8 CENTURIES OF MEXICAN COLORS - TANIA CANDIANA AT THE JUMEX MUSEUM

This solo show, by one of the most recognized contemporary artists in Colombia, is made up of unseen works made specifically for this project. In Visceral, Luz Lizarazo (Bogotá, 1966) consolidates her work around the body as a living territory in which all forms of memory are registered. The selection of works exhibited serves as a prelude to the retrospective that she will have from August in the Museum of Modern Art of Bogotá (MamBo), curated by the Italian Eugenio Viola, the museum’s chief curator.

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.

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.

The group show runs until August 26 at the laNao space in La Condesa, Mexico City. Curated by Manuel Sentíes, COMERSE EL OJO (TO EAT ONE’S EYE) revolves around painting. The artists Anaís Vasconcelos, Luis Figueroa, Lucas Lugarinho and Enrique López Llamas participate.

This solo show, by one of the most recognized contemporary artists in Colombia, is made up of unseen works made specifically for this project. In Visceral, Luz Lizarazo (Bogotá, 1966) consolidates her work around the body as a living territory in which all forms of memory are registered. The selection of works exhibited serves as a prelude to the retrospective that she will have from August in the Museum of Modern Art of Bogotá (MamBo), curated by the Italian Eugenio Viola, the museum’s chief curator.

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.

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.

The group show runs until August 26 at the laNao space in La Condesa, Mexico City. Curated by Manuel Sentíes, COMERSE EL OJO (TO EAT ONE’S EYE) revolves around painting. The artists Anaís Vasconcelos, Luis Figueroa, Lucas Lugarinho and Enrique López Llamas participate.

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.

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.

The group show runs until August 26 at the laNao space in La Condesa, Mexico City. Curated by Manuel Sentíes, COMERSE EL OJO (TO EAT ONE’S EYE) revolves around painting. The artists Anaís Vasconcelos, Luis Figueroa, Lucas Lugarinho and Enrique López Llamas participate.

This solo show, by one of the most recognized contemporary artists in Colombia, is made up of unseen works made specifically for this project. In Visceral, Luz Lizarazo (Bogotá, 1966) consolidates her work around the body as a living territory in which all forms of memory are registered. The selection of works exhibited serves as a prelude to the retrospective that she will have from August in the Museum of Modern Art of Bogotá (MamBo), curated by the Italian Eugenio Viola, the museum’s chief curator.

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.

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.

The group show runs until August 26 at the laNao space in La Condesa, Mexico City. Curated by Manuel Sentíes, COMERSE EL OJO (TO EAT ONE’S EYE) revolves around painting. The artists Anaís Vasconcelos, Luis Figueroa, Lucas Lugarinho and Enrique López Llamas participate.

This solo show, by one of the most recognized contemporary artists in Colombia, is made up of unseen works made specifically for this project. In Visceral, Luz Lizarazo (Bogotá, 1966) consolidates her work around the body as a living territory in which all forms of memory are registered. The selection of works exhibited serves as a prelude to the retrospective that she will have from August in the Museum of Modern Art of Bogotá (MamBo), curated by the Italian Eugenio Viola, the museum’s chief curator.

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.

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.

The group show runs until August 26 at the laNao space in La Condesa, Mexico City. Curated by Manuel Sentíes, COMERSE EL OJO (TO EAT ONE’S EYE) revolves around painting. The artists Anaís Vasconcelos, Luis Figueroa, Lucas Lugarinho and Enrique López Llamas participate.