de Arte Contemporáneo de Oaxaca (MACO)
México

La Secretaría de Cultura, el Instituto Nacional de Bellas Artes, la Secretaría de las Culturas y las Artes de Oaxaca, a través del Museo de Arte Contemporáneo Internacional Rufino Tamayo, el Museo de Arte Contemporáneo de Oaxaca y la Fundación Olga y Rufino Tamayo, A.C., le invitan a la XVIII Bienal de Pintura Rufino Tamayo.

Artistas:
Jason Mena
Octavio Rangel Ramirez
Marita Guadalupe Terríquez Oliva
Gerardo Monsiváis Flores
Raul Aguilar Canela
Virginia Ledesma Martinez
Rolando Gómez Sosa
Charles Glaubitz Gonzalez
Paul Muguet Maubert
Allan Hernández Villavicencio
Jorge Juan Moyano Gómez
Jerónimo Rüedi Alvarez
Francisco Muñoz Pérez
Juan Carlos Caloca Carbajal
Catalina Salcedo Ortiz
Ángela Leyva Gómez
Silvia Mayoral Molina
Luis Miguel Amador Moreno
Paulina Jaimes Padilla
Yutsil Cruz Hernández
Carlos Enrique Pérez Bucio
Veronica Baltadano Perez
Cecilia Barreto Aguilar
David Alejandro Meraz Valdez
Saúl Gómez Jiménez
María Concepción Guadalupe Sada Villarreal
Armando de la Garza Garza
Tania Esponda Aja
Rafael Rodríguez Cruz
Cristopher Contel Lima
Cristobal Gracia Garrido
Luis Enrique Ramírez
Hampshire Santibáñez
Victor Del Castillo Mier y Teran
Javier Areán Álvarez
Renata Leticia Gerlero Estrada
Jorge Andrés Palos Ramírez
Emilia María Díaz Vega
Francisco Javier Jimenez Hernandez
Omar Miguel Mañueco Cuevas
Sandra Del Pilar
Mauricio Gómez Vélez
Sinohe Sidharta Figueroa Rojas
Philip Edward Nevin Bordes
Bouchan Castro José Rigoberto
Patricia Maria Henriquez Bremer

http://bienaltamayo.org/




Guatemala: Discrepancia de Facto
Curaduría: Marlov Barrios
Viernes 17 de agosto / 18:30 hrs.
Galería del Centro de Fundación G&T Continental
Guatemala

Discrepancia de facto, emisora radial de Guatemala, en cadena nacional de planos múltiples y perspectivas distorsionadas de análisis y de intereses. Se amplifica su voz modulada con el cinabrio de las pintas, los objetos y los gestos que al menor descuido se hacen tóxicos. Celebra el recrudecimiento de una naturaleza inalienable, acaso desde las sensibilidades de una diáspora transnacional, incisivamente generadora de un alfabeto de coordenadas, al servicio de medir el pulso de un pasado que nos alcanza en el presente.

Guatemala aun padeciendo todas las formas de colonialismo y de intervención, sobrevive a su presente, gracias a su cultura milenaria que reclama y reivindica un espacio para su historia, para su memoria difícilmente desenterrada.

Son millones de astillas de calcio calcinadas y sobre ellas podemos juntos aplanar una principal avenida con el sedimento de hojas, padres, vidrios, amigos, plásticos, hermanos, asbestos, vecinos, cabellos, colegas, relojes, novias, premolares, molares, piochas, azadones, botas de cuero, anillos de compromiso, escapularios, herraduras marcadas, cuentas de jade, medallas consagradas, escombros de embajadas y monedas de níquel para el pasaje.

Guatemala es una arquitectura de voces, que corona el cerramiento de un atrio, con el marcial tumulto de la marimba, en un día programado para el ajetreo y el trámite.

Guatemala es más que una cédula de vecindad forrada con plástico y barro, difuminando sus pigmentos. Es la luz desde un espejo hacia un escudo, es un viaje en helicóptero sobre sus zonas amuralladas, es una cruz de palo con flecos de nailon, es la gráfica asimilada y expulsada en nuestros hábitos, es la boca con dientes de maíz de oro, es la Chiquita Banana de la palma africana, es un desnudo ladino, es la autosimilitud de nuestra carga, es un simulacro de horizonte invertido. También es el alcaloide por toneladas de paso por los puntos ciegos del mapa: San José Acatempa, Pasaco, Tecún Umán y Melchor de Mencos. El río tórrido y la granadera en versión cumbia electrónica, tronando desde la concha acústica del parque Centenario. Ardor revolucionario.

No todo es rutina; el arte del presente nos revienta el tuétano y nos lava la cara. Tránsito-bestia-jaula, fórmula de tres plumajes verdes articulados. Entre su significado y su estrategia, Xibalbá transfigura su tiempo sin “las líneas de su mano”.

El arte cuervo vuelve y nos dice: Testimonio- encrucijada, salto de campana hacia el vacío.
Desde el Centro de América, el arte es una barricada de escritorios oxidados, que forma un puente entre dos mundos.

-Marlov Barrios

Guatemala: Discrepancia de Facto es una presencia y construcción discursiva colectiva, que pone en contexto y fricción la obra de artistas contemporáneos que de manera espontánea han decidido tener un diálogo con la circunstancia social, política y cultural de Guatemala en el presente.

Fundación G&T Continental es una institución no gubernamental, no lucrativa, sostenida por el aporte de donaciones de las empresas financieras de la Corporación G&T Continental, constituida legalmente en 1993, reconocida ante la Superintendencia de Administración Tributaria de Guatemala.

Está dedicada a la documentación, conservación, protección y divulgación del patrimonio cultural y artístico de Guatemala.

Artistas:
Marcos Agudelo (Nicaragua)
Erick Boror (Guatemala)
Maria Raquel Cochez (Panamá)
Luciano Goizueta (Costa Rica)
José David Herrera (El Salvador)
Jorge Linares (Guatemala)
Jason Mena (Puerto Rico)
Ana Lucrecia Muñoz (Guatemala)
Crack Rodriguez (El Salvador)
Arturo Solís (Guatemala)
Alê Souto (Brasil)

http://fundaciongytcontinental.org/




Anything Could Happen at Any Time
Curated by Jacquelyn Strycker
Reception: Thursday, July 12 from 6:00 – 8:00 pm
Friday, July 13 - Saturday, August 4
School of Visual Arts (SVA)
Flatiron Gallery
New York

School of Visual Arts (SVA) presents "Anything Could Happen at Any Time", an exhibition of work by MFA Art Practice students.

The SVA Flatiron Gallery is SVA's campus gallery in Flatiron. Located at street level at 133/141 West 21 Street, it offers matriculated students a fully equipped venue in which to exhibit their work, either as part of a department-organized show or by applying to the Office of SVA Galleries.

Anything could happen at any time.

In ten minutes, a losing lottery ticket could become the hull of a ship.

And then you could be forced to throw all of your worldly possessions overboard, to save yourself as it sinks.

Anything could happen at any time.

You could step through a painted time machine.

Attain a mobile American Dream.

The finite and toxic resource that is simultaneously sustaining and killing you could run out.

Anything could happen at any time.

You might look into a briefcase, see a lumberjack chopping wood, and then realize that you’ve been transformed into a log.

A person could evaporate, leaving behind only the salt of his sweat in his shoes.

Anything could happen at any time.

You could make a wish that becomes another person’s destiny.

Anything could happen at any time.

What does right mean? What thing am I doing? Where? And when?

Anything could happen at any time.

The artists in this exhibition created works that imagined and responded to the unpredictable—illness, natural disaster, economic collapse, and crises. They at once contemplated both the beauty and the inauspiciousness of the Zen notion that control over our own fates is an illusion.

Artists: Leora Armstrong, Nicholas Bertozzi, Curtis Grynkewicz, Ezra Hubbard, Giulia Mangoni, Nicole McMahan, Jason Mena, Maya Resheff, Isa Wang

http://www.sva.edu/




Relational Undercurrents: Contemporary Art of the Caribbean Archipelago
Curated by Tatiana Flores
Reception: Wednesday, June 27 7:00 - 9:00 pm
From June 28 to September 23, 2018
Sugar Hill Children's Museum of Art & Storytelling
New York City

Relational Undercurrents: Contemporary Art of the Caribbean Archipelago features recent works by more than 80 artists with roots in more than a dozen islands of the Caribbean. Curated by Tatiana Flores and presented in conjunction with Columbia University's Wallach Art Gallery, Relational Undercurrents was initially conceived as part of The Getty Foundation’s Pacific Standard Time: LA/LA and debuted at the Museum of Latin American Art in Long Beach, California. Relational Undercurrents encompasses painting, sculpture, photography, video, installation and performance art.

Artist on view at Sugar Hill: Firelei Báez, Christopher Cozier, Ricardo de Armas, Humberto Díaz, Scherezade García, Adler Guerrier, Jeannette Ehlers, Frances Gallardo, Marlon Griffith, Quisqueya Henríquez, Nadia Huggins, Karlo Andrei Ibarra, Deborah Jack, Miguel Luciano, Jason Mena, Charo Oquet, Marianela Orozco, Fausto Ortiz, Manuel Piña, Beatriz Santiago Muñoz, Roberto Stephenson, Juana Valdes

http://www.sugarhillmuseum.org/




Relational Undercurrents: Contemporary Art of the Caribbean Archipelago
Curated by Tatiana Flores
Reception: Thursday, May 31, 6:00 - 8:00 pm
From June 1 to September 23, 2018
Columbia University Miriam and Ira D. Wallach Art Gallery
From June 28 to September 23, 2018
Sugar Hill Children's Museum of Art & Storytelling
New York City

Columbia University’s Wallach Art Gallery is proud to present the far-reaching survey exhibition Relational Undercurrents: Contemporary Art of the Caribbean Archipelago, on view from June 1 through September 23, 2018. Featuring recent works by more than 70 artists with roots in more than a dozen islands of the Caribbean, the exhibition is being presented by the Wallach at its new home on Columbia’s Manhattanville campus, in the Lenfest Center for the Arts. The Wallach is dividing the large-scale presentation with its neighboring institution in West Harlem, the Sugar Hill Children's Museum of Art & Storytelling, which will show its own portion of the exhibition from June 28 through September 23.

Relational Undercurrents encompasses painting, sculpture, photography, video, installation and performance, grouping the works into four thematic sections: Conceptual Mappings, Perpetual Horizons, Landscape Ecologies and Representational Acts.

Central to the concept of the exhibition is the understanding that despite the variegated colonial histories of the islands represented—Aruba, the Bahamas, Barbados, Cuba, Curaçao, the Dominican Republic, Guadeloupe, Haiti, Jamaica, Martinique, Puerto Rico, St. Martin and Trinidad and Tobago—thematic continuities run through the contemporary art that has arisen from them. By focusing not on individual islands but on the sweep of the archipelago, the exhibition proposes a way to look at today’s Latin American art starting from the perspective of the Caribbean rather than the mainland.

Curator Tatiana Flores has written, "The exhibition draws analogies to initiatives in literary studies that seek to locate a distinct Caribbean poetics…in spite of the narrative of difference, fragmentation, and heterogeneity that dominates the popular imaginary."

"Since New York enjoys one of the largest pan-Caribbean populations in the world, it's crucial to engage with the rich contemporary art connected to our city," said Deborah Cullen, director and chief curator of the Wallach Art Gallery. "This exhibition also provides students and scholars a special opportunity to access English, Dutch, French and Spanish production all in one place." Relational Undercurrents advances—and responds to—the groundbreaking survey exhibition Caribbean: Art at the Crossroads of the World that was organized in 2012 by El Museo del Barrio (where Deborah Cullen was director of curatorial programs at the time) and presented in conjunction with The Studio Museum in Harlem and the Queens Museum of Art. Relational Undercurrents is curated by Tatiana Flores, Associate Professor of Art History and Latino and Caribbean Studies at Rutgers University, who received her Ph.D. from Columbia’s department of art history and archaeology in 2003. The exhibition is accompanied by a comprehensive full-color catalog.

About the Miriam & Ira D. Wallach Art Gallery
Established in 1986, the Wallach Art Gallery is the University's premier visual arts space. We are a platform for critically acclaimed exhibitions, a dynamic range of programming and publications that contribute to scholarship. The Wallach Art Gallery advances Columbia’s historical, critical and creative engagement with the visual arts. Serving as both a laboratory and a forum, the Wallach Art Gallery offers opportunities for curatorial practice and discourse, while bridging the diverse approaches to the arts at the University with a welcome broader public. We present projects that are organized by graduate students and faculty in the department of art history and archaeology or by other Columbia scholars, focus on the contemporary artists of our campus and communities and offer new scholarship on University special collections.

Artists on view at the Wallach: Elia Alba, Allora & Calzadilla, Ewan Atkinson, Nicole Awai, David Bade, René Emil Bergsma, Samir Bernárdez, Jorge Luis Bradshaw, Ernest Breleur, Charles Campbell, María Magdalena Campos-Pons, Tony Capellán, Fermín Ceballos, Vladimir Cybil Charlier, Camille Chedda, Nayda Collazo-Llorens, Natusha Croes, Tony Cruz, Blue Curry, Maksaens Denis, Jean-Ulrick Désert, Humberto Díaz, Edouard Duval-Carrié, Jeannette Ehlers, Edgar Endress with incarcerated Haitians, Sofía Gallisá Muriente, Lilian Garcia-Roig, Maria Elena González, Andil Gosine, Marlon Griffith, David Gumbs, Quisqueya Henríquez, Sasha Huber, Charles Juhasz-Alvarado, Jean-Luc de Laguarigue, Marc Latamie, Glenda León, Sofia Maldonado, Carlos Martiel, María Martínez-Cañas and Kim Brown, Jason Mena, Ibrahim Miranda, Kishan Munroe, Angel Otero, Raquel Paiewonsky, Lynn Parotti, Manuel Piña, Jorge Pineda, Barbara Prézeau, Jimmy Robert, Glenda Salazar Leyva, Beatriz Santiago Muñoz, Nyugen Smith, Lisa C Soto, Ellen Spijkstra, Sandra Stephens and David Sansone, Didier William.

About the Sugar Hill Children's Museum of Art & Storytelling
The Sugar Hill Children's Museum of Art & Storytelling is a contemporary art museum for children rooted in principles of social justice. We strive to strengthen our culturally rich neighborhood with space where children and their families grow and learn about Sugar Hill, and the world at large, through dialogue with artists, art, and storytelling. Designed by internationally acclaimed architect David Adjaye, the Museum opened in October of 2015 as the cultural capstone of the Sugar Hill Project, a multi-use building developed by Broadway Housing Communities (BHC) which includes permanent affordable housing for individuals and families, and the Sugar Hill Museum Preschool.

Artists on view/also on view at the Sugar Hill Children’s Museum: Firelei Báez, Christopher Cozier, Ricardo de Armas, Humberto Díaz, Jeannette Ehlers, Frances Gallardo, Scherezade Garcia, Marlon Griffith, Adler Guerrier, Quisqueya Henríquez, Nadia Huggins, Karlo Andrei Ibarra, Deborah Jack, Miguel Luciano, Jason Mena, Manuel Piña, Marianela Orozco, Charo Oquet, Fausto Ortiz, Ebony G. Patterson, Beatriz Santiago Muñoz, Roberto Stephenson, Juana Valdes, Limber Vilorio.

Joiri Minaya will create a site-specific installation at Miller Theatre at Columbia University, August 2018-June 2019.

Media Contacts:
Eve Glasberg, eg2731@columbia.edu, 212.854.8336
Lewis Paul Long, lpl2121@columbia.edu, 212.854.6800

Relational Undercurrents: Contemporary Art of the Caribbean Archipelago has been organized by the Museum of Latin American Art (MOLAA), Long Beach, California for the Getty Foundation’s PST: LA/LA initiative.

https://wallach.columbia.edu/

http://www.sugarhillmuseum.org/





Infraleve: Lo que escapa a la mirada
Del 31 de mayo al 30 de junio del 2018
Curaduria por el departamento de Estética y Arte (MEyA) de la Benemérita Universidad Autónoma de Puebla (BUAP)
Museo de la Memoría Histórica Universitaria
Mexico

Infraleve: Lo que Escapa a la Mirada fue curada por la generación 2018 de la Maestría en Estética y Arte de la BUAP con el objetivo de homenajear a uno de los artistas más célebres de Francia, Marcel Duchamp, así como de vincular a la sociedad poblana con actividades académicas de gran impacto culturale. La muestra consta de tres ejes curatoriales unidos por una idea gestada por Duchamp entre 1912 y 1920, que hace referencia a las energías perdidas en la contemplación del arte y "al resquicio de la imagen".

¿Dónde se halla lo infraleve? ¿Dónde radica ese rastro, eso tan infraordinario y que de alguna manera nos determina como seres humanos? El objetivo de nuestra exposición es precisamente preguntarnos por aquello que pareciera habernos dejado de sorprender pero que siempre está ahí, anclado en nuestra propia cotidianidad y que por el contexto actual tan tecnológicamente acelerado se nos escapa. De lo que se trata es de volver la mirada a esos rastros que permanecen en nosotros aunque no los percibamos. El asombrarnos de la vida por sí misma, de lo que es. Este asombro por ende, permitirá que podamos construir el rompecabezas de nuestras propias existencias individuales.

Infraleve: Lo que Escapa a la Mirada inaugura en el Museo de la Memoria Histórica Universitaria el 31 de mayo a las 17:30 horas y permanecerá hasta el 30 de junio, con horario de visita de 10:00 a 17:00 horas. Tendrá actividades alternativas como un ciclo de cine denominado "Intermitencias Urbanas", charlas con artistas, investigadores y talleres.

http://www.museomemoriahistorica.buap.mx/




Video SUR
Contemporary Latin American Video Art Program
From February 16 until March 12, 2018
Open from noon to midnight everyday except Tuesdays
Le Tarmac
Palais de Tokyo
Paris

Artesur returns to Palais de Tokyo with a video art program designed as a kaleidoscope. For Video SUR, Artesur’s team invited active collectives and independent structures from South America to offer a selection of artist’s videos. Plural and multipolar, this program offers an immersion in the contemporary Latin American art scene through the eyes of the actors who make the artistic life of the continent, encourage and support it. Hence, this program is an opportunity to discover new artists, and with them, places and networks that accompany them in their research and experimentation.

arte-sur.org is a website dedicated to the contemporary art in Latin America, founded in Paris, France, by independent curator Albertine de Galbert. Hosted by Beam Prod, Artesur has been designing curatorial and cultural cooperation projects since 2010.

Video SUR Design & Coordination by Ananay Arango & Elena Lespes Muñoz

Collectives & Independientes Structures:

La Embajada – Mexico
Artists : Melissa Guevara – Jesús Hdez-Güero – María Raquel Cochez – Edgar León – Guillermo ‘Habacuc’ Vargas – Regina José Galindo – David Perez Karmadavis – Antonio Pichilla – Deborah Castillo – Jason Mena – Enrique Jezik

Proyectos Ultravioleta – Guatemala
Artists : Johanna Unzueta – Javier Bosques – Hellen Ascoli – Alberto Rodríguez Collía – Jessica Kairé – Jorge de León – Gabriel Rodríguez – David Perez Karmadavis – Manuel Chavajay

TEOR/éTica – Costa Rica
Artists : Lucia Madriz – Stephanie  Williams – Roberto Guerrero - Roberto Guerrero – Marton Robinson

Despacio – Costa Rica
Artists : Carlos Fernandez  – Javier Calvo  – Abigail Reyes

EspIRA – Nicaragua
Artists : Darling López Salinas  – Miguel Díaz  – Elyla Sinvergüenza  – Patricia Belli  – María Félix Morales  – Ricardo Huezo – Federico Alvarado – Virginia Paguaga

BIS – Oficina de Proyectos – Colombia
Artists : Ana Maria Millán – Colectivo Maski – Adrián Gaitán – Juan Obando – Alberto Lezaca – Monika Bravo – Gustavo Toro – Tatyana Zambrano – Roberto Ochoa – Lina Rodríguez Vásquez

CaldodeCultivo – Colombia

Micromuseo – Peru
Artists : Ana Rosa Benavides – Christian Bendayán – Patricia Bueno, Susana Torres – Íntegro – Chiara Macchiavello – Jaime Miranda Bambarén, Erasmo Wong Seoane – Carlos Morelli, Melissa Herrera – Carmen Reátegui – Carlos Runcie Tanaka – Giancarlo Scaglia – Maya Watanabe – Moico Yaker

Residência Artistica Cambridge – Brazil
Artists : Ícaro Lira, Isadora Brant et Fernanda Taddei

OLHO – Brazil 
Artists : Letícia Ramos – Ana Vaz – Tamar Guimarães

Galería Ruby – Argentina
Artists : Malena Pizani – Josefina Labourt – Julián Gatto

Y.ES Contemporary – El Salvador
Artists : Verónica Vides – Crack Rodriguez – Victor Hugo Portillo

Arte Actual FLACSO – Ecuador
Artists : IrinaLilianaGm – Valeria Andrade – Alex Schlenker – José Antonio Guayasamín

BARRO – Argentina
Artists : Amalia Ulman – Agustina Woodgate – Nicola Costantino – Martín Legón

Die Ecke Arte Contemporáneo – Chile
Artists : Nicolas Rupcich – Claudia Joskowitz – Enrique Ramirez – Marcela Moraga – Johanna Unzueta – Francisca Benítez – Catalina Baeur – Alejandra Prieto

La Ene – Argentina
Artists : Nina Kovensky – Sofía Gallisá Muriente – Leandro Tartaglia, Francisco Marquez, Santiago Villanueva – Básica Tv – Fernanda Pinta, Federico Baeza

Press Release: Español | English | Français

Brochure: Français

http://www.palaisdetokyo.com/




Entropia Urban
8 de febrero de 2018
Centro de la Imagen
Ciudad de Santo Domingo

La Fundación Imagen 83 y el Centro de la Imagen invita a la inauguración de la exposición "Entropia Urbana" de nuestra colección, la misma se llevará a cabo el día 8 de Febrero del presente año en el Centro de la Imagen, en la calle Arz. Merino 464, Santa Barbara, Ciudad Colonial, a las 7,30 P.M., en la Ciudad de Santo Domingo.

http://centrodelaimagenrd.org/