After Collective Fictions in 2013, Artesur returns to Palais de Tokyo with a video art program designed as a kaleidoscope.

For Video SUR, Artesur’s team invited active collectives and independent structures from South America to offer a selection of artist’s videos.

Plural and multipolar, this program offers an immersion in the contemporary Latin American art scene through the eyes of the actors who make the artistic life of the continent, encourage and support it. Hence, this program is an opportunity to discover new artists, and with them, places and networks that accompany them in their research and experimentation. is a website dedicated to the contemporary art in Latin America, founded in Paris, France, by independent curator Albertine de Galbert. Hosted by Beam Prod, Artesur has been designing curatorial and cultural cooperation projects since 2010.

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La Embajada – Mexico

Artists : Melissa Guevara – Jesús Hdez-Güero – María Raquel Cochez – Edgar León – Guillermo ‘Habacuc’ Vargas – Regina José Galindo – David Perez Karmadavis – Antonio Pichilla – Deborah Castillo – Jason Mena – Enrique Jezik

Proyectos Ultravioleta – Guatemala

Artists: Johanna Unzueta – Javier Bosques – Hellen Ascoli – Alberto Rodríguez Collía – Jessica Kairé – Jorge de León – Gabriel Rodríguez – David Perez Karmadavis – Manuel Chavajay

TEOR/éTica – Costa Rica

Artists : Lucía Madriz – Stephanie Williams – Roberto Guerrero – Marton Robinson

Despacio – Costa Rica

Artists : Carlos Fernández – Javier Calvo – Abigail Reyes

Espira – Nicaragua

Artists : Darling López Salinas – Miguel Angel Díaz – Fredman Barahona – Patricia Belli – María Félix Morales – Ricardo Huezo – Federico Alvarado – Virginia Paguaga

(BIS) Oficina de proyectos – Colombia

Artists : Ana Maria Millán – Colectivo Maski – Adrián Gaitán – Juan Obando – Alberto Lezaca – Monika Bravo – Gustavo Toro – Tatyana Zambrano & Roberto Ochoa – Lina Rodríguez Vásquez

CaldodeCultivo – Colombia

Micromuseo – Peru

Artists : Ana Rosa Benavides – Christian Bendayán – Patricia Bueno, Susana Torres – Íntegro – Chiara Macchiavello – Jaime Miranda Bambarén, Erasmo Wong Seoane – Carlos Morelli, Melissa Herrera – Carmen Reátegui – Carlos Runcie Tanaka – Giancarlo Scaglia – Maya Watanabe – Moico Yaker

Residência Artística Cambridge – Brazil

Artists : Ícaro Lira, Isadora Brant and Fernanda Taddei

OLHO – Brazil

Artists : Leticia Ramos – Ana Vaz – Tamar Guimarães

Galería Ruby – Argentina

Artists : Malena Pizani – Josefina Labourt – Julián Gatto

Y.ES Contemporary – Salvador

Artists : Verónica Vides – Crack Rodriguez – Víctor Hugo Portillo

Arte Actual FLACSO – Ecuador

Artists : IrinaLilianaGm – Valeria Andrade – Alex Schlenker – José Antonio Guayasamín

BARRO Arte Contemporáneo – Argentina

Artists : Amalia Ulman – Agustina Woodgate – Nicola Costantino – Martín Legón

Die Ecke – Chile

Artists : Nicolas Rupcich – Claudia Joskowitz – Enrique Ramírez – Marcela Moraga – Johanna Unzueta – Francisca Benítez – Catalina Baeur – Alejandra Prieto

La Ene – Argentina

Artists : Nina Kovensky – Sofía Gallisá Muriente – Leandro Tartaglia, Francisco Marquez, Santiago Villanueva – Básica Tv – Fernanda Pinta, Federico Baeza

From February 16th to March 12th, 2018
Opening on February 15th, 2018
Palais de Tokyo, Paris

This exhibition is about the disjuncture of our times.

Worlds that exist parallel to each other.

A unique sense of the contemporary, lateral truths in inconsistent layers.

Somewhere between nostalgia and hope, lies our special temporality which we always seem to be attempting to escape. Apocalyptic visions of our future crowd contemporary theory while nostalgic historical futurisms substantially proliferate. A 90’s utopian naiveté and Cold War science fiction use our own failures to describe worlds that are simultaneously awake.

Historical re-enactment, appropriation, and gesture re-think our relationship with the past and our own identities. History and heritage become a refuge from daily trials. Brands act as standard, national symbols, and create legacy. From a Holloway pub to corporate advertisement, flags and standards from the Middle Age continue to conjure mass emotion.

Gaps and fissures, cracks and chasms, inconsistency and divergence. All seething and alive.


curated by Àngels Miralda


Khaled Barakeh
Beth Collar
Sandra Mujinga
Valinia Svoronou
Thomas Yeomans



Altenbrakerstraße 18, 12053 Berlín
On view by appointment 29 January – 18 February
Closing event 18 February


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Nicolás Lamas’ practice mainly includes found objects, installations and sculptures that focus on the transitory and hybrid nature of reality.

For his first solo exhibition in Amsterdam he presents a dismantled production site interconnected with a series of objects that seem not to belong here. Using cognitive tensions between consumed and wasted energy, the show reflects on the transitory condition of matter as embedded in a system of ephemeral and divergent relations.

The Form of Decay is a new installation placed somewhere between an office space and an anthropological site. Through the detachment of man-made items, organic materials and mass-produced objects from their original functions, the exhibition recreates an ambience both wild and aseptic. There is a sense of strangeness floating in the air in which material interactions, frictions, attractions and repulsions coexist, showing Lamas’ interest in visceral materiality. When one moves through the space it becomes aware of the entangled processes that constitute this place. Matter is here an alibi that allows the viewer to address transience as intrinsic to the general state of things, bringing to light today’s cult to the perpetual circulation of energy, while triggering suspense.

The installation is structured around the encounters between a series of objects belonging to distant times and spaces, where notions of indeterminacy, danger and uncertainty become apparent. An energy of sorts entangled in a complex set of interconnected functions.

Nicolás Lamas (Lima, 1980) lives and works in Brussels, Belgium. Recent solo exhibitions include: Todo objeto es un espacio temporal, Fundación Joan Miró, Ocaso, Galería Lucía de la Puente, Loss of symmetry, Loods 12, The structure of the wild, Brand New Gallery, Dysfunctional links, Meessen De Clercq, Potential remains, DASH. Configuraciones, Lucía de la Puente, The value of formlessness, Sabot.

The Form of Decay – Nicolás Lamas
zeeburgerpad 53, 1019 AB, Amsterdam

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Photographs by Charlott Markus, Alexandra Colmenares Cossio and Valeria Marchesini.

Images copyright and courtesy of the artist and P/////AKT, Amsterdam.

Captions: Nicolás Lamas, The Form of Decay, installation views at P/////AKT, 2017.


Culture Industry is the group exhibition curated by Interface Gallery director Suzanne L’Heureux for the department’s experimental gallery, Slide Space 123, where the artists, Sara Cwynar (Canada), Débora Delmar (Mexico), Shana Moulton (USA), and Tabita Rezaire (France), all explore how various means of cultural production are employed to shape our desires and produce us as subjects.


The title Culture Industry comes from a chapter in Theodor Adorno and Max Horkheimer’s book Dialectics of Enlightenment, which critiques the mass production of culture under capitalism. The authors examine how popular culture is designed to overpower consumers by producing a false psychological need for the products the culture industry provides. In various ways, the artists in this exhibition all contend with this “cycle of manipulation and retroactive need” as well as the racialized, classed and gendered nature of its influence.


Sara Cwynar and Shana Moulton do so with varying degrees of irony. Cwynar’s composite photographs, which draw upon advertisements, postcards and catalogs, explore the way popular images work on our psyches, infiltrating our consciousness and exerting the influence of systems of control. Her Little Video (2015), shown in this exhibition, investigates these themes, as well as the artist’s personal relationship to image making and her own archive.


Moulton’s videos, performances and sculptural installations examine the culture industry’s conflation of New Age spirituality and products for health, wellness and beauty. A recurring character in her videos, Cynthia, has thoroughly bought into the idea that various self-healing tools and rituals, prescription drugs, foods and beauty products will bring about enlightened bliss. In Every Angle Is an Angel (2016), a video presented as part of Moulton’s installation for this exhibition, one bite of a bowl of Kellogg’s Corn Flakes sends Cynthia into a nearly orgasmic state of spiritual ecstasy.


Like Moulton, Débora Delmar often focuses on the health and beauty industry and “lifestyle” marketing. Her work employs the aesthetics of globalized corporate culture and advertising to mirror its psychological influence, particularly its messages of social advancement. Here, Delmar presents photographs (taken with a product fashion photographer) featuring the beautiful, youthful hands of a professional hand model, imitating poses from luxury brand advertisements. The distilled hand gestures evoke a powerful sign system designed to lure in consumers.


The white hands in Delmar’s photographs can also be seen as signifying the hegemony of white culture, a theme at the center of Tabita Rezaire’s work. Rezaire uses video, performance, and Internet art to critique and seek healing from the effects of white, Western, patriarchal, cis-hetero techno-capitalism. Her video in this exhibition, Deep Down Tidal (2017), presents the Internet as a form of “electronic colonialism” and finds a metaphor in the way that underwater Internet cables reaching out from the West follow the same routes as ships during the slave trade.


As Adorno and Horkheimer state, “The basis on which technology acquires power over society is the power of those whose economic hold over society is greatest.” Dialectics of Enlightenment was written in 1944, long before the Internet, globalization and the emergence of social media, which have only served to extended the reach and the grip of the culture industry. Collectively, the works in this exhibition present a picture of the mechanisms through which it continues to assert its influence.


Culture Industry
Sara Cwynar, Débora Delmar, Shana Moulton and Tabita Rezaire
Dates: October 21 – November 29
Venue: Slide Space 123, Mills College, Oakland, CA
Curated by: Interface Gallery Director, Suzanne L’Heureux



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“Soil is undervalued because it is often mistaken for dirt, its zombie carcass. Dirt seems to be everywhere. Dirt is used to express the bottom of the value scale:


Poor as dirt.

They treat the workers like dirt.”

— Claire Pentecost, Notes From Underground


Height is on the other hierarchical end of the spectrum. Height gives worth: penthouse, obelisk, temple, altar, ziggurat – the standing floor before the stage is for the rabble and the commoners. The sky is for beautiful feathered birds while the ground is for worms and vermin. Diverse world cosmologies place the gods above and the devils below. Fire erupts from the underbelly of the earth in streams of cascading lava. In Incan cosmology Quechua is the world above and the Ukhu Pacha is the world below. In the English middle age, people believed that the plague entered the air from cracks in the earth that let escape from hell the fumes of a noxious miasma.


The exhibition consists of works that come from underground. Lithium, granite, and slag are leftovers of the mining activities. Rubber, wood, and plastic bits are extracted and then dumped back into the ground in fragmented states of disuse. Plants peak out of the earth and out of the water, tied to its life giving minerals by fibrous arteries. The Material of Earthly Being explains the cycle of use and dependence on the earth from which a platonic soul attempts to escape to a heavenly “upwards”. While contemporary commodities alienate consumers from the sites of their original production, an impending realisation of global effects demands an analysis of our connection to the material world.


The earth is a circular chemical system. Listening to the wisdom of ancient truths, maybe the hellish underground should never have been opened. Never been allowed to spread its malodourous contagion to the kay pacha (our world).


Alejandra Prieto
Alejandro Leonhardt
Círculo de Ilustradores Naturalistas de Chile**
Elizabeth Burmann
Giuseppe Licari
Lucía Pizzani
Miguel Soto
** members: Javiera Delaunoy Sepúlveda, Patricia Domínguez, Francisca Espinoza, Maria José Herrada, Silvia Lazzarino, Andrea Lira, Geraldine MacKinnon, Magdalena Perez de Arce, Andrea Ugarte.


Museo de Arte Contemporáneo, Santiago, Chile
Opening: 24 November
Exhibition: 25 November 2017 – 21 January 2018


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Alejandro G. Iñárritu’s “CARNE y ARENA (Virtually Present, Physically Invisible)”,  is a virtual reality installation produced and financed by Legendary Entertainment and Fondazione Prada.
Included in the Official Selection of the 70th Festival de Cannes, the project is currently presented in its extensive full version in the Deposito at Fondazione Prada in Milan and has been honoured with a Special Award – an Oscar ® statuette – by the Board of Governors of the Academy of Motion Picture Arts and Sciences on 11 November 2017. Alejandro G. Iñárritu’s multimedia installation was described by the Academy as “a visionary and powerful experience in storytelling” and “a deeply emotional and physically immersive venture into the world of migrants”.
Based on true accounts, the superficial lines between subject and bystander are blurred and bound together, allowing individuals to walk in a vast space and thoroughly live a fragment of the refugees’ personal journeys. “CARNE y ARENA” employs the highest, never-before-used virtual technology to create a large, multi-narrative light space with human characters.
“During the past four years in which this project has been growing in my mind, I had the privilege of meeting and interviewing many Mexican and Central American refugees. Their life stories haunted me, so I invited some of them to collaborate with me in the project,” said four-time Academy Award-winner Iñárritu. “My intention was to experiment with VR technology to explore the human condition in an attempt to break the dictatorship of the frame, within which things are just observed, and claim the space to allow the visitor to go through a direct experience walking in the immigrants’ feet, under their skin, and into their hearts.”

7 June 2017 – 15 January 2018

Fondazione Prada Milan
20139 MILAN
T. +39 02 5666 2611
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Just a few days ago, Knight Landesman, one of the most influential men in the art world and co-publisher of the renowned trade publication Artforum, resigned just one day after Raquel Corbett, writer for artnet News, reported allegations of sexual harassment made by several men and women against him. And not only that, but the resignation came on the same day that former Artforum employee Amanda Schmitt filed a lawsuit in the Supreme Court of the State of New York against Landesman and her former employer, alleging that Landesman sexually harassed her for years while the executives of the magazine did little, despite knowing his behavior.

After these events and added to the online movement #metoo, a group of people from the art world have come together in the first action against sexual harassment and abuse.

This initiative is “NOT SURPRISED”, whose first dissemination has been through the network, with its website and social networks, describing this open letter and with the consequent list of those who have signed. This is the first step to continue with other actions from art, denouncing something of which we are all exhausted.

We are not surprised.

We are artists, arts administrators, assistants, curators, directors, editors, educators, gallerists, interns, scholars, students, writers, and more—workers of the art world—and we have been groped, undermined, harassed, infantilized, scorned, threatened, and intimidated by those in positions of power who control access to resources and opportunities. We have held our tongues, threatened by power wielded over us and promises of institutional access and career advancement.

We are not surprised when curators offer exhibitions or support in exchange for sexual favors. We are not surprised when gallerists romanticize, minimize, and hide sexually abusive behavior by artists they represent. We are not surprised when a meeting with a collector or a potential patron becomes a sexual proposition. We are not surprised when we are retaliated against for not complying. We are not surprised when Knight Landesman gropes us in the art fair booth while promising he’ll help us with our career. Abuse of power comes as no surprise.

This open letter stems from a group discussion about sexual harassment within our field, following the recent revelation of Knight Landesman’s sexual misconduct. The conversation has branched out further and internationally. Harder work to advance equity is often expected of and performed by women of color, trans, and gender nonconforming people. Our efficacy relies on taking this intersection very seriously and not excluding other corroborating factors that contribute to bias, exclusion, and abuse. These additional factors include, but are not limited to, gender identity, ability, religion, class, and immigration status. There is an urgent need to share our accounts of widespread sexism, unequal and inappropriate treatment, harassment and sexual misconduct, which we experience regularly, broadly, and acutely.

Many institutions and individuals with power in the art world espouse the rhetoric of feminism and equity in theory, often financially benefitting from these flimsy claims of progressive politics, while preserving oppressive and harmful sexist norms in practice. Those in power ignore, excuse, or commit everyday instances of harassment and degradation, creating an environment of acceptance of and complicity in many more serious, illegal abuses of power.

The resignation of one publisher from one high-profile magazine does not solve the larger, more insidious problem: an art world that upholds inherited power structures at the cost of ethical behavior. Similar abuses occur frequently and on a large scale within this industry. We have been silenced, ostracized, pathologized, dismissed as “overreacting,” and threatened when we have tried to expose sexually and emotionally abusive behavior.

We will be silenced no longer.

We will denounce those who would continue to exploit, silence, and dismiss us. Your actions will no longer be a secret, whispered amongst us for fear of ostracization, professional shunning, and recrimination. Where we see the abuse of power, we resolve to speak out, to demand that institutions and individuals address our concerns seriously, and to bring these incidents to light regardless of the perpetrator’s gender.

We will no longer ignore the condescending remarks, the wayward hands on our bodies, the threats and intimidations thinly veiled as flirtation, or the silence from ambitious colleagues. We will not tolerate being shamed or disbelieved, and we will not tolerate the recrimination that comes with speaking out. We will not join “task forces”to solve a problem that is perpetrated upon us. We provide a definition of sexual harassment, for those who may feel powerless so that they may point to a document that supports a safe work environment for all.

We, the undersigned—those who have experienced abuse and those standing in solidarity with them—call upon art institutions, boards, and peers to consider their role in the perpetuation of different levels of sexual inequity and abuse, and how they plan to handle these issues in the future.

We are too many, now, to be silenced or ignored.
With all we have experienced and witnessed, this letter should come as no surprise.

This letter is dedicated to the memory of feminist art historian Linda Nochlin (1931-2017), whose activism, spirit, and pioneering writings have been an inspiration for our work.

Instagram: @notsurprised2017
Twitter: @Not_Surprised1
Facebook: notsurprised2017

This letter is the first public step. We will continue to address and act upon these issues as part of a larger process, building the next steps through the feedback we receive. Minor editorial changes were made until 11 p.m., 29 October, 2017 EST.


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Images © Jenny Holzer


In early September the show “Queermuseu-Cartografias da Diferença na Arte da Brasileira” (Queer Museum-Cartographies of Difference in the art of Brazil), curated by Gaudêncio Fidelis at the bank-funded private institution, Santander Cultural Porto Alegre, was cancelled in Brazil in response to a social media campaign by conservative groups that accused the show and the bank sponsoring it of promoting blasphemy, pedophilia and bestiality.

After this chapter, a sort of movement started between museums and cultural scene in Brazil against the repression and censorship under hashtag #TodosPelaArte and #CensuraNuncaMais.

Within this context is that tomorrow October 20, will open the exhibition “Histories of Sexuality” at Museu de Arte de São Paulo Assis Chateaubriand.

The exhibition presents an encompassing and diverse approach of these productions. Our aim is to stimulate a debate – urgent nowadays – by crossing different temporalities, geographies, and media. Recent episodes in Brazil and the world have brought forth issues related to sexuality and the limits between individual rights and freedom of speech, through public clashes, protests, and violent manifestations on social media. The MASP, a diverse, inclusive, and plural museum, bears as its mission to establish, in a critical and creative way, dialogues between the past and the present, cultures and territories, through the visual arts. This is the meaning of the program of exhibitions, seminars, courses, workshops, and publications surrounding several histories – those of childhood, of sexuality, of madness, of women, of the Afro-Atlantic, as well as the feminist ones, among many others.

Conceived in 2015, this exhibition is the offspring of a long and intense work, being preceded by two international seminars held in September 2016 and May 2017. It is part of the MASP’s full year dedicated to the histories of sexuality, which in 2017 included the solo exhibitions of Teresinha Soares, Wanda Pimentel, Miguel Rio Branco, Henri de Toulouse-Lautrec, Tracey Moffatt, Pedro Correia de Araújo, Guerrilla Girls, and Tunga. There are more than 300 works by 126 artists gathered around nine thematic, non-chronological themes – Naked bodies, Totemisms, Religiosities, Gender performativities, Sexual games, Sexual markets, Languages, and Voyeurisms on the first-floor gallery, and Activisms and politics of the body on the first basement floor. The display also includes a video room in the third basement floor, as part of the voyeurisms branch.

Histories of Sexuality” includes works by Carlos Leppe, Carlos Martiel, Collier Schorr, Cibelle Cavali Bastos, Egon Sciele, Wolfgang Tillmans, Ernesto Neto, Francis Bacon, Juan Dávila, Robert Mapplethorpe, Pedro Lemebel & Las Yeguas del Apocalipsis, Marta Minujín, Nancy Spero and Tracy Emin among many others.


October 20, 2017 – February 14, 2018
Avenida Paulista, 1578 CEP 01310-200 Bela Vista – São Paulo – SP


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The Swiss Arts Council Pro Helvetia presents “COINCIDENCIA” (2017-2020), a program whose aim is promote cultural exchanges between Swiss artists and South American countries, to create new collaboration projects and allowing the presence of Swiss on the platforms of the region.

Pro Helvetia, is a public foundation founded by the Federal Government of Switzerland, dedicated to promoting artistic creation in Switzerland as well as networking and cultural exchanges abroad. Today, the Foundation is internationally present with a network of Liaison Offices in Cairo, Johannesburg, New Delhi, Shanghai and Moscow, a Cultural Center in Paris and further presence in New York, Rome, Milan, Venice and San Francisco.

Within this context, is that Pro Helvetia will have an intense program of exchange with South America between 2017 and 2010, which will allow to the Swiss cultural scene the access to artistic and creative platforms in the region, as well as a rich pluralistic exchange. Thus, the program intends to test and identify the opportunities for the future Liaison Office, and create a mutual and relevant relationship to be able to feeding the activities.

«COINCIDENCIA» Opening and launch in Santiago

Within this context of local opening of “COINCIDENCIA” in South America, this October 5, 2017 will take place in the National Museum of Fine Arts of Chile the first launch of the program for South America, coinciding on the date with the inauguration of the 13th Media Arts Biennial of Chile, one of the most important cultural events on the national artistic scene where one of its main and largest venues will be the same Museum.

Through the cultural exchange program “COINCIDENCIA” Pro Helvetia aims to facilitate the presence of the Swiss art scene in professional platforms in South America, promote cultural exchange and stimulate new joint projects. Thanks to this program, new opportunities are opening up in the South American region for the Swiss arts.


«COINCIDENCIA» supports the projects of its partners in South America and Switzerland in many ways and formats: exhibitions, exchanges, research platforms, tours of shows, co-productions, translations and research trips. In addition, it allows the artistic critical thinking through the circulation of people and contents, the exchange of resources between artists and puts in contact autonomous initiatives, curators, festivals and institutions.

Within this context, Pro Helvetia will have an intense exchange program with South America between 2017 and 2010, which will allow to the Swiss cultural scene to have access to artistic and creative platforms in the region, as well as a rich pluralistic exchange .


«COINCIDENCIA» – Cultural exchanges between Latin America – Switzerland
A program of the Swiss Arts Council Pro Helvetia

Opening and launch in Santiago, Chile
October 5, 2017, 10.00 AM
National Fine Arts Museum
Avenida José Miguel de la Barra 650
Santiago, Chile




ALMA ZEVI presents Swiss artist Heidi Bucher (1926 -1993), and American artist Gordon Matta-Clark (1943 – 1978).

Entitled FLOORS, this exhibition is of work by Heidi Bucher and Gordon Matta-Clark from the 1970s. It takes their obsessive distortion and re-imagination of architecture, floors in particular, as the subject matter. The two artists made work that evaded categorization by fusing together elements of sculpture, painting, and performance. Gordon Matta-Clark cut into the surfaces and structures of buildings, creating fragile cavities and unexpected light-wells. Meanwhile, Heidi Bucher cast floors and walls with resins and latex, creating new surfaces that are both rough and elegant.

Gordon Matta-Clark’s series Bronx Floors (1972), which are shown at ALMA ZEVI, is the result of him cutting out parts of the floorboards and ceiling of an abandoned residential building in the Bronx, New York. In doing so, he radically re-assembled the space. This work directly questions our experience of walking, standing, or indeed gravity. Tearing architecture away from functionality, redefining its form, sculpting with light and space, this is a seminal work not just in Gordon Matta-Clark’s work as whole, but in the art of the last 50 years.

Between 1976-8 Heidi Bucher was in Zurich and making equally pioneering work. Exhibited at ALMA ZEVI are three unsettlingly poetic Borg floors. These are casts of the floor of what she called ‘the Borg’ – her basement studio in Zurich, which had previously contained a butcher’s freezing room. The Borg floors are beautifully textured, evocative and mysterious. This exhibition explores the sensuality of Heidi Bucher’s approach, where a wall or floor becomes a skin. The Borg pieces cement her as an artist who overcame the deeply backward concept of being a ‘great woman artist’, to take her proper place as ‘a great artist’, whose work is also included in this year’s Venice Biennale.

In 1972 Heidi Bucher and her husband Carl Bucher collaborated to create a piece of performance art: Body Shells. In the same year, Gordon Matta-Clark’s partner Carol Goodden participated in his performance piece Tree Dance. Both were filmed, and are now shown together for the first time at ALMA ZEVI. These highly experimental films combine choreography and dance, performance art, and site-specific sculpture.

To mark the opening of the exhibition, the Teatrino Grassi will be screening films by Heidi Bucher and Gordon Matta-Clark. The screenings will take place on Friday 22 September, from 6.30pm, and on Saturday 23 September, from 10am to 7pm (beginning of each session at 10am, 1pm, 2.30pm, 4pm and 5.30pm).

FLOORS : Two-person show of Heidi Bucher & Gordon Matta-Clark
Private view: September 22, 6 – 9 pm
September 23rd – December 21st, 2017
San Marco 3357
Salizada San Samuele
30124 Venice, Italy


Heidi Bucher, Gordon Matta-Clark, FLOORS at ALMA ZEVI, VeniceHeidi Bucher working in the Borg, Zurich (circa 1977). Courtesy The Heidi Bucher Estate


Tomorrow Tuesday September 5, at 12.00 hrs, will be inaugurated the exhibition “Secretos de Estado” at Galería de la Memoria at Museo de la Memoria y los Derechos Humanos, curated by the outstanding researcher Peter Kornbluh, where will be exhibited a selection of declassified documents that allow us to understand the secret history of the coup and the Chilean dictatorship along with the support given by the US to both the Military Junta and the mass media.

Kornbluh, is internationally recognized for declassifying more than 23,000 files of the CIA, the FBI, the NSC, the White House of Defense and the US Department of State, related to the military dictatorship of Chile. He has worked for more than 30 years as Senior Analyst in the National Security Archive in the USA, a non-profit organization where he is director of the Documentation Project in Chile, which has made him linked with several cases of rights such as the investigation of Judge Juan Guzman on the crimes of Operation Condor, the murder of Charles Horman and Frank Teruggi, or the disappearance of Boris Weisfeiler, among others, providing testimony from experts and documentation as evidence.

Among the activities through his visit, today Monday September 5, at 19.00 will take place the talk “Process of declassification of documents on the Chilean dictatorship”, where the journalist Mónica González, director of CIPER Chile will interview to the researcher in depth.


“Secretos de Estado” – An  exhibition curated by Peter Kornbluh
September 5, 2017 – March 18, 2018


“Proceso de desclasificación de documentos sobre la dictadura chilena”  –A talk between Mónica González, director of CIPER Chile and the researcher.
Monday September 4, 2017, 19.00 hrs


Museo de la Memoria y los Derechos Humanos
Matucana 501, Santiago, Chile


We are delighted of announce our friendship with the latest version of the 13th Media Arts Biennial of Chile, that will be held between October 5 and November 5, 2017 under the title and curatorial concept of “Tremble”.

For this, we are doing the last open call to the 13th version of the Juan Downey Contest to artists from Latin America and the world which artistic practices are based on video and media arts.

The Biennial of Medial Arts was created by the Chilean Video Corporation as a response to the void left by the finish of the Chilean Video Art Festival, having its first version in 1993. The encounter is proposed and displayed as an instance of dialogue, dissemination and exchange of media art works and research taking as starting point the algorithms and the digital environment. Also today, more and more, are crossed the ways between the different fields and disciplines that converge art, technology and science.

“Tremble” is made up of various sections, venues like the National Fine Arts Museum, Contemporary Art Center Cerrillos, Contemporary Art Museum among many important national spaces, and activities such as laboratories, conferences, visual concerts and encounters of creative and exchange experiences. Thus, within this context is that will take place the Juan Downey Contest in its 13th edition being an homage to the Chilean artist, constantly updating the language and meaning of his work.

Juan Downey was a Chilean artist who pioneered video art in Chile and the world, where the visuality not only expresses the intersection of new technologies, but also the confluence of cultures and their displacement, language and images. Downey in his pieces and installations question to his time, politics, paradigms and concepts of identity, being “Trans-America” one of his most recognized series, where he traveled through different countries of the continent recording common or different points between different places and societies. This project not only had a documentary character, but also a work capable of expressing a cultural cartography.

The Juan Downey contest at the 13th Biennial of Media Arts “Tremble” does an open call to all artists and people working with narratives in video art and new technologies to participate in the already recognized event in Chile.


Deadline: August 31, 2017


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Today Wednesday 12, July at 18.30 hrs an evening with Alejandro Jodorowsky, including a conversation and a public tarot reading, will be housed by MoMA PS1.

Also, Klaus Biesenbach, Director of MoMA PS1 and Chief Curator at Large at The Museum of Modern Art, will join to him for a conversation about Jodorowsky’s forthcoming film Endless Poetry, the autobiographical sequel to The Dance of Reality, which looks at his time as a young poet in Santiago and features his son, Adan Jodorowsky, playing his father as a young man exploring his interest in tarot reading.

For many years, Jodorowsky has been dedicated to the practice of tarot as a source of psychological insight and creative inspiration. As part of this special program, he honors our audience with a one-time public reading for 22 people. A disciple of the Tarot de Marseilles, which originated in the 16th century, Jodorowsky will use a tarot deck that he helped design to introduce his audience to the cards and how they can teach one “to create.”


An evening with Alejandro Jodorowsky
Alejandro Jodorowsky + Klaus Biesenbach
Wednesday 12, July – 2017, 18.30 hrs
22-25 Jackson Avenue, Queens


jodorowsky jodorowsky2 Jodorowsky-trailer


Bill Viola: A Retrospective at Guggengheim Bilbao is a thematic and chronological survey of the artist’s career that begins with his early single-channel videotapes, including such iconic works as The Reflecting Pool(1977–79) and the compilation album Four Songs (1976). These highly poetic creations address some of the most important themes in Viola’s output: the notion of time and its deconstruction, investigations into human existence, and experimentation with the recordings and manipulation of ambient and natural sounds.

He began adding physical elements which he continued during the 1990s, his studies of perception and spiritual issues materializing in the form of sculptural objects, as can be seen in the stripped down monitors in Heaven and Earth (1992), and large works such as Slowly Turning Narrative (1992) with its huge rotating screen.

With the arrival of the new millennium and the advent of high-definition flat screens, Viola began producing small and medium-format pieces in a series he titled the Passions, a study of the emotions in slow motion, such as Surrender, or that depict the passage of time and generations, as in Catherine’s Room, and Four Hands (all 2001).

Over the last decade, through a wide variety of media and formats, Viola has continued in his work to depict the fundamental experience of life. This is eloquently illustrated by his use of water in works such as The Innocents (2007), Three Women (2008), and The Dreamers (2013)—and his journey through the cycle of life, which begins in this exhibition with Heaven and Earth (1992) and literally “rewinds” in the final work Inverted Birth (2014).


Bill Viola (b. New York, 1951) is one of the leading artists of our time who is widely recognized as a pioneer in the development of video art, a medium he discovered in the early 1970s while enrolled in the “Experimental Studios” program at Syracuse University, New York. Even in his early video works it is evident that Viola’s life’s focus would be the search for self-knowledge as he became more influenced by his readings of Eastern and Western mystics and spiritual texts.


Bill Viola : A Retrospective
June 30 – November 9, 2017
Guggenheim Bilbao
Avenida Abandoibarra, 2 48009 Bilbao, Spain


walking-on-the-edge fire-woman-kp man-searching-for-immortality-woman-searching-for-eternity night-vigil-tristan inverted-birth the-veiling-roman-mensing-ur

Caption 1: Walking on the Edge, 2012. Color high-definition video on flat panel display mounted on wall.
Caption 2: Fire Woman, 2005. Video/sound installation. Color high-definition video projection; four channels of sound with subwoofer (4.1).
Caption 3: Man Searching for Immortality/Woman Searching for Eternity, 2013. Video installation.
Color high-definition video diptych projected on large vertical slabs of black granite leaning on wall.
Caption 5: Night Vigil, 2005/2009. Video installation. Color rear-projection video diptych on two large screens mounted on wall in dark room.
Caption 6: The Veiling, 1995. Video/sound installation. Two channels of color video projections from opposite sides of a large dark gallery through nine large scrims suspended from ceiling; two channels of amplified mono sound, four speakers.

All captions © Bill Viola and Museo Guggenheim Bilbao


SixtyEight Art Institute proudly presents Money Laundering”, curated by Rodolfo Andaur with artists Albano Afonso, Ana Alenso, Lehman Brothers, Alejandro Gómez Arias, Kristian Touborg, and Andrés Vial.

“Money Laundering” is a group exhibition consisting of sound, sculpture, video and photographic artworks by artists from different regions of the world. It aims to generate an analytic reflection about power, business and the role of system-wide corruption that is overtaking many situations, places, and nations.

This curatorial research-based exhibition seeks to highlight artists who are working with several parallels of intervention and artistic inquiry, contextually dealing through diverse points of entry with the aesthetic and political implications of corruption as an everyday “normal”. The exhibition takes its title from the different phenomena of double-dealing, fraud, extortion, washing or alteration of the established and legal conventions of capital. For example those that are pervasively and transactionally devaluing money, mineral extraction, public goods or those which are accelerating the devastation of natural resources.

In this sense, this exhibition project tries to study some of the condemnation surrounding global corruption issues, especially the modes of being that are increasingly linked to money laundering as a process and as a phenomenon which is capitalizing on our cultural, political and economic understanding of liberal democracy.

Grasping how these modes are laundered in order to achieve globalization, offers us possible routes for how artistic insights can intersect and create spaces in which to interrogate, contest, hack or mutate corruption – maybe on their own global terms and as new institutions? This would appear to be one alternative we have in order to give our reproach a grounding and perhaps use it as a seedling for collective action.

To this end, “Money Laundering” speaks through different materials, notes, reports and various technical aspects, where the invited artists reflect on the very different parallel readings of forms of ‘laundering’ that are intersecting with our global contemporaneity and subjectivity. “Money Laundering” is about questions, please join us and ask your own. All are welcome.


Money Laundering – Group Show curated by Rodolfo Andaur
Running through July 8 – 2017
SixtyEight Art Institute, Gothersgade 167, Kbh K


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“Intervalo peatonal” is the latest exhibition of the photographer Sebastián Mejía that will be exhibited at Metales Pesados Visual Gallery since June 20 to August 3, 2017. This exhibition is formed by a photographic series that continues the exploration of the research of urban landscape by Sebastian Mejía has been doing for more than 10 years.

In “Intervalo peatonal”, the photographer focuses on details of his tours through the city, using the walking as a key tool of the artistic process and returning to the true streets  of each story.

The black and white photographs continue in a certain way with the tradition of street photography emblematic of S. XX, but informed, this time, by conceptual art, land art and situationalist drifts. The result is then, an exponent of what may be contemporary Latin American photography, rooted in its history, but open to the possibilities of the use of the image as part of the visual arts.

In words of Nathalie Goffard, curator of the show:

“This is the story of someone was trying to …doing for years exactly the same way but for always arriving to another place. The impossibility of invariable in the same itinerary was something like the leitmotiv of his journey …

… The persistence and insistence of all nonsense was much more visually attractive than immutability. And for this, the best sequences to be choreographed were those that included the silences of the vertiginous spaces: the small depressions, the furrows that did not allow to see in their interior and the irregular borders. When he wanted to make more noise, he chose stains and residues.

Walking like someone who writes scores and always has the skill of find something for doing a new leitmotiv. Everything worked, the diagonals, the convergences, the angles or the unevenness. The shadows, the breaks, the veils and the rips. [Photographer] He got such level of mimicry with the journey, that every time something changed, he could feel it through himself. As if that route and the body itself formed the same unique palimpsest, in which layers of history and memory were added. ”

Intervalo Peatonal – Sebastián Mejía
Opening: June 20- 2017, 19.30 hrs.
Metales Pesados Gallery
Merced 316, Santiago, Chile

Foto alta 1 (1) Foto alta 1 (2)

Latin America is a land of deep contrasts, both geographically and culturally. Its history is the history of the permanent confrontation between abstraction and nature, order and chaos, reason and intuition. In its deepest essence, the Latin American identity can be understood as a dialectical synthesis of these primordial forces, set in permanent tension. And this has in turn determined the character of its cultural productions, particularly in the field of visual creation.

“Raue Strömung”, the first exhibition of the platform of Latin American artists Kap Hoorn, is constituted by the recent work, created especially for the exhibition of 10 chilean artists residing in Berlin. Beyond their natural diversity in formal terms, they share as a common feature a marked sensitivity for the matter with which they are conformed. The expressive qualities of materials as diverse as metal, glass, textiles, paper, ceramics, plasticine and objets trouvés, are put into value through careful processes of transformation which, due to their subtle nature, refer to the work of goldsmiths and craftsmen, who do not force the material substrate but know how to understand matter in its most profound laws.

This know-how with matter is the fertile ground that allows the identity roots to emerge, dialogue and bear fruit: from abstract geometric patterns related to the Latin American tradition of kinetic art and indigenous iconographies, to the presence of the landscape with all its Telluric-symbolic burden; From the complexity of fabrics woven with the traces of wear and memory, to the richness of mythical cartographies and hand drawings loaded with sign references.

In the work of these artists, abstraction and sensuality, Brasilia and Macondo, these forces and primordial visions that gave shape to that complex reality we call Latin America, converge again into a remarkable and unique alchemical synthesis: “Raue Strömung” (raw currents).

This group show includes artworks by Paula Anguita, Jacinta Besa, José Délano, Muriel Gallardo, Marcela Moraga, María Muñoz, Amalia Valdes and Pablo Zuleta.

Exhibition: June 16th to 29th, 2017
Inauguration: June 15th, 19 hrs
Galerie Eigeinheim
Linienstraße 130, 10115, Berlin Mitte, Germany

amalia1 amalia 2 jacinta1 jacinta2 muriel1 muriel2 Raue Strömung exhibition invitation

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Running through June 4th, PAC Padiglione d’Arte Contemporanea in Milan presents MEA CULPA, the first extended Italian anthology dedicated to conceptual artist Santiago Sierra, curated by Diego Sileo and Lutz Henke


Born in 1966 in Madrid, for almost thirty years now his work has been moving on the rough grounds of criticism to the contemporary socio-political conditions.


As the bearer of the dark truth of our time, Sierra is often stigmatised for his intense and ambiguous performances. Nevertheless, their visual language, their complex and energetic symbolism and the fact that they are plunged into the reality of people give them a rare emotional impact. The works of Sierra have been shown in important museums and institutions worldwide; in 2003, he represented Spain at the 50th Venice Biennale. The exhibition at PAC brings together for the first time the most iconic and representative political works by Santiago Sierra from the 1990s to date, together with the documentation of many of his performances over the world, new productions and reactivations of past installations and actions.


With the exhibition of Santiago Sierra, PAC launches the first of the four storylines on which its annual calendar is based, that is proposing exhibitions of renowned and well-established artists from the international art scene every year in occasion of miart fair.


Promoted by the Municipality of Milan and produced by the PAC with Silvana Editoriale, the exhibition will open at the beginning of Art Week, a program of events in Milan dedicated to contemporary art.



EVERY TUESDAY & THURSDAY Lectures, talks and workshops

EVERY THURSDAY & SUNDAY Free guided visits

SUNDAY APRIL 2 Art Week special ticket and free guided visits – 4.30 pm by curator and 6 pm

MONDAY APRIL 3 NO, Global Tour film screening with the artist at Cineteca Spazio Oberdan – 8.30 pm



produced by Comune di Milano – Cultura, PAC Padiglione d’Arte Contemporanea, Silvana Editoriale




no santiago sierra01a

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Yesterday Magnolia Pictures released the trailer for BURDEN, a documentary film about the life and work of Chris Burden:


“Chris Burden guaranteed his place in art history in 1971 with a period of often dangerous and at times stomach-churning performances while still a student in Southern California. He had himself shot (Shoot, 1971), locked up (Five Day Locker Piece, 1971), electrocuted, (Doorway to Heaven, 1973), cut (Through the Night Softly, 1973), crucified (Trans-fixed, 1974), and advertised on television (4 TV Ads, 1973–77). Burden quit performance in the late ’70s and artistically reinvented himself, going on to create a multitude of assemblages, installations, kinetic and static sculptures and scientific models, including Urban Light (2008) at Los Angeles County Museum of Art (LACMA).


“His work has influenced a generation of artists and been exhibited around the world, but the provocative nature of his art coupled with his sense of privacy mean that most people know the myth rather than the man. Now, having followed Burden creating new works in his studio and with access to his personal archive of images, video and audio recordings, BURDEN is the first feature documentary to fully explore the life and work of this seminal artist.


“Directors Timothy Marrinan and Richard Dewey look at Burden’s works and private life with an innovative mix of still-potent videos of his ’70s performances, personal videos and audio recordings, friends, fellows students and colleagues, critics’ comments (including that of a young Roger Ebert) and latter day footage at his Topanga Canyon studio, all peppered with his thoughts and musings through the years. BURDEN meticulously explores a complex, ever-evolving individual who became one of the most admired artists of his generation.”


In theaters May 5th, Amazon Movie and iTunes


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Directed and photographed by Wolfgang Tillmans, this 27 minutes film features performances by Hari Nef, Karis Wilde, Ash B., Matthew Salinas, Bashir Daviid Naim, Rachel Guest, Christopher Olszewski and himself as well as band members Juan Pablo Echeverri, Jay Pluck, Kyle Combs, Tom Roach and Daniel Pearce.

Participants danced and improvised in Los Angeles and New York to the music, without previously knowing it. Whilst editing the footage with Michael Amstad in Berlin, it became clear, that what was planned to be cut into six individual videos, should not be separated, but should remain as a consecutive sequence of six different moods.

wolfgang-tillmans_-thats-desire-here-we-are-_11 captura-de-pantalla-2016-12-22-a-las-21-24-02

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