«Frida Kahlo: Appearances Can Be Deceiving», scheduled to open February 8th, 2019 at the Brooklyn Museum in New York, is the largest U.S. exhibition in ten years devoted to Frida Kahlo, and the first in the United States to display a collection of her personal possessions from the Casa Azul (Blue House), the artist’s lifelong home in Mexico City. Under-recognized in her lifetime, Kahlo has become a feminist icon over the past four decades. The show comes at an important time, when it is critical to build cultural bridges between the United States and Mexico.
Pérez Art Museum Miami (PAMM) has just launched the Latin American and Latinx Art Fund, a new affiliate group created to support exhibitions and programming at PAMM for Latin American and Latinx artists. The fund’s goal is to support the exhibitions and programming that PAMM has already become known for, including exhibitions on artists such as Firelei Báez, Carlos Motta, Doris Salcedo, Julio LeParc and upcoming exhibitions of Beatriz González and Teresita Fernández, among others.
Hauser & Wirth New York hosts the gallery’s first solo presentation of Pape’s work in the United States since announcing worldwide representation of Projeto Lygia Pape in 2016. Spanning Pape’s multidisciplinary practice, the exhibition shares the artist’s singular vision with visitors, mining her profound and often playful approach to the physical and material experience of art, which elucidates a deeply human understanding and unique reframing of geometry and abstraction. This exhibition is accompanied by a forthcoming catalogue from Hauser & Wirth Publishers that includes a conversation between the artist’s daughter, Paula Pape, curator Paulo Herkenhoff, and poet Ferreira Gullar, with an additional commissioned text by author Alexander Alberro.
Jaime Gili’s painting is steeped in the paradox of an abstract practice whose meaning depends largely on referentiality. Despite the artist’s long-term commitment to the mostly flat and broken planes of geometry in an investigation of color that delights in the specificities of materials and technique, Gili’s paintings are mostly discussed in relation to the histories of prewar and postwar geometric abstraction that circulate globally.
At the occasion of the exhibition «The Shores of the World», presented at Display, Prague, in June 2018, curator and theoretician of contemporary art Karina Kottová (1984) discussed with the Guatemalan curator Pablo José Ramírez (1982) about the potentialities and limits of inter-regional and inter-linguistic conversations, both within and beyond this particular exhibition project.
While there is currently a notable international interest in contemporary visual practices from the Caribbean and its diaspora, for Tilting Axis the challenge is to deepen those commitments, so that exchanges with and within the region remain in time and do not move away with the transience of the discourses and the tendencies of the moment. We talked with the core team about how this vital project works and what are some of its present challenges.
Paul Kasmin Gallery (New York) presents «Almost Solid Light», an exhibition of contemporary Mexican artists, celebrating the long history of cultural cross-pollination between neighboring nations. The exhibition brings together artists practicing in diverse media who are living and working in Mexico and further afield, several of whom have never before exhibited in the United States.
His pieces are denouncing methods and political questionings. Some of his most representative works make up «Inoculación», the artist’s first exhibition in Chile, that will run until 9 September at Fundación CorpArtes’ venue Centro de las Artes 660 (CA660) in Santiago. On the opening day of the exhibition, Ai Weiwei talked to Artishock about the role poetry has in his work, freedom of speech and the state of the world today.
Self-portraits and records from the studios of those invisible female artists who never entered the canon of art history are subject of Cosima zu Knyphausen’s artistic investigations. Her ensuing series of work, often reduced to the essentials and multiply duplicated (and sampled), are reminiscent of exercises -sometimes very sketch-like, sometimes less so, sometimes with thoroughly painted areas or with unexpectedly interrupted lines.
While the recent works by Chilean artist Eugenio Dittborn retain many of the hallmark features of prior «Airmail Paintings», the ones currently exhibited at Alexander and Bonin in New York are marked by multi-chromaticity and the incorporation of dynamic bars of color, which imbue the work with a strong aesthetic presence. Here we share an essay by Laura Braverman, published by Alexander and Bonin to accompany the exhibition. In it, she delves into the pre-writing strokes («palotes») that are a pervasive pictorial mark in this series, a key feature that also appears to echo many of the conceptual and poetical themes that have become central to Dittborn’s «Airmail Paintings».