EMILIA DE LAS CARRERAS, THE ARTIST WHO PRACTICES FICTIONAL TAXIDERMY
Just as Emilia de las Carreras (Buenos Aires, 1989) looks at the hermit crab and understands that leaving a mark means that life leaves marks on you too, engaging with her artistic practice inevitably means that little crusts of her narrative stick to us: the methodology she works with, her intuition as a collector, her thinking of the body as geology, her obsessions, her skeletal and exoskeletal sculptures. The artist's work explores bodies and their remains through a visual and sensory operation crossed with scientific research and self-knowledge, giving shape to pieces that evoke an intersection of the archaeological, the clinical, and the speculative. Her approach to art could easily fill dozens of pages; this is only one chapter.
THE DUTCH PAVILION AND A PERFORMANCE OF CONTRASTS IN VENICE
An orderly, Dutch line. A pavilion, white, tall and closed. We were given generic instructions: no filming, keep silent, respect the tempo of the piece. All the visitors entered together and we followed the implicit choreography, finding where to place ourselves in the space. There is something terribly solemn in performances that make room for waiting, that builds tension.
MASP PRESENTS INTERNATIONAL GROUP EXHIBITION “HISTÓRIAS LATINO-AMERICANAS”
Spanning five floors of the Pietro Maria Bardi Building, the exhibition brings together works by 148 artists, including previously unseen works, to examine how the idea of Latin America was constructed and continues to be contested today.
VENTANA GALERÍA PRESENTS “CORPORALIDADES” AT CANTRAL NEWBERY
The third edition of the curatorial cycle El amor puede funcionar brings together works by Jovita Kelmelmajer, Matías Jesús Funes, Romina Cruz, and guest artist Carla Fonseca.
SANDRA GAMARRA HESHIKI CONNECTS CIVIC PROTEST AND COLONIAL HISTORY IN HER NEW SHOW IN LIMA
Construction of Events brings together Andean ceramics, archival appropriation, and clay mural painting at the Museo de Arte Contemporáneo de Lima, tracing an arc of over four centuries of Peruvian history.
TANIA CANDIANI, LEÓN FERRARI AND SARA FLORES: THREE PARALLEL SHOWS IN ARDEZ
On view through August 31 in proyectoamil, the program spans video, sculpture, and painting shaped by ritual, material experimentation, and ancestral knowledge systems.
LONDON JUST GOT A NEW HOME FOR LATIN AMERICAN ART
Founded by Brazilian collector Flavia Nespatti, ANTESALA opens its doors on October in Fitzrovia with the inaugural group show Assembly Lines.
ESTRANGEMENT AND ANTICIPATION: ORNELLA POCETTI AND IVANA DE VIVANCO AT MACBA
The Museo de Arte Contemporáneo de Buenos Aires (MACBA) presented the work of two women artists. In ¿Cómo suenan las lágrimas antes de secarse? (What Do Tears Sound Like Before They Dry?), Ivana de Vivanco builds a warning. Snakes, with their capacity to sense catastrophe. In Curada de espanto (Cured of Fright), Ornella Pocetti brings together scenes that hold a story that never fully reveals itself. Both artists hold the abyss steady through anticipation and the suspicion of an estrangement. All you have to do is pay attention.
SOFÍA MULJAT'S WORK IS A TUG-OF-WAR OF CORNERED INTENTIONS
At Casa Santa Ana, Panama, the Argentine artist presents Este rincón, mi rincón through September of this year, a show that stirs a desire to sense in the air traces of vanquished scenes, as Muljat paints them.
PAMM INVESTIGATES CARIBBEAN PERFORMANCE ART PRACTICES AND THEIR DIASPORAS IN “BEYOND REPRESENTATION”
The ongoing project, curated by Iberia Pérez González and presented by the museum's Caribbean Cultural Institute, combines live art events with a digital video-performance platform.
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