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“Mi casa es su casa”. Moderno: El Arte De Vivir, Caught in the influence from Josef Albers to Cecilia Vicuña, is an exhibition curated by Kandor13 and Pablo Jansana, which will take place at the Kolonie Wedding. Rosalux and OkkRaum29, Berlin. Germany. The exhibition involves 13 artists coming from different latitudes.

The proverb “Mi casa es su casa” translates to “My home is your home”; defines the house as a space to be shared between one another, as a reflection of hospitality and charisma. Therefore, it appears as a problematic phrase when it is read under the light of cultural exchange; to make available what is owned and to appropriate what is of others. The centerline of this project is to inquire about the hospitality between spaces and agents from different backgrounds as a form of production centered on appropriation and exchange. A matter of authorship; international property rights and copyright law that materialize in social objects, and dynamics that exist in a network of cross-cultural influences.

In order to illustrate this idea Kandor13 traced a time spectrum between two works: a chair that looks like a design of the Mexican architect Luis Barragan, but is signed by the artist Josef Albers (a reference of modernism), which was produced by Clara Porset (a Cuban designer) and is now in the Josef Albers Foundation in Conneticut, U.S.A. This chair reveals a long chain of dialogue and influence of different cultures regarding hospitality. The second work is “Leonora Carrington y el viento de los muertos” by the Chilean artist Cecilia Vicuña. In this video, which was produced specifically for this exhibition, Cecilia appears in her garden describing how she met the Surrealist artist Leonora Carrington, who would become an inescapable reference for her paintings. Between the gap of these two works, Kandor13’s artists produced special work on this topic or created a new dialogue with pieces previously produced.

October 28th – November 20th, 2016
Rosalux: Wriezener Str. 12 13359, Berlin
OKK/Raum29: Prinzenallee 29 13359, Berlin

Alejandro Almanza Pereda / Mexico
Balam Bartolomé / Mexico / France
Jacobo Castellano / Spain
Catherine Czacki / USA
Brock Enright / USA
Andrea Galvani / Italy / Mexico / USA
Daria Irincheeva / Russia / USA
Pablo Jansana / Chile / USA
Esperanza Mayobre / Venezuela / USA
Lars Laumann / Norway
Santiago Reyes Villaveces / Colombia / UK
Carolina Saquel / Chile / Francia
Cecilia Vicuña / Chile / USA

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The Swiss artist Pipilotti Rist is known for her fascinating and unique work in video art, a pioneer in this kind of multimedia installations. Her audiovisual pieces have a deconstructive characteristic about what surrounds us daily, and with her re-assembly, where she gets to build a new meaning, which usually is showed as a provocative kaleidoscope.

Aesthetics and narratives turned into sensorial experiences and from there the question of what Rist shows us. The viewer always plays a role in her work, is in them to respond to the unexpected, and complete the works and narratives embedded within a conversation that can integrate political, social and cultural issues.

Occupying the three main floors of the Museum, “Pipilotti Rist: Pixel Forest” is the most comprehensive presentation of Rist’s work in New York to date. It includes work spanning the artist’s entire career, from her early single-channel videos of the 1980s, which explore the representation of the female body in popular culture, to her recent expansive video installations, which transform architectural spaces into massive dreamlike environments enhanced by hypnotic musical scores. Featuring a new installation created specifically for this presentation, the exhibition also reveals connections between the development of Rist’s art and the evolution of contemporary technologies. Ranging from the television monitor to the cinema screen, and from the intimacy of the smartphone to the communal experience of immersive images and soundscapes, this survey charts the ways in which Rist’s work fuses the biological with the electronic in the ecstasy of communication.


October 26th, 2016 – January 15th, 2017
Curated by Massimiliano Gioni
New Museum, New 235 Bowery, New York, NY 10002


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The Chilean artist Enrique Ramírez, currently living and working in Paris, and dedicated to video art, is presenting his second solo show at Galerie Michel Rein in Paris.

“La Gravedad” is the title of the exhibition, where although could be understood many things from its various meanings, appeals to the attraction it is.

When the artist throws pieces of black paper into a clear and transparent sky, this force is at work to make them fall back to the ground – light, fragile, vaporous. In the same way, when playing on contraries, he lights up small white papers on a night black background, creating an even more hypnotic contrast. “For me, these papers are like souls thrown into the sky, ideas, contestations, silent voices (that have been made silent), they also evoke the spherical aspect of the world, the night which reigns here, whilst it is daytime elsewhere”.

With this the artista thinks about the circularity of the time and the “eternal return”, referring to the cyclical nature of things which cause events to repeat themselves again and again, whatever we do to stop this repetition.

It’s without a doubt this force which gives the most power to his work: That of the gravity of our present time, with no foreseeable future, that of a humanity incapable of understanding and learning from the mistakes (and horrors) of the past, inexorably advancing towards damage and an empty and insignificant existence. However, art seems to refuse to resign itself and Enrique’s works, like any work resorting to highly poetic images, involve the spectator by engaging their gaze, their thoughts.

In this way, once again Enrique Ramirez’ works honour not only his argumentative power and his ability to provide supports which stimulate the power of thought, but above all his undeniable ability to speak politics.


Text extract of Florencia Battiti


La Gravedad – Enrique Ramírez
October 20th, 2016 – December 17th, 2016
Galerie Michel Rein, 42 rue de Turenne 75003 Paris, France


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Continuing the sentiment of its inaugural edition, Paris Internationale’s 2016 edition takes place at 51 Avenue d’Iéna, a hôtel particulier built in 1897, most notably known as the Parisian residence and salon of prominent art collector Calouste Gulbenkian. From October 18th to the 23rd, the four story mansion, which spans over 3,000 m2, will host 61 participants including 54 galleries and 7 project spaces hailing from 21 countries. Echoing the plural identities of the participants, the building will feature a mosaic of rooms with strikingly specific characteristics. Responding to the current climate of art fairs in regards to both its production and reception, Paris Internationale is a joint initiative from 5 emerging galleries; Crèvecoeur, High Art, Antoine Levi, Sultana and Gregor Staiger, as a collective attempt to develop an appropriate model for fostering new advanced initiatives in contemporary art.

The Latin American presence is little in this version, so, we highlight the participation of the Mexican Gallery, Proyectos Monclova with artworks of Adrien Missika, Gabriel de la Mora and Martin Soto Climent.
The event also is being rising as a proposal that welcomes the replacement of generations, both artists, galleries, and other cultural actors, responding to the own changes of the context where the “deterritorialization” seems to command the new production and thinking models.

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“This exhibition is the very first, after the Guggenheim show, that has more than three of my works altogether: it is a special editing of things I’ve done before retiring. Let’s say it is a post-requiem show, where, like in a Poe’s novel, I’m pretending to be dead, but I can still see and hear what happens around.”
–Maurizio Cattelan


Not Afraid of Love – Monnaie de Paris
Maurizio Cattelan
From October 21, 2016 to January 8, 2017
Curated by Chiara Paris



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“Ways of Seeing” is the book of John Berger, where the author analyzes the scopic regime, being the context of a society and culture who determines the prevailing visual regimes, which are defining the according forms of assimilation of what we see: perception and interpretation. “Ways of Seeing” also had its version in televisión, with a series of BBC documentaries in 1972.


Lorna Mills, visual artist with a body of work that responds to a network culture networks and digital technologiesm made in 2014 a remake of this series, “Ways of Something”. The piece consists of a series of videos of one minute made by more than 30 internet based artists, who use 3D, renderings, gifs, films or webcam performances, describing the hilarious production of art in the postinternet era.


“Ways of Something” will be on view in the Whitney Museum in New York, being part of the “DREAMLANDS: IMMERSIVE CINEMA AND ART, 1905–2016” exhibition, running since October 28 until February 2017.


The exhibition focuses on the ways in which artists have dismantled and reassembled the conventions of cinema—screen, projection, darkness—to create new experiences of the moving image.

“DREAMLANDS” spans more than a century of artworks. Featured are pieces in installation, drawing, 3-D environments, sculpture, performance, painting, and online space, by Trisha Baga, Ivana Bašić, Frances Bodomo, Dora Budor, Ian Cheng, Bruce Conner, Ben Coonley, Joseph Cornell, Andrea Crespo, François Curlet, Alex Da Corte, Oskar Fischinger, Liam Gillick, Dominique Gonzalez-Foerster, Pierre Huyghe, Alex Israel, Mehdi Belhaj Kacem and Pierre Joseph, Aidan Koch, Lynn Hershman Leeson, Anthony McCall, Josiah McElheny, Syd Mead, Lorna Mills, Jayson Musson, Melik Ohanian, Philippe Parreno, Jenny Perlin, Mathias Poledna, Edwin S. Porter, Oskar Schlemmer, Hito Steyerl, Rirkrit Tiravanija, Stan VanDerBeek, Artie Vierkant, and Jud Yalkut, among others.


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The Nasher Sculpture Center opened since 2003 and located in the heart of the Dallas Arts District, is an institution dedicated exclusively to study and exhibition of contemporary sculpture, with more than 300 works by Calder, de Kooning, di Suvero, Giacometti, Hepworth, Kelly, Matisse, Miró, Moore, Picasso, Rodin, Serra and more.

In 2015, was announced the creation of the Nasher Prize, becoming in the most important prize in the world in contemporary sculpture.

For 2017 version, the institution announced as winner of the prize, the French sculptor Pierre Huyghe, who has developed an artwork that integrates different materialities, moving through different disciplines and themes, crossing the cinema, music, science and philosophy, creating pieces presented as something totally unknown, diverse and surprising. The artist is constantly looking for an evolution through the creation, where the life and environment have been a major factor in his peculiar beauty and interpretation of this world.

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Art Basel was born in 1970 as an initiative of the gallery owners of Basel, Switzerland, it grew into an institution that connects the most important galleries around the world, and expanding their versions to Hong Kong and Miami, being meeting point between people and art from different places.
Following this, it is that they launched in March 2016 “Art Basel Cities Initiatives”, where the different partners cities, will join forces to organize joint programs and have a series of events and art events.
The first of these programs will be done at the end of 2017, where the city chosen for this initiative is Buenos Aires, hoping to achieve a new dialogue and interaction between the city, what culturally offers this one, and what Art Basel with this new project aims; promote the culture and impact of the place and link with the global context, becoming to Buenos Aires and the upcoming cities, in indubitable destinations within the global artistic itinerary.

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VADB is a collaborative network of contemporary art in Latin America, displayed on an online platform, where are hosted and organized the work and information of the artists, critics and theorists, organizations and cultural managers, galleries, events.
In this way, the project is proposed to be an online archive of all factors and actors acting into the scene and Latin American artistic context, also allowing the connection between them; all this to encourage and help promote art in Latin America.
Tomorrow September 10th at 15.00 hrs. is the official launch of VADB in Casa Do Povo, in Sao Paulo, Brazil. Casa Do Povo is a space founded in 1953, which through initiatives linked to contemporary art and culture, is installed as a place of experimentation to encourage new practices, discourses and ways of thinking.

Through the day of the launch of the Network, there will be talks and discussions, where forms of production and circulation of contemporary art will be reviewed, how relationships are established and decisions are made to organize ideas about writing and building history of art.

Also, propose how the graphics and visual devices are thought that would do justice to own oversights of the media in modern history are thought.


VADB | Red Colaborativa De Arte Contemporáneo Latinoamericano
Launch: September 10th, 2016, 15.00 hrs.
Casa Do Povo, Rua Três Rios, 252 – Bom Retiro, Sao Paulo, Brasil

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From today, September 6th, the chilean artist Margarita Dittborn will be showing “The Book of Love” in  Madhaus Gallery, coinciding with her ten years of career.
Dittborn is self-taught photographer and visual artist,exploring crossing techniques to reach particular aesthetic manifestations.
This exhibition thinks about metaphors and visual representations of what can be the love and what has been for others, borrowing histories to set this narrative.
“The Book of Love” includes photomontages, collages and small installations where the viewer will be in that place of love, drama and comedy suffered by others.


The Book of Love – Margarita Dittborn

September 6th – October 1st, 2016

Madhaus Gallery, Vasco de Gama 4639, Santiago, Chile


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In August 1952, John Cage returned to Black Mountain College and organized Theater Piece No. 1, an unscripted performance considered by many to be the first Happening. This performance  included Rauschenberg, Cunningham, and Cage’s frequent collaborator, the young pianist David Tudor, among others, where the audience was seated in four triangular sections, while Cage stood on a ladder at the center, inviting to artists, musicians, and dancers moved freely through the space.

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Jerry Saltz is an American art critic that began and wrote in The Village Voice since 2006 and is the senior art critic for New York Magazine. Also, he has served as a professor at the Faculty of Arts at Columbia University, Yale and the Art Institute of Chicago. Up here there is nothing new for a critic with an impeccable resume.
What is certainly new, it’s like Saltz has become totally a character, not only in the art world, but in the visual, urban culture and society. Himself embodies the contradiction of being the most hated but the most beloved among his followers critic. And we don’t mean followers like their theoretical disciples, but literally his followers in social networks.
And it is that Jerry Saltz through Facebook has called to have a real look at what is the world of art, stripping the glamor and solemnity of the circuit. Even beyond that, much more famous is his Instagram account, where it seems that he is inviting us to explore and get into his peculiar mind, where criticism, irony, and a strange obsession with images -which can be provided by the world art or not- with sexual court until masochistic if you want to say; the obsession with that thing secretly perverted in Byzantine art, its paintings and the illustration, and the fascination that somewhere everyone seem have by the demonic occult forces, which does nothing but only express their ironic statement. And so it is no wonder that the latest obsession of the critic is the presidential candidate US and the businessman Donald Trump, putting in each of his images that funny sexual component, critique to the power and system. And that’s why we love Jerry Saltz, because from his place, he is not afraid to laugh at this serious circle of constant adulation, western iconography that follows regentando many structures in society today, and especially of power. The Jerry Saltz’s Instagram is like a Freudian analysis of many of our subconscious.

What’s in the mind of Jerry Saltz? What do we constantly remain in silence, and Saltz channels it through their uploads?




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From today Friday 26 until Sunday, August 26th, will be on view CHART ART FAIR, the leading Nordic contemporary art fair held at The Royal Danish Academy of Fine Arts’ Kunsthal Charlottenborg in Copenhagen. Since its inception, CHART has established itself as the international platform for contemporary art in the region. It focuses on art from leading galleries in the Nordic countries.

CHART breaks with the traditional fair format by carefully curating the galleries’ artwork and presenting everything in unison as an exhibition, in the halls of Kunsthal Charlottenborg. The selection and curation is realised by the five founding galleries based in Copenhagen: Galleri Susanne Ottesen, Galleri Bo Bjerggaard, V1 Gallery, Andersen’s Contemporary and David Risley Gallery.

The artists exhibited include Alicja Kwade, Andreas Gursky, Bigert & Bergström, Eduardo Terrazas, Eva Koch, José León Cerrillo, Marie Lund, Marina Abramovic, Not Vital, Nobuyoshi Araki, Robert Mapplethorpe, Thomas Broomé e Yrjö Kukkapuro and more. BIGERT & BERGSTRØM “70 CM FROM NOT BEING THE HIGHEST POINT IN SWEDEN KEBNEKAISE (2097,5 M MEASURED ON 27 AUG, 2014)” Not_Vital_Head-3_2014_Stainless-steal_177x110x130cm_Forsblom-1066x1600 Rolf_Nowotny_CONKCLOACA_2016 Thomas_Broomé_Green_kiss_2016_AkrylglaAcrylic_glass_90x28x38cm_magnus_karlsson-1067x1600 TUOMAS A. LAITINEN SENSORY ADAPTATION DEVICE #5 YRJÖ KUKKAPURO ARMCHAIR EDITION OF FOUR 2015

Image #1 Alicia Kwade, “Trait Transference”, 2016

Image #2 Bigert & Bergstrøm, “70 cm from not being the highest point in sweden kebnekaise”, 2014

Image #3 Not Vital, “Head-3”, 2014

Image #4 Rolf Nowotny, “Conkcloaca”, 2016

Image #5 Thomas Broomé, “Green Kiss”, 2016

Image #6 Tuomas A. Laitinenen, “Sensory Adaptation Device #5”, 2016

One of the most obvious symptoms of the new guidelines in contemporary art, is the constant and persistent search for new crossings that can generate new projects, art pieces and thought patterns that can give the state of the society and culture and its individuals. The last biennials, group shows, and research of certain artists have been crossing their curatorial lines between art, technology – both its best side to improve the quality of life of the people, both critically- exploring new methodologies and others, pointing a statement of what our society evaluates and projects.

From these indicators starts the First Edition of the Antarctic Biennale 2017, establishing itself as a socio-cultural phenomenon international that uses artistic, scientific and philosophical methodologies.

The concept for this version was proposed by the Russian artist Alexander Ponomarev, who in 2014, established with the curator Nadim Samman the Antarctic Pavilion at the 15th Venice Biennale of Architecture under the concept of “Antarctopia” as an international interface of the Antarctic Biennale.

Applications for the event are open to artists under 35 years old, who work with different media and formats, and wishing to propose a piece or project to deploy its vision of this geography.

The Antarctic Biennale is conceived in itinerancy, in a large ship which will start with an expedition in March 2017, starting in Ushuaia, to end at Cape Horn, visiting scientific bases and historic sites. At the same time, actions, performances and discussions will be performed on board.

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Sergey Skuratov, Antarctic Pavilion, 15th Venice Biennale of Architecture, 2014.

The work of the argentinian artist Enrique Jezik, who is based in Mexico over 25 years ago, is characterized by putting in friction the thematics of power, economy, abuse and violence within society and contemporary culture, using the installation, site specific or performance for to reach the reflection that he wants to install in the viewer.
Jezik will be performing in Chile, tomorrow August 16th at 14.00 hrs at the Aula Magna of the ARCIS University. This work takes place within the context of his residence at Ejercicios Mosqueto, project and platform currently engaged to the research on performance art.


Tuesday, August 16th, 2016, 14.00 hrs.
AULA MAGNA of the ARCIS University
Huerfanos 1710, Santiago, Chile

circulos concentricos_2014Photo: Monika Sobczak © 2014


NEW INC is the new initiative of the New Museum of NY, being the the first museum-led incubator for art, technology and design. Is a shared workspace where the programs for the professional development are focused to support to the creatives of these áreas. Conceived in 2013 and launched September 2014 as a nonprofit platform, that furthers the Museum’s ongoing commitment to new art and new ideas. Thus, this space is interdisciplinary, supporting the research of new ideas and develop a sustainable practice, where the creatives are working in unique ways that are a cross between technology, culture and commerce.
Because they are exploring new modes of cultural production, the professional landscape in which they work is still undefined. NEW INC as a new model of production that offers a lab-like environment and framework for the development of new ideas, practices, and models in the pursuit of innovation.

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Marilyn Arsem is an American artist known for her performances, installations and site-specific that has been developing. In these actions, she works the durational performance or “time based art,” where the essential characteristic is to be actings that work based on one or more actions through a period of time.
Arsem is dedicated to exploring these peculiarities of performance and the challenges associated with documentation of time based art.
The artist is also founder of Mobius Artists Group, art collective known for to bring their visual proposal, performance and media arts, video and installation.

She will be performing today  at 19.00 hrs at the Central House of the University of Chile, together with fellow performer Tomasz Szrama, with the performance “Binario”, action conceived as the contrast between the practice of two performance artists whose work has followed parallel paths, sometimes divergent, but cultivating two significant insights that contribute to the development and education of discipline.


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Martine Syms is an american artist based in L.A. and was named by the most important sites and magazines of contemporary art as one of the most prominent artists of the past year. Syms says about herself that she is a conceptual entrepreneur, who works with video, performance, collage, multimedia and other media.

Fact & Trouble is the exhibition that runs until June 19th in the Institute of Contemporary Arts (ICA) London, where the artist examines the space between lived experience and its representation. Syms’s video series Lessons (ongoing), on view at the ICA, is a long, incomplete poem in 180 sections. Each piece is thirty seconds in duration and articulates a lesson from the tradition.


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Sorry, this entry is only available in European Spanish.

Sorry, this entry is only available in European Spanish.

Sorry, this entry is only available in European Spanish.

Sorry, this entry is only available in European Spanish.




Sorry, this entry is only available in European Spanish.

Sorry, this entry is only available in European Spanish.

Sorry, this entry is only available in European Spanish.

Sorry, this entry is only available in European Spanish.

Sorry, this entry is only available in European Spanish.

Sorry, this entry is only available in European Spanish.



Sorry, this entry is only available in European Spanish.

Sorry, this entry is only available in European Spanish.

Sorry, this entry is only available in European Spanish.

Sorry, this entry is only available in European Spanish.