thumbnail May 23

Hernan Bas at Victoria Miro, London

26 April – 31 May 2014

Victoria Miro Gallery II
16 Wharf Road, London N1 7RW

The American artist Hernan Bas has built an international reputation over the last decade for paintings that merge still life, portraiture and landscape within a deeply romantic sensibility. His work portrays an overt theatricality, offering a queering of historical genres, and is populated by beautiful objects and alluring boys—Bas never depicts women. His canvases are dense with incidence and intrigue, and can be aligned to artists such as Neo Rauch and Daniel Richter who similarly applied a flamboyant narrativity to figuration. If Rauch and Richter feel a little heavy metal, then Bas’ approach can be situated more on the dance floor. The paintings are exalted; at once psychedelic and narcotic. Victoria Miro presents a new series of paintings and works on paper across two venues, which are brought together under the single title “Memphis Living.” Lifted from the post-modern Italian design collective Memphis Group, the title articulates Bas’ interest in the historical impetus of design and decoration. The group was noted in the ’80s for their elision of applied arts with a formal eclecticism, and Bas’ new paintings are packed with references to the group’s work. This playfulness and historical layering brings new energy to an old technique. The exhibition, the artist’s fourth with the gallery, coincides with the most comprehensive monograph on the artist to date, published by Rizzoli. (George Vasey)

Gallery website

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thumbnail May 16

Andrés Serrano in group show CRIME IN ART, at Museum of Contemporary Art in Krakow, Poland

5.15.2014 – 09.28.2014

Museum of Contemporary Art in Krakow (MOCAK)
ul. Lipowa 4, Krakow, Poland         

Crime in Art is the 4th exhibition to date in MOCAK’s series which combines art with the most significant civilisational themes such as history, sport, science and religion. To date, three exhibitions have taken place: History in Art, Sport in Art and Economics in Art. The series aims to present these – seemingly non-equivocal – concepts and demonstrate how many creative inspirations and how much symbolic potential there lurks in the everyday reality.

Crime reveals all the inner fanatical turmoil, bleak helplessness and wrong without atonement. Crime has two sources. It stems either from ‘lesser’ crimes that often go unpunished, because they have been committed in the privacy of the home on the weak and defenceless, who go on to seek revenge on society at large. Or else, crime is instigated by politics and religion. Crime reveals the abundance of evil inside us. It is the ultimate lesson in human vulnerability and cultural turmoil.

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thumbnail May 16

Cuban artist Arnolkis Turro in group show RENOVACIÓN DE LAS ESENCIAS, at Alianza Francesa de Managua, Nicaragua

Opening: May 14, 2014 – 7pm

Alianza Francesa
Planes de Altamira
Embajada de México
1/2 c. al Norte

Artists:

Arnolkis Turro
Sergio Velasquez
Leonel Cerrato
Julio Quintero

In Spanish

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thumbnail May 8

Reverse: rewriting culture. Curated by Janet Batet. Group Exhibit

May 8th – July 5th, 2014

Opening Reception | Thursday, May 8th | 7 PM – 10PM

Dot Fiftyone Gallery
187 NW 27 Street 
Wynwood Arts District, Miami FL 33127

Artists:

Consuelo Castaneda, David Rohn , Eduardo Rivera Salvatierra, Fernando Bayona González, Fernando García, Jonathan Wahl, Juan Pablo Ballester and Nereida Garcia-Ferráz

Reverse: Rewriting culture seeks to review the body of work of contemporary gay artists that freed from any fig leaf are proposing a horizontal reading about gender, sexuality, social concerns, and ontological issues.

This exhibition is the first edition of the ambitious project “ONE WAY”, that in each edition will call a group of artists whose sexual orientation does not correspond to the dominant stereotype of heterosexuality, neither with the wild spread misconception that reduce the production of gay artists to homoerotic contents.

Reverse: Rewriting culture seeks to avoid incurring two extended stereotypes and therefore errors that dominate the approach to this kind of production that include, but are not limited to the following misconceptions: Concealment or silencing of sexual orientation of the author, or by the contrary, Confinement and reduction to the mere erotic commentary that silences or minimizes the social implications that motivates these works placing them away from general social channel where definitely belong these proposals.

 

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thumbnail Apr 27

Armando Mariño: New Paintings after the Long Winter, at 532 Gallery Thomas Jaeckel, NY

May 6 – June 7, 2014

Vernissage Tuesday, May 6, from 6 – 8pm

532 Gallery Thomas Jaeckel
532 West 25th Street
New York, NY 10001
 
 
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thumbnail Apr 25

Zilia Sánchez “Heróicas Eróticas en Nueva York,” at GALERIE LELONG, New York

May 3, 2014 – June 21, 2014

Opening reception: Friday, May 2, 6-8pm

Galerie Lelong
528 West 26th Street
New York, NY 10001
 

Galerie Lelong is pleased to present its first solo exhibition with Cuban-born artist Zilia Sánchez, Heróicas Eróticas en Nueva York. As a global citizen who has lived in Cuba, Spain, New York, and now Puerto Rico, Sánchez’s hybridized shaped canvases unite the painterly and the sculptural, the formal and the psychological, and the masculine and the feminine. Only the second exhibition of Sánchez’s work in New York in over thirty years, Heróicas Eróticas en Nueva York comprises paintings made in the artist’s signature technique of stretching canvas over hand-molded wooden armatures, and spans fifty years of production. Many of the works on view have never been seen outside of Sánchez’s adopted home of Puerto Rico. The artist will be present for the opening on Friday, May 2 from 6-8pm.

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thumbnail Apr 25

Rafael López-Ramos in group show Alpha & Omega at Arevalo Gallery, Miami

April 25- 26
10:00 a.m. – 6 p.m.

April 27 – 28
by appointment

Arevalo Gallery
151 NE 40th St. Ste. 200.
Miami FL 33137
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thumbnail Apr 14

Angela Valella wins 2013 – 2014 CINTAS Foundation Award in Visual Arts

Angela Valella is an artist and educator born in Cuba, based in Miami. She is the director of The Nightclub project, a nomadic platform established in April 2012 which aims to create dialogue among diverse artistic practices and practitioners through curated exhibitions presented in various venues for one night only. From 2005 to 2011, she cofounded 801 Projects, a contemporary space dedicated to promote the arts that included exhibitions, workshops, and talks. One of the founding members of Design and Architecture School, DASH, in South Florida, she has organized curatorial shows and conferences among other projects. Valella’s works in a variety of media including painting, collage, installation, and video. She investigates problems of perception, selective accumulation and non-linearity.

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thumbnail Apr 11

Glexis Novoa, Allora & Calzadilla, Amelia Peláez, Wifredo Lam, in group show “Caribbean: Crossroads of the World”, at PAMM, Miami

April 18, 2014

Pérez Art Museum Miami
1103 Biscayne Blvd.,
Miami, FL 33132

Caribbean: Crossroads of the World will highlight over two centuries of rarely seen works—from paintings and sculptures to prints, photographs, installations, films, and videos—dating from the Haitian Revolution to the present. This exhibition employs an inter-disciplinary approach to advance our understanding of the Caribbean and its artistic heritage and contemporary practices. It focuses on four central themes: Fluid Motions, Counterpoints, Shades of History, and Kingdoms of this World. These interconnected frameworks allow insight into the complex context from which the vital and varied artistic production of the region has emerged, illuminating the multiple histories of the region.

 

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thumbnail Apr 5

LABOR: A Survey of Works by Angel Vapor, at Aluna Art Foundation, Miami

April 11 – May 17, 2014

Curated by Ricardo Pau-Llosa

Aluna Art Foundation
172-B West Flagler St.
Miami, Fl. 33130

The title of this exhibition of works by Angel Vapor (b. 1970 in Cuba, in US since 1999), Labor, emphasizes themes central to the artist’s visual thinking: the importance of craft, the focus on the everyday working man (industrial laborer, farmer, soldier, fire-fighter, among others), and the fusion of time-honored techniques in art with the intellectual rigors of conceptualism. The title also evokes the act of giving birth. All the exacting activities of human psyche—from the menial to the transcendent (samurai and meditating monks are recurring themes, as well) share equal status in Vapor’s epic view of labor as the primary joy, not the burden, of life. Mere intellectual play on aesthetic notions, onerous technicism in the name of skill, and brute toil are not, by themselves, art because they are not Labor—the activity that unifies thought, beauty, discipline, and skill and thus the only consistent and trustworthy path to personal fulfillment. Only through the fusion and intersection of disciplines and activities falsely assumed to be disparate can the imagination create original works of art whose meaning and significance may be genuinely thought of as universal.

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thumbnail Apr 3

Félix González-Torres and Tomás Sánchez in group show LONE TREE, at Marlborough Chelsea, NY

APRIL 4 – MAY 3, 2014

OPENING RECEPTION: FRIDAY, APRIL 4, 6-8PM

MARLBOROUGH CHELSEA
545 West 25th Street
New York, NY 10001

Marlborough Chelsea is proud to present Lone Tree, a group exhibition of contemporary work inspired by Romanticism, the sublime and in particular the German painter Caspar David Friedrich.

“The artist’s feeling is his law. Genuine feeling can never be contrary to nature; it is always in harmony with her. But another person’s feelings should never be imposed on us as law. Spiritual affinity leads to similarity in work, but such affinity is something entirely different from mimicry.”

- Caspar David Friedrich

We have seen lately a significant resurrection of Romanticism in Contemporary Art. Developed in the late 18th – early 19th century as a reaction to the Industrial Revolution, early Romanticism challenged the pragmatic rationalization of science over the natural world, insisting instead on a philosophy of human emotion, sensitivity, and an expanded imagination of the sublime.
This exhibition is a starting point from which to explore how notions of the spiritual and the magical alongside the sublime and the romantic, have once again, become important as contemporary artists grapple with the rapid developments that are changing the world as we know it, right before our eyes.

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thumbnail Mar 31

George Sanchez-Calderon at group show “Some Like It Hot”: First Museum Exhibition Of Miami’s Muralists At HistoryMiami

March 18, 2014 through April 27, 2014

HistoryMiami at the Miami-Dade Cultural Center
101 West Flagler Street
Miami, Fl 33130
 

HistoryMiami’s newest exhibition, featuring Miami-inspired murals by Miami-based artists, is now open to the public. Some Like It Hot captures a moment when art in the streets has emerged as a contemporary phenomenon in Miami. The exhibition is on view through April 27.
“We’re proud to be the first Miami museum to present the work of these incredible local artists and the street art movement, both pieces of South Florida’s history,” says Stuart Chase, Museum Director and Chief Operating Officer. “Aside from a few pieces sitting in private collections, art of this kind has been conspicuously absent from museums in Miami until now.” Street art in Miami has exploded in popularity in recent years, with the Wynwood neighborhood becoming one of the area’s major attractions for both tourists and locals.

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thumbnail Mar 30

Ana Mendieta in Rome: interview with Raquel Cecilia

Studio International talks to film-maker Raquel Cecilia about documenting Ana Mendieta’s last creative years in Italy

by CINDI Di MARZO

Since Cuban American artist Ana Mendieta died in 1985 at the age of 36 in tragic and obscure circumstances, many efforts – including the seemingly definitive 2004 travelling exhibition Ana Mendieta: Earth Body, Sculpture and Performance 1972-1985 organised by the Hirshhorn Museum and Sculpture Garden in Washington, DC – have been initiated to ensure her presence in contemporary art history and revisit critical appraisal of her work.

In 2013 alone, two retrospectives reminded visitors that Mendieta’s voice continues to resonate even after her death: Ana Mendieta. She Got Love at Castello di Rivoli Museo d’Arte Contemporanea in Turin followed by the Hayward Gallery’s Ana Mendieta: Traces in London. Apart from her haunting, experimental earth-body works, sculptures, films and photographs, Mendieta has become a symbol for many people who draw strength from her fearless dialogue with their concerns: gender bias in the arts; violence against women globally; racial discrimination; personal and cultural alienation; and the enduring ability of nature – in Mendieta’s view a benevolent feminine power celebrated in matriarchal societies and primitive religions – to restore and heal the soul.

Photo: Ana Mendieta. Tree of Life, 1976. Colour photograph, 50.8 x 33.7 cm. Collection Raquelin Mendieta Family Trust.

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thumbnail Mar 23

Diango Hernández at 1ST INTERNATIONAL CONTEMPORARY ART BIENNIAL, CARTAGENA DE INDIAS, COLOMBIA

The city of Cartagena has strong connections to cinema, music, dance and traditional artisanal crafts and this first edition of the biennial honors these cultural manifestations while introducing both national and international contemporary perspectives.

From February 7 to April 7, 2014 the entire city will be activated by multidisciplinary exhibitions in diverse venues throughout the city, including a number of installations and performance in public spaces, and a solid educational program of conferences, artist talks and workshops. All of the biennial programming is free and open to BIACI 2014 is a platform that brings contemporary artists from 45 different countries and across generations into the same context in order to promote dialogue and create connections between national and international artists. The Biennial is organized by the Fundación BIACI, a not for profit organization whose main purpose is to promote international and national contemporary art in Cartagena de Indias.

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thumbnail Mar 19

“HABEAS CORPUS: NUDE, IDEOLOGY AND IDENTITY IN CUBAN PHOTOGRAPHY (1982-1993)”, by WILLY CASTELLANOS at Aluna Art Foundation, Miami

Saturday, March 22nd/2014 at 7:00pm

ALUNA ART FOUNDATION
172 B WEST FLAGLER STREET
MIAMI, FL 33130

Aluna Art Foundation & Focus Locus cordially invites you to “HABEAS CORPUS: NUDE, IDEOLOGY AND IDENTITY IN CUBAN PHOTOGRAPHY (1982-1993)”, the last of our talks with art historian, curator and photographer WILLY CASTELLANOS; as part of the series “ART, DOCUMENT AND REALITY: REFRACTIONS ON PHOTOGRAPHY IN CUBA” (History, Theory and Criticism).

WILLY CASTELLANOS An art historian, curator and photographer, holder of a degree in History of Arts from the University of Havana (1993) were he graduated with a thesis on photography: “Nude as Objet and Strategy in Cuban Photography (1982-1993)”; Castellanos left Cuba in 1994 to Argentina.
In 2001, he moved to Miami, where he actually lives and works. His writings on art have been published in the magazines Fotomundo (Buenos Aires), Revolución y Cultura (Havana), P’alante Magazine/The Sun Sentinel (Broward, FL), Arte al Día International, LetraUrbana.com and Nagari Magzine, as well as in several exhibition catalogs in the United States.
In Miami, Castellanos was the Curator of the photography exhibition “Prayers for Saints and Orishas” at the Spanish Cultural Center of Miami (CCE), and also of “New Gods by José Franco,” and “20 Brands by Felix Beltrán” (co-curated with Rafael López-Ramos) for the Miami Dade College Art Gallery System (AGC).
Castellanos is the co-author of the critical essay for the book of Cuban photographer Raúl Canibano published by La Fabrica (Madrid, 2012); and is currently working on the publication of two more books on Cuban contemporary photography.
His photographic essay “Exodus: a missing page in history”, which documents the start of the massive wave of “rafters” that left the coast of Havana in 1994, was selected and invited in 2012 to open the Photoamerica edition of Arteamericas, the Latin-American Contemporary Art Fair of Miami. His shots have been featured in one-man and group shows in Cuba, Argentina, Brazil, and the United States.

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thumbnail Mar 18

Juan Erman Gonzalez: Over My Rainbow at Art and Culture Center of Hollywood, FL

March 29 – May 25, 2014
Opening Reception: Fri., March 28, 6 – 9 pm

Art and Culture Center of Hollywood
1650 Harrison St.
Hollywood, FL 33020

Juan Erman Gonzalez will present Over My Rainbow, a mixed-media installation consisting of a variety of works continuing his thematic concentration of migration, trans-culturism, exile, and displacement. Using utilitarian methodologies such as assemblage, cut paper, ceramics, and sewing, and utilizing post production, recycled, and donated goods, Gonzalez will take us through “Ozlandia” and his personal permutations, observations, and adaptations throughout the trip.

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thumbnail Mar 15

Maria Elena Gonzalez in group show at Peter Blake Gallery, CA

March 15 – April 26, 2014

Peter Blake Gallery
435 OCEAN AVENUE,
LAGUNA BEACH, CA 92651
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thumbnail Mar 7

PAVEL ACOSTA: STOLEN FROM THE MET, at Zadok Gallery, Miami

Opening: Thursday, March 6, 2014

 

Zadok Gallery
2534 North Miami Avenue
Miami, FL 33127

Pavel Acosta’s new series, Stolen from the Met, is an unprecedented tour de force in rediscovering old masters under a new light. Upon his arrival to New York a couple of years ago, he has embarked in a journey to investigate the pictorial techniques of giants like Velázquez, Vermeer, El Greco, Van Gogh, Picasso and others. Firstly, I was afraid he would go on to forge paintings to make a decent living; then I found out that he only was seeking to translate them into his own language of monochromatic obsession. The outcome has been truly outstanding. Acosta not only wants to emulate these painters and comment on museums’ nuanced engagement with their images, but also doing so in a manner that is sophisticating and therefore rewarding for the viewer.

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thumbnail Mar 5

Juan Antonio Molina Cuesta: A Conversation on Cuban Photography of the 90′s at ALUNA ART FOUNDATION, Miami

Thursday March 6th, 2014 at 7:00pm

ALUNA ART FOUNDATION
172-b west Flagler Street,
Miami FL 33130

Aluna Art Foundation cordially invites you to our ongoing talks | March 2014
ART, DOCUMENT AND REALITY: REFRACTIONS ON PHOTOGRAPHY IN CUBA (History, Theory and Criticism)
“SINCE THE WHORES HAD GONE: URBAN SPACE, EROTICISM, DOCUMENT, AND POLITICS”.
A conversation on Cuban Photography of the 90’s by art critic and curator Juan Antonio Molina (in Spanish)

“SINCE THE WHORES HAD GONE” is the title of the book in process that brings together newspaper articles, essays, and chronicles, written during the last 20 years by Juan Antonio Molina on contemporary Cuban Photography. The book will also include subjects as the representations of urban space, the relationship between photography and poetry, body, fiction, staging, and the different alternatives of what the author called “New Documentary in Cuba”. Parallel to these reflections, the essay opens a space on identity and rootlessness, aesthetic utopia and political disenchantment, as well as memory and the recent national history.

JUAN ANTONIO MOLINA (Havana,1965)

Art critic, professor and independentcurator, Juan Antonio Molina was a researcher and curator for the Fototeca Nacional de Cuba and for the Wifredo Lam Center – which organizes the Havana Biennial. In Mexico he was a contributor to the Fototeca Nacional of the Instituto Nacional de Antropología e Historia, and for the Centro de la Imagen (Images Center?) of the Centro Nacional de las Artes. In 2009, he wasthe coordinator of the XIII Bienal de Fotografía of Mexico, organized by the Centro de la Imagen and the Centro Nacional de las Artes. Between June and December 2009, Molina was the coordinator of the Seminar of Contemporary of the Centro de la Imagen.

In recent years, Molina has taught and lectured at The Universidad Autónoma Metropolitana, The Universidad Autónoma de Nuevo León, The Universidad Veracruzana, and The Instituto Potosino de Bellas Artes among others. His writings have been published in Aperture, Arte al Dia International, Replicant, C International Photo Magazine, Arte Cubano, Encuentros de la Cultura Cubana, Fisura, Arte y Naturaleza, Origina, Tierra Adentro, Atlántica Internacional de las Artes, and Estudios Interdisciplinarios de América Latina y el Caribe, among other journals.

He currently leads the project “Página en blando: curatorial works, criticism and art education” in Mexico City.

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thumbnail Mar 2

Diango Hernández: In hazard, translated, Kunstverein Nürnberg, Germany

Opening: Friday, February 28, 2014

March 1 – May 11, 2014

Kunstverein Nürnberg
Albrecht Dürer Gesellschaft
Kressengartenstraße 2
90402 Nürnberg

“Coming out there into the blackness the blast hit him in the mouth, stopping his breath. He tried to gasp, but he could not: something pungent had filled his lungs, so that they retched and shuddered in the attempt to breathe. The wind was wrapping it round him in hot, greasy blasts. His unseeing eyes poured with water, smarted as in mustard gas. He must be in a cloud of dense smoke: but he could not see it, of course—the night could be no darker than it was anyhow. He had no idea where it came from: possibly the fiddley. The thing to do now was to find his way to the Bridge—if his lungs held out. Keeping his head with an effort of will, he began to feel his way along, holding his breath (what little breath he had), resisting the dangerous temptation to hurry.” (1)

During the afternoon of November 9, 1932 in the southeast of Cuba, a powerful short blast of wind violently snatched thousands of pieces of fruit from their trees; for more than five minutes, oranges, mangoes and papayas flew frenetically around like only scared birds know how. The next morning, on November 10, the coastal village of Santa Cruz del Sur and its 3,000 inhabitants had disappeared. During the previous night and in the space of a few minutes, the sea, with gigantic waves measuring five metres high in places, flooded miles of land.

 

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thumbnail Feb 25

Gladys Triana: “Sharply into a Light Space,” at Syracuse University, NY

Feb. 27 – April 25, 2014

Opening reception: Thursday Feb. 27 from 6-8 p.m

Syracuse University
900 South Crouse Ave
Syracuse, NY 13244

Point of Contact Gallery is hosting an opening reception for “Sharply into a Light Space,” an exhibition by Gladys Triana, on Thursday, Feb. 27. The exhibition deals with themes of climate change and the future of our natural environment in a series of photographs, two videos and an installation.
Gladys Triana was born in Camagüey, Cuba, in 1937, and since 1975, she has resided in New York City. She completed a B.A. degree at Mercy College, Dobbs Ferry, New York; (1976) and an M.A. degree at Long Island University, New York; (1977). She studied print making at the San Fernando University in Madrid, Spain (1970-1972).

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thumbnail Feb 20

Human, so human, by Angela Valella, at Farside Gallery, Miami

February 5 – March 30, 2014
Opening Reception: Saturday, February 22
7 to 9 p.m.

Farside Gallery
1305 Galloway Road (87th Avenue),
Miami, FL 33174

In 1926, El Lissitzky designed the Abstrakt Kabinett for the Hanover Museum. The spectator, conceived as an active participant in the staging of a modern aesthetic, moved through a changing but perfectly complete environment: The angle of the point of view fused with the total vision, a vision in which the seeing subject, the modern spectator, was in possession of an ordered, progressive and universal visual language. (On Abstract Art, Briony Fer (1997, 2000).

The exhibition Human, so human migrates across media including installation, sculpture, photography, prints, collages and video. For this, the exhibition takes the cue from a seminal phrase, “Is better to be an artwork than to be an artist” by Friedrich Nietzsche after which the show paraphrases its name. It results in a multiple groupings of objects both found and fabricated to construct internal relationships.

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thumbnail Feb 18

Anthony Goicolea, Carlos Garaicoa and Diango Hernández in group show: THE MARVELOUS REAL, at the Museum of Contemporary Art, Tokyo, Japan

February 15 – May 11, 2014

MUSEUM OF CONTEMPORARY ART TOKYO
4-1-1 Miyoshi,
Koto-ku, Tokyo 135-0022 Japan

The Marvelous Real
Contemporary Spanish and Latin American Art from The MUSAC Collection

To commemorate 400 years since the Keicho diplomatic mission from Japan to Spain, a wide-ranging program of events is being held in 2013 and 2014 under the banner of celebrating the “400th Anniversary of Japan-Spain Relations.” As part of this program, the Museum of Contemporary Art Tokyo, the Museo de Arte Contemporáneo de Castilla y León (MUSAC) and Acción Cultural Española (AC/E) are presenting “The Marvelous Real,” an exhibition featuring the works of 27 artists selected from the collection of the Museo de Arte Contemporáneo de Castilla y León (MUSAC), which focuses on Spanish works from the 1990s to the present day.

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thumbnail Feb 17

Enrique Martínez Celaya: A Prolific Journey with a Bright Future

By Saida Santana

Azure

In the oeuvre of this Cuban American artist, the fine line between art, philosophy, literature and religion is blurred, almost nonexistent. The complexity of his works will be on view this February at Andersson/Sandström Gallery in Umeå, Sweden.

Artist Enrique Martínez Celaya incorporates multiple media to express his vision of art and life: painting, sculpture, photography or writing. These disciplines are intertwined in particular contexts or environments, in which the line that separates art, philosophy, literature and religion almost seems to disappear. From February 2 to March 7, the complexity of his oeuvre will be displayed at Andersson/Sandström Gallery in Umeå, Sweden, in the exhibition titled A Wasted Journey, A Half-Finished Blaze.

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thumbnail Feb 16

JOSÉ BEDIA: Recurrencia del animal solitario, at Fundación Iturria, Montevideo, Uruguay

December 2013 – February 2014

FUNDACIÓN ITURRIA
Schroeder 6514 – Montevideo
598 26018082
Artists’ Colony “Rosario Oriental” –
Rosario, Colonia Uruguay

http://iturria.com.uy/fundacion-turria/

JOSÉ BEDIA (Havana, 1959) began his artistic education in 1972 at the Escuela de Bellas Artes San Alejandro, and graduated from Havana’s Instituto Superior de Arte in 1981. He represented Cuba in important Biennales, and his art is all over the world in the best museums and international galleries. He has also travelled around the world, with special interest in the Afro and Amerindian cultures, investigating in the least contacted areas of Perú, México, Kenya, Uganda, Congo and Angola, among many other destinations.

….

On this occasion, his travels take him to Uruguay, a country that doesn’t share much with his usual destinations: Uruguay hosts no jungles, native tribes or primitive rituals, nor great mountains or vast deserts.  Instead, it is known for its moderation in every sense of the word: geographical, climatic, social, cultural, political and economical, and certainly doesn’t seem, at first sight, as a profitable trip for the art of Bedia.

 

 

 

 

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thumbnail Feb 16

Felix Gonzalez-Torres in group show Legacy: The Emily Fisher Landau Collection, at Grand Rapids Art Museum, MI

 February 2 – April 27, 2014

Grand Rapids Art Museum
101 Monroe Center NW
Grand Rapids, MI 49503
 

These are the bold, contemporary, and controversial artists who defined the art of our era. These artists took risks stylistically, thematically, conceptually, and pushed the very boundaries of art.

…..

Drawn from Emily Fisher Landau’s spectacular donation of over 400 modern and contemporary works of art to the Whitney Museum of American Art, this exhibition of 80 works traces the themes and ideas that have shaped art since the late 1960s—abstraction, conceptualism, postmodernism, questions about the relevance of painting in the aftermath of minimalism, debates about representation, “culture wars,” and a revived interest in personal narratives.

Legacy also illuminates the sociopolitical issues at the forefront of the 1980s downtown New York scene. Important works by Felix Gonzalez-Torres, Robert Mapplethorpe, Peter Hujar, Nan Goldin, Keith Haring, David Wojnarowicz, and Lorna Simpson tackle tough subject matter, including AIDS, politics, and gender and race issues.

 

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thumbnail Feb 14

The Cuban American Phototheque of Miami Presents Ivan Canas’ Artist Talk, Miami

Saturday, February 15 at 7 p.m

 

The Cuban American Phototheque
4260 SW 74 Ave
the Bird Road Art District 
Miami, Florida 33155

The Cuban born photographer Ivan Cañas began his professional career in the 60s, but the protagonists of his personal work were never the leaders of the so called Cuban Revolution that produced thousands of images published all around the world. Although the photographer took with expertise the images requested by the editors of the magazine he worked on, the creator kept always some film to satisfy his personal vision of the everyday life in Cuba.

The Cuban American Phototheque will hold an Artist Talk next Saturday, February 15 at 7 p.m., the occasion of the current exhibition Ivan Canas: A Retrospective. Cuban Art specialist Ileana Fuentes and Willy Castellanos will be talking with artist Ivan Cañas providing diverse viewpoints about the photographer’s work and his role in the Cuban Art made in and outside the island. The photographer will be available to answer the public questions and share his memories with the audience.

 

 

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thumbnail Feb 14

Gustavo Acosta, Carlos Estevez, Gory, Ruben Torres-Llorca in Made in Miami, at Pan American Art Projects, Miami

February 14-April 19, 2014

Pan American Art Projects
2450 NW 2nd Avenue
Miami, FL 33127

Pan American Art Projects is very pleased to announce our next exhibition, Made in Miami. Since the insertion of Art Basel Miami Beach in 2002 the city has become a hub for contemporary art, resulting in a huge influx of artists and galleries here in the past ten years. This interest in art has also extended to the creation of several new institutions such as the Frost Museum at the Florida International University, and more recently the Perez Art Museum Miami.

The artists in this exhibition are Gustavo Acosta, Edouard Duval-Carrié, Carlos Estévez and Carolina Sardi; they all call Miami home and have been based in the city through its evolution into a cultural hub. They all came to Miami from abroad (Carolina Sardi from Argentina, Gustavo Acosta and Carlos Estevez from Cuba and Edouard Duval Carrie from Haiti) and had already reached international acclaim before settling here which is a testament to the draw that Miami has with its rich cultural panorama.

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thumbnail Feb 14

Spirit Migration: the flowing, the fleeting, the spectral, at BrutEdge Gallery, Newark, NJ

Until February 23, 2014

BrutEdge Gallery  
Mana Contemporary Arts Complex, Space 574.
888 Newark Avenue, Jersey City, NJ 07306.

Ebbing between existential angst and glimmers of that which endures beyond us, art that attempts to represent that supernatural domain just beyond reach is universally recognized as part and parcel of the very impetus to create. In the Caribbean especially, where cultures have crashed together, battled and become an assemblage of disparate ideas and customs – it is religious or spiritual art that challenges viewers most directly with representations of the sacred and the profane.

A spectre of the sacred often haunts contemporary afro-caribbean art, whether by directly aspiring to represent a spiritual ideal allegorically or by virtue of reminding us through the use of materials that the profane sphere, that of everyday human experience, is mostly devoted to the pursuit of worldly desires. These desires represented by materials encoded from their previous purposes, now coated with the residues of decay, destruction and the passage of time, function as memento mori. It is this interpenetration of the sacred and the profane – as a flowing, fleeting and spectral experience that this exhibit highlights with a selection works of Haitian and Cuban artists.

 

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Walking in Someone Else’s shoes (Identities in Transit)” at Aluna Art Foundation, Miami

Until Febrary 25, 2014

Aluna Art Foundation

172-b West Flagler Street,
Miami, Fl.33130

The exhibition “Walking in Someone Else’s shoes (Identities in Transit)” at Aluna Art Foundation in Miami, gathers together a group of contemporary works that revolve around the transhumance as a method, and that reflect the restless landscape of individuals and communities who walk in turbulent times.
Many works include the concrete representation of the shoe and a poetry of it which is linked to individual transit, to intimate forms of memory, and last but not least to the course of collective history, including the migration routes, and the traces of exodus or a psycho-geographic vision of the scenery of disappearances.

The participant artists are Graciela Sacco (Argentina), Patricio Reig (Argentina/España), Marina Font (Argentina/USA), Roberto Huarcaya (Peru), Cecilia Paredes (Peru/USA), Luis F. Peláez (Colombia), Linda Pongutá (Colombia), Luis Roldán (Colombia/USA), Manuel Zapata (Colombia/USA), Andrés Michelena (Venezuela/USA), Felipe Ehrenberg (México/Brazil), Mario Bellatín (Peru/ Mexico), Regina José Galindo (Guatemala), Ronald Morán (Salvador), Walterio Iraheta (Salvador), Antuan (Cuba/USA), Humberto Castro (Cuba/USA), Willy Castellanos (Cuba/USA), Gustavo Gavilondo (Cuba/USA), Hugo Moro (Cuba/USA), Debra Holt (USA), Patricia Schnall Gutiérrez (USA), Alexandra Rowley (USA), y Xavier G-Solis (Spain).

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