#contemporarylatinamericanart

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(Lygia Pape, Visual Poems | Blood Tongue, 1968. Photo: Tongue, blood; 2nd Image Eat Me: Gluttony or Lust?, 1975, The midia and erotic images; 35mm, 16mm, cor, 9', vídeo; Images © Lygia Pape)

Lygia Pape: 

“Was born in Nova Friburgo, Rio de Janeiro, Brazil. Lygia Pape worked in sculpture, engraving, and filmmaking. She was an influential Brazilian artist, active in both the Concrete and Neo-Concrete Movement in Brazil during the 1950s and 1960s. Later on in the 1960s and 1970s, Pape produced more videos and installations using sarcastic and critical metaphors against the Brazilian dictatorship. From the 1980s onward, these metaphors became more subtle. Her artwork seems to have worked as a vehicle for existential, sensorial, and psychological life experiences, much of it based in geometry and relying on both the intellectual and physical participation of the viewer.”

Bio by the Tate

http://www.tate.org.uk/art/artists/lygia-pape-14433

https://www.theguardian.com/artanddesign/2011/dec/07/lygia-pape-serpentine-retrospective

https://hyperallergic.com/368222/channeling-lygia-papes-radical-relationship-to-space/

http://lygiapape.org.br/en/lygia.php

[renata-fernandez]

LAST CHANCE TO BID Paddle8 online auction #healingvenezuela Live link in bio. . . . . . @healingvenezuela @maddoxarts @hffanewyork . . . . . #renatafernandez #maddoxarts #healingvenezuela #henriquefarianewyork #paddle8 #paddle8auction #contemporaryart #latinamericanart #contemporarylatinamericanart #crisishumanitaria #crisishumanitariaenvenezuela (at Maddox Arts)

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(Image Caption: Paulo Bruscky, Performance view of What is art? What is it for? (O que é arte? Para que serve?), 1978. Recife, Brazil; Image Credit: Photo by Angelo José. Images courtesy of the artist and Galería Nara Roesler. Second Image Caption: Paulo Bruscky, Homage to Fluxus, 2001. Offset ed 1/1. 21,5 x 33 cm." Image Credit: Image courtesy of the artists and Bronx Museum )

Artist: Paulo Bruscky

“Paulo Bruscky was born in Recife, in northeastern Brazil, in 1949. He came of age during the darkest time in his nation’s history, witnessing the 1964 military coup that instigated more than 20 years of dictatorial oppression and ruthless attacks by the military regime on insurgents as well as anyone deemed “subversive.” Nevertheless, he has always operated under the utopian vision that art has the potential to instigate social change, and in his multifaceted works he consistently challenges the socio-political status quo.

One of the world’s first artists to manipulate the xerox machine as an aesthetic device, Bruscky is also a mail artist, poet, creator of artist’s books, inventor, performance artist, photographer, and filmmaker. He has played a critical role in bringing major international artistic movements to Brazil, including Fluxus, mail art, and performance art. Throughout his career, he has produced artworks inspired by everyday experiences that challenge audiences to think about how the world unfolds around them. He has continuously addressed the anonymity and alienation of the individual in the urban landscape, countering that experience with humor, irony, and caustic wit.” 

-Excerpt via Bronx Museum

-http://www.bronxmuseum.org/exhibitions/paulo-bruscky

-http://bombmagazine.org/article/7335/paulo-bruscky

[contemporarylatinamericanart]

(Image Caption: Naufus Ramirez-Fgueroa, Rainbow Action, “ 2012, Performance. Casa América, Madrid; Image Credit:  Photo Courtesy of the artist; Second Image Credit: Naufus Ramirez-Fgueroa, Beber y leer el Arco iris, 2012, Papier-mâché sculptures. Casa América, Madrid; Image Credit: Photo Courtesy of the artist)

Artist: Naufus Ramírez-Figueroa

“Dripping stripes of red, orange, yellow, green, blue, indigo, and violet add vivid color to artist Naufus Ramirez-Figueroa's arched and nude body. In this performance called "Rainbow Action" (2011), the artist uses a pure and joyous symbol, the rainbow, to represent the utopian, Leftist dreams that were once a part of his childhood. Underneath these dreams is the reality of a civil war that has shaped his home country of Guatemala since before his birth until today. Through performances like these and much installation work, the artist portrays the complexity of his experience during the war, and in particular his life as a child refugee in Canada. By drawing on color, humor, and fantasy, Ramirez-Figueroa is contributing to a very present national conversation about the social and political consequences of the decades-long war between 1960-1996.”

-Excerpt by Betty Marin via KCET

Interview - https://youtu.be/YVGuP71Q6dk

https://www.kcet.org/shows/artbound/naufus-ramirez-figueroas-color-and-tone-metaphors

http://bombmagazine.org/article/6572229/naufus-ram-rez-figueroa

[contemporarylatinamericanart]

(Image Caption: Shibboleth, The Unilever Series, Tate Modern, London. 9 October 2007 - 24 March 2008; Image credit: Second Image courtesy of MCA, Chicago; © Doris Salcedo)

Artist: Doris Salcedo

“Salcedo’s work gives form to pain, trauma, and loss, while creating space for individual and collective mourning. These themes stem from her own personal history. Members of her own family were among the many people who have disappeared in politically troubled Colombia. Much of her work deals with the fact that, while the death of a loved one can be mourned, their disappearance leaves an unbearable emptiness.

Doris Salcedo is the eighth artist to have been commissioned to produce work for the turbine hall of the Tate Modern gallery in London. Her piece, Shibboleth (2007), is a 167-metre-long crack in the hall's floor that Salcedo says "represents borders, the experience of immigrants, the experience of segregation, the experience of racial hatred. It is the experience of a Third World person coming into the heart of Europe.”

-Artist bio excerpt provided by the Tate

http://www.tate.org.uk/art/artists/doris-salcedo-2695

http://whitecube.com/artists/doris_salcedo/

http://www3.mcachicago.org/2015/salcedo/works/shibboleth/

[contemporarylatinamericanart]

(Image Caption: Dialogue in Transit as part of AMBOS (Art Made Between Opposite Sides); Image Credit: photo courtesy of Artists. © Cog•nate Collective)

Artists: Cog•nate Collective (Misael Diaz and Amy Sanchez)

About Cog•nate Collective:  [They are] “a binational arts collective whose goal became to alter the passive engagement with the experience of crossing, to take advantage of the opportunity inhabiting the space provides to engage in dialogue with others, and to imagine new forms of social, civic and cultural engagement in transit.”

-From an interview with KCET

https://www.kcet.org/shows/artbound/borderblaster-cognate-collective-border-line-broadcasts

About Dialogue in Transit: “This special iteration of Dialogue in Transit organized as part of AMBOS (Art Made Between Opposite Sides), invited artists, researchers and activists from Los Angeles, San Diego and Tijuana to reflect on trans-border dynamics shaping the lives of communities in the greater Baja / Alta California border region. Each conversation took place inside of the cog•nate cruiser, as we waited in line to cross the border, and was live-broadcast over hyper-local pirate radio at the San Ysidro Port of Entry on 87.9 FM.”

-Artists’ description of the work

Dialogue in Transit - Conversation with Rafa Esparza:  https://soundcloud.com/cognate/dialogue-in-transit-border-counternarratives-rafa-esparza

Cog•nate Collective Website: http://www.cognatecollective.com/info-en.html

[contemporarylatinamericanart]

(Image Caption: Sciame di Dirigibili, 2009. Image Credit: Courtesy of the Artist and Labor gallery. © Héctor Zamora)

Artist: Héctor Zamora

“El trabajo de Héctor Zamora trasciende al espacio expositivo convencional, reinventándolo, redefiniéndolo, generando fricción entre los roles comunes de lo público y privado, exterior e interior, orgánico y geométrico, salvaje y metódico, real e imaginario.

A partir de su pericia técnica y conocimiento de la arquitectura de estructuras ligeras, y un énfasis meticuloso en el proceso de conceptualización y construcción de cada pieza, Zamora involucra la participación del espectador y le exige cuestionar los usos cotidianos de materiales y las funciones del espacio.”

-Excerpt text via Labor gallery

“The work of Héctor Zamora transcends the traditional exhibition space-- It reinvents, redefines, and generates tension between the familiar roles of the public and private, exterior and interior, organic and geometric, wild and methodical, real and imaginary. 

On top of his technical expertise and knowledge of lightweight structures, and a meticulous emphasis on the process of conceptualization and construction of every piece, Zamora involves the participation of the viewer and requires them to question the use of everyday materials and the functions of the space.” 

-Translated by me. 

http://www.lsd.com.mx/index

http://www.labor.org.mx/hector-zamora/

[contemporarylatinamericanart]

(Image caption: Catálogo de la exposición Galería de Arte, Lima (con el Museo de Arte borrado), 1970. Inkjet on cotton paper. 53.5 x 50 cm. Edition 1/10; Image credit: Courtesy of Artist, Museo de Arte de Lima, Henrique Faria gallery. © Emilio Hernández Saavedra) 

Artist: Emilio Hernández Saavedra

“Saavedra managed to capture one of the critical nodes of the artistic process in Peru at that moment: the absence of a Museum of Modern Art and, as an extension of that same idea, of any sort of institutionality in Peru (it should be reminded that from 1968 to 1979 the country was subject to a military dictatorship). This catalog, which serves as the support for an image that features an empty space where the building that houses the current Museo de Arte de Lima should be, creates an open graphic irony in which the building’s “erasure” stands for the obliteration of more than one aspect of the local reality. Turning a minimal graphic gesture into a powerful declaration, Hernández Saavedra, at that time a “pop artist” who also worked with conceptualism, went beyond the institutional void and made the catalog –a key support for the museological institution– the basis of his proposal.”

-Curatorial Text excerpt provided Museo de Arte de Lima

https://www.google.com/culturalinstitute/beta/asset/the-erased-museum-of-art/5gE6lyfV74h-Cg

MALI: http://190.12.86.155/coleccionvirtual/view/people/asitem/search@/0?t:state:flow=f2e46b74-4780-4e46-89d6-0d2194d9a6a8

[renata-fernandez]

LAST CHANCE TO BID Paddle8 online auction #healingvenezuela Live link in bio. . . . . . @healingvenezuela @maddoxarts @hffanewyork . . . . . #renatafernandez #maddoxarts #healingvenezuela #henriquefarianewyork #paddle8 #paddle8auction #contemporaryart #latinamericanart #contemporarylatinamericanart #crisishumanitaria #crisishumanitariaenvenezuela LAST CHANCE TO BID Paddle8 online auction #healingvenezuela Live link in bio. . . . . . @healingvenezuela @maddoxarts @hffanewyork . . . . . #renatafernandez #maddoxarts #healingvenezuela #henriquefarianewyork #paddle8 #paddle8auction #contemporaryart #latinamericanart #contemporarylatinamericanart #crisishumanitaria #crisishumanitariaenvenezuela (at Maddox Arts)

[contemporarylatinamericanart]

(First Image: Afro Charlie. 2009 Instalación. Figura de una adolescente a tamaño real, tallada en madera policromada, patineta y dibujo al carbón sobre pared. Courtesy of the artist. © Jorge Pineda) (Second Image: Mambrù, 2005. Courtesy of the artist. © Jorge Pineda)

Artist: Jorge Pineda

“I am very affected by the social reality that surrounds me. Every day I have to deal with the roughness of a society affected by serious social problems, particularly concerning children and elderly people. My sensitivity to these issues is manifested in my art, somehow, in an unconscious way. My art does not have an explicit message about how things should be. I try to play the role of a photographer who captures an image and obliges the public to think about it. Maybe spectators will feel the responsibility of doing something to change things for the better.“

-Jorge Pineda (excerpt taken from an interview)

http://myartguides.com/posts/interviews/interview-with-jorge-pineda/

https://bombmagazine.org/articles/jorge-pineda/

[contemporarylatinamericanart]

(Image caption: LITEMPO, 2013. Installation. Image credit: Courtesy of Artist and Mor Charpentier. Work © Voluspa Jarpa) 

Artist: Voluspa Jarpa

“Jarpa’s installations, painting and sculptures have focused on political events in Chilean history. Her projects are usually based on a long process of prior investigation.Over the last 13 years Jarpa’s interest has centered on the use of archives as material for her works, specifically declassified CIA (Central Intelligence Agency) archives which she approaches from the perspective of national history, including events that have been concealed from the country since the time of the military dictatorship. She also represents the archives pictorially, as whole sections of these files have been struck out (redacted), leaving black patches of different sizes and shapes which prevent the document from being read.”

-Text by Alexia Tala

-http://galeriaisabelaninat.cl/en/artista/voluspa-jarpa-en/

-http://www.mor-charpentier.com/artist/voluspa-jarpa/

[contemporarylatinamericanart]

(Image Caption: Collapsed (Once Extracted), 2006–2009. Installations, Concrete, steel, burlap, wood, dirt; 2nd Image Caption: Infracted Expansion, 2007. Eight wood pallets, bonding cement, wire mesh, burlap, rebar; Image Credit: CAM LA/ Courtesy of the Artist and Susanne Vielmetter gallery; Work ©Ruben Ochoa)

Artist: Ruben Ochoa

“For his materials, he turned to the building blocks of construction. In fact, Ochoa regularly hires professional ironworkers and other industrial laborers (some of them members of his own family) to create installations. “They often tell me, ‘You’re doing it wrong,’” he remarks. “They’ve been trained for years to think about how those materials come together to form structural integrity. I want integrity, but I want something else, too. I want them to feel more organic.”The work has a political aspect, too. Ochoa has long explored the ways in which municipal architecture can separate as much as unite....“I really started to think about how the built environment impacts a community,” he says. “What would the residents of some nice neighborhood do if they woke up and there was a wall there?”

- Excerpt text by Carolina A. Miranda (ARTNEWS)

http://www.artnews.com/2014/07/28/ruben-ochoas-concrete-poetry/

https://www.vielmetter.com/artists/ruben-ochoa/exhibitions/512/view.html

[contemporarylatinamericanart]

(Image Caption: Leviathon Thot. Installation shots at Pantheon, Paris. 2006; Image Credit: Courtesy of Artist and Tanya Bonakdar gallery; Work ©Ernest Neto)

Artist: Ernesto Neto

“Ernesto Neto has produced an influential body of work that explores constructions of social space and the natural world by inviting physical interaction and sensory experience. Drawing from Biomorphism and minimalist sculpture, along with Neo-concretism and other Brazilian vanguard movements of the 1960s & 70s, the artist both references and incorporates organic shapes and materials – spices, spices, sand and shells among them—that engage all five senses, producing a new type of sensory perception that renegotiates boundaries between artwork and viewer, the organic and manmade, the natural, spiritual and social worlds.”

-Excerpt text by Tanya Bonakdar Gallery

http://www.tanyabonakdargallery.com/artists/ernesto-neto

[contemporarylatinamericanart]

(Image Caption: Silueta series. Color photographs; Image Credit: Courtesy of Artist and MOCA; Work © Ana Mendieta)

Artist: Ana Mendieta

“Mendieta developed a personal fusion of performance and land art which she termed ‘earth-body work’ and ‘earth-body sculptures’. Her ephemeral landscape interventions, designed to survive only as photographs, are small in scale and firmly rooted to her female body. In a statement she wrote about her work in 1981, she explained: 

I have been carrying out a dialogue between the landscape and the female body (based on my own silhouette). I believe this has been a direct result of my having been torn from my homeland (Cuba) during my adolescence. I am overwhelmed by the feeling of having been cast from the womb (nature). My art is the way I re-establish the bonds that unite me to the universe. It is a return to the maternal source. Through my earth/body sculptures I become one with the earth ... “

-Excerpt by Tate museum

http://www.tate.org.uk/art/artworks/mendieta-untitled-silueta-series-mexico-t13356/text-summary

http://www.moca.org/artist/ana-mendieta

[contemporarylatinamericanart]

(Image caption: By Night, 2008. Mixed media on paper. 2 parts: 85.875 x 49.5 inches each; Image Credit: Courtesy of Artist and  Sikkema, Jenkins & Co.; Work © Arturo Herrera)

Artist: Arturo Herrera

“Utilizing fragments of imagery borrowed from popular culture, Arturo Herrera creates collages, felt sculptures, and wall paintings that lie on the shifting border between legibility and abstraction.”

-Excerpt from Sikkema, Jenkins & Co. gallery

http://sikkemajenkinsco.com/index.php?v=artist&artist=4eeccc3649fd4&thumbs=true&slideNum=2

http://www.thomasdanegallery.com/artists/41-arturo-herrera/works/

[contemporarylatinamericanart]

(Image Caption: Untitled, 2011. Photo collage and paint on paper. 111 x 52.25 inches; 2nd Image caption: The first shall B last and the last shall B first, 2006, ink, graphite, collage on paper. 20,08 x 29,92 in.; 3rd Image caption: Casco, 2008. Reclaimed photo collage on paper. 50 x 50.375 inches; Image Credit: Courtesy of Artist and Sikkema Jenkins & Co gallery; Work © William Cordova)

Artist: William Cordova

“William Cordova’s sculptures, installations and works on paper are very much bound up with his transcultural biography that took him from Lima, Peru, where he was born, via Miami, Florida, to the many other places where he has lived or spent time in the US and Europe. His sujets are drawn from a continuum of radical movements and players in struggles for self-determination. “Revealing the intersections between magical realism and social realism, he orchestrates collisions between ancient and recent histories, oral tradition and revolutionary texts to make way for an in-between, transitional, and ultimately transformative space.” 

-Rashida Bumbray

http://www.arndtfineart.com/website/artist_963?idx=c

http://sikkemajenkinsco.com/index.php?v=artist&artist=4eecdb96e9420