Intergalactix: Against Isolation
Los Angeles Contemporary Exhibitions
6522 Hollywood Boulevard
Los Angeles, CA 90028
Dates: May 15 – August 15, 2021
Intergalactix: against isolation/contra el aislamiento is an exhibition that brings together artworks examining the violence that is generated from physical and conceptual borders, and severe immigrant policies. With this perspective, the exhibition presents a counterpart–the many forms of resistance built collectively across regions–intended to establish a platform of exchange and dialogue among artists, poets, activists, curators and writers from different areas and practices against isolation.
The exhibition focuses on both the southern border between Mexico and Central America and the northern border between Mexico and features commissioned work by The Fire Theory, Tanya Aguiñiga, Cog•nate Collective, and a collaboration between Beatriz Cortez, Kaqjay Moloj and FIEBRE Ediciones.
Beatriz Cortez, Kaqjay Moloj, Fiebre Ediciones. El Altar de Kaqjay, 2021. Steel. Photo: yubo @ ofstudio.
The Argonaut, after Pakal
Craft Contemporary Museum
5814 Wilshire Boulevard
Los Angeles, CA 90036
Dates: May 9 – September 12, 2021
Making Time celebrates a selection of L.A.-based artists who have shared their artwork in solo exhibitions at Craft Contemporary over the last ten years. Their iconic works mark time in a variety of ways and showcase the diversity of materials and processes that have made contemporary craft vibrant and relevant. This exhibition is an opportunity to reflect upon the dynamic work of these artists and highlight the impact they have had on the museum’s development over the years.
Exhibition artists: Tanya Aguiñiga, Uzumaki Cepeda, Beatriz Cortez, Keiko Fukazawa, Katherine Gray, Gronk, Sherin Guirguis, Betye Saar, Timothy Washington, and Ann Weber.
This exhibition is supported, in part, by the Los Angeles County Board of Supervisors through the Department of Arts and Culture and by the City of Los Angeles Department of Cultural Affairs.
The Argonaut, after Pakal, 2018. Steel and lacquer marker. Courtesy of the artist and Commonwealth and Council, Los Angeles. Photo: Ruben Diaz.
El inframundo / The Underworld
Mesotrópicos: Ficciones transitorias y tempestades afectivas
Museo de Arte Contemporáneo de Panamá
Ciudad de Panamá, Panamá
Dates: March 20 – August 15, 2021.
The collection of images included in The Underworld evokes stereographs or 19th-century technologies that create 3D images from two negatives, one in blue and the other one in red, printed as part of the same photograph. This type of images, which originally were meant to recreate the experience of a certain virtual tourism and colonial imaginaries that exoticized other spaces and bodies with a modernizing impetus, are evoked here as the means to imagine other possible pasts, presents, and futures.
La colección de imágenes incluidas en El inframundo evoca a los anaglifos, tecnologías del siglo 19 para crear imágenes en tres dimensiones a partir de dos negativos, uno en azul y el otro en rojo, impresos en la misma fotografía. Este tipo de imágenes que originalmente buscaban generar la experiencia de un cierto turismo virtual y de imaginarios coloniales que exotizaban otros espacios y cuerpos con un ímpetu modernizador, son evocadas aquí como medio para imaginar otros posibles mundos pasados, presentes y futuros.
El inframundo / The Underworld, 2019-2021. Photo transparencies and light boxes. Photo: MAC Panama.
One Hundred and Eight Point Hood Shield
MSU Broad Art Museum
East Lansing, MI
Dates: November 7, 2020 – April 10, 2021.
The exhibition Interstates of Mind both celebrates and critically examines the role of the automobile and the building of the interstate highway system in rewriting the social, cultural, and economic map of the United States.
To watch a tour of the exhibition by curators Steven L. Bridges and Georgia Erger, please click here.
One Hundred and Eight Point Hood Shield, 2019. Steel, car hood sections, and zip ties. Photo: Eat Pomegranate Photography.
Seeds of Resistance
3547 East Circle Drive
East Lansing, MI 48824
Dates: January 16 – July 18, 2021
Inspired by the first satellite to circle the Earth, Sputnik I, Generosity I carries with it pods with seeds that are indigenous to the Americas and that celebrate ancient technologies resulting in these nurturing plants, low in glutten, high in proteins, and that could potentially sustain the humans of the future.
Seeds of Resistance draws attention to the long history of plant and human interdependence. Seeds are encoded with their own unique genetic history, but also preserve human cultural heritage and values. In this dual sense, the smallest seed is a vast archive of information. But with the loss of seed varieties the world over, humanity also stands to lose knowledge of itself—the rich cultural diversity of the past, as well as the hopeful prosperity of future generations. Further, Seeds of Resistance intentionally builds upon the legacy of one of MSU’s most revered faculty members, Dr. William J. Beal (1833–1924), who initiated what is now the longest ongoing scientific experiment in modern history, entitled the Vitality of Seeds. The exhibition includes works by Antonio Ballester Moreno, Mel Chin, Beatriz Cortez, Dornith Doherty, Johannes Heldén, Dylan Miner, Santiago Montoya, Claire Pentecost, Vivien Sansour and the Palestine Heirloom Seed Library, Jackie Sumell, Shinji Turner-Yamamoto, Sam Van Aken. Seeds of Resistance is organized by the Eli and Edythe Broad Art Museum at Michigan State University and curated by Steven L. Bridges, Associate Curator.
Generosity II, 2019. Steel and corn, beans, sorghum, amaranth, quinoa, and morro seeds. Courtesy of the artist and Commonwealth and Council, Los Angeles. Photo: Eat Pomegranate Photography / MSU Broad.
Lux Art Institute
Dates: January 30 – March 27, 2021.
is a group exhibition at the Lux Art Institute envisioned by artist Beatriz Cortez with a selection of her works inside the gallery space that pours into the outdoors and engages in conversation with installation, performance, and sculptural works by artists Candice Lin, rafa esparza, Kang Seung Lee, Pavithra Prasad, and Christian Tedeschi.
The title of the exhibition evokes a snake of massive proportions that moves under the surface of the Earth, in the sacred subterranean world, at a speed that is barely perceived by humans but that transforms and shapes the land. As it moves, this snake exposes curved sections of its monumental body, forming the mountains in the horizon. The ancient glyph that captures this concept was carved in stone and drawn in multiple codices to evoke what the Aztec call ‘tepetl,’ the Maya ‘witz,’ in English is ‘mountain,’ and ‘cerro’ in Spanish. The glyph was read in different languages across what is now Mesoamerica and central Mexico. The oldest term for this glyph was an Olmec word. Unfortunately, we don’t know its voice today, its memory survives only in ancient stone carvings that Olmec artists made thousands of years ago, and in multiple surviving codices of the Teotihuacan peoples, and those made by the Toltec, Mixtec, Aztec, and Maya artists. As the mountains flow at a rhythm visible only in the context of long temporalities, people who carry this sacred memory migrate in different directions, at different speeds, and cross the landscape, come together with others, and create, like other artists did before them, in the verevity of one human lifetime or the fleeting moment set by the short counts of time. In this landscape, and at each moment, the different temporalities and the different paths come together.
Glacial Erratic, steel, 2020. Photo: Courtesy of the artist and Commonwealth and Council.
Donde hubo fuego: Arte contemporáneo de El Salvador
Museo de Arte de El Salvador, MARTE
San Salvador, El Salvador
Dates: January 19, 2018 – January 18, 2023
Armor for Rufina Amaya was made to honor Rufina Amaya, survivor of the Massacre of El Mozote in December 1981 in Morazán, El Salvador. This massacre, perpetrated by the US funded and trained elite Atlacatl Battalion of the Salvadoran Army, is known as the worst massacre in the Americas. The majority of the dead were children under the age of 12. The armor seeks to cross through time and space to offer solace to Rufina Amaya’s body and to the memory of horror that she shared with the world for the 25 years that she survived after the massacre.
This exhibition was curated by Simón Vega and Rafael Alas Vazquez. Photograph: Walterio Iraheta.