As the first large-scale exhibition of Matta-Clark’s work in China, «Passing Through Architecture: The 10 Years of Gordon Matta-Clark» traces the remarkable thinking and avant-garde works of this interdisciplinary artist from 1968 to 1978 with more than 400 drawings, photo-works, films and archival documents. It aims to examine Matta-Clark’s relentless exploration of topics like architecture, space, biology and ecology; to question the nature of architecture, the natural environment, and human life beyond the scope of architecture 50 years after the artist’s return to New York, and to rethink the multi-faceted legacy left by modernist urban planning ideas.
New York-based gallery Proxyco presents «Where Land and Sea Melt into Sky», an exhibition of works by artists Johanna Unzueta (Chile, 1974) and Felipe Mujica (Chile, 1974). The exhibition foregrounds the notion of the artwork as a product of labor, pointing at process, craft work, and collaboration as significant elements of their artistic creation. Working together but maintaining separate practices, the artists have influenced each other for more than 20 years through the exchange of ideas, techniques, and methods.
The distance between becoming a Buddhist monk, a private detective or art curator did not seem to be very large for Dan Cameron (1956, Utica, New York), who began his curatorial practice in the 80s, when it still seemed to be more like a hobby than a profession. He trained with Marcia Tucker, founder of the New Museum, where he had the opportunity to work as Senior Curator between 1995-2006, being responsible for exhibitions of renowned artists, and pioneering in presenting Latin American artists such as Doris Salcedo, Cildo Meireles and Eugenio Dittborn. For him, a curator is like an arbiter of the various processes and discourses that surround artists and art-making, «a kind of triangulation that not everyone is temperamentally suited for.»
«The Pencil Is a Key: Drawings by Incarcerated Artists» is an exhibition of more than 140 drawings by imprisoned artists from around the globe, including countries such as Chile, Venezuela, Brazil, and Cuba. Featuring works produced over a roughly two-hundred-year period, the exhibition presents powerful evidence of the persistence of human creativity in the most inhumane of circumstances. The exhibition interprets the term “incarceration” broadly to mean any situation in which an individual is denied their freedom.
Galerie Lelong & Co. presents «Eros», its second solo exhibition of Cuban artist Zilia Sánchez (Cuba/PuertoRico, 1926), timed to coincide with the artist’s first retrospective at El Museo del Barrio. Recalling the Greek god of love, the exhibition title encapsulates Sánchez’s uniquely sensual, corporeal approach to abstraction, most familiar from her shaped canvas paintings. While the museum show surveys the artist’s vast oeuvre spanning more than six decades, «Eros» focuses on about a dozen new and recent works, highlighting Sánchez’s evolving interest in completely free-standing work, and includes her first-ever sculptures in marble and bronze.
His exhibition at WIELS – his first institutional solo show in Brussels, where he has lived for the past 16 years – highlights the hybrid nature of his playful work. It comprises over 60 works, including new pieces produced for the occasion, revealing both the diversity of Kuri’s formal approach and the consistency of his underlying themes: flows of information, notions of commercial and cultural value, consumerism, as well as material and its poetic (mis)use.
Organized in partnership with the Otero Pardo Foundation of Caracas, Venezuela, the exhibition «Alejandro Otero: Rhythm in Line and Space» at Sicardi | Ayers | Bacino highlights works from his «Cafeteras» (Coffeepots), «Tablones» (Planks), and «Coloritmos» (Colorhythms) series, among others, offering a glimpse into the dynamic practice of this master artist (Venezuela, 1921-1990). Although this exhibition cannot show any of these structures on a public scale, except in images, it does exhibit the artist’s preparatory process that gave rise to them. Following a rigorous methodology, Otero, when producing paintings or sculptural works, always began with drawings, sketches or models, before making the final work a reality.
“Past | Present”, Rodrigo Valenzuela’s third solo exhibition at Upfor, is comprised of two parts: in September, a selection of prior work from major series in photography, video and painting; and in October, the debut of a new body of monochromatic photographs. Valenzuela’s works often involve narratives around immigration and the working class. Rooted in contradictory traditions of documentary and fiction, his staged scenes manipulate codes of representation to affect viewers’ perception of logic and reality.
In Bryce’s review of the decade what is implicit is that world diplomacy was a game played expertly, and exclusively, in the Northern Hemisphere, while the South was dealt and tampered with, most frequently without any political etiquette. Thus one can surmise that the seeds of what we now know as de-colonial thinking were being sown simultaneously in the minds of individuals, all over the globe, living in precarious and unstable locations where a multiplicity of experiences and experiments in the form of nascent post-imperialistic democracies or, more often than not, dictatorial regimes.
Admired internationally as a filmmaker, painter, photographer, and musician, Van Sant received his BFA from the Rhode Island School of Design in Providence in 1975. Since that time his studio painting practice has moved in and out of the foreground of a multi-disciplinary career, becoming a priority again over recent years. Van Sant’s work in different mediums is united by a single overarching interest in portraying people on the fringes of society. In this exhibition, dreamlike hybridized scenes depict male nudes in shimmering, fractured cityscapes—obscure objects of desire whose presence suggests a mythological dimension hovering within the everyday world.