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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.

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

ISA CARRILLO, CIRCE IRASEMA, LUCÍA VIDALES: TERRA PRETA

«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

RAÚL DE NIEVES: FINA

«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».