Artload is a platform focused on creating free content about contemporary art, in video interviews with professionals of all levels of the international art system.
It is an ongoing research project in which art professionals share their background, their personal and professional experiences, their thoughts on the future of the art field, and many other interesting information. They also cooperate with the conception of the interview agenda, so the methodologies and dynamics that shape Artload are essentially collaborative.
The free access to the information generated by Artload is an essential premise for the project, since it promotes debate on art practices and allows researchers to easily find relevant content. The nature of Artload’s content – free videos up to 20 minutes long, with subtitles in Portuguese – only enhances its educational purposes as it reaches audiences of various age groups and backgrounds.
Artload was conceived and is produced – in collaboration with the interview guests – by Vivian Gandelsman and Flavia Soares, who both have more than ten years of experience in working with artists, gallerists, curators, critics, collectors and emerging professionals in the contemporary art scene.
Ideobox Artspace is honored to share with you the first vintage of Bodega Otazu's limited edition iconic red wine Vitral de Otazu. This is a 30 year project collaboration with Venezuelan artist Carlos Cruz-Diez. Each year Vitral will showcase different piece, starting with 2013 vintage and ending with 2042 vintage.
Vitral will be available in both 1 and 3 bottle cases, each of which, in its own way, are design to come together to create a larger interactive piece.
For more information or to pre-reserve please contact: firstname.lastname@example.org
Upon finishing his degree in Politics and African Studies at the University of the Witwatersrand in Johannesburg, William Kentridge (Johannesburg, 1955) moved to Paris for a year to study theatre and mime. He continued working in theatre and the film industry after returning to South Africa in 1982, yet it was the visual arts which opened the world’s eyes to his output in the early nineties, particularly after his participation at the first Johannesburg Biennial (1995). From this juncture, the artist has continued to hone his stage and visual art work in parallel and side by side: both languages feed into and complement each other, overlapping to such an extent that one cannot be understood without the other.
William Kentridge. Enough and more than enough focuses on his stage work, including theatre, opera and performance, and takes this perspective to approach his sculptural projects. The cornerstone of the show is cemented by Woyzeck on the Highveld (1992), Faustus in Africa! (1995) and Ubu and the Truth Commission (1997), and the operas Il ritorno d’Ulisse (The Return of Ulysses, 1998), The Nose (2010), Lulu (2015) and Wozzeck (2017). The selection constitutes an opportunity to put in place a transversal survey which brings into focus certain constants throughout Kentridge’s work — stories with one leading character interweaving different situations and engendering more complex realities; dramas where the absurd often becomes an ally to effectively strip back and straighten out specific circumstances and contexts. The characters of Woyzeck, Ubu, Lulu, Ulysses, Faustus, and even the Nose, are either victims or tormentors of restrictive structures which punctuate, in the public and private sphere, the blight of tyranny, authoritarianism, maliciousness and corruption.
The importance placed on the creative process is another key component in Kentridge’s output — during the formulation of the foregoing pieces, drawings, prints and films are intertwined to mark the point of departure, and are either produced from them or produced simultaneously and as an accompaniment. Therefore, the exhibition compiles a broad selection of materials and mediums which pay heed to the synergies between the artist’s visual art and stage work, in addition to the different focal points and formalisations set out in each project.
Rafael Soriano: The Artist as Mystic features paintings, drawings, and pastels by the acclaimed master of geometric abstraction. The exhibition traces Soriano’s career, from early abstractions painted in Havana to his translucent late style created during his Miami exile.
Gallery Guide Miriam Alvarez Recalls Rafael SorianoI had the good fortune to meet Rafael Soriano in two ways. My late husband Dr. Rafael de la Portilla used to go out running and he met Soriano’s wife, Milagros, on his route. They would stop and have conversations. I also got to know him through a mutual friend, who was also a physician. I attended a number of exhibitions that he had in different galleries in Miami, some sponsored by the magazine Vanidades. In my estimation, Rafael and Milagros were a wonderful couple; they did everything together and it seemed she was very helpful to him. I believe she prepared his canvases according to his instructions. They were very united. I remember Rafael Soriano as a charming and quiet person, not at all pompous which he could have been as a premier painter. I am more of a traditionalist in my taste but Soriano’s beautiful, colorful, and impressive works won me over. I am so happy to have such a wonderful painter at the Frost Art Museum! -Gallery Guide, Miriam Alvarez
Exhibition Opening ReceptionSaturday, November 4 from 4:00-7:00 pm
10975 SW 17th Street, Miami, Florida 33199 | 305.348.2890 | frost.fiu.edu
The Brillembourg Capriles Collection is happy announce the participation of artists Jesus Hdez-Guero at the Karachi Biennale in Pakistan. HKB17 is Pakistan’s largest international contemporary art event that will take place every two years in Karachi. This October, over a hundred and forty artists from Pakistan and across the globe will respond to a common theme: WITNESS. Art Critic and Cultural Interventionist Niilofur Farrukh is the CEO of KB17.
Unburdened by a canon, Karachi is instead distinguished for a persistently altering memory. A maritime metropolis that embraces independent thinkers, like the Modernist Masters of the 1950s, and with three major art schools and one of South Asia’s most dynamic art gallery circuits, it is among the Art world’s best kept secrets.
KB17 invites you to remap this turbulent city - over twenty-five million strong and sprawling - through the lens of art. Hosted at twelve diverse venues, including schools, heritage sites, cinemas and public parks, the biennale draws art and the artist out of the gallery and into spaces that define Karachi’s quotidian pulse.
KB17 exhibitions, conceptualized by Amin Gulgee, its Chief Curator, with performances, screenings, and dialogue, pave way for charting new movement through familiar spaces.KB17’s two-week long, free public exhibition is an occasion for Karachiites and visitors to participate in an aesthetic, intellectual, and emotional survey of the city. It is an exploration of how her sundry communities, her individuals, and her edifices, all witness and actively negotiate their city’s persistent social and political transitions.
The team of KB17 invites the international audience to share a common vision: "Our collective witnessing will disrupt the limits of our spatial imagination. Together, we can revisit our histories, rethink our present, and reimagine our future with greater optimism."
From October 18th, 2017 through April 19th, 2018 a selection of Paulo Bruscky's works will be on view at the Centre Georges Pompidou, in Paris. The artist participates in the project L'oeil écoute (The listening eye), which proposes reflections on modern art from the dialogue between works of the permanent collection and invited artists. In this edition, the project explores the relationships between art, music and poetry, drawing a parallel between the productions of artists such as Picasso and Brancusi and the music of Erik Satie and the Russian Ballets. In the areas dedicated to Bruscky, it will be exhibited fundamental works of visual and sound poetry, mail art and performance developed throughout his career. Some of these pieces will be incorporated to Pompidou's collection after the exhibition. Works like Poema Processo, 1970, and Silence - Homage to John Cage, 1993, also share the space with rare works by Vicente do Rego Monteiro.
The strong connection between the two artists is emphasized by the common experience of affirming one's own language and the desire for experimentation. When revisiting the works of the modern artist in the collection of the museum, Bruscky once again reestablishes the path between France and Brazil, done so often by Vicente do Rego Monteiro. In a unique opportunity, it is possible to see, side-by-side, the intelligent humor and the sensitive look that connects two important generations of Brazilian art to international artists of fundamental relevance in the history of art.
Download catalogue here
The Brillembourg Capriles Collection is proud to announce the participation of artist Angela Bonadies in the exhibition "A Universal History of Infamy " Curated by Rita Gonzalez, José Luis Blondet and Pilar Tompkins Rivas.
...This exhibition engages 16 U.S. Latino and Latin American artists and collaborative teams working across a range of media—from installation and performance to drawing and video—challenging any notion of absoluteness with regard to what constitutes Latin America and its diaspora in the United States, the art that can be associated with it, and how to approach this complex region.
Most works on view are new projects that began during two-month residencies at 18th Street Arts Center in Santa Monica. The exhibition spans three venues—an encyclopedic museum (LACMA), a school (Charles White Elementary School), and an artist residency complex (18th Street Arts Center)—offering different perspectives, approaches, and scales in each location.
Artists in the exhibition: Angela Bonadíes (Venezuela); Mariana Castillo Deball (Mexico/Germany); Carolina Caycedo (Colombia/Los Angeles); Josefina Guilisasti (Chile); Tamar Guimarães and Kasper Akhøj (Brazil/Denmark); Runo Lagomarsino (Argentina/Sweden); Fernanda Laguna (Argentina); Michael Linares (Puerto Rico); NuMu [Stefan Benchoam, Jessica Kairé] (Guatemala); MapaTeatro [Heidi Abderhalden, Rolf Abderhalden] (Colombia); Naufus Ramirez-Figueroa (Guatemala); Gala Porras-Kim (Colombia/Los Angeles); Vincent Ramos (Los Angeles); Oscar Santillán (Ecuador) Zinny and Maidagan (Argentina/Germany) and Carla Zaccagnini (Brazil/Sweden).
A Universal History of InfamyBCAM, Level 2
August 20, 2017–February 19, 2018
*from the Brillembourg Capriles Collection -not included at LACMA exhibition