English

GABRIEL KURI: SORTED, RESORTED


por Artishock el 10 de diciembre, 2019

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.

ALEJANDRO OTERO: RHYTHM IN LINE AND SPACE


por Artishock el 3 de diciembre, 2019

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.

RODRIGO VALENZUELA: PAST | PRESENT


por Artishock el 26 de octubre, 2019

“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.

FERNANDO BRYCE: THE DECADE REVIEW


por Artishock el 23 de octubre, 2019

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.

THE RECENT PAINTINGS OF GUS VAN SANT


por Artishock el 3 de octubre, 2019

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.

CRISTINA TUFIÑO: DANCING AT THE END OF THE WORLD


por Artishock el 28 de septiembre, 2019

Her ceramics, in particular, render cuteness—or, pose as ruminations on cuteness. Cute meaning not just a thing we say about things, but a thing (lodged in things) that says something about how we talk about ourselves as homo sapiens, about commodities, and about aesthetics.

Publicidad

SESC Master Fundacion AMA Galeria Patricia Ready Galeria Die Ecke