CHAOS THEORY AT THE GUGGENHEIM BILBAO
The Guggenheim Museum Bilbao presents Metahaven. Chaos Theory. This is the first exhibition of the year in the Film & Video room, a space that the Museum dedicates entirely to video art, audiovisual installation and moving image as artistic languages, and which celebrates its tenth anniversary in 2024.
A unique film installation by Metahaven, an Amsterdam-based collective founded by artists Vinca Kruk and Daniel van der Velden in 2007, is presented. Encompassing a variety of media including moving images, graphic design, user interfaces, textile works and theoretical discourse, Metahaven is considered a forerunner of interdisciplinary practice today.
In Chaos Theory, Metahaven addresses the complexity of human relationships in a hyper-connected world, where every moment is fraught with calculations and predictions, but where the improbable and unexpected keep popping up constantly, forcing people to adapt and transform. The 25-minute film takes the perspective of childhood and revolves around various moments of dialogue and coexistence of a girl named 'X' (Valentina Di Mondo) and an adult woman named 'Y/Z' (Georgina Dávid), characters whose relationship is not defined and who are united by tenderness, protection and games. Their conversations, full of poetic resonances and witty puns, take as a setting certain open space of the urban periphery: the exit of a school or more intimate places, such as an elevator or a room. All of them have a marked allegorical and dreamlike quality, and foster the sensation of continuity between waking and dreaming that runs through the entire film. Intertwining the looseness of playing with discussions of existential time and gravity, Chaos Theory operates as a non-linear story and defies the divisions between thoughts and voices, places and fantasy zones.
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Metahaven Teoría del caos (Chaos Theory), 2021 (Fotograma) Película de 25 minutos, color, sonido Cortesía de los artistas © Metahaven
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Metahaven Teoría del caos (Chaos Theory), 2021 (Fotograma) Película de 25 minutos, color, sonido Cortesía de los artistas © Metahaven
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Metahaven Teoría del caos (Chaos Theory), 2021 (Fotograma) Película de 25 minutos, color, sonido Cortesía de los artistas © Metahaven
Shot on the outskirts of Amsterdam, the film accentuates the contrasting landscape of infrastructure and urban dwellings with an open-ended poetics and structure. Thus, the composition of the image sometimes presents multiple points of view or screens within the screen, outlining one of them in red when a new motif appears, in the manner of a videoconference. On a spatial level, the installation of the work in the main gallery includes, in an unprecedented way, a large textile piece that allows visitors to interact materially with the motifs and textures presented in the film. Data and vector graphics blend into a dense wool texture that might be reminiscent of common public transportation tapestry and offers a counterpoint to the conventional experience of immersive environments.
In the entrance hall, the Metahaven film piece is related to a multiplicity of smaller textile works that the artists understand as equivalent to film stills. Thus, the presentation of Chaos Theory is complemented and expanded by a selection of embroideries made digitally over the past four years, some of which are being exhibited for the first time. These series - Arrows (2020), Flowers (2021), Bus Seats (2023), and Murmurations (2024) - include a series of loom-intervened tracksuit jackets, as well as plastic bags and small tapestries that resemble samples of bus upholstery. Alongside them are the triptychs Living Together in Stories (2022) and the single jacquard Versions and Waves (2020). Juxtaposing dreamscapes, bird murmurs, interfaces, and geographies, Chaos Theory invites us to challenge our certainties and imagine a future defined by empathy, fluid identity, and interdependence.
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Metahaven Teoría del caos (Chaos Theory), 2021 (Fotograma) Película de 25 minutos, color, sonido Cortesía de los artistas © Metahaven
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Metahaven Teoría del caos (Chaos Theory), 2021 (Fotograma) Película de 25 minutos, color, sonido Cortesía de los artistas © Metahaven
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Metahaven Teoría del caos (Chaos Theory), 2021 (Fotograma) Película de 25 minutos, color, sonido Cortesía de los artistas © Metahaven
Amsterdam-based Vinca Kruk (1980) and Daniel van der Velde (1971) founded the Metahaven collective in 2007. Their work spans film, writing, graphic and textile design, poetry and installation, and has been part of numerous international exhibitions, including solo presentations at institutions such as ICA, London; MOMA PS1, New York; Izolyatsia Foundation, Kiev; State of Concept, Athens; Yerba Buena Center for the Arts, San Francisco; Stedelijk Museum, Amsterdam; Asakusa, Tokyo; or Tick Tack, Antwerp. In addition, the collective has participated in important group exhibitions at Artists Space, New York; Museum of Modern Art, Warsaw; Gwangju Biennial; Sharjah Biennial; Busan Biennial; Ghost:2561, Bangkok; among others. Metahaven's works are in the collections of important institutions such as Sharjah Art Foundation, National Gallery of Victoria, M HKA, Victoria & Albert Museum, or Stedelijk Museum Amsterdam.
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The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.
Zielinsky presents Trampantojo, a group exhibition formed by artists Nicolás Consuegra, Yamandú Canosa, Vera Chaves Barcellos, Martín Lanezan, Hudnilson Jr and Shirley Paes Leme.
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With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.
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With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.
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AMALIA MESA-BAINS: ARCHAEOLOGY OF MEMORY
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On Thursday, April 18, 2024, the exhibition project Trámites, a duo-show by visual artists Yéssica Montero (1998, Dominican Republic) and Ernesto Rivera (1983, Dominican Republic), opened at the independent spaces of La Sociedad, in Santo Domingo.
The curatorial team of the Toronto Biennial of Art (the Biennial/TBA) and its curatorial team of Dominique Fontaine and Miguel A. López announced the title, full artist list and venues for its third edition.
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The curatorial team of the Toronto Biennial of Art (the Biennial/TBA) and its curatorial team of Dominique Fontaine and Miguel A. López announced the title, full artist list and venues for its third edition.
The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.
MEIAC PRESENTS MARTÍN LÓPEZ LAM’S PAISAJE TRANSFERIDO
The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.
Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.
INTERVIEW WITH TANIA PARDO, NEW DIRECTOR OF CA2M MUSEUM
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Alberto Baraya (Bogota, Colombia, 1968) lands through El Naturalista Artificial, his alter ego for the occasion, his working method to research and search, in an almost expeditionary way, the knowledge and exotic objects of the world in Fábulas Goyescas, recently inaugurated at Fernando Pradilla in Madrid.
The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.
HERENCIA. PROYECTO 360º AND THE RECONSIDERATION OF OUR ACTIONS
The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.
Zielinsky presents Trampantojo, a group exhibition formed by artists Nicolás Consuegra, Yamandú Canosa, Vera Chaves Barcellos, Martín Lanezan, Hudnilson Jr and Shirley Paes Leme.
Bosco Sodi (Mexico, 1970) explores deeply in El día que nos volvimos a encontrar a universe quite distant from his recognizable large format and liveliness production to delve into the pleasures of the search for new material expressions and the abandonment of the chromatic in favour of texture, the depth of the absence of colour and concept.
BOSCO SODI AND THE VOLUME OF DARKNESS
Bosco Sodi (Mexico, 1970) explores deeply in El día que nos volvimos a encontrar a universe quite distant from his recognizable large format and liveliness production to delve into the pleasures of the search for new material expressions and the abandonment of the chromatic in favour of texture, the depth of the absence of colour and concept.
With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.
FRIEZE NEW YORK 2024 – A VIEW FROM THE FLOOR
With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.
El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.
AMALIA MESA-BAINS: ARCHAEOLOGY OF MEMORY
El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.
On Thursday, April 18, 2024, the exhibition project Trámites, a duo-show by visual artists Yéssica Montero (1998, Dominican Republic) and Ernesto Rivera (1983, Dominican Republic), opened at the independent spaces of La Sociedad, in Santo Domingo.
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On Thursday, April 18, 2024, the exhibition project Trámites, a duo-show by visual artists Yéssica Montero (1998, Dominican Republic) and Ernesto Rivera (1983, Dominican Republic), opened at the independent spaces of La Sociedad, in Santo Domingo.
The curatorial team of the Toronto Biennial of Art (the Biennial/TBA) and its curatorial team of Dominique Fontaine and Miguel A. López announced the title, full artist list and venues for its third edition.
TORONTO BIENNIAL OF ART: PRECARIOUS JOYS
The curatorial team of the Toronto Biennial of Art (the Biennial/TBA) and its curatorial team of Dominique Fontaine and Miguel A. López announced the title, full artist list and venues for its third edition.
The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.
MEIAC PRESENTS MARTÍN LÓPEZ LAM’S PAISAJE TRANSFERIDO
The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.
Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.
INTERVIEW WITH TANIA PARDO, NEW DIRECTOR OF CA2M MUSEUM
Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.
Alberto Baraya (Bogota, Colombia, 1968) lands through El Naturalista Artificial, his alter ego for the occasion, his working method to research and search, in an almost expeditionary way, the knowledge and exotic objects of the world in Fábulas Goyescas, recently inaugurated at Fernando Pradilla in Madrid.
The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.
HERENCIA. PROYECTO 360º AND THE RECONSIDERATION OF OUR ACTIONS
The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.
Zielinsky presents Trampantojo, a group exhibition formed by artists Nicolás Consuegra, Yamandú Canosa, Vera Chaves Barcellos, Martín Lanezan, Hudnilson Jr and Shirley Paes Leme.
Bosco Sodi (Mexico, 1970) explores deeply in El día que nos volvimos a encontrar a universe quite distant from his recognizable large format and liveliness production to delve into the pleasures of the search for new material expressions and the abandonment of the chromatic in favour of texture, the depth of the absence of colour and concept.
BOSCO SODI AND THE VOLUME OF DARKNESS
Bosco Sodi (Mexico, 1970) explores deeply in El día que nos volvimos a encontrar a universe quite distant from his recognizable large format and liveliness production to delve into the pleasures of the search for new material expressions and the abandonment of the chromatic in favour of texture, the depth of the absence of colour and concept.
With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.
FRIEZE NEW YORK 2024 – A VIEW FROM THE FLOOR
With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.
El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.
AMALIA MESA-BAINS: ARCHAEOLOGY OF MEMORY
El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.
On Thursday, April 18, 2024, the exhibition project Trámites, a duo-show by visual artists Yéssica Montero (1998, Dominican Republic) and Ernesto Rivera (1983, Dominican Republic), opened at the independent spaces of La Sociedad, in Santo Domingo.
TRÁMITES: PROTOCOLS AND STRATEGIES TO EXIST IN EMERGENCIES
On Thursday, April 18, 2024, the exhibition project Trámites, a duo-show by visual artists Yéssica Montero (1998, Dominican Republic) and Ernesto Rivera (1983, Dominican Republic), opened at the independent spaces of La Sociedad, in Santo Domingo.
The curatorial team of the Toronto Biennial of Art (the Biennial/TBA) and its curatorial team of Dominique Fontaine and Miguel A. López announced the title, full artist list and venues for its third edition.
TORONTO BIENNIAL OF ART: PRECARIOUS JOYS
The curatorial team of the Toronto Biennial of Art (the Biennial/TBA) and its curatorial team of Dominique Fontaine and Miguel A. López announced the title, full artist list and venues for its third edition.
The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.
MEIAC PRESENTS MARTÍN LÓPEZ LAM’S PAISAJE TRANSFERIDO
The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.
Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.
INTERVIEW WITH TANIA PARDO, NEW DIRECTOR OF CA2M MUSEUM
Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.
Alberto Baraya (Bogota, Colombia, 1968) lands through El Naturalista Artificial, his alter ego for the occasion, his working method to research and search, in an almost expeditionary way, the knowledge and exotic objects of the world in Fábulas Goyescas, recently inaugurated at Fernando Pradilla in Madrid.
The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.
HERENCIA. PROYECTO 360º AND THE RECONSIDERATION OF OUR ACTIONS
The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.
Zielinsky presents Trampantojo, a group exhibition formed by artists Nicolás Consuegra, Yamandú Canosa, Vera Chaves Barcellos, Martín Lanezan, Hudnilson Jr and Shirley Paes Leme.
Bosco Sodi (Mexico, 1970) explores deeply in El día que nos volvimos a encontrar a universe quite distant from his recognizable large format and liveliness production to delve into the pleasures of the search for new material expressions and the abandonment of the chromatic in favour of texture, the depth of the absence of colour and concept.
BOSCO SODI AND THE VOLUME OF DARKNESS
Bosco Sodi (Mexico, 1970) explores deeply in El día que nos volvimos a encontrar a universe quite distant from his recognizable large format and liveliness production to delve into the pleasures of the search for new material expressions and the abandonment of the chromatic in favour of texture, the depth of the absence of colour and concept.
With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.
FRIEZE NEW YORK 2024 – A VIEW FROM THE FLOOR
With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.
El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.
AMALIA MESA-BAINS: ARCHAEOLOGY OF MEMORY
El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.
On Thursday, April 18, 2024, the exhibition project Trámites, a duo-show by visual artists Yéssica Montero (1998, Dominican Republic) and Ernesto Rivera (1983, Dominican Republic), opened at the independent spaces of La Sociedad, in Santo Domingo.
TRÁMITES: PROTOCOLS AND STRATEGIES TO EXIST IN EMERGENCIES
On Thursday, April 18, 2024, the exhibition project Trámites, a duo-show by visual artists Yéssica Montero (1998, Dominican Republic) and Ernesto Rivera (1983, Dominican Republic), opened at the independent spaces of La Sociedad, in Santo Domingo.
The curatorial team of the Toronto Biennial of Art (the Biennial/TBA) and its curatorial team of Dominique Fontaine and Miguel A. López announced the title, full artist list and venues for its third edition.
TORONTO BIENNIAL OF ART: PRECARIOUS JOYS
The curatorial team of the Toronto Biennial of Art (the Biennial/TBA) and its curatorial team of Dominique Fontaine and Miguel A. López announced the title, full artist list and venues for its third edition.
