“The story of Cross Currents in many ways reflects recent changes to the social and political landscapes in the United States and Cuba. When it was first proposed in 2016 by the National Museum of Mexican Art, the exchange embodied a moment of excitement and renewed openness. Relations have since chilled: the US Embassy in Cuba has closed, a new administration in Washington is intent on hardening borders, and in Cuba, Decreto 349 subjects artists to new forms of censorship and governmental regulation. The original mandate of opening artistic dialogue remains essential, now more than ever.”
«Coffee, Rhum, Sugar & Gold: A Postcolonial Paradox», an exhibition on view at the Museum of the African Diaspora (MoAD), looks at the legacy of European colonialism in the Caribbean through the work of ten contemporary artists. Whether connected to the Caribbean by birth or focused on the region by choice, the exhibiting artists use their work as a means of examining the relationship between the power structure, those who are controlled by it, those who benefit from it, and those who actively seek to liberate themselves from it. With roots in a variety of Caribbean countries including the Bahamas, Dominican Republic, Haiti, Jamaica, and Puerto Rico, participating artists are Firelei Báez, Leonardo Benzant, Andrea Chung, Adler Guerrier, Lucia Hierro, Lavar Munroe, Angel Otero, Ebony G. Patterson, Phillip Thomas, and Didier William.
The exhibition «Women Geometers», organized by the Atchugarry Art Center in association with Piero Atchugarry Gallery summons and celebrates the creations of a significant group of twelve Latin American women pioneers proposing a dialogue that is unique in its genre. From different visions and multiple inquiries, all these pioneers extended the confines of geometric abstraction both in the aesthetic field and in territories of the intersection with realms of knowledge, ranging from mathematics to the philosophy of being and the very connection with the body and the erotic sensitivity.
Extractivism has been the backbone of modern economies and our carbon-based society, but has a far deeper historical track. The exhibition proposes a certain circularity in which the materials we mine float around and inside the human body and psyche, influence political turns, and our identity. Works by Ana Alenso, Miguel Soto, Callum Hill, Alina Manukyan, Alejandra Prieto & Matthew C. Wilson
Taking into account the number of Caribbean exhibitions focused on past and present histories, «The Other Side of Now: Foresight in Contemporary Caribbean Art» curated by María Elena Ortiz and Marsha Pearce at the Pérez Art Museum Miami (PAMM) approaches the Caribbean as an experiment of possibilities based on time. From the question “what might a Caribbean future look like?” fourteen artists were invited to develop works that challenge the imaginary of exuberance, primitivism, sexuality, tropical paradise and catastrophe, that have defined the region. In this interview, we talked with María Elena Ortiz (Puerto Rico, 1984) about her curatorial trajectory, visibility platforms, and Caribbean future in the exhibition context.
In «Antwerp», detectives, victims, artists, alter-egos and vagabonds inhabit an enigmatic story. Bolaño thematises contemporary reality expressed through topics such as crime and corruption, sexual violence, relative truth, memory and erasure, marginality and urbanism, the male gaze, and the sea as a metaphor, all of which resonate with the history and reality of Antwerp. It is the structure, themes and character archetypes of Antwerp that M HKA takes its inspiration from as modes of reflection in this exhibition, titled «Amberes» – referring to the book’s title in its original Spanish.