Installation view of the exhibition, ‘ Extra - Planetary Commitment’ , lítost gallery, Prague, 16 March 2019 – 28 April 2019 . From left to right: Evita Vasiljeva, ‘Hormones’ , (2017), metal, concrete, wood, cable ties, noise sensitive light, wires, each part 25 cm x 57 cm x 57 cm – Courtesy of the artist gallery; Botond Keresztesi, “Miss Universe 1” , black colour airbrush on paper, 29.7 cm x 42 cm – Courtesy of the artist; Botond Keresztesi, “Miss Universe 2” , black colour airbrush on paper, 29.7 cm x 42 cm – Courtesy of the artist ; Evita Vasiljeva – ‘There is no Grace in Shrinking’ , (2017), latex, pump, plastic tubes, various sizes – Courtesy of the artist; And Botond Keresztesi, “The Audience” , black colour airbrush on paper, 29.7 cm x 42 cm – Courtesy of the artist . Photograph by Lenka Glisníková. © lítost

Extra-planetary Commitment

«Extra-Planetary Commitment» is not so much about space flight as it is about the freedom of imagination to critique current establishments and political practices as well as our contemporary daily life. Technology is already redefining the human body and our relationship to nature. Artworks compare the pictorial space of the imaginary with the sculptural conditions of material reality. While imagination can expand into worlds free of gravitation and time, sculptural materiality gives way to a non-human agency.

View of the exhibition "Terra Preta", at Proxyco Gallery, New York, 2019. Photo: Zach Hyman. Courtesy: Proxyco Gallery, NY


«Terra Preta» presents the work of three Mexican artists to consider the sacredness of fertile soil and the relevance of ancient wisdom. Through depictions of Mesoamerican mythology and deity representation, the examination of the rituals and sageness of our precursors, and the construction of an underground imaginary, the exhibition aims to approach the intricate legacy of prosperity within black earth.

Mariana Castillo Deball:finding Oneself Outside

Working in sculpture, printmaking, photography, and installation, Mariana Castillo Deball (b. 1975, Mexico City, Mexico) examines how knowledge and cultural heritage are produced, organized, measured, and authenticated. Her works often take inspiration from Mesoamerican iconography and narratives, considering their early-colonial transformations and their presence in Central America today. The title of her New Museum exhibition, «Finding Oneself Outside», offers a possible description of a sensation that is central to both the study of history and the experience of encountering an unfamiliar culture.

Installation view, Raúl de Nieves: Fina, February 2–April 28, 2019. The Cleveland Museum of Art at the Transformer Station. Photo © The Cleveland Museum of Art


«Fina» is the first solo museum exhibition by Raúl de Nieves (b. 1983, Michoacán, Mexico). Through processes of accumulation and a celebration of excess, de Nieves transforms humble materials into spectacular objects and immersive narrative environments. Presented by the Cleveland Museum of Art, «Raúl de Nieves: Fina» features a new site-specific installation of figurative sculptures on a central mirrored structure in the museum Transformer Station’s main gallery. De Nieves mines personal and collective histories, recombining fragments of the past to create timeless fantastical worlds.

Guadalupe Rosales, Selections of Glamour shots and party flyers, alrededor de 1990, collage, dimensiones variables. Cortesía de la artista

Guadalupe Rosales.archivist of Latin Culture

The Instagram account Veteranas and Rucas is a flashback to the 90s Latinx communities of Southern California. The pics, digital or digitalized, worn out by time, show in a casual way the social and intimate life of women whose adolescence passed by in the troubled SoCal of that decade. The more than 4,000 photographs make up the surprising archive built by Chicano artist Guadalupe Rosales (1980) through her own research, open calls and spontaneous collaborations. Something that began in 2015 as a way to connect with her family and culture has led to a growing and ambitious archive project of the SoCal Latino community of the 90’s (and 80’s, and even back), to which the Vincent Price Art Museum dedicates an exhibition under the title of «Echoes of a Collective Memory».

Helen Escobedo: El potencial de la escultura. Vista de la exposición en Proyectos Monclova, Ciudad de México. Cortesía: Legado de Helen Escobedo y Proyectos Monclova. Foto: Ramiro Chaves

Helen Escobedo:the Potential of Sculpture

«The Potential of Sculpture» is Helen Escobedo’s first solo show at ProyectosMonclova and the second since her retrospective titled «A Escala Humana» at the Museum of Modern Art, Mexico City, in 2010. The present exhibition is composed by a selection of 75 pieces of different interrelated bodies of work: drawing, collage, sculpture, maquette and painting, and is focused on the links between art and architecture, public space, landscape and design, one of the constants that marked the artistic career of Helen Escobedo since the mid-1960s.

Jorge González, Ensayos Libertarios. Vista de la exposición "Topologías del Exceso", en la Harold J. Miossi Art Gallery, Cuesta College, San Luis Obispo, California, EEUU. Cortesía del artista

Topologies of Excess:a Survey of Contemporary Practices From Puerto Rico

Cuesta College and the Harold J. Miossi Art Gallery have invited eight Puerto Rican artists whose work examines the notion of ‘excess.’ In the island’s marginal corners, excess has helped to manifest emancipatory practices, opening spaces of intersectional solidarity – spaces of shared struggle where new practices can emerge. With participating artists Amara Abdal Figueroa, Zaida Adriana Goveo Balmaseda, Sofía Gallisá Muriente, Jorge González, Natalia Lassalle Morillo, Juan Alberto Negroni, Mónica Rodríguez, and Mariola Rosario.

Vista de la exposición Holes in Maps, en 601 Artspace, Nueva York, 2019. Foto cortesía: 601 Artspace /Marie Guex


«Holes in Maps» explores themes of globalization, mobility and borders by examining ways in which personal narrative, social critique, trade, nationalism, identity and citizenship intersect. The artworks in this show challenge maps certainty and stability, exploring the immense gulf between lines on paper and lived experience – between symbols and their referents. Maps may reveal political and geographical realities, but what do they conceal?


By welcoming the results of procedural testings into his work, Gómez Uribe targets the notion of Architecture as an arena of uncontested progress, problematizing the conflicting relationship between modernism and modernization. In the ambiguity of global capitalism, where seeming permanence is designed for obsolescence, triumphant architectural developments that follow the beat of real estate drums are destined for decay, disintegration and disappearance.

Frida Kahlo with Olmec figurine, 1939. © Nickolas Muray Photo Archives

Largest U.s.frida Kahlo Exhibition in 10 Years to Open in New York

«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.