Congratulations to Victoria Northoorn @victorianoorthoorn@modernoba and Patricio Orellana @orellanapatricio_ for this eye opening 👀survey. Renowned artist of Pop Art, fashion and conceptual art, Dalila Puzzovio has been pursuing her career on the local and international scene since the 1960s, mainly linked to the creative environment of the Instituto Di Tella in Buenos Aires. Her frst works with the emblematic “plasters” in the exhibition “Man before man” (1962), gives the initial kick for a corpus of works where objects take on a leading role in their double sense as external things but also as things that happen to the subject.
"The day we went to the Di Tella award ceremony, I got out of the taxi wearing platform shoes, a satin miniskirt, and a monkey-fur jacket, and two policemen didn't know whether to grab me or what; they looked at me with such fear that they let me pass by, they just weren't up for it." Dalila Puzzovio
A warm thank you to the amazing Irene Hofmann and Max Protetch for extending an invitation to experience Desert Sabbatical in Santa Fe, New Mexico during the opening festivities of Site Santa Fe. An amazing prospect awaits that endeavors to provide a space for reflection and care to museum leaders through the warm environs of The Ridge. ireneehofmann sertsabbatical.org/home
So grateful to participate in the distinguished critics convening at Carnegie Mellon University School of Art with a wonderful cohort of graduating MFA students including Tingting Cheng, Max Tristan Watkins, Frankmarlin, Izsys Archer, and Chantal Feitosa-Desouza. Many thanks to Katie Hubbard, Charlie White, Elizabeth Chofis, and Wendy Willis for hosting Lauren Haynes (Head Curator, Governors Island Arts and Vice President at Trust for Governors Island), Diya Vij (Curator at Creative Time), and Micaela Blanc (Wikimedian in Residence, Perez Art Museum Miami), and myself. The exhibition is currently on view at the Andy Warhol Museum until April 21. Holding Still, Holding On spans wide-ranging media and highlights the distinct perspectives of these five artists as they complete their final year of study. Presented in The Warhol’s rotating exhibition gallery, the exhibition offers a dynamic exploration of contemporary artmaking. @cmuschoolofart@thewarholmuseum
If anyone finds themselves in Beaumont, Texas today I am in conversation with Jose Villalobos in honor of his solo exhibition An In Between/ Un Intermedio. José is currently in 4 or 5 exhibitions and was included in my traveling exhibition Xican-a.o.x. Body. I’m very excited to see his new body of work. I first met José Villalobos at the opening of the 2018 Transborder Biennial in El Paso, Texas where he presented a sculptural installation entitled Sin la S. The piece consisted of tiers of Mexican cowboy hats fringed like Victorian lampshades and were suspended in the space over soft piles of earth. The artist was standing near his installation wearing an outfit that matched the style of the hats. Of particular note was the cowboy shirt he was wearing. It featured the same heavy white fringe that was used on the hats, and on the back of the shirt he embroidered two words, “macho”, in plain view, and “maricon”, barely legible by the fringe that covered those words. Thinking about what it was like growing up in a rural community in the Southwest as a young queer boy desperate to understand how he fits into the world and yet not wanting to run away from home. Now navigating through binaries (physical, linguistic, cultural, political, and historic) that determine how he moves through the world through a rigorous artistic practice.
Gyula Kosice Intergalactic is a love letter to Miami that resonates with conversations and concerns that continue to inform theory and practice. At once retro-futuristic and visually seductive, this exhibition corrects the widely held notion that Latin American constructivism was chiefly concerned with the aesthetics and outdated notions developed by the European avant garde and then merely translated to the “new world.” Unlike his compatriots Julio Le Parc and Luis Tomasello, Kosice stuck it out in Buenos Aires, Argentina rather than fleeing to Paris during the height of the Vasarely op art moment (or movement). Kosice was deeply aware of the failures of these visual utopianisms and worked towards thinking about art and science, urban sprawl, and socioeconomic disparities at a moment when Buenos Aires began to experience significant population growth in the 1960s. Hydrospatial City was the artist’s way of addressing these problems through a theoretical proposition that merged science fiction with issues around sustainability and survival. On one of our many trips to Argentina, Mari Carmen Ramirez purchased this installation directly from the artist’s studio while I was assistant curator of Latin American Art at the Museum of Fine Arts, Houston. Kosice was around 82 years old and this purchase subsequently changed his life. This is the last time Hydrospatial City will travel outside of its permanent home in Houston. Many thanks (again) to Patty and Bill Kleh for supporting this exhibition. @patriciakleh . 😘😘😘 to the originating curators Marita Garcia @museomalba and Mari Carmen Ramirez @mfahouston
9 days left to see Xican-a.o.x. Body at @pamm . My sincerest thanks to the Miami community for embracing this important and thought provoking exhibition that expands our understanding of Latinx culture in the United States. It reminds us that although there are slight differences in our accents and dialects , Latin culture is not monolithic yet it’s in these connective tissues where the urgency to be seen, counted, and represented is placed. @fajardohill@marissa_ofthebull Special thanks to Patty and Bill Kleh for being such great soft power advocates and supporters of this important work @patriciakleh #wordsalad
