This week in Art Insider, we are going to take you through the genre known as video art, which is a new type of contemporary art, and a medium of expression commonly seen in Installations, but also as a stand-alone art form. Watch as we discover what is video art, a medium which continues to confound viewers and challenge artists to think differently.
Cover photo: Teresa Cabello.
Video became an excitingly immediate medium for artists after its introduction in the early 1960s. The expensive technology, which had been available prior only within the corporate broadcasting arena, experienced an advent when Sony first created an economical consumer piece of equipment that allowed everyday people access to vast new possibilities in documentation. Understandably, this produced huge interest for the more experimental artists of the time, especially those involved with concurrent movements in Conceptual art, Performance and experimental film. It provided a cheap way of recording and representation through a dynamic new avenue, shattering an art world where forms such as painting, photography, and sculpture had been the long-held norm. This expanded the potential of individual creative voice and challenged artists to stretch toward new plateaus in their careers. It has also birthed an unmistakable population of artists who may never have entered the fine art field if stifled by the constraints of utilizing traditional mediums. With warp speed over the last half century, video has become accessible by the populous, spawning a continual evolution of its use; we live in an age where even your everyday smartphone has the ability to create high caliber works of art through the use of an ever increasing assortment of applications.
We now consider Video art to be a valid means of artistic creation with its own set of conventions and history. Taking a variety of forms – from gallery installations and sculptures that incorporate television sets, projectors, or computer peripherals to recordings of performance art to works created specifically to be encountered via distribution on tape, DVD or digital file – video is now considered in rank equal to other mediums. It is considered a genre rather than a movement in the traditional sense and is not to be confused with theatrical cinema, or artists’ (or experimental) film. Although the mediums may sometimes appear interchangeable, their different origins cause art historians to consider them distinct from each other. So popular a medium, many art schools now offer video as a specialized art major.Report Ad
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Although artists have been creating moving images in some form since the early-20th century, the first works to be widely labeled as ‘Video art’ are from the 1960s. The first nationalities to pick up on the Portapak as an artistic tool – and therefore those who made the earliest pieces of Video art – were, unsurprisingly, from those countries where it first became commercially available (the US and the UK were the early practitioners).
We are pleased to announce that in lieu of a physical event, CONTEXT Art Miami and Art Miami will take place exclusively on Artsy. From December 2-20, we invite you to explore booths, experience our online event, and buy work directly from our roster of 150+ premier galleries on the largest and leading global online marketplace for fine art.
We look forward to seeing you online!
Participating Galleries:532 Gallery Thomas Jaeckel
AHA Fine Art
Anthony Brunelli Fine Arts
ArtLabbé Gallery
Aurora Vigil-Escalera Art Gallery
Bel Air Fine Art
Blink Group Fine Art Gallery
Contemporary Art Projects USA
Cube Gallery
ELKA BRONNER GALLERY
Evan Lurie Gallery
Everard Read
Fabrik Projects
FREDERIC GOT
Galeria Animal
Galería Casa Cuadrada
Galeria Contrast
Galerie Barrou Planquart
GALERIE BENJAMIN ECK
Galerie Koo
Galerie LeRoyer
GALLERY SU:
JoAnne Artman Gallery
K+Y Gallery
Kostuik Gallery
Liquid art system
Metroquadro
Oliver Cole Gallery
Retrospect Galleries
Samuel Owen Gallery
September Gray Fine Art Gallery
Steidel Contemporary
ten|Contemporary
The Light Gallery
Erwin Pérez
La muestra se denomina “Las dimensiones humanas en el arte latinoamericano” y tendrá su jornada de apertura el el viernes 4 de diciembre. Se prolongará hasta el 5 de febrero del 2021. La lista de los estelares artistas figurativos que expondrán está integrada por, entre otros, Fernando Botero, Julio Larraz, Ofelia Andrades, Paulina James, Elkin Cañas, y Darío Ortiz, que es promotor y curador de la exposición. La exposición tendrá acceso gratuito y personal, guardando los debidos protocolos sanitarios. Sobre la manera de asistir se pueden encontrar más detalles en www.eventbrite.com. MIFA son las iniciales de Miami International Fine Arts. El lugar fue co-fundado y es dirigido por la empresaria y artista Teresa Jessurum Uribe. Tiene un año de existencia y se encuentra en 5900 NW 74th Ave, Miami, FL 33166. El website de MIFA es www.mifamiami.com Con justificado orgullo, Teresa asegura que la galería es “un oasis cultural en Miami”. El artista colombo-venezolano Elkin Cañas es el director académico e instructor principal de MIFA. Cañas nació en Santander, Colombia en 1974, y creció en Venezuela, donde se trasladó junto a sus padres a la edad de 4 años. Dibujar fue siempre parte de su vida, y descubrió su pasión por la pintura a muy temprana edad.
Erwin Pérez Periodista y Publicista (Miami)
+1 (786) 277-8497
Online: https://linktr.ee/erwinperez
Pompeya es la nueva escultura de Humberto Poidomani. El artista ha inscrito en esta escultura post-expresionista las vicisitudes y contingencias de la humanidad en su vivencia de esta incesante pandemia del COVID-19. La obra hace alegoria directa a la mortal erupción del volcán Vesubio sobre las properas ciudades romanas de Pompeya y Herculano, en Campania, Italia, en el 79 d.C., la cual mató instantáneamente a todos sus habitantes. Cuerpos humanos, animales, artefactos, alimentos, murales, fueron cubiertos por capas de cenizas, quedando petrificados en una especie de ultimo tormento antes de la muerte. Los cuerpos quedaron encapsulados es una suerte de molde, mostrando sus últimas contorsiones,- desde la desesperación a la resignación, -enfrentados a lo inimaginable.
La escultura de Poidomani trae al presente la tragedia y el calvario de Pompeya como una metáfora de nuestra convulsa época actual de sufrimiento colectivo. La deslumbrante escultura se presenta como un cuerpo moldeado, que a partir de un maniquí, que es intervenido y totalmente retransformado por el artista, como los cuerpos arqueológicos pompeyanos, impone su crítica presencia, de la crisis y la calamidad.
La escultura está profusamente intervenida. Con un abordaje expresionista, usando colores explosivos y contrastantes, garabatos, citas mordaces y escritos de reflexiva intelectual, la obra es una cavilación civilizatoria. La escultura muestra en su superficie los nombres de escritores que guían la indagación del artista: Albert Camus, Jean Paul Sartre, Dostoyevsky, Nietzsche, Kafka, Proust, Jorge Luis Borges, Paul Auster, como filósofos y escritores que tutelan su búsqueda filosófica. Frases de trasfondo político y de crítica social también aparecen en esta pieza como componentes axiales de la perspectiva societal del artista:
“Un camello cargado de oro entra por todas partes” cita del famoso dramaturgo español del siglo XX Jacinto Benavente (en la nalga izquierda) o “Viva Yo. Sin retorno. Ítaca. Humberto Poidomani”, frase de implicaciones ontológicas alusivas al poema Ítaca de Konstantin Cavafy que nos recuerda que el viaje en la vida es más importante que la meta. En la parte superior leemos la frase: “Importaculismo” (“No me importa”) que es un neologismo acunado por el artista donde establece una profunda libertad y autonomía creativa y su postura artística de que no le importa lo que otros puedan pensar de él o de su obra.
La escultura está recubierta de rosas rojas incrustadas al largo de todo el cuerpo hasta llegar a la base, como si fueran las rosas y la sangre derramada en la precariedad de nuestro actual momento. Los brazos están hechos de tablas en forma de flechas, totalmente llenas de frases alusivas a la vida; gruesas cadenas pintadas de rojo acompañan los brazos.
Pompeya se erige como un poltergeist, como una aparición imponente que evoca los demonios de nuestra humanidad. El grotesco cuerpo de la escultura contiene multitudes evocativas, como una confirmación de nuestro oscilante apocalipsis y utopía contemporáneos.
Dra. Milagros Bello
Comisaria de arte
Miembro de la Asociación Internacional de Críticos de Arte (AICA/PARIS)
Octubre 2020
The mediums of television and film began to dominate in the second half of the 20th century – it was different, progressive, and modern. It quickly became a favorite pastime of millions around the world. Movie theaters took over as the main source of entertainment, pushing art galleries aside. But besides mass-produced films that brought in millions of dollars in revenue, film and video also became a medium for artists. When Sony created the first affordable consumer piece of equipment, everyday people gained access to video-recording, which used to be available only to corporate filmmakers and studios. The video format then brought more interest to the more experimental artists of that period, particularly those involved in avant-garde film, performance, and conceptual art.
Nam June Paik and AndyWarhol were among the first artists to show experimental videos in the early 1960s. Warhol made mostly recorded events of performance art, while Paik began using the TV screen as a canvas and the video camera as a paintbrush. Video art became the exciting new medium of expression and experimental language of contemporary art.
The first artist to use working television sets was Wolf Vostell, the German Happenings artist who invented decollages — his seminal piece, DeutscherAusblick (1959) can be seen in the Museum BerlinischeGalerie. However, the real pioneers of the video art genre are considered to be Andy Warhol (the leader of the Pop-Art movement) and Nam June Paik (Korean musician, sculptor, and performance artist). Paik started producing musical video art in 1965, using one of the first portable Sony video recorders. Warhol produced and screened underground video films that he shot in 8mm and 16mm.
Many of the 1960s and 1970s artists used video to create artwork that parodied television and advertising programs, highlighting what they saw as television’s progressively perfidious power. After seeing how society became entranced with it, these artists started to use video as an artistic outlet to point out the issues of their interest and express their creative desires. They managed to round out the new world of broadcasting ability to include individualized, idiosyncratic, and creative contributions.
Some artists relied on video to make people think more critically about the acceptable ideas of art, challenging Hollywood film conventions. By presenting taboo or often personally intimate subjects on TV screens as artwork, or by eschewing the templates of narration, the early video artists used the television screen and camera to destroy preconceived ideas of what is palatable or even suitable to the art audiences and public alike.
Nam June Paik’s first solo exhibition took place in a three-story villa in Wuppertal, Germany, in 1963. Among many of his works, there was a room where he exhibited 13 manipulated TV sets, and that was the first time ever an artist used television as a medium. Paik continued to buildup his television experiments for the next five decades, bridging the gap between technology and art in a way nobody has done before. When people were wrapping their heads around how technology and our relationship with it would evolve, Paik was creating artworks with it.
Paik established video as a credible medium for artistic expression in 1965 when he said that his video footage of Pope Paul VI during his visit to New York was a work of art. While sitting in traffic, he glimpsed the Pope, recorded it on his portable camera and presented the barely edited and grainy results that very same day at a screening in Greenwich Village. This artwork was among the first made using the medium of video.
The symbol of South Korea’s National Museum of Modern and Contemporary Art is certainly the massive video tower that measures 36 feet in diameter and 64 feet in height. It is a large pagoda of TV monitors created by Nam June Paik. The six-tier flickering tower of 1,003 CRT monitors was installed in 1988. Since then, it has continued to emit colorful images and light to symbolize the immensity of information dissemination and mass communication that came as a result of the mass distribution of the first colored TV.
For its time, video art was radically new, which is why some artists felt it was an ideal format for pushing limits in contemporary society with art. For example, during the Feminist art movement, many women artists who were trying to distinguish and distance themselves from male artist forebearers chose video for the opportunities that hadn’t been widely established or tapped. Also, many artists with a social or political cause who wanted to spread the unexposed and important information, video came across as a medium conducive to both affordability and broad distribution capabilities.
Today, video art is an established means of artistic creation. It takes numerous forms – from recordings of performance art to sculptures and installations that incorporate computer peripherals, projectors, and flat screen TVs, to works created for digital distributions only. Video art is now ranked as a highly influential medium and many art schools offer the subject as a specialized art major. It is not to be confused with experimental film or theatrical cinema but a genre of its own rather than a movement.
Many new generations of artists since the era of Nam June Paik, use video as a medium for its intrinsic and versatile properties.. The incredible ouvre of video art by artists like Bill Viola and Doug Aitken seems to mimic more traditional forms of art, such as abstraction, collage, sculpture, or painting in moving images. A contemporary video art installation may come as a series of spliced and blurred scenes composed as a unique visual image, or it may take the shape of a performance recording meant as a reflection on the perception of objects, space, movement or surrounding architecture. Visual art pieces that utilize various audiovisual manipulations, such as dissonance or distortion of video signals, cannot exist without a video component.
Contemporary video artists are also able to manipulate and edit film sequences thanks to the recent advances in video and digital computer technology. These advancements have drawn more artists into the genre by opening up a wide range of creative opportunities. The Turner Prize, an annual prize presented to an artist born, living, or working in Britain, is one of the key indicators of excellence in the art world and was awarded to video artists in multiple times in the past decades. In many of the art schools in the U.S., the theory and practice of video art is taught as a degree subject and video art regularly makes popular exhibitions in the best contemporary art galleries and museums around the world.
Ana Mendieta (November 18, 1948 – September 8, 1985) was a Cuban American performance artist, sculptor, painter and video artist who is best known for her “earth-body” art work. Originally born in Havana, Mendieta arrived in the United States as a refugee in 1961, shortly prior to the beginning of the Cuban Revolution.
Mendieta was born in Havana, Cuba to a family prominent in the country’s politics and society. At age 12, in order to escape Fidel Castro’s regime, Ana and her 14-year-old sister Raquelin were sent to the United States by their parents. Through Operation Peter Pan, a collaborative program run by the U.S. Government and the Catholic Charities, Mendieta and her sister spent their first weeks in refugee camps before moving to several institutions and foster homes in Iowa. In 1966, Mendieta was reunited with her mother and younger brother; her father joined them in 1979, having spent 18 years in a Cuban political prison for his involvement in the Bay of Pigs invasion.
Mendieta attended the University of Iowa where she earned a BA, an MA in Painting and an MFA in Intermedia under the instruction of acclaimed artist Hans Breder. Through the course of her career, she created work in Cuba, Mexico, Italy, and the United States.
Mendieta’s work was generally autobiographical and focused on themes including feminism, violence, life, death, place and belonging. Her works are generally associated with the four basic elements of nature. Mendieta often focused on a spiritual and physical connection with the Earth. During her lifetime, Mendieta produced over 200 works of art using earth as a sculptural medium. The Silueta Series (1973–1980) involved Mendieta creating female silhouettes in nature – in mud, sand and grass – with natural materials ranging from leaves and twigs to blood, and making body prints or painting her outline or silhouette onto a wall.
In 1978, Ana Mendieta joined the Artists In Residence Inc (A.I.R. Gallery) in New York, which was the first gallery for women to be established in the United States. The venture allowed for the opportunity for Mendieta to network with other women artists at the forefront of the era’s feminist movement. During that time, Mendieta was also actively involved in the administration and maintenance of the A.I.R. In an unpublished statement, Mendieta noted that “It is crucial for me to be a part of all my art works. As a result of my participation, my vision becomes a reality and part of my experiences.” It was during her time at the gallery that she met her future husband Carl Andre. Her resignation in 1982 is attributed to a dispute instigated by Andre over a collaborative art piece the couple had submitted.
While in residence in Rome, Mendieta began creating art “objects,” including drawings and sculptures. She continued to use natural elements in her work.. In 1983, Mendieta was awarded the Rome Prize from the American Academy in Rome.
In 2009, Mendieta was awarded a Lifetime Achievement Award by the Cintas Foundation. Ana Mendieta’s estate is currently managed by the Galerie Lelong in New York City. The estate is also represented by Alison Jacques Gallery, London.
Silueta Series (1973–1980)
When she began her Silueta Series in the 1970s, Mendieta was one of many artists experimenting with the emerging genres of land art, body art, and performance art. Mendieta was possibly the first to combine these genres in what she called “earth-body” sculptures. She often used her naked body to explore and connect with the Earth, as seen in her piece Imagen de Yagul, from the series Silueta Works in Mexico 1973-1977. Mendieta’s first use of blood to make art dates from 1972, when she performed Untitled (Death of a Chicken), for which she stood naked in front of a white wall holding a freshly decapitated chicken by its feet as its blood spattered her naked body. Appalled by the brutal rape and murder of nursing student Sarah Ann Ottens at the University of Iowa, Mendieta smeared herself with blood and had herself tied to a table in 1973, inviting an audience in to bear witness. In a slide series, People Looking at Blood Moffitt (1973), she pours blood and rags on a sidewalk and photographs a seemingly endless stream of people walking by without stopping, until the man next door (the storefront window bears the name H. F. Moffitt) comes out to clean it up.
Mendieta also created the female silhouette using nature as both her canvas and her medium. She used her body to create silhouettes in grass; she created silhouettes in sand and dirt; she created silhouettes of fire and filmed them burning. Untitled (Ochún) (1981), named for the Santería goddess of waters, once pointed southward from the shore at Key Biscayne, Florida. Ñañigo Burial (1976), with a title taken from the popular name for an Afro-Cuban religious brotherhood, is a floor installation of black candles dripping wax in the outline of the artist’s body. Through these works, which cross the boundaries of performance, film and photography, Mendieta explored her relationship with place as well as a larger relationship with mother Earth or the “Great Goddess” figure.
Mary Jane Jacob suggests in her book Ana Mendieta: The “Silueta” Series (1973-1980) that much of Mendieta’s work was influenced by her interest in the religion Santería, as well as a connection to Cuba. Jacob attributes Mendieta’s “ritualistic use of blood,” and the use of gunpowder, earth and rock to Santería’s ritualistic traditions.
Jacob also points out the significance of the mother figure, referring to the Mayan deity Ix Chel, the mother of the Gods. Many have interpreted Mendieta’s recurring use of this mother figure, and her own female silhouette, as feminist art. However, because Mendieta’s work explores many ideas including life, death, identity and place all at once, it cannot be categorized as part of one idea or movement.
Photo etchings of the Rupestrian Sculptures (1981)
As documented in the book Ana Mendieta: A Book of Works, edited by Bonnie Clearwater, before her death, Mendieta was working on a series of photo-etchings of cave sculptures she had created at Escaleras de Jaruco, Jaruco State Park in Havana, Cuba. Her sculptures were entitled Rupestrian Sculptures (1981) – the title refers to living among rocks – and the book of photographic etchings that Mendieta was creating to preserve these sculptures is a testament to the intertextuality of Mendieta’s work. Clearwater explains how the photographs of Mendieta’s sculptures were often as important as the piece they were documenting because the nature of Mendieta’s work was so impermanent. Mendieta spent as much time and thought on the creation of the photographs as she did on the sculptures themselves.
Mendieta returned to Havana, Cuba, the place of her birth for this project, but she was still exploring her sense of displacement and loss, according to Clearwater. The Rupestrian Sculptures that Mendieta created were also influenced by the Tainan people, “native inhabitants of the pre-Hispanic Antilles,” which Mendieta became fascinated by and studied.
Mendieta had completed five photo-etchings of the Rupestrian Sculptures before she died in 1985. The book Ana Mendieta: A Book of Works, published in 1993, contains both photographs of the sculptures as well as Mendieta’s notes on the project.
Body Tracks (1982)
Body Tracks (Rastros Corporales) are long, blurry marks that Mendieta’s hands and forearms made as they slid down a large piece of white paper during a performance heightened with pulsing Cuban music.
Exhibitions and collections
In 1979 Mendieta presented a solo exhibition of her photographs at A.I.R. Gallery in New York. She also curated and wrote the introductory catalog essay for an exhibition at A.I.R. in 1981 entitled Dialectics of Isolation: An Exhibition of Third World Women Artists of the United States, which featured the work of artists such as Judy Baca, Senga Nengudi, Howardena Pindell, and Zarina. The New Museum of Contemporary Art in New York hosted Mendieta’s first survey exhibition in 1987. Since her death, Mendieta has been recognized with international solo museum retrospectives such as “Ana Mendieta”, Art Institute of Chicago (2011); “Ana Mendieta in Context: Public and Private Work”, De La Cruz Collection, Miami (2012). In 2004 the Hirshhorn Museum and Sculpture Garden in Washington, D.C., organized “Earth Body, Sculpture and Performance”, a major retrospective that travelled to the Whitney Museum of American Art, New York, Des Moines Art Center, Iowa, and Miami Art Museum, Florida (2004).
Mendieta’s work features in many major public collections, including the Solomon R. Guggenheim Museum, New York, Metropolitan Museum of Art, New York, Whitney Museum of American Art, New York, Museum of Modern Art, New York, Art Institute of Chicago, Centre Pompidou, Paris, Musée d’Art Moderne et Contemporain, Geneva, and Tate Collection, London.
Death and controversy
Ana Mendieta died on September 8, 1985 in New York from a fall from her 34th floor apartment in Greenwich Village’s 300 Mercer Street, where she lived with her husband of eight months, minimalist sculptor Carl Andre. She fell 33 stories onto the roof of a deli, Just prior to her death, neighbors heard the couple arguing violently. There were no eyewitnesses to the events that lead up to Mendieta’s death A recording of Andre’s 911 call showed him saying: “My wife is an artist, and I’m an artist, and we had a quarrel about the fact that I was more, eh, exposed to the public than she was. And she went to the bedroom, and I went after her, and she went out the window.” In 1988, Andre was tried and acquitted of her murder. During the three-year trial, Andre’s lawyer described Mendieta’s death as a possible accident or suicide. The juror found Andre not guilty on grounds of reasonable doubt.
Andre’s acquittal caused an uproar in the feminist art world, and continues to remain controversial to this day. In 2010, a symposium called Where Is Ana Mendieta was held in New York University to commemorate the 25th anniversary of her death. In May 2014, the feminist protest group No Wave Performance Task Force staged a protest in front of the Dia Art Foundation’s retrospective on Carl Andre. The group deposited piles of animal blood and guts in front of the establishment, with protest members donning transparent tracksuits with “I Wish Ana Mendieta Was Still Alive” written on them. In March 2015, the No Wave Performance Task Force and a group of feminist poets from New York City traveled to Beacon, NY to protest the Andre retrospective at Dia:Beacon, where they cried loudly in the main gallery, made “siluetas” in the snow on museum grounds, and stained the snow with paprika, sprinkles, and fake blood.
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5 September – 1 November 2020
Curators:
María Berríos, Renata Cervetto, Lisette Lagnado, Agustín Pérez Rubio
More than 75 participants
The 11th Berlin Biennale is curated by María Berríos, Renata Cervetto, Lisette Lagnado, and Agustín Pérez Rubio (see the biographies). The members of this intergenerational, female identified team of South American curators proposed the Berlin Biennale as a series of lived experiences that unfolded from September 2019 to July 2020. The epilogue exhibition The Crack Begins Within brings together these experiences at four Berlin venues from 5 September – 1 November 2020. “The epilogue is an exercise of mutual recognition, an acknowledgement of the cracks in the system, of those broken by it and their struggles. As the carceral politics of compartmentalization are cracked open, art will not disappear into nothingness, but flow into everything. The Crack Begins Within is a nod to the solidarity in vulnerability of the healers and carers, the fighters, their fractures, and their power.”
The slow opening of the 11th Berlin Biennale began a year ago, and since then it has been exploring the many cracks we carry, the fissures that keep us apart and those that bring us together. Many of the invited artists and participants in the Biennale have been exploring and practicing this, each in their own artistic terms, in their own contexts and temporalities. Making space to share these experiences demanded that we slow down the unsustainable pace of biennials and forgo the expectation of a singular concept, a novel idea to once again fix things into place. When the coronavirus pandemic hit the European fortress several months ago, it felt for a moment that the earth wanted to stand still. The virus exposed the cruelty of everyday life and the inequality endured by the vast majority of people imprisoned by patriarchal capitalism. As we write, many of those whose works are present in the exhibition are in the South and continue living under lockdown, in places where professional healthcare is a luxury, safeguarding only the privileged.
“The crack begins within” are words borrowed from poet Iman Mersal. She explores the many ghosts of motherhood, tearing apart its contemporary morals. She begins with the refusal to become the sacrificed, the “egg that the newborn breaks en route to life.” She rummages in the crevices of this dissent, exploring the many ways that within all the brokenness the mother and child carry, there is pain and beauty, mourning and living. As the epilogue of the Biennale The Crack Begins Within calls out the fallacy of claiming for oneself the destruction of the old and the birthing of the new, refloated so many times by the white fathers as a new scaffolding to secure the continuity of their decaying structures. This is the violence that surrounds us, and that we are a part of.
The Crack Begins Within comprises the overlapping experiences of the artworks gathered here, breathing together, touching and moving one another. It is a testament to the powerful collective stories they tell, the work they do, and the things they shatter. The epilogue is an exercise of mutual recognition, an acknowledgement of the cracks in the system, of those broken by it and their struggles. As the carceral politics of compartmentalization are cracked open, art will not disappear into nothingness, but flow into everything. The Crack Begins Within is a nod to the solidarity in vulnerability of the healers and carers, the fighters, their fractures, and their power.
(* 1972 Valencia) Has a curatorial and institutional practice relating to collaborative projects, gender and feminist issues, linguistics, architecture, politics, and postcolonial perspectives. In his early childhood he was fascinated by his mother’s makeup, wigs, and dresses. He was artistic director of Museo de Arte Latinoamericano de Buenos Aires (MALBA, 2014–18) and chief curator and director of Museo de Arte Contemporáneo de Castilla y León (MUSAC, 2003–13).
Pérez Rubio curated numerous monographic exhibitions by Dora García (Vibraciones, MUSAC, 2004), Tobias Rehberger (I Die Every Day. 1 Cor. 15,31, Museo Nacional Centro de Arte Reina Sofía, Madrid, 2005), Julie Mehretu (Black City, MUSAC, 2006), Elmgreen & Dragset (Trying to Remember What We Once Wanted to Forget, MUSAC, 2009), Superflex (Working Title: A Retrospective Curated by XXXXXXX, Kunsthal Charlottenborg, Copenhagen, 2013), Rosângela Rennó (Everything that doesn’t show in the images, Centro Atlántico de Arte Moderno – CAAM, Las Palmas de Gran Canaria, 2014), General Idea (Broken Time, Museo Jumex, Mexico City, 2015), Claudia Andujar (Marcados, MALBA, 2016), and Mirtha Dermisache (Because I write! , MALBA, 2017). He has also curated group shows including Primer Proforma 2010. Badiola Euba Prego. 30 exercises 40 days 8 hours a day (MUSAC, 2010), Unerasable Memories (Sesc Pompeia, São Paulo, 2014), and Infinite Experience (MALBA, 2014).
Pérez Rubio is curator of the Chilean Pavilion for the Biennale di Venezia in 2019 where he presents the work of artist Voluspa Jarpa. He is currently a board member of CIMAM and member of the Istanbul Biennial advisory board.
Welcome to Art Miami Magazine, where the vibrant art scene of the city comes alive! Get ready to immerse yourself in Miami Art Week 2024! We're thrilled to have you join our global community of artists and art lovers. We're all about celebrating the incredible power of art to bring people together and inspire us all. At Art Miami Magazine, we're passionate about making everyone experience the magic of diverse and captivating artworks. So come on in, explore, and celebrate the world of art together during this exciting week!
Arts & Collections stands out with its extensive international focus, offering comprehensive coverage of Miami's vibrant arts and cultural scene.
Send an email to schedule an appointment: 6945 NE 3rd Ave, Miami, FL 33138
Contact us: [email protected]
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