Nacida en El Bolsón, Río Negro, Argentina, la artista y docente universitaria Aimé Pastorino desarrolla un trabajo donde la memoria emotiva invade cada una de sus piezas, creando escenarios donde la intimidad de un hogar logra dar cuenta de un sentir social, de una época.
Rachel Mica Weiss
NEW YORK Carvalho Park “Cyclicalities”—Rachel Mica Weiss’s most materially and thematically ambitious exhibition to date—features nine new sculptures that transform marble, alabaster, concrete, glass, and stainless steel from their everyday, utilitarian usage into things more softly meditative.
Wynnie Mynerva
LONDON Gathering Monumental unframed paintings on fabric are suspended from the walls of the ground floor and basement galleries, stretched out to a large extent, but with volumes of fabric tumbling downward and (sometimes) outward like fleshy folds.
“You Don’t Know Me”
WOOLWICH, MAINE Sarah Bouchard Gallery That there are only objects on view, and that they are tools of creative, domestic, and intellectual life and labor, points to an optimism, in critic Lauren Berlant’s sense of the word, about making itself.
Pushing into New Territory: A Conversation with Juliana Cerqueira Leite
Juliana Cerqueira Leite’s large-scale, tactile sculptures occupy a place of possibility between abstraction and figuration, exploring the parameters and constraints of the human body.
Peter Fischli and David Weiss
NEW YORK Matthew Marks Just how do the artists get plastic to look like plaster, to resemble the swipe of a brush, the scuff of a shoe, a half-cleaned bowl? By separating looking from the physicality of touch and form from function or purpose, these handmade things can only affirm their authenticity as sculptural objects.
Hilary Heron
DUBLIN Irish Museum of Modern Art (IMMA) There has been little research on Heron, which is surprising because she was the key figure in introducing Modernism to Ireland, alerting Irish sculptors to the glories of British 20th-century sculpture (not only Epstein, Moore, and Hepworth, but also postwar figures such as Armitage, Chadwick, Turnbull, Meadows, and Frink).
All Connected: A Conversation with Archie Moore
Set within a pool of water in the center of the room, a massive table holds countless reams of official documents—mainly coroner’s reports of Indigenous deaths in custody—that form a city of white paper stacks, crudely lined with black marker redactions.
Olivia Bax
SALISBURY, U.K. New Art Centre, Roche Court Sculpture Park Bax does not represent the exterior of things; instead, she presents experiences from the inside. Given this context, her internal/external armatures make perfect sense. This is the experience of the body from the inside out in all its rawness and vulnerability.
“These Mad Hybrids: John Hoyland and Contemporary Sculpture”
BRISTOL, U.K. Royal West of England Academy Hybridity has been a feature of British sculpture for decades. In the 1960s, it took two forms: transnational, epitomized by Anthony Caro’s formalist sculpture seen mostly in the context of American painting, and transmedial, characterized by an avid blurring of boundaries between painting and sculpture.
