New York

Jesús Rafael Soto, Untitled (Barroco Negro), 1961, mixed media on panel, 95.3 x 158.8 x 15.2 cm. Artist Rights Society (ARS), New York / ADAGP, Paris. Photo: Alfredo Gugig

Soto.vibrations 1950–1960

Renowned as art history’s leading kinetic artist, Jesús Rafael Soto (Venezuela, 1923-2005) explored the dematerialization, or ‘disintegration’ of the art object, breaking new ground while anticipating conceptual strategies to come. Hauser & Wirth in New York presents «Soto. Vibrations 1950 – 1960», the first exhibition to focus on the critical first decade of the artist’s life in Paris, curated by Jean-Paul Ameline. Imbued with vibration and movement, Soto’s early works constitute a breakthrough in his output, laying crucial groundwork for his later kinetic works and the uniquely fluid style that shaped his artistic vocabulary.

Joiri Minaya. Vista de la exposición "Resistir el Paraíso", en :Pública, San Juan , Puerto Rico, 2019. Cortesía de :Pública y apexart, Nueva York

Resisting Paradise

Though geographically close, Caribbean artists are often unable to travel and show within the region. Intra-regional exchange is challenged by variations in language and colonial history, while flight routes prioritize the convenience of visitors coming from the United States or Europe, mirroring the migration patterns of many post colonial subjects. «Resisting Paradise» presents an opportunity to establish a much needed regional dialogue. The exhibition features works by Deborah Anzinger, Leasho Johnson and Joiri Minaya, showing how Caribbean artists are taking control of the narratives and images that convey ourselves to others. The artists, hailing from Jamaica and the Dominican Republic and its diasporas, work at the intersections of tourism, sexuality, gender, environmental concern, music, and the internet.

Diana Davies, Untitled (Marsha P. Johnson Hands Out Flyers For Support of Gay Students at N.Y.U.), c. 1970, digital print, 11 x 14 in. © The New York Public Library/Art Resource, New York. Photo: Diana Davies

Art After Stonewall, 1969–1989

Coinciding with the 50th anniversary of the uprisings, «Art after Stonewall, 1969–1989» is a long-awaited and groundbreaking survey that features over 200 works of art and related visual materials exploring the impact of the LGBTQ liberation movement on visual culture. Presented in two parts—at the Leslie-Lohman Museum of Gay and Lesbian Art and New York University’s Grey Art Gallery — the exhibition features artworks by openly LGBTQ artists.

Louis Fratino, Metropolitan, 2019, oil on canvas, 60 x 94.75 inches (152.4 x 240.7 cm). Courtesy of Sikkema Jenkins & Co.

Louis Fratino:come Softly to me

Drawing inspiration from personal experience and, more recently, photographic source material, Louis Fratino makes paintings and drawings of the male body. His work includes portraits, nudes, and intimate scenes of male couples engaged in activities ranging from the mundane to the graphically sexual. The result is a body of work that is a loving and honest expression of the contemporary gay experience.

Convocatoria:beca Arte Ccu 2019

CCU dio inicio por quinta vez al proceso de postulación de su Beca Arte CCU, dirigida a artistas chilenos que buscan fortalecer su perfil curricular a través de una experiencia que les permita internacionalizar su carrera. En esta ocasión, la convocatoria dirigida a artistas chilenos de entre 30 y 45 años, estará abierta desde el 7 de mayo hasta el 23 de agosto de 2019. Encuentra las bases en este post.

Mundos Alternos:art And Science Fiction in The Americas

«Mundos Alternos: Art and Science Fiction in the Americas» brings together the work of 30 international artists from across Latin America and the Caribbean, including Mexico, Cuba, Argentina, El Salvador, Brazil, Chile and Puerto Rico, with Latino/a artists from throughout the United States who have tapped into science fiction’s capacity to address cross-cultural dynamics and imagine new realities.

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.

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.

Residencies in London And New York Supported by The Caribbean Art Initiative

The Caribbean Art Initiative collaborates actively and on the long-term with cultural institutions and not-for-profit organizations that exhibit and support artists inside the Caribbean region, as well as with organizations outside the region that provide public interest and exposure for Caribbean arts. The Initiative is frequently present at major international events that foster an interplay between regional and global art scenes. This year, the Caribbean Art Initiative is pleased to announce two open calls. Application Deadline is March 31, 2019.

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.