An ambiguity between adaptation and transformation hangs over this large exhibition.
A massive group exhibition at the Museum of Contemporary Art Detroit was basically drawn from junk, and so it remains.
Adriana Martínez, who has organized a multi-faceted collective in Bogotá, focuses on the geopolitical implications of resource distribution in her art.
Here’s a small taste of what this vast country had to offer in art this year.
In the Sanford Biggers exhibition at the Museum of Contemporary Art Detroit, there is a feeling of being somewhat loose and unsupported in the space.
DETROIT — Nancy Mitchnick’s representations of places — whether they refer to actual locations or states of mind — ricochet out into the real world, conveying a sense of how a place looks based on how it feels.
DETROIT — “There’s something weirdly comforting about knowing there’s a load of cities in the world that are in the same situation,” said Chloë Brown.
DETROIT — I’d been sitting in the Museum of Contemporary Art Detroit’s Cafe 78 for roughly five minutes before I noticed that the usual sonic backdrop of well-curated music had been replaced by a single repeating guitar chord, fading almost to silence each time before being reprised (with an occasional light riff).
DETROIT — The Sick Man of Europe, a project by artist Dor Guez, demonstrates the fundamental tension between individual and society.
DETROIT — The central piece, and the one that immediately draws the eye when entering the main gallery of United States of Latin America at the Museum of Contemporary Art Detroit, is a full wall mural by Minerva Cuevas entitled “America.”
DETROIT — Arms flung wide, Joseph Keckler collapses to the floor and dies.
DETROIT — A limousine can be many things: transportation of choice for prom, a status marker, and a bit of a paradox.