News

Power Station of Art (Shanghai) and the Fondation Cartier pour l’art contemporain (Paris) present the exhibition Trees. With more than 200 artworks from over 30 artists from China, Latin America, India, Iran and Europe, the exhibition celebrates trees and their influence on contemporary art.

Art Focus – Association of Art Galleries of the Americas, exhibits Ecological , which brings together works by artists in different geographies who reflect and provide different approaches to one concern: the environment.

The Institut Valencià d'Art Modern (IVAM) exhibits works by the British artist of Palestinian origin after she was awarded the Julio González Prize 2020 by the Generalitat Valenciana. The show gathers together a selection of sculptures, large-scale installations and works on paper created mostly in the last two decades. It is intended to serve as a tribute to an artistic oeuvre of great diversity and significance, presenting key works that have become iconic pieces of the contemporary art world.

The Museum of Modern Art Bogota presents I dreamt the landscape was looking at me, by Jessica Mitrani in in collaboration with Alex Czetwertynski. It is optical device that invites the viewer on a hypnotic journey suspended between reality and fiction, personal and public, resulting in a spontaneous and non-linear narrative.

Known for their fantastical and improvisational approach to puppetry, Poncilí Creación is an art collective composed of identical twin brothers Pablo and Efrain Del Hierro who describe their practice as “speculative alchemy.” For their newly commissioned performance Somxs Podemx, the group takes to the streets for a durational progression across the neighborhoods of San Juan, the duo’s hometown and where they have been in quarantine during the global pandemic.

Planned to be presented in-person, ARCOlisboa will now take place in a virtual-only format on its ARCO E-XHIBITIONS platform.

Organized in celebration of the Rose’s 60th anniversary, the exhibition re: collections, Six Decades at the Rose Art Museum highlights the Rose’s radical roots while showcasing the potential for future transformations. Following the example of artists featured in the exhibition, re: collections challenges art historical conventions and cultural hierarchies by charting alternative genealogies that link artworks drawn from the museum’s stellar permanent collection.

The General Council of the MACBA Consortium has appointed her as the new director, valuing her contribution of “an innovative look at the role of the museum on the local and international scene, also incorporating a clear desire to connect with contemporary debates on the role of art in this beginning of the century, without avoiding a clear commitment to the social problems that surround cultural institutions”.

The world famous photography art fair announces the participation of 177 exhibitors from 25 countries for its 24th edition at the Grand Palais Ephémère in Paris. Alongside the usual Main Sector, Paris Photo presents Curiosa, dedicated to emerging creation, and Elles x Paris Photo, focused on the visibility of women photographers.

Three recent works by Cecilia Bengolea (b. 1979, Buenos Aires) are featured. She is a multidisciplinary artist whose practice merges video, choreography, and sculpture. Following the thread of water and movement flows, this exhibition presents a selection of works where the artist’s reflection on dance, the sensorial interplay between the body’s interiority and its surroundings, as well as the rhythmical relations of social communities and nature, symptomatically manifest through the choreographic language.

Featuring approximately 50 works by Latin American and Caribbean artists of Asian heritage, the exhibition explores the way in which Asian immigration influenced modern and contemporary art. No Ocean Between Us is permeated by a common theme of inclusiveness across ethnic identities and geographic backgrounds.

Conceived as an exhibition project in progress, with an essential educational aspect, the exhibition A recent art history (1960-2020), brings together two complementary and consecutive art collections - that of the Juan March Foundation and that of DKV Seguros - in the two museums of the Juan March Foundation, the Cuenca Museum of Abstract Art and the Juan March Foundation Museum in Palma.

Guest curated by independent curator and art historian Cecilia Fajardo-Hill and produced by ANOTHER SPACE, the exhibition examines the dynamics of exclusion and violence affecting Latinx and Latin Americans, as well as artists’ strategies to embody justice and creative and personal freedom. Featuring artists from twelve different countries, diverse ethnicities, and multiple generations in a conversation around three intersecting themes: affectivity, justice and self/being

Reactivating the market, promoting art sales and bringing about a reunion between contemporary art professionals have been the objectives that have driven the organization of this edition of ARCOmadrid 2021. These objectives have centered IFEMA MADRID's commitment to reanimate this essential event for boosting the art business, attracting great collectors from all over the world and discussing the immediate future of art. All of which lies on the essential axes of this edition: quality of the contents, internationality and presence of collectors.

The Argentine curator, with experience in renowned museums such as the Moderno in Buenos Aires and Malba, joins the arteBA team.

Overcoming the distances and obstacles created by the global crisis, Latin American art continues to stand strong. With a specially designed section -REMITENTE-, created in collaboration with Mariano Mayer, ARCO is witness of a strong latin protagonism.

The 36-year-old Peruvian artist presented 'Papapatriarchy', an irony to the representation of the patriarchal figure that constitutes a reflection on the personal experiences of hers and many other women.

Her work De dos cuerpos vengo (From two bodies I come) has been chosen by an international jury of experts among the five finalist proposals that are exhibited these days at ARCOmadrid 2021. Antonio Fernández Alvira, Fernando García, Juan López and Belén Rodríguez, have been the other four creators who have been part of the fifth edition of this award

As a novelty this year, the presence of Latin America takes a different role and adjusted to reality. ARCOmadrid incorporates the REMITENTE. Latin American Art section, produced with the complicity of Mariano Mayer. The proposal shows the importance of Latin American art at the Fair and its essence is to facilitate and support the galleries that this time cannot travel to Madrid.

As a novelty this year, the presence of Latin America takes a different role and adjusted to reality. ARCOmadrid incorporates the section REMITENTE. Latin American Art, produced with the complicity of Mariano Mayer. The proposal shows the importance of Latin American art in the Fair and its essence is to facilitate and support the galleries that this time cannot travel to Madrid.

The Maria and Armando Cabral Collection, the Eulogio Sánchez Collection and the "la Caixa" Foundation Contemporary Art Collection have been awarded on this occasion for their artistic value and work in supporting the dissemination of contemporary art.

A lavish, satirical and vertigo-inducing meditation on the Hollywood ‘Dream Factory,’ Heaven’s Gate is a work of digital psychedelia employing the same state-of-the-art computer compositing technology as the films it references. On view at the Pérez Art Museum Miami until early 2022.

The Good Neighbour, the Canadian artist’s solo show in Americas Society, is focused on his relationship with Mexico since the early 1990s. The exhibition offers an overview of his work from his arrival in Mexico City in 1993 to his involvement with the city’s bustling international art scene, dubbed the “multinational Mexican underground” by Olivier Debroise.

Part of the “Normal Exceptions” solo shows programme, La Restauradora (The Restorer)  tells the story of Mexico City over 800 years from the geographic perspective of a location at the city’s heart.

Within the ambitious Collection reorganization that the Reina Sofía Museum is carrying out, the nucleus Los enemigos de la poesía: Resistencias en América Latina (The enemies of poetry: Resistances in Latin America) is presented, focused on Latin art produced between 1964 and 1987 and its relationship with Spain. The political transformations of the time and the appearance of new artistic practices, such as mail art, favored a series of transcendental exchanges for the future of contemporary art.

American artist Deana Lawson produces portraits of contemporary Black life that are meticulously staged yet profoundly intimate. Deana Lawson’s solo exhibition at the Kunsthalle Basel (Basel, Switzerland) takes place as one of the international collaborations of the 34th Bienal de São Paulo's - Faz escuro mas eu canto (Though it’s dark, still I sing)

The artworks draw on visual, cultural, and mythological cues informed by feminism, decolonialism and the artist’s personal and familial histories, while simultaneously engaging with the biodiversity, geology, and dark skies of Far West Texas. The sky was particularly striking for Huanca–animated with cosmic and extraterrestrial forces while also revealing the natural rhythms of the sun and moon. ESPEJO QUEMADA is curated by Daisy Nam, Ballroom Marfa curator.

Commissioned by Liverpool Biennial with support from Amalia Amoedo and Érica Roberts, Bianchi’s works and immersive installation create a locus where the organic is estranged and the industrial is anthromorphic.  

Organized by the Museo Reina Sofía and curated by Manuel Borja-Villel, the exhibition proposes a scheme where each canvas maintains its own autonomy as a work of art, but also remains in close connection with the rest of the pieces, in a kind of evocative ecosystem of climatic, sensory and emotional experiences. In this sense, Suter's canvases hang, without a frame, in installations that seek an immediate relationship with the architectural and natural space, while inevitably referring to the environment in which they were created.

The exhibition aims to explore the influence of Iberian art in Pablo Picasso’s oeuvre through more tan 200 pieces. Organised with the Musée national Picasso-Paris and curated by Cécile Godefroy and Roberto Ontañón Peredo, this stimulating, original exhibition invites visitors to reflect on how the discovery of a native, “primitive”, art shaped the artistic language and identity of one of the greatest artists in the twentieth century.