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La serenidad de sus obra aparentemente simple, de líneas y cuadrículas, revela su complejidad en la sutileza de sus líneas, superficie, tono y proporciones que evocan, en las palabras de Agnes Martin, Emociones Abstractas como la belleza, la libertad, la inocencia, la belleza y la perfección. 

La retrospectiva de Agnes Martin se realiza en el Museo Guggenheim hasta el 11 de enero  > @Guggenheim

Síguenos en @LatinoEvents. All photos by Alex Guerrero ®2016

2- Flamenco sin título es lo nuevo de @OlgaPericet y @PeinetaProduce en el Teatro @repertorionyc > Del 9 al 16 Abril.

Presencia, the most recent exhibition of work from El Museo’s permanent collection, focuses on ideas of presence and its antithesis, absence. This theme is explored through photography, painting, prints, drawings, masks, and other objects. The exhibition investigates the visibility and invisibility of the human form through the presentation of the body in literal and conceptual ways. The featured artists play with their figures, showing bodies revealed and obscured, evidently displayed or camouflaged.

Le Corbusier (Charles-Edouard Jeanneret) with Pierre Jeanneret. Villa Savoye Poissy-sur-Seine, France. 1929–31. Wood, aluminum, and plastic, 16 x 34 x 32" (40.6 x 86.4 x 81.3 cm). The Museum of Modern Art, New York. Purchase. © 2012 Artists Rights Society (ARS), New York/ADAGP, Paris/FLC

Drawn from MoMA’s collection, American Modern takes a fresh look at the Museum’s holdings of American art made between 1915 and 1950, and considers the cultural preoccupations of a rapidly changing American society in the first half of the 20th century. Including paintings, drawings, prints, photographs, and sculptures, American Modern brings together some of the Museum’s most celebrated masterworks, contextualizing them across mediums and amid lesser-seen but revelatory works by artists who expressed compelling emotional and visual tendencies of the time.* EXPO 1: NEW YORK > Hasta Septiembre 2 > MoMA y MoMA PS.1 > Expo1.

      + Rain Room > Hasta Julio 28 > MoMA

Random International’s immersive environment Rain Room (2012), a major component of the MoMA PS1 exhibition EXPO 1: New York, is presented in the lot directly adjacent to The Museum of Modern Art. A field of falling water that pauses wherever a human body is detected, Rain Room offers visitors the experience of controlling the rain. Known for their distinctive approach to contemporary digital practice, Random International’s experimental projects come alive through audience interaction—and Rain Room is their largest and most ambitious to date. The work invites visitors to explore the roles that science, technology, and human ingenuity can play in stabilizing our environment. Using digital technology, Rain Room creates a carefully choreographed downpour, simultaneously encouraging people to become performers on an unexpected stage and creating an intimate atmosphere of contemplation.

Plus: + Ansel Adams: The Politics of Contemplation + Meg Webster: Pool + Olafur Eliasson: Your waste of time + VW Dome 2.

ADEMAS: + John Singer Sargent Watercolors > Hasta Julio 28 + Gravity and Grace: Monumental Works by El Anatsui > Hasta Agosto 4.

LO NUEVO

This will be the first solo exhibition in New York dedicated to painter, writer, and occultist Xul Solar, born Oscar Agustín Alejandro Schulz Solari (1887-1963). The show will offer an in-depth examination of the public and private aspects of Solar's long friendship and vigorous exchange of ideas with famed writer and fellow Argentine Jorge Luis Borges. The central concept of the exhibition will explore how a friendship—a private, intimate affair—can affect public cultural and intellectual discourse. Solar and Borges' influences on each other led to groundbreaking artistic work produced by them individually and collaboratively. The exhibition will feature a selection of Xul Solar's exquisite early paintings as well as collaborative publications, translations, objects, and artistic interventions in books by the two friends. Public programs will include cross-disciplinary events and a panel discussion featuring Maria Kodama, Sergio Baur, Patricia Artundo, and Silvia Molloy, as well as poetry readings by Lila Zemborain and Cecilia Vicuña. Americas Society will also produce a fully illustrated publication to accompany the exhibition.
Solar and Borges met in 1924 after both had independently traveled throughout Europe where they spent a decade after World War I, and returned to Buenos Aires just when a literary and artistic avant-garde movement was beginning to take hold. They were part of the circle of writers and artists associated with the avant-garde magazine Martin Fierro, which was active until 1927. The martinfierristas were part of the Argentine generation whose artistic and political efforts were focused on defining and exploring their national identity through cosmopolitan means. They embraced a universal identity linked to Europe, but also sought to establish a uniquely Argentine national identity grounded in the rural mythology of the gauchos, the iconic Argentine cattlemen. These concepts are central to Borges' early work. Solar's paintings include a number of nationalist symbols dating back to pre-Hispanic times as well as words from two languages he invented to be Argentine, yet universal. Another major theme in Solar’s work is spiritualism and fantasy. He developed a method of painting with watercolors and crayons which he used to create colorful and fantastical works that blended metaphysical ideas about the invisible world with his interests in constructing a national identity and reinventing language.

* Darned Bodies : Josefina Concha > Hasta Mayo 11 > Galería Praxis Art > Concha.


Nature is the main source of inspiration: its resemblance to the human body, the exuberance of color and form, the vulnerability of live matter, the visual and symbolic richness of the elements, these are the subjects which inspire this body of work. By accumulation and saturation, the thread acquires volume, giving birth to tridimensional forms and infinite shades of color.
The sowing hands don’t try to control the shapes that they create, they become guardians of their quiet growth through the darning, allowing chance to intervene in the process.

ALSO: TIMETRACES > Esteban Pastorino > Mayo 16 - Junio 22.

Pastorino’s photos display the coexistence of technique, the conjuring-up of childhood, the doubt regarding the veracity of the original subject and a call to reflection on the scenery that surrounds us. Ultimately, they stand as a proposal to distort the representation based on cameras and lenses which provide a high level of hyperrealism and manage to achieve a high level of fiction. Every attempt to encompass and unveil what the human eye cannot see, drives us further away from reality. Thus, the stereoscopic techniques turn landscapes into unreal sceneries in which the first aspect that becomes visible is their theatricality. From this viewpoint, Pastorino’s work is in line with the perception of reality as an imitation upheld by postmodernism, maintains the allure of images and allows us to go a step beyond mere technical spectacularity, setting us into that territory of artifice, dreams and visions cherished by the Baroque. It even gives a twist to the famous statement by the American photographer Gary Winogrand, which has become a motto for many artists: “I photograph to see what the world looks like in photographs”. Pastorino seems to follow Oscar Wilde’s words, “The true mystery of the world is the visible, not the invisible”, down to the smallest detail. A suitable point of view or the right equipment will suffice to represent it as something alien to our inertial perception of things.

* superreal: alternative realities in photography and video > Museo de El Barrio > Hasta Mayo 19 > superreal.

This exhibition explores the layered meanings and interpretations of the real as it is represented in photography and video art. Drawing on the presentation of the landscape, the human figure, the world of architecture, various objects and natural phenomena, these images explore alternative realities despite their use of the photographic or video image, traditionally understood as a reflection of actuality. superreal features works that challenge the notion of the camera’s lens as presenting visual accuracy and explores the subversion of narrative form, the creation of a parallel reality, surreal or super-real encounters with objects, people and environments. Partial, hidden, or enigmatic meanings are explored by the artists gathered here. Iconic works by significant photographers and video artists are included along with newer works by younger artists. The incisive points of view and varied methodologies seen here allow the artists to create works that explore the limits of narrative form and its relationship to reality. The works, ranging in dates from the early 1960s to the present, reveal the various ways in which the real is emphasized and subverted, revealed and obscured.

Foto: Betsabee Romero (Mexico, 1963)Ayate con Perro (Ayate fabric with dog), 2005. Chromogenic print, 22 x 40 in. El Museo del Barrio, Gift of the artist and Ramis Barquet

* HONEY, I REARRANGED THE COLLECTION > Celebrating 40 years > Hasta Junio 2 > BRONX.

Created in 1986, the Bronx Museum Permanent Collection has assembled over the years a remarkable group of artworks that convey not only personal narratives but also incisive insights onto contemporary life. For this exhibition, we took inspiration from Allen Ruppersberg's ongoing series Honey, I rearranged the Collection initiated in 2000 and that puts in check the role of institutions, curators and collectors as the bearers of tradition and arbiters of taste. Overlaying different traditions, styles, and narratives, Honey, I rearranged the Collection presents an idea of museum as a restless play of combination.

Honey, I Rearranged the Collection features artworks from the 40th Anniversary's 40 Years, 40 Gifts campaign, which has received support from Ford Foundation and the Jacques and Natasha Gelman Trust, as well as individual funders.