Ana Mendieta was born in Cuba but sent to America as a child, and much of her art expresses the pain and rupture of cultural displacement and exile. Her images are compelling, mysterious and poetic. In some, the outline of her body is consumed by gunpowder, fireworks, or advancing waves, while others show ancient goddess-forms moulded from sand, carved into rock, or incised in clay. Bodily traces are inscribed in blood, drawn on leaves and trees, or shrouded within the landscape as she expresses an urgent need to explore our relationship to place in a more permanent way.
‘I wanted my images to have power, to be magic,’ she said. ‘I decided that for the images to have magic qualities I had to work directly with nature.’
Grown out of earlier performances in which Mendieta enacts dramatic gender-bending bodily transformations, these earth and body works are private ceremonies and acts of meditation documented in film, video and photography.
For more information visit Hayward Gallery]]>
For his first major solo exhibition in the UK, London-based artist Oscar Murillo empties his studio to present its contents in the main gallery space. Stitched canvases, drawings, sculptures and films, tables constructed from copper sheets, used as flooring in previous shows, and floor pieces made from masses of pulped biro drawings continue Murillo’s practice of translating various aspects of studio endeavour into matter and then into form. Mobilising the physical remnants of distinct social situations, he exposes some of the contradictions and complexities apparent across socioeconomic, racial and cultural boundaries. For this show, he incorporates an active component in the form of a lottery, the individually screen-printed, artist-signed tickets which are available for sale. The first, second and third prizes are each devised by Oscar Murillo and are revealed at a prize draw on 18 October.
Oscar Murillo (b. 1986, Colombia) lives and works in London. He completed a BA in Fine Art at the University of Westminster, London, followed by MA in Painting in 2012 at the Royal College of Art, London. Recent solo exhibitions and projects include those at Isabella Bortolozzi, Berlin; Art Basel; Carlos/Ishikawa, London; MAMA Showroom, Rotterdam; Rubell Family Collection, Miami; Serpentine Gallery, London; Museo de Arte Moderno de Medellín, Colombia. Forthcoming solo exhibitions include Studio Museum Harlem, New York and The Mistake Room, Los Angeles.
For more information visit South London Gallery]]>
Visual Poetry is an exploration of the interplay between images and words. Visual Poetry presents the foundation for an artistic language where words function as signifiers beyond the images they evoke, inviting the public to read, hear, watch and even touch the “poem-object”. The progenitors of this movement can be traced to Latin America’s inter-war years when a generation of artists under the influence of the European avant-garde began an intermedia discurse that would span the course of the century, evolving to meet the concerns of each generation.
For more information: Maddox Arts
‘Open Cube’ is an international group exhibition organised by São Paulo-based curator Adriano Pedrosa. Invited by the gallery to curate an exhibition, Pedrosa launched a process of open submission via Art Agenda in January 2013, under the title ‘Call for entries: ‘Open Cube’ at White Cube Mason’s Yard’. The only requirement was that the artist needed to be available for an interview in London with the curator, in March 2013. ‘Open Cube’ received over 2,900 applicants, of which Pedrosa interviewed 38 and selected a final group of 17 artists.
Taking his cue from Brian O’Doherty’s seminal book Inside the White Cube, the Ideology of the Gallery Space (1976), Pedrosa’s exhibition challenges the identity of White Cube as an organisation, as a physical space and as a concept, questioning the complex relationships between existent notions of ‘inside’ and ‘outside’, value and economics. By opening up the curatorial selection process beyond his own networks and meeting with artists who were previously unknown to him, Pedrosa confronts what he perceives to be the standard gallery practice of seemingly closed systems that exist in the criteria for staging exhibitions.
In the accompanying catalogue, which includes transcripts of the interviews Pedrosa conducted with the 17 selected artists, he suggests that the ‘Open Cube’ is a transparent cube and sets out to reveal what goes on behind the gallery doors. Pedrosa is himself interviewed by Pablo Leon de la Barra, in order to expose his own methods and the motivations behind this exhibition. The publication is fully illustrated and will be available in September 2013.
About the curator:
Adriano Pedrosa is an independent curator, editor and writer currently based in São Paulo. He has curated numerous international exhibitions and was adjunct curator of the 24th Bienal de São Paulo (1998) with chief curator Paulo Herkenhoff, co-curator of the 27th Bienal de São Paulo (2006) with chief curator Lisette Lagnado and co-curator of the 12th Istanbul Biennial (2011) with Jens Hoffmann. He has published extensively on contemporary art in numerous catalogues and magazines and is the founding director of PIESP-Programa Independente da Escola São Paulo.
More information: White Cube
Administration in times of melted plastic is a one off event that presents the work of Cuban artist collective Celia-Yunior for the first time in the UK. A screening programme of their defining video works will be followed by curator Alba Colomo in conversation with artists Celia Gonzalez and Yunior Aguiar, in which they will discuss both their own practice and the current Cuban contemporary art scene.
The programme includes:
Reserva – Reserve – 4.47min, 2010
Corte evaluativo – Evaluative cut – 2.27min, 2008
Habana, 15 segundos – Havana, 15 seconds – 2.07min, 2008
El cuerpo habla en pasado – The body speaks in past tense – 3.37min, 2006-07
Con los ojos en el cielo – With the eyes in the sky – 2.14min, 2006-07
Bojeo – Coasting – 7.24min, 2006-07
Puzzle – Puzzle – 0.47min, 2006
Contraseña VHS – Password VHS – 6.39min, 2005-06
The relationships between individual and State, the laws imposed by control institutions or the restructuring of the legal framework by the citizens, are some of the issues addressed in the work of Celia-Yunior. Specifically, their work analyses the void left by Law and in which the individual moves to generate practices that could potentially satisfy their needs.
THE EVENT IS CURATED BY ALBA COLOMO
Celia Gonzalez and Yunior Aguiar have been collaborating and working together since 2004. In 2006 they graduated from the Cátedra de Arte de Conducta –Behaviour Art School–, a long term intervention developed by Tania Bruguera in 2003. In 2009, they graduated from High Institute of Art (ISA) in Havana, where they are now lecturers. Their recent solo shows include: “I think I know…” Visual Art Development Center (Havana, 2012); “Surfing on concrete”, Salle Zeró, French Alliance, (Havana, 2011) and “Inventory”, First Edition, Foundation Ludwing, (Havana, 2007). They have also participated in several group exhibitions, such as, “El ardid de los inocentes”, Factoria Habana, (Havana, 2013); 11 Havana Biennale, (Havana, 2012); “Gulliver”, Freies Museum, Berlin; “Videoarte Festival”, Nacional Library, Buenos Aires; “Unterm Schweibfell”, E105 Gallery, Berlin, Germany; “Situating No-land: Videoart from Latin America”, Slought Foundation, Filadefia, USA ; III Week of Latinoamerican video, Andalucía, Spain in 2011; “Cuban Video”, 8th Floor Space, New York; “Off The Record”, Edge Zones, Miami; “Stoic Tropic”, University Museum of Science and Art, Mexico; 7ma Gwangju Biennale, “Arte Conducta”, (South Korea, 2008).
Alba Colomo is an independent curator based in London. Her most recent projects are estado ausente at Lugar a Dudas in Cali, Colombia, research by walking at Sala Rekalde in Bilbao and at HWW in Rotterdam, and Art Control Society-Arte Control Sociedad, a publication that shows work by three artists around the issue of social control. In October she will develop a project as part of the Bienal Siart in La Paz and an exhibition and research residency at KIOSKO, an independent art space in Sta Cruz (Bolivia). Alba Colomo graduated in Humanities from the Carlos III University in Madrid she holds an MA in Curating Latin American Art at the University of Essex.
During the month of July Basbaum will be based at The Showroom for a programme of nine new projects. Each project will connect to one of nine locations that have been determined through the application of an abstract shape onto the map of the area around the gallery. The shape, which Basbaum calls NBP (New Basis for Personality), has formed the basis of numerous works in diverse formats since the early 1990s, providing a situation that others are invited to take over and shape.
Basbaum’s NBP shape creates a framework for individuals and groups to connect—including a women’s refuge, a women’s finance network, a homeless day centre, a domestic workers’ union, a youth club, a LGBT centre, a youth theatre group, an older people’s centre and a Further Education college—and for thoughts, experiences and ideas to circulate. Wooden objects derived from the angles of the NBP shape will be distributed to generate different public and private uses and to be passed between participants.
The nine projects will be presented in The Showroom’s gallery—which will also function as an “open working room” for collaborators, participants and the public to meet, discuss and work together. A programme of public events, performances, screenings and conversations will run throughout the month.
Ricardo Basbaum (b.1961, São Paolo) is an artist and writer who lives and works in Rio de Janeiro, Brazil. His work investigates art as an intermediating device and platform for the articulation between sensorial experience, sociability and language. Since the late 1980s, he has developed a vocabulary specific to his work. His work has been exhibited at the 30º São Paulo Biennale (2012), Garden of Learning (Busan, 2012), Counter-Production (Generali, Viena, 2012), documenta 12 (Kassel, 2007)
For more information: The Showroom
7pm on the 9th July, 2013 at Gasworks
Miguel A. López is a Peruvian writer, curator, researcher and artist whose work investigates collaborative dynamics and transformations in the understanding of and engagement with Latin American politics in recent decades. He has been part of the artists run space and collective Espacio La Culpable in Lima, Peru (2006-2008) and has written about deviant practices, gender dissidence, and queer re-articulations of history from a Southern perspective. During 2012-2013 he is invited curator at Triangle Network partner Lugar a Dudas, an independent art space in Santiago de Cali, Colombia.
Fernanda Nogueira is a Brazilian researcher, translator, literary critic, and member of Southern Conceptualisms Network since 2008. She is interested in proposals from art and literature addressed to gender dissidence between the 70′s and 80’s in Brazil and the connections between the practices of the Brazilian Poem/Process movement and the mail art network which have used different poetic and political tactics to resist military dictatorships in Latin America.
For more information: Gasworks
In 1910, revolution brought years of instability to Mexico but, in its aftermath, the artistic community flourished under state sponsored programmes designed to promote the ideals of the new regime.
This exhibition brings together work by Mexican artists at the forefront of the artistic movement including Diego Rivera, Frida Kahlo and José Clemente Orozco. Also on display is work by international artists and intellectuals who were drawn to the country by its political aspirations and the opportunities afforded to artists. Among them were Marsden Hartley, Josef Albers, Edward Burra, Paul Strand, Henri Cartier-Bresson, André Breton and Robert Capa.
‘Mexico: A Revolution in Art, 1910-1940′ reveals a cultural renaissance that drew in some of the most seminal figures of the 20th century, all of whom were inspired by the same subject: Mexico.]]>
The exhibition includes the work of Bolivian artists Aruma-Sandra De Berduccy and Julio González Sánchez.
The exhibition is held in conjunction with the International Visual Sociology Association Annual Conference 2013, organised by the Centre for Urban and Community Research at Goldsmiths, University of London.
Opening Times: 12–6pm, Monday-Wednesday
140 Lewisham Way
London, SE14 6PD
For more information: Visualising Affect]]>