Tania Candiani a Review

5 de marzo de 2020

BY Jimmy Centeno | FABRIKMAGAZINE

Mexican conceptual artist Tania Candiani’s presentation of “Camouflage” at the Freize Projects February 14 -16 2020 in the city of Los Angeles charts the historical narrative of the forced Japanese labor encampments in California during WWII by simulating the fabrication of giant protective covers to camouflage military equipment.  

LINK : https://fabrikmagazine.com/tania-candiani-a-review/?fbclid=IwAR0KvoXS5wgkpDaJB32g_fldpJ2Vg10CuGRPRczH4KJXZ617-q2dICOen1w

ARCO cierra una de sus ediciones más maduras

2 de marzo de 2020

by EL CULTURAL

Adquisiciones
La Fundación ARCO ha ampliado los fondos de su Colección con la adquisición de 9 obras de 6 artistas, sufragadas con la recaudación de la Cena Fundación ARCO celebrada en el Casino de Madrid el pasado martes 25 de febrero. Las obras adquiridas, con la asesoría de Vincent Honoré y María Inés Rodríguez, corresponden a 6 artistas de 6 galerías participantes en la 39ª edición de la cita: Caroline Achaintre (Arcade); Anna Bella Geiger (Galería Aural); Feliza Bursztyn (Casas Riegner); Carolina Cayzedo (Francisco Fino), y Nohemí Pérez (Instituto de Visión). A éstas se suma la obra de June Crespo (Carreras Múgica), adquirida por el Consejo Internacional de la Fundación ARCO.

LINK https://elcultural.com/arco-cierra-una-de-sus-ediciones-mas-maduras?fbclid=IwAR0YGR7-OnmY8bxbvx0OXb4PhZIoA7daILtQgV7ylhkQJhcgClNvgU8LE68

Best Practices: Each One of the Carolina Caycedo’s ‘Cosmotarrayas’ Is a Universe Unto Itself

27 de febrero de 2020

By Maximilíano Durón | ARTNEWS

Fishermen and women along the Magdalena River in rural Colombia tend to use the same kind of handmade net, but each fisher casts it differently. The artist Carolina Caycedo, who spent her teenage years there, noticed this around ten years ago, during a visit. Such nuances in casting, she said, represent an “embodied knowledge” based on a “relationship you build with the river.” She was fascinated by the beauty of the nets and began buying them directly from the people who made them—many of whom became friends. She dyes them in brilliant colors, and uses them as the structure for her large sculptures that often resemble birdcages or hollowed drums.

LINK https://www.artnews.com/art-news/artists/carolina-caycedo-artist-studio-visit-1202679089/?fbclid=IwAR3EkRcQxDvtAA1qfvJKWlKssYX6GejjDocYSF5dyOpcb9LpC75LH4-pfLc

For Carmen Argote, Avocados Are a Paint and a Powerful Metaphor

21 de octubre de 2019

BY BENOÎT LOISEAU | Frieze

‘Walking is my primary process,’ artist Carmen Argote tells me as we stroll through the commercial district of Karaköy, Istanbul. When she arrived four weeks earlier for a residency at Ballon Rouge Collective, the Mexican-born, Los Angeles-based artist began walking aimlessly, sometimes for hours on end, observing mundane details of the city’s urban fabric: corn fibre street brooms, chipped plastic fruit crates, the light dancing on the surface of the Bosporus. ‘A way of understanding how I can connect with the city as a material,’ Argote explains of this dérive, which provided inspiration for her exhibition at Ballon Rouge, ‘Nutrition for a Better Life (Compre Chattara)’. There, a derelict wooden handcart used by one of the city’s many harduci, or scrap dealers, was festooned with knotted blue fishing rope, like the small boats docked on the river’s edge.

LINK: https://frieze.com/article/carmen-argote-avocados-are-paint-and-powerful-metaphor

Finally, a Biennial That Does Justice to Indigenous Narratives

15 de octubre de 2019

By  Maximilíano Durón | ARTnews

Then there are the Biennial’s educational programs, a major component of the exhibition. I participated in a “Storytelling Tour” on the second public day at the Small Arms Inspection Building, the Biennial’s second main venue in Mississauga, a suburb of Toronto. Our guide, Rebecca Flemister, took us outside the building to collect an object from nature—a leaf, a stick—and then sat us in front of drawings by Abel Rodríguez; an elder of the Nonuya people of Colombia, he depicts his people’s ancestral lands from memory, as they were displaced in the 1990s by armed conflict in the country. We were asked to draw and describe the object we had selected, and we then walked across the room to sit in front of the work of Wilson Rodríguez, Abel’s son, who makes his own drawings based on the knowledge that Abel passed on to him. Our guide asked, “How do we connect to those who come before us?”

LINK: http://www.artnews.com/2019/10/15/toronto-biennial-2019-review/

ARTBO 2019: Highlighting Emerging Talent

26 de septiembre de 2019

By Cool Hunting

Instituto de Vision remains one of the most well-known contemporary art spaces, and its three women co-founders maintain a global presence beyond ArtBo as they participate in art fairs on an international scale. This year, with a wall installation and sculpture (2019) by Sebastián Fierro, an incredibly fresh photograph by Wilson Diaz from 1994, and two free-standing sculptures (2019) by Tania Candiani, the booth went through three revisions due to sales and was by far one of the most successful at the fair.

LINK: https://coolhunting.com/culture/artbo-2019-highlights/

Cityspot Bogotá

11 de septiembre de 2019

Streed art in bogotá

Mehr als ein halbes Jahrhundert fesselte der Bürgerkrieg zwischen paramilitärischen Truppen und der Guerillaorganisation
FARC das Land. Doch drei Jahre nach dem historischen Waffenstillstand 2016 hat sich nicht nur die Wirtschaft sichtbar
erholt, sondern auch Künstler und Sammler lassen sich von dem hoffnungsvollen Zeitgeist inspirieren.


SILVIA LANGEN

Santiago Reyes Villaveces: Proyecto piedra lunar

3 de septiembre de 2019

Por artishockrevista

El proyecto Piedra Lunar del artista Santiago Reyes Villaveces (Colombia, 1986), en el Planetario de Bogotá, construye una topografía de las Piedras Lunares de la Buena Voluntad que interpreta los significados acumulados en torno al gesto de Nixon. El proyecto Piedra Lunar parte del presupuesto de que la recolección de las piedras puede subvertir la concentración de poder y contraponerse a los procesos coloniales que la administración Nixon realizó. El punto de partida del proyecto es un viaje alrededor del croquis de la dispersión de los fragmentos lunares. La materialización de este viaje es una cartografía ficticia que mapea la dispersión de las piedras y las narrativas azarosas que las piedras han adquirido en los diferentes países. El proyecto Piedra Lunarconsiste en presentar esta cartografía ficticia.

LINK: http://artishockrevista.com/2019/08/29/santiago-reyes-villaveces-proyecto-piedra-lunar/