In Otobong Nkanga’s art, figures appear dismembered and limbless, indicating that they have been industrialized as tools of production and exploitation.
One gets the impression that Geys, as much as any artist ever managed to, achieved an integration of art and life.
The group, called “Los Hemocionales,” protested El Eco’s programming, claiming it hasn’t lived up to its promise as an experimental institution.
With its first show, Puebla’s Decentered Gallery seeks to create unique local and international connections rather than responding to the biggest art markets.
Some galleries suffered severe damage, others turned their spaces into relief centers, and the city’s biggest art fair came under fire for going ahead with its scheduled VIP opening the night of the quake.
In his exhibition at at Galeria Mascota, Miguel Angel Salazar revives a cenotaph, showing that it’s both easier than ever to rewrite history, and more difficult to erase it.
Ana Pellicer used traditional copper jewelry techniques from the Mexican state of Michoacan, then makes her pieces contemporary by playing with scale.
Feminist academic Susana Vargas discusses the visualization of machismo, sexism, race, and class in Mexico.
After being denied by US ad companies, Mitch O’Connell took his billboard depicting President Donald Trump as a sinewy alien to Mexico City, where it now prominently hangs.
The power games of Jill Magid’s project concerning the archives of Luis Barragán continue in an extensive exhibition that completes the circle without any conclusive resolution.
In 2014, Manuel Solano lost his eyesight from an HIV-related infection. His new works treat that experience as the generative event for his art.
In other museums, fragments of the past are isolated into forgotten history, but at Kolumba, they are part of a dynamic whole.