Mexican artist Pia Camil draws inspiration for her objects, seen in the following pages, from contemporary consumerism, incorporating signs and objects from everyday life. The artist, born in Mexico City in 1980, also reclaims abandoned structures from highways, driven by her belief in the failure of capitalism. Her wide-ranging practice, which takes in hand dyed wall hangings, ponchos and ceramic vases, often ends with the presentation of multiple objects in the same room. She also undertakes live performances that experiment with notions of domestic space. Her work appears to create a friction between domestic comfort – indicated by the ‘homely’ crafted feel of many of her ceramics and textiles – and a more hard-edged Modernism. Carry on reading about Pia Camil, and see more images of her work, in the latest issue of The Kurios. Photo: installation view: Pia Camil. Pangaea II. Image courtesy of the Saatchi Gallery, London (c) Justin Piperger, 2015
The Belgian engineer Gustave Verniory (1865-1949) arrived in Chile at the end of the 19th Century to build a railway in the remote region of Araucanía, in the mid-south of the country. The region, occupied by indigeneous Mapuche tribes, had not become part of Chile until the 1880s. Verniory came to know a group of Mapuche people, and he began to photograph them, in their everyday attire. He also captured images of the railway’s construction and other viaducts and bridges that had been built as the Chilean government drove modernization of Chile’s remoter regions. His photos document an interesting time in the history of the province when industrialization was rapidly changing the lives of the Mapuche. The government had occupied Araucania in the 1880s to end the resistance of Mapuche tribes. Subsequently European and Chileans settled in the area, with the population of Araucania growing considerably in the early 20th Century. A region of mountains and lakes and fertile agricultural land, it came to be known as the “granary of Chile.” Around one third of …
Colombian artist Doris Salcedo (b. 1958) is the subject of a new retrospective at New York’s Guggenheim Museum. Over the past three decades, Salcedo’s sculptures and installations have addressed the often-violent history of modern-day Colombia. Her work also addresses other forms of social injustice, some of which are the result of colonialism and racism. The exhibition, displayed over four floors, features the artist’s most important series, made between the late 1980s and today. It also includes a video documenting her site-specific public projects and architectural interventions. Check out the latest issue of The Kurios for more exhibitions news from around the world. Doris Salcedo is on until October 12th 2015 at the Solomon R. Guggenheim Museum, New York. Photo: Doris Salcedo, Plegaria Muda (detail), 2008–10. Wood, concrete, earth, and grass in 122 parts, dimensions variable. Courtesy Alexander and Bonin, New York.
Tarsila and Modern Women in Rio at the Museu de Arte do Rio pays tribute to a number of female Brazilian artists, who worked between the end of the 19th century and the end of the Second World War. The women featured were all selected for the revolutionary work they did, albeit in very different areas of creative production. Tarsila do Amaral (1886–1973), known simply as Tarsila, is the central figure of the exhibition. Considered to be one of the leading Latin American modernist artists, she was a member of the notorious Grupo dos Cinco (Group of Five), perhaps the biggest influence on modern art in Brazil. She is also credited with having inspired Oswald de Andrade’s famous essay Manifesto Antropófago (Cannibal Manifesto), a key Brazilian cultural text which argued that the country’s history of of “cannibalizing” other cultures is its greatest strength. Tarsila and Modern Women in Rio is on at the Museu de Arte do Rio until 20th September 2015. Photo: Tarsila do Amaral, O Lago (The Lake) (1928). Courtesy of Museu de Arte do Rio.
A dynamic new exhibition at the Museo de Arte Latinoamericano de Buenos Aires (MALBA) brings together the work of several international artists whose work has strong social and political themes. Featuring the works of Brazil’s Jonathas de Andrade, Argentina’s Leon Ferrari and Lebanon’s Walid Raad, the show includes works dealing with the conquest of Brazil by the Portuguese, the military coup in Chile, the civil war in Lebanon and the Tiananmen Square Massacre in China. Photo: Liu Wei, Unforgettable Memory (2009). Courtesy of MALBA. Memorias Imborrables (Indelible memories) is on at MALBA until 20th August 2015.
In Carlos Bongiovanni’s works, objects are not what they seem. Seen from afar, these unsettling paintings may appear to contain conventional imagery – birds, pieces of fruit, for instance – but upon closer inspection, strange, unsettling objects appear. They retain some elements of the original image, but morph into something else, something less obviously recognisable and disconcerting. Bongiovanni was born in Ushuaia, Argentina in 1983 and now lives in Buenos Aires. To see more images of Bongiovanni’s work, read the July/August issue of The Kurios. Photo: Heart © Carlos Bongiovanni. Courtesy of Galeria Mar Dulce, Buenos Aires.
Pioneering photographer Annemarie Heinrich (1912-2005) had hard mountains to climb but her persistence eventually paid off. The daring Argentine artist, who moved to Argentina with her family to escape the Nazis, lived at a time when photography was considered a lesser cultural form in Buenos Aires. To complicate matters further, Heinrich liked to experiment with photographing nudity. She kept this a secret which, given that society even disapproved of her habit of wearing trousers to work, was probably wise. A comprehensive retrospective of the German-born photographer’s work at the Museum of Latin American Art of Buenos Aires (MALBA) — which ended earlier this month — uncovered her passionate, and very private, experiments with photography. Heinrich photographed many stars of the cinema, theatre and ballet in the 1930s and 1940s, when Argentina cinema was experiencing its Golden Age. In this era, Buenos Aires – dubbed the ‘Paris of the South’ — was a magnet for foreign performers who relished the rich cultural life of the city. The resplendent Colon Theatre is still considered one of the …