ADELA CASACUBERTA: MYCELIUM, FRAGMENTATION AND TRANSFORMATION
The Museo Nacional de Artes Visuales in Montevideo, Uruguay, presents the work of Mexican artist Adela Casacuberta. It is a site-specific installation Pink mushrooms in the museum's gardens and an exhibition of her most recent works.
Adela Casacuberta creates her landscape with an attentive look at the fungi kingdom and the role that networks play in the existence of life. The mycelium functions as a metaphor for collaborative problem solving and the exploration of new possibilities.
Adela Casacuberta's work has an imaginary relationship with visual aspects of natural processes, such as the appearance of a humidity stain or the fructification of a mycelium. The forms that proliferate in her work are the result of accumulation and stacking, and these processes are part of her explorations of the limits of painting.
Hongos rosados en los jardines del museo is a site-specific installation at the Museo Nacional de Artes Visuales in Montevideo with ceramic sculptures and mushrooms (Pleurotus djamor) sprouting from their hollows and protuberances. A work of a collaborative nature: from the modeling of the pieces to the fructification of the fungal bodies, it is made by a team together with volunteers.
In addition, the exhibition in Hall 2 of the museum presents new works made with the remains of previous works: six installations that take place in the rooms of a house. There is also a personal performance exercise -where the artist draws herself with her still movable hand- and approximations to painting, taking stains as a starting point.
In the artist's words: “A dialogue between the recurring themes of my work: self-fiction, self-portrait, deterioration, mycelium. I play with indications of natural processes such as humidity stains on surfaces or the fructification of fungal bodies. These investigations have given rise to ceramic installations and sculptures that evoke the emergence of life. I imagine them sprouting from a mycelium that spreads across the floor and walls of a place. Sometimes it travels long distances until it finds a new habitat. I use the mycelium metaphor to understand my fragmented body map. I explore the deterioration of my body through different media. I work with soil from different latitudes to emerge in other places. Explorations on painting and its limits have played an important role in my work. I think through color and its occurrence in the works”.
Adela Casacuberta (Mexico City, 1978) lives and works in Montevideo. She has been exhibiting her work individually and collectively since 2001. Her projects include Mímesis, which she has developed through solo exhibitions, residencies and tutorials in France, Mexico and Uruguay. She directed the curatorial studio Harto_espacio with which she produced exhibitions in Montevideo, Buenos Aires, Bogota, Mexico City and Prague. She belongs to the collective Sur-Sur made up of artists from Argentina, Australia and Uruguay.
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DÉBORA DELMAR ON GENTRIFICATION AND ARCHITECTURE
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Museo Universitario Arte Contemporáneo (MUAC) presents Coordenadas claras para nuestra confusión (Clear coordinates for our confusion), by artist Julieta Aranda. This exhibition proposes to review the artist's production of the last decades from the perspective of her collaboration with time, understood not only as an object of research but also as an autonomous and active interlocutor. It is curated by Alejandra Labastida.
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OLGA DE AMARAL AT FONDATION CARTIER POUR L'ART CONTEMPORAIN
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ENLACE gallery presents the new solo exhibition of Mexican artist Javier Peláez, which condenses five years of his work. An artistic proposal that challenges traditional perceptions of painting and invites us to reflect on reality and representation.
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DÉBORA DELMAR ON GENTRIFICATION AND ARCHITECTURE
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Francis Alÿs (Antwerp, Belgium, 1959) began, at the end of the last century, to abandon the exclusivity of his body as the subject of the actions of his artistic proposal to begin to explore the possibility of finding and employing other subjects for this purpose. With this idea, the figure of children gained more and more importance in his production and became the sign of identity of a new stage for the new millennium.
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Francis Alÿs (Antwerp, Belgium, 1959) began, at the end of the last century, to abandon the exclusivity of his body as the subject of the actions of his artistic proposal to begin to explore the possibility of finding and employing other subjects for this purpose. With this idea, the figure of children gained more and more importance in his production and became the sign of identity of a new stage for the new millennium.
Museo Universitario Arte Contemporáneo (MUAC) presents Coordenadas claras para nuestra confusión (Clear coordinates for our confusion), by artist Julieta Aranda. This exhibition proposes to review the artist's production of the last decades from the perspective of her collaboration with time, understood not only as an object of research but also as an autonomous and active interlocutor. It is curated by Alejandra Labastida.
JULIETA ARANDA AT MUAC: DEALING WITH ORDER AND TIME
Museo Universitario Arte Contemporáneo (MUAC) presents Coordenadas claras para nuestra confusión (Clear coordinates for our confusion), by artist Julieta Aranda. This exhibition proposes to review the artist's production of the last decades from the perspective of her collaboration with time, understood not only as an object of research but also as an autonomous and active interlocutor. It is curated by Alejandra Labastida.
The Museo de Arte Moderno de Buenos Aires presents two exhibitions: the first show in Argentina by US artist Onome Ekeh Especulaciones (Speculations); and El ritmo es el mejor orden (Rhythm is the best order), which brings together a group of recent drawings by Argentine artist Sofía Bohtlingk.
DOUBLE OPENING AT THE MUSEO DE ARTE MODERNO: ONOME EKEH AND SOFÍA BOHTLINGK
The Museo de Arte Moderno de Buenos Aires presents two exhibitions: the first show in Argentina by US artist Onome Ekeh Especulaciones (Speculations); and El ritmo es el mejor orden (Rhythm is the best order), which brings together a group of recent drawings by Argentine artist Sofía Bohtlingk.
Malba announced that Rodrigo Moura (Belo Horizonte, Minas Gerais, Brazil, 1975) will be the museum's new artistic director. With a solid background in important cultural institutions and an internationally renowned Latin American curator, Moura will be responsible for giving the museum visibility and presence on a global level, broadening the understanding and scope of the Collection and developing the program of temporary exhibitions at Malba and Malba Puertos.
RODRIGO MOURA WILL BE MALBA'S NEW ARTISTIC DIRECTOR
Malba announced that Rodrigo Moura (Belo Horizonte, Minas Gerais, Brazil, 1975) will be the museum's new artistic director. With a solid background in important cultural institutions and an internationally renowned Latin American curator, Moura will be responsible for giving the museum visibility and presence on a global level, broadening the understanding and scope of the Collection and developing the program of temporary exhibitions at Malba and Malba Puertos.
Shocking and enigmatic, this is the first major retrospective in Europe that the Cartier Foundation for Contemporary Art presents of Olga de Amaral, a key figure in the Colombian art scene and Fiber Art. The exhibition brings together nearly 90 works created between the 1960s and the present, many of which have never been presented outside Colombia.
OLGA DE AMARAL AT FONDATION CARTIER POUR L'ART CONTEMPORAIN
Shocking and enigmatic, this is the first major retrospective in Europe that the Cartier Foundation for Contemporary Art presents of Olga de Amaral, a key figure in the Colombian art scene and Fiber Art. The exhibition brings together nearly 90 works created between the 1960s and the present, many of which have never been presented outside Colombia.
