On this December 1st, International AIDS Day, Artishock is pleased to once again collaborate with Day With(out) Art 2023, an initiative carried out since 1989 by Visual AIDS, a New York-based non-profit organization convinced…
“Tomorrow, I Will Become an Island” at the KW Institute for Contemporary Art is the first major retrospective of Cuban-American artist Coco Fusco (b. 1960, US). For more than three decades, she has been a key voice in discourses on racial representation, feminism, postcolonial theory, and institutional critique.
Confronting himself with the complexity of being responsible for his own house, his own existence as a breathing and individual body, Mejía (b. 1986 Medellín, Colombia, based in Berlin) finds through his work an expanded notion of home -one that is not limited to four walls or even the confines of the physical body.
“A Marvellous Entanglement” at the Yale School of Architecture is the latest presentation of British filmmaker Sir Isaac Julien’s 2019 film installation, which explores the life and work of Italian-Brazilian architect Lina Bo Bardi, a leading figure in post-war modernism.
“Geografía(s) del Jiquilite al Añil! is the inaugural solo exhibition by Puerto Rican artist Leila Mattina in the United States. It encompasses artworks and documentation that offers a comprehensive exploration of indigo production within the Puerto Rican archipelago.
The Biennale is concerned with systems imposed or created outside national borders, including transnational solidarities, ‘underground’ commitments, the coded mapping of data and infrastructure, as well as those of artistic and political communication.
The exhibition explores the profound impact of colonialism, particularly through the history of boarding schools established by the Capuchin Missions in the region. This colonial legacy has led to the decline of Indigenous languages, a disruption in the transmission of cultural knowledge, and the institutionalization of Christianity.
This symposium offers a transcontinental approach and encompasses postcolonial, feminist, and queer perspectives. Topics discussed will consider the concerns and complexities of defining what it means to be a Black or Indigenous woman artist within different cultural settings.
Including five of Kairé’s ongoing series of fabric “Folding Monuments,” along with a corresponding series of works on paper, the exhibition considers the ways in which monuments mark public space and are collectively determined, maintained, or dismantled.
For “Mermaids in The Basement”, C.J. Chueca transforms the gallery into a metaphorical space where the different works on display take their titles from poems related to water, intertwining into an immersive installation. The title of the exhibition, taken from a poem by Emily Dickinson, suggests a displacement from a natural place, like the sea or any of our own ecosystems, to an urban environment.