Behind Ramirez’s muses lie saturated, playful colors, or landscapes of quintessential Caribbean beaches, jungles, and paradisiacal symbols. Accompanying many of his subjects are still lifes with tropical fruits, shells, and plants like the “flamboyant tree” and plantains (scientifically, Musa x Paradisiaca). He uses the traditional elements of Renaissance portraiture, but adapts them with Caribbean iconography, rendering his works’ subject matter away from white gentry to those affected by European colonialism.
In line with Frederic Jameson’s musings on the relationship between utopia and science fiction, and seeing the latter’s strength in failing to accurately imagine a real future, «Archeology of Sacrifice» similarly plays with our imagination’s incapacity. Global capitalism is once again responsible; we’re frozen within its trap, unable to seek alternatives. Instead of presenting a conclusive vision, the film offers a plethora of prospects which “defamiliarize and restructure our experience of our own present».
In the mid-1980s Tishan Hsu (b. 1951, Boston) began a series of works that considered the implications of the accelerated use of technology and artificial intelligence and their impact on the body and human condition. His prescient artistic practice has been probing the cognitive as well as physical effects of transformative technological advances on our lives. An artist-intellectual ahead of his time, Hsu worked quietly for many years, largely overlooked or forgotten by the art world –until now.
Drawing on indigenous traditions from the Amazon rainforest; alternative perspectives on Western scientific rationalism; and new thinking around plant intelligence, philosophy and cultural theory, the online exhibition »The Botanical Mind» investigates the significance of the plant kingdom to human life, consciousness and spirituality across cultures and through time. It explores ideas of plant sentience, indigenous cosmologies, radical botany, Gaia theory, quantum biology, and the influence of psychoactive plant medicines.
The Outsider Art Fair, the premier fair dedicated to exhibit self-taught Art, Art Brut and Outsider Art, celebrates its 8th Paris edition between October 21-30. In tandem with the online fair is a special exhibition organized by former Pompidou curator Alison M. Gingeras. Entitled «Sexual Personae», the show examines archetypes of womanhood that are deeply embedded in Western culture
For Aparicio, rubber itself exudes the symmetry between the commodification of indigenous material culture and the exploitation of Latin American countries for labor and resources. Restored to its natural function, it also suggests a salve: dressing the wound, repairing the broken, displaced, and dispossessed. Throughout «Espinas Amorosas/Loving Thorns», entwined threads lead back and forth between El Salvador and Los Angeles, relays along which Aparicio is a spore.
Drawing on images taken from Instagram, YouTube, image databases, and other online sources, Gina Beavers creates thick, tactile paintings that capture, in deeply visceral ways, the curated and often superficial nature of our digital lives. Her recent series of sculptural paintings are based on body painting, social media snapshots of food, make-up tutorials, memes, and bodybuilder selfies.
Mouches Volantes presents «Sexual Healers TV», a solo exhibition by Will Fredo about sex work, created as a proheaux art channel dedicated to body politics. Through the artist’s research on the sex industry in the Americas and interviews and performances with two sexual healers, the semi-sci-fi video installation addresses an intersection of topics, including sex workers’ subjectivities and rights, technology as a tool for democratizing pleasure, Black trans body politics, decolonizing sexuality, among others. Thanks to Will Fredo for sharing his thoughts about this work with us
In Ryan Brown’s allegorical proceedings, the void and not the profusion of elements; the realism and not the collection of symbols, are the ones that, through estrangement tactics, produce weightlessness and at the same time, distancing, in the face of a constellation of aesthetics that modernism, at the time, treasured, as a flight into the future.
Baxter St at the Camera Club of New York (CCNY) presents a solo exhibition by Joiri Minaya (Dominican Republic/United States,1990), a multi-disciplinary artist whose recent works focus on destabilizing historic and contemporary representations of an imagined tropical identity through an exercise of unlearning, decolonizing and exorcizing imposed histories, cultures and ideas.