Rachel Libeskind’s participation at NADA House with sign and symbols was reviewed by Roberta Smith in her article On Governors “Island, Art Interventions Are Everywhere” May 6th. Among 66 participants, Smiths wrote: “It’s an airy walk-in collage, immersive and buoyant, like a Joan Miró painting reimagined by Hannah Hoch.”
read the article here.
Karen Paulina Biswell is part of Ires y Venires, at the largest collection in Colombia. From March 18.
Ires y venires: dialogues around the collection" originates from the exhibition "Campo through: Colombian art in the collections of the Banco de la República", a project curated by Estrella de Diego and presented in Madrid in 2017. With This first sample, in which the Spanish public were offered reading lines of Colombian artistic production through notions such as botany, travel or the city, began a dialogue between the Spanish curator and the curators of the Museum of Art of the Banco de la República, in which the gaze of the other, the divergence in one point of view or the difficulty of the dialogue, ended up questioning and enriching the certainties of each one. The three axes of the exhibition —Conquistas, Corographies and Thresholds— make up historical or symbolic references of the Colombian cultural imaginary, which they find in the curatorship of “Ires y venires: dialogues around the collection”, an extended meaning, overflowing with its context of initial understanding.
Felipe Castelblanco in conversation with Hernando Chindoy, a indigenous leader. Chindoy has shown bravery and high political values, by defending the Pueblos Inga against the drug dealers and against the corruption in the goverment.
The talk is part of the series Charla Arte política y contracultura, organized by Museo del Chopo in Mexico. Curated by Francisco Carballo, Lizzie Sells y José Luis Paredes Pacho.
Jorge Sanguino and Alexander Herrera review on the participation costs on the new market of NFT (non-fungible-tokens) published in artishock, an specialized art magazine in Chile, follow with an article about ecological costs.a The first article is being re-published at Esfera Publica, an critic blog in Colombia. Both articles, a deep analysis on NFTs are trending in Spanish spoken countries since weeks.
Karen Paulina Biswell and Aicanon participation at “Club Quarantina” on view at Grimm Musem in Berlin, curated by Gilles Neiens, was review by the german Newspaper TAZ. Written by Beate Scheder.
The exhibition open Friday the 8th, and despite the Lockdown was fully visited on scheduled.
To read the article on Karen Paulina Biswell online.
Instituto Cultural de México in Spain presents Mauricio Limon. The mexican artists exhibits the “El primero que ría” The show is on view until 8th. This show product of the collaboration between the cultural institutes of Mexico in Paris, Madrid and Berlin.
Instituto Cultural de Mexico en Espana
Curated by Marcos Calderon, the show reviews Mauricios Limon´s work in the last 10 years.
From the 2nd April to the 10th of April Mauricio Limon will show the body of work. Developed during his residency at Fondation Fiminco in Romanville, North of Paris.
Mauricio Limon latest woodcuts and masks are on display, along with his groundbreaking lithographic series: “se pagará a la vista del portador”.
artcritic Birgit Rieger wrote a review on Nika Fontaine’s show “goodbye world” for the largest paper in Berlin.
“Das letzte Picknick”
Kunst und Klimakrise: Die Ausstellung „Goodbye, world“ findet auf einer Eisscholle in Schweden statt. Und geht unter, wenn es taut.
Tagesspiegel feat. Nika Fontaine‘s skull installation made of sour-dough bread in “Goodbye, World!” with Apexart.
to read more click here
“Zum Dahinschmelzen” – a review by TAZ feat. Nika Fontaine
Die Ausstellung „Goodbye, World“ von Andreas Templin und Raimar Stange bringt die Kunst ins ewige Eis. Dort geht sie dann zugrunde.
Mehrere Künstler greifen in ihren Arbeiten Motive von Nahrungsmitteln auf: Nika Fontaine ließ einen kleinen Hügel aus mit Kohle geschwärztem Schnee errichten und darauf Brotskulpturen in Totenkopfform anordnen. „Bread of Shame“, lautet der Titel. In Anlehnung an eine Lehre der Kabbala müssen das Brot der Schande diejenigen verzehren, die unverdient ein Geschenk erhalten haben. Gängigen Auslegungen zufolge ist dieses das Geschenk des Lebens, woraus sich die individuelle Verpflichtung ergibt, dieses sinnvoll zu gestalten.
TAZ 3/16/2021 by Andreas Schlaegel
to read the full article click here
An excellent review by Ania Szremski on the exhibition and Nika Fontaine work at 4 columns: “Goodbye, World”. On thinning ice: an environmental anti-memorial in Sweden .
4 Columns feat Nika Fontaine
The story of creating this exhibition and the resulting images of this magnificent frozen world, the spine-tingling sublimity of its vast bleached expanse, which so few people will ever get to see, are all so spectacular, it’s perhaps inevitable that they would overshadow the artworks themselves. Some of them are wholeheartedly forthright interpretations of the theme. For instance, Montreal-born, Berlin-based artist Nika Fontaine offered a mound of active charcoal, like an extinguished funeral pyre, studded with cartoonish human skulls formed out of bread, with smoke wafting from burning frankincense. “It is only fair of you [Earth] to put an end to our selfishness . . . I welcome your wrath as an act of self-care and preservation,” Fontaine writes in an accompanying letter. There’s also Berlin-based Veit Schütz’s Aggregat Weltenbrand (Aggregate World in Flames) (2017), an old-fashioned, lacquered wooden radio equipped with a glowing 3D print of the planet Earth. In the original iteration of the artwork, the viewer could depress a red button to ignite a series of explosions across the miniature world. (A GIF on the exhibition website shows what this looks like, but the actual work installed on the ice floe is an “environmentally friendly” copy, sans electronics.)
by Ania Szremski, 2/19/2021
for the full article click here