Installation view: The Magnetic Fields, Gió Marconi, 2019. Copyright 2019 Armellin F.

The Magnetic Fields

Curated by Cecilia Alemani, the exhibition focuses on the representation of the body –especially the female body– in order to analyse and contrast different notions of sexuality and self-definition. With its array of fetishes and totems, «The Magnetic Fields» presents a range of fantastical anatomies, in which the body is represented in a constant stream of transformation: dispossessed, dematerialised and recomposed. Installed as a chamber of wonders –or a camera oscura, to mention one of the over twenty important works by Man Ray on display– «The Magnetic Fields» alternates faces and portraits, anthropomorphic objects and bodies without organs, talismans and mutant dummies.

Diana Davies, Untitled (Marsha P. Johnson Hands Out Flyers For Support of Gay Students at N.Y.U.), c. 1970, digital print, 11 x 14 in. © The New York Public Library/Art Resource, New York. Photo: Diana Davies

Art After Stonewall, 1969–1989

Coinciding with the 50th anniversary of the uprisings, «Art after Stonewall, 1969–1989» is a long-awaited and groundbreaking survey that features over 200 works of art and related visual materials exploring the impact of the LGBTQ liberation movement on visual culture. Presented in two parts—at the Leslie-Lohman Museum of Gay and Lesbian Art and New York University’s Grey Art Gallery — the exhibition features artworks by openly LGBTQ artists.

From left to right: works by Maria Lassnig, Teresa Pagowska, Judith Bernstein, Wojciech Fangor, Marlene Dumas, Sylvia Sleigh, Sarah Lucas (sculpture). Installation view of "A Woman Looking at Men Looking at Women." Courtesy: Art Stations Foundation CH, Muzeum Susch © Błażej Pindor for Muzeum Susch / Art Stations Foundation CH

A Woman Looking at Men Looking at Women

The themes of the exhibition address several issues central to feminist theory, moving from conventions of female representation through sexual emancipation to the challenging and subversion of traditional gender roles. Artists include Magdalena Abakanowicz, Marlene Dumas, Carol Rama, Carla Accardi, Nicole Eisenman, Helena Almeida, Ida Appelbroog, Carolee Schneemann, Betty Tompkins, Judith Bernstein, Maria Lassnig, Louise Bourgeois, Natalia LL, Hannah Wilke, Geta Brătescu, and Sarah Lucas, among others.

Louis Fratino, Metropolitan, 2019, oil on canvas, 60 x 94.75 inches (152.4 x 240.7 cm). Courtesy of Sikkema Jenkins & Co.

Louis Fratino:come Softly to me

Drawing inspiration from personal experience and, more recently, photographic source material, Louis Fratino makes paintings and drawings of the male body. His work includes portraits, nudes, and intimate scenes of male couples engaged in activities ranging from the mundane to the graphically sexual. The result is a body of work that is a loving and honest expression of the contemporary gay experience.

Mundos Alternos:art And Science Fiction in The Americas

«Mundos Alternos: Art and Science Fiction in the Americas» brings together the work of 30 international artists from across Latin America and the Caribbean, including Mexico, Cuba, Argentina, El Salvador, Brazil, Chile and Puerto Rico, with Latino/a artists from throughout the United States who have tapped into science fiction’s capacity to address cross-cultural dynamics and imagine new realities.

Nari Ward:we The People

The exhibition features over thirty sculptures, paintings, videos, and large-scale installations from throughout Ward’s career, highlighting his status as one of the most important and influential sculptors working today. Since the early 1990s, Ward has produced his works by accumulating staggering amounts of humble materials and repurposing them in consistently surprising ways.

Beatriz Cortez, Trinidad: Joy Station (installation view at Craft Contemporary), 2019. Courtesy of the artist and Commonwealth and Council, Los Angeles / Photo: Gina Clyne.

Beatriz Cortez Envisions a World Outside The Confines of Western Civilization

The Craft & Folk Art Museum (CAFAM) presents «Beatriz Cortez: Trinidad / Joy Station», the El Salvador-born, Los Angeles-based artist’s first major solo museum exhibition. With this presentation, Cortez imagines a space of communal living that is dedicated to multicultural coexistence, the survival of indigenous peoples, and experiences of joy.

Beverly Adams. Courtesy: Blanton Museum of Art at The University of Texas at Austin

The Museum of Modern Art Appoints Beverly Adams as The New Estrellita Brodsky Curator of Latin American Art

The Museum of Modern Art (MoMA) announces the appointment of Beverly Adams as the new Estrellita Brodsky Curator of Latin American Art. The endowed curatorial position was created in 2006 in order to help shape the Museum’s collection and exhibition activities. Adams’s responsibilities will include the installation of collection galleries, the development of special exhibitions and catalogues, and participating in the Museum’s acquisitions and research programs for Latin American art. She will join the Museum in the Department of Painting and Sculpture on September 1, 2019.

Vista de la exposición "TANSTAAFL: There's no such thing as a free lunch", de Ignacio Gatica, en Interstate, Brooklyn, Nueva York, 2019. Cortesía de la galería

Ignacio Gatica.tanstaafl:there’s no Such Thing as a Free Lunch

For his first US solo exhibition at Interstate, Ignacio Gatica (b. 1988, Santiago, Chile) presents «TANSTAAFL: There’s no such thing as a free lunch», a new series of work that maps out distinct forms of technology and quotidian interfaces throughout the gallery space.

Rivers Flow Out of my Eyes

In her book «Eruptions of Memory» (2018) the French-Chilean theorist Nelly Richard writes about a ‘completed past’ as opposed to a ‘past being completed’, one which is continually being interpreted in new ways and is thus able to withstand rigid standpoints and apathy in the present. On the basis of this idea «Rivers flow out of my eyes» provides a context for a broad range of reflections on periods of political repression and violence. A merely critical and investigative approach is avoided here. Instead the selected works show an emphatic use of ambiguity, fiction, humor, absurdity and poetic images.