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.

Cosima zu Knyphausen, The drapes were light, 2018, pastel on cotton, 220 x 300 cm. Courtesy: stadium, Berlin

Cosima zu Knyphausen.a Studio of One’s Own

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.

Eugenio Dittborn, Pinturas Aeropostales Recientes, vista de la exposición en Alexander and Bonin, Nueva York, 2018. Foto: Joerg Lohse. Cortesía: Alexander and Bonin, NY

Primordial Marks.eugenio Dittborn’s Recent Airmail Paintings in New York

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».

Ángela Bonadies y Juan José Olavarría, La Torre de David., 2010. Cortesía de los artistas

Casa Tomada.latin American Artists at The Biennial Sitelines 2018

«SITElines: New Perspectives on Art of the Americas» is a biennial program organized by SITE Santa Fe (New Mexico, United States) for the years 2014, 2016 and 2018. In its third and last iteration, which opens on August 3 of this year, presents works by 23 artists -including ten new commissions-, under the curatorship of José Luis Blondet, Candice Hopkins and Ruba Katrib, with Naomi Beckwith as Curatorial Advisor. Among the participant artists from Latin America are Paz Errázuriz, Ángela Bonadies & Juan José Olavarría, NuMu, Fernanda Laguna, Naufus Ramirez-Figueroa, Eduardo Navarro and Tania Pérez Córdova.

Fernando Bryce, Sin título, 2018, tinta sobre papel, enmarcado, 118 x 228 x 4,5 cm. Vista de la exposición en Galerie Barbara Thumm, Berlín. Cortesía del artista y Galerie Barbara Thumm. Foto: Jens Ziehe

Fernando Bryce at Galerie Barbara Thumm, Berlin

Fernando Bryce’s series of large drawings «Freedom First» captures the intricate events of the Cold War, the emblematic leaders of the time and the struggle to claim the most disputed word and ideal, freedom. Based on the covers of various magazines founded or supported by the Congress for Cultural Freedom (CCF) from its foundation in 1950 in West Berlin until the end of the 1960s, Bryce’s iconic appropriation and re-inscription of historical materials creates a large-scale fragmented geopolitical tableau.

Claudia Joskowicz, still de "Every Building on Avenida Alfonso Ugarte—After Ruscha", 2011. Video HD en dos canales, 26 min. Cortesía de la artista y LMAK gallery, NY

The Matter of Photography in The Americas

The artists featured in «The Matter of Photography» marshal materials far afield of those traditionally associated with picture taking. Drawings and prints, films and installations, photocopies and books are all brought to bear in powerful critiques of the medium’s development and historical functions.

Beatriz Cortez and Rafa Esparza, Nomad 13, 2017. Adobe bricks, steel, concrete, hammer, plastic, paper, soil, and plants: corn, black bean, prickly pear, sorghum, amaranth, quinoa, chayote squash, chia, chili pepper, yerba buena, yerba santa, sage, and ceiba tree, 104 x 84 x 96 in. (264.16 x 213.36 x 243.84 cm). Installation view, Mundos Alternos, UCR ARTSblock, Riverside, CA, September 16, 2017 – February 4, 2018 Courtesy of UCR ARTSblock, Riverside, CA. Photo: Nikolay Maslov

These Are The Artists of The Biennial Made in L.a 2018

The Hammer Museum announced today the 32 artists who will participate in the fourth edition of Made in L.A. 2018, the biennial exhibition of the institution that highlights the practices of emerging artists working in the Los Angeles area. Organized by Hammer’s senior curator, Anne Ellegood, and assistant curator Erin Christovale, the exhibition will be open from June 3 to September 2, 2018.

Vista de "Werken", de Bernardo Oyarzún, obra que representó a Chile en la Bienal de Venecia de 2017, bajo la curaduría de Ticio Escobar. Parque Cultural de Valparaíso, Chile, 2018. Foto cortesía del CNCA

Open Call:chile Looks For a Curator For Its National Pavilion – Venice Biennial 2019

Chile’s Consejo Nacional de la Cultura y las Artes (National Council for Culture and the Arts – CNCA) launched an open call for a Chilean or foreign curator -with or without residence in Chile- to be responsible for the preparation of the curatorial project to be exhibited at the Chilean Pavilion at the 58th Venice Biennale 2019, which will be on view between May and November 2019.