It is probable that artists whose works you already collect temporarily stop working and exhibiting as usual. They might be actively involved in the protest, join cabildos, or fulfill other civic duties. Everyone will have to reorganize their life according to the new, difficult situation, losing jobs and therefore finding less time for art. This is not a break in their practice, but a momentary hiatus or an interesting turning point. Given the economic precarity of many artists and the fragility of the local art scene, collectors can be a corrective to the downturns.
“Suddenly, unexpectedly, the utmost narcissistic practice of image-making turned out to be the most effective way to reach others, offering testimony, breaching distance, overcoming reclusion and ultimately showing our resilient, living community, as it faces and triumphs over the dread of global illness. No one could have known either that in a matter of weeks the world would confront the pandemic of COVID-19 at a planetary scale, turning the meaning of selfies upside down, from head to toe,”
Lind-Ramos has always told powerful stories through his works of art. It’s no wonder as oral, culinary, musical and visual storytelling are part of his Afro-descendent history and fundamental to his philosophy of being. As evident in the seven pieces exhibited here, Lind-Ramos’ sculptures have a powerful spirit-like presence portraying strength, potency, and depth. Each piece conveys a very particular story through the careful selection and use of materials.
The exhibition «Against, Again: Art Under Attack in Brazil» addresses the present transnational wave of authoritarianism by featuring a number of art practices that have responded to oppression in Brazil. Since the rise of a conservative political movement in the last few years that resulted in the election of a far-right president in 2018, threats and attacks against politicians, activists, intellectuals and artists have skyrocketed.
The Piero Atchugarry Gallery presented «Good Blue Day», a solo exhibition of new work by Venezuelan conceptual artist Eugenio Espinoza, including sculpture, painting, installation and performance. Espinoza began his career by subverting our understanding of the Modernist grid, and is celebrated for his radical works that reacted to the dominant movements of geometric abstraction and Kinetic art in Venezuela in the 1960’s and 1970’s.
‘Próceres [National Heroes]’ is a newly printed series (2018) that Paz Errázuriz originally took in 1983. Taken in a government run warehouse in Chile, ‘Próceres [National Heroes]’ captures the last evidence of toppled Chilean statues. These monuments had been violently dismantled and damaged during the height of Augusto Pinochet’s dictatorship (1974–1990). This exhibition at Cecilia Brunson Projects in London is the first public showing of this series.