OCHIRBOLD AYURZANA AT THE MONGOLIAN PAVILION

In the next edition of Pinta Sud | ASU 2024 -to be held from August 5 to 11, 2024 in Asuncion, Paraguay- the FORO lecture series will be one of the key spaces to delve into Latin American curatorial practice. Curated by Adriana Almada and Irene Gelfman, FORO will feature international guests such as Inés Katzenstein, Isabella Lenzi, Raphael Fonseca, among others.

The Panama Pavilion at the 2024 Venice Art Biennale arises as a profound reflection on the enduring traces that migration leaves on individuals and their surroundings. Entitled Traces: On the Body and on the Land, this exhibition echoes the current migration crisis with a particular focus on the Panamanian context, interpreted by four artists through drawings, paintings, collages, glass sculptures, and installations.

The next Pompidou Museum project in Foz do Iguaçu will be presented by Luciana Pereira, Secretary of Culture of the State of Paraná, Brazil, at the Pinta Sud | ASU conference, to be held at the Casa de la Integración (CAF) on August 8, 2024. This will be the first Pompidou Center in Latin America.

Spanish-Peruvian artist Sandra Gamarra Heshiki represents Spain at the Venice Biennale. It is the first time in 60 editions that an artist not born in Spain does so. Her project Pinacoteca migrante (Migrant gallery), questions colonial narratives and historical modes of representation.

The Ukranian Pavilion addresses the othering effect of war, two years into the Russian Invasion, in Net Making at the 60^th Venice Biennale.

Kasmin gallery presented Mundo de Julia, an exhibition of ceramic sculpture by Julia Isídrez. This is the artist’s first solo exhibition in the United States and runs concurrently with Isídrez’s presentation in Stranieri Ovunque – Foreigners Everywhere, the 60th International Art Exhibition of La Biennale di Venezia curated by Adriano Pedrosa.

The Art Basel in Basel fair concluded on June 16th, signaling the near end of the market season before summer. Despite the June London auctions (featuring works from antiquity to contemporary art) this year’s London season is notably diminished.

Xirómero / Dryland is an interdisciplinary collective work conceived by Thanasis Deligiannis and Yannis Michalopoulos, created along with the artists Elia Kalogianni, Yorgos Kyvernitis, Kostas Chaikalis and Fotis Sagonas for the Greek Pavilion at the 60th Venice Biennale. The project is curated by Panos Giannikopoulos.

For the 60th International Venice Biennale, Nemes designed the project as an immersive, painting-based Gesamtkunstwerk that expands the genre of painting and extends it to other media. Project curated by Róna Kopeczky.

The title of the 60th International Art Exhibition of the Biennale di Venezia, "Stranieri Ovunque", refers, in part, to foreignness as the inherent nature of the subject. Understood in this way, the national pavilions of Spain, the Netherlands and the United Kingdom exhibit artistic proposals that develop the theme of colonialism and reconstruct histories, remedy ties between identity and territory, and explore the dramatic plurality of this potent historical axis. That said, this review does not intend to unveil or unpack the most unjust transcendental truths, but merely to reflect on the musings of others.

It takes an Island to Feel this Good is Darja Bajagić’s exhibition for the Montenegro pavilion at Venice Biennale 2024. Curated by Ana Simona Zelenović and organized by the Museum of Contemporary Art of Montenegro at the initiative of commissioner Vladislav Šćepanović, the exhibition will present a critical consideration of the culture of collective memory and the relationship to shared historical heritage.

The voices of Latin American artists emerge strongly in this 2024 edition of the Venice Biennale. Claudia Alarcón, Julia Isídrez and Juana Marta Rodas, Ana Segovia, Frieda Toranzo Jaeger and Claudia Andújar lead viewers on a profound journey through their cultural heritage and unique artistic practices.

Why highlight stories that often remain on the periphery of artistic discourse? Adriano Pedrosa justifies his curatorial decision with works by 331 artists -mostly from the global south- that open the way to powerful narratives. Finally, we see the axis being twisted. It is difficult to escape the white gaze, more so to move authentically through a Eurocentric space. Given this, the communicative reach of figuration serves to challenge the symbolic order of domination and destabilize the colonial project. The stories that are made explicit and the narratives of magic and everyday life help to recognize without revictimizing.