Category: exhibition

A web of loss

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View of Surfcomber Hotel

Gauzy film between
evergreens is a web

of loss. Get closer. Reach
to touch the shimmering

gossamer and your finger
pushes through. Remember

filling that space with desire?
Someone else might grieve

the spider who abandoned
this home; others grow anxious

waiting for a deer’s walk
to wreck it. But you—

you grieve the net of thought
spun inside your own womb:

intricate and glossy and strong.

Miscarriage, Christine Stewart-Nun?ez

In the quiet, Vera could hear its sharp puffs of breath—low and fast—a complete and utter confusion. A denial. The eyes like blank boxes, but there, in their depths, a sense of something moving. A frantic dancing. Erratic. Vera felt her heart pumping awkwardly, palpitating. “Please wait,” Vera whispered.

And then it died. Just like that, she felt it go. Something horrible and also strangely thrilling in it.

Roughage, India Ennenga (Verso)

a kind of solution

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“Now what’s going to happen to us without barbarians?
Those people were a kind of solution. “

Waiting for the Barbarians, C. P. Cavafy

Glenn Ligon: All Over The Place, The Fitzwilliam Museum
20 September 2024 – 2 March 2025.

In The Week in Art. (Podcast)

 I’m Gonna Getcha, a two person show by Alejandra Moros and Thomas Bils. Spinello, September 21 – October 26, 2024. Checklist.

Bils, Ain’t Them Schools Learned You Nothin’, 2024. Oil on panel. 5 x 7 inches.
Moros, Gabi, 2024. Oil on canvas. 8 x 6 inches.

Cada sonido es una forma del tiempo

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Glenda León
La Lluvia
The Rain
2015
Monotipo, crayón y foto-grabado sobre papel Bunkoshi 60 g
Monothype, crayon and photo gravure on Bunkoshi paper 60 g

Every sound is a shape of time: selections from PAMM’s Collection is organized by PAMM Director Franklin Sirmans with PAMM Curatorial Assistant Fabiana A. Sotillo.
Participating artists include Abraham Cruzvillegas, Alfredo Jaar, Ellsworth Kelly, Glenda León, Helen
Frankenthaler, Jennie C. Jones, Jules Olitski, Julie Mehretu, Lawrence Weiner, Luis Camnitzer,
Lydia Okumura, Mark Bradford, Morris Louis, Nicole Cherubini, Richard Serra, Richard Dupont,
and Robert Morris.

Bienvenu Steinberg & C, May 26 – July 15, 2022.

Folding Suns or in debt to promises

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Adler Guerrier, Untitled (…whispered intelligence lurking in the leaves; Painted Bunting), 2020-2024. Photo collage, 71 1/2 x 46 1/2 inches. Courtesy of the artist and Marisa Newman Projects.

Folding Suns connects artists from the Western New York Region with those from Puerto Rico and the American South; it poses sun and water as real and metaphorical binding agents across geography, time, and identity.

Curated by: Pablo Guardiola

Pablo Guardiola is a visual artist. His work points to different modes of narration and how these are perceived and understood. Recently he curated with Yina Jiménez Suriel, one month after being known in that island (ways of working in the Caribbean). He is co-director of Beta-Local, an arts non-profit dedicated to support and promote contemporary art practices and aesthetic thought in Puerto Rico.

Featured Artists:

Genesis Baez
Chango4
Claudia Caremi
Adler Guerrier
Gregory Halpern
Ahndraya Parlato
Silas Rubeck
Paul B. Thulin

The Buffalo Institute for Contemporary Art, August 02, 2024 – September 21, 2024.

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The Guggenheim Bilbao was hardly the first iconic building, but it was the first to be credited with a measurable economic spin-off. And while that temporarily elevated the status of architects to near deities, it proved detrimental in the long run. After the Guggenheim, architecture was never quite the same. A single building had defied all expectation, only for expectations to defy all of architecture ever since. Economic success became the measure of architecture’s quality, to which architecture, in turn, had no choice but to apply itself. Architecture found itself in debt to promises it didn’t make and ultimately can’t fulfill. After Bilbao, ambitious museum projects could only fail. And they did.

architect, verb The New Language of Building, Reinier de Graaf

Weathering, and other ways to survive

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The specificity of place and terms that do the work of aggregation like ‘landscape’ and ‘garden’ and ‘yard’ give way to radical individualization. Here, we spy flowers as if awakened protagonists, independent of their role in a ‘scenic’ and ‘idyllic’ place. In the dark, they are only themselves.

Leslie M. Wilson, Weathering, and other ways to survive. (Marisa Newman Projects)
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AdlerGuerrier_Weatheringandotherwaystosurvive_June2024Download