Lucia Hierro, Aesthetics y Politics, 2019, site-specific installation at MoAD. Courtesy: MoAD

Coffee, Rhum, Sugar & Gold:a Postcolonial Paradox

«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.

"Women Geometers" at Piero Atchugarry Gallery, Miami, 2019. Curated by Adriana Herrera

Women Geometers

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.

Extraction:liquid Flames of The Solid Core

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

María Elena Ortiz (Puerto Rico), curadora PAMM, 2019. Cortesía: Pérez Art Museum Miami


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.

Ria Pacquée, I didn't do it, 2016. Courtesy of the artist. Installation view at M HKA


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.

Patricia Domínguez, Green Irises, 2019. Vista de instalación. Comisionada por Gasworks. Cortesía de la artista. Foto: Marco Godoy


Chilean artist Patricia Domínguez explores healing practices emerging from the points where many worlds meet, clash and overlap as a result of colonial encounters. Rooted in the artist’s ongoing investigation of ethnobotany in South America, her first UK solo exhibition invites the viewer to envision possible futures for humans and plants thriving in the cracks of modernity.

Jesús Rafael Soto, Untitled (Barroco Negro), 1961, mixed media on panel, 95.3 x 158.8 x 15.2 cm. Artist Rights Society (ARS), New York / ADAGP, Paris. Photo: Alfredo Gugig

Soto.vibrations 1950–1960

Renowned as art history’s leading kinetic artist, Jesús Rafael Soto (Venezuela, 1923-2005) explored the dematerialization, or ‘disintegration’ of the art object, breaking new ground while anticipating conceptual strategies to come. Hauser & Wirth in New York presents «Soto. Vibrations 1950 – 1960», the first exhibition to focus on the critical first decade of the artist’s life in Paris, curated by Jean-Paul Ameline. Imbued with vibration and movement, Soto’s early works constitute a breakthrough in his output, laying crucial groundwork for his later kinetic works and the uniquely fluid style that shaped his artistic vocabulary.

Visions of Brazil: Reimagining Modernity from Tarsila to Sonia. Curated by Sofia Gotti. Installation view, 2019. Blum & Poe, New York. Courtesy of the artists or Estates and Blum & Poe, Los Angeles/New York/Tokyo. Photo: Genevieve Hanson

Visions of Brazil:reimagining Modernity From Tarsila to Sonia

«Visions of Brazil: Reimagining Modernity from Tarsila to Sonia» positions works by Brazilian Modernists (such as Tarsila do Amaral and Alfredo Volpi) alongside others made by artists working outside of Modernism’s canonical time bracket (Sonia Gomes, Leonilson), allowing us to deconstruct what Modernism may stand for; and by rooting this rereading in politics, race, and class, we may support a visual narrative of Brazilian Modernism suspended on diversity and equality.

Miralda, Color Bread, 1973. Bread cooked with food coloring, printed drawing, Plexi-glass vitrine. Edition of 33. Courtesy: HFNY

Miralda:unpacking The Archive

Henrique Faria New York presents «Unpacking the Archive», the first solo exhibition of the Catalan artist Miralda (1942, Terrassa, Spain) in the gallery and his first in New York City since 1991. This exhibition takes as its starting point the recently made works Marianne B and Marianne M (2017), which serve as visual repositories for the artist’s career to date and feature elements –in the form of figurines, ephemera and other archival materials in plexiglass boxes– that bring the constellation of Miralda’s various projects and installations more clearly into focus.

Joiri Minaya. Vista de la exposición "Resistir el Paraíso", en :Pública, San Juan , Puerto Rico, 2019. Cortesía de :Pública y apexart, Nueva York

Resisting Paradise

Though geographically close, Caribbean artists are often unable to travel and show within the region. Intra-regional exchange is challenged by variations in language and colonial history, while flight routes prioritize the convenience of visitors coming from the United States or Europe, mirroring the migration patterns of many post colonial subjects. «Resisting Paradise» presents an opportunity to establish a much needed regional dialogue. The exhibition features works by Deborah Anzinger, Leasho Johnson and Joiri Minaya, showing how Caribbean artists are taking control of the narratives and images that convey ourselves to others. The artists, hailing from Jamaica and the Dominican Republic and its diasporas, work at the intersections of tourism, sexuality, gender, environmental concern, music, and the internet.