Los Angeles-based artist and activist Carolina Caycedo works primarily in the area of social justice. Her practice spans a variety of media and largely concerns itself with the problematics of river rights in Latin America, where hydroelectric dams are causing hardships for local and indigenous cultures.
BLOOMFIELD HILLS, MICHIGAN Cranbrook Art Museum “Landlord Colors,” which had a slippery relationship with art history, drew from historical movements, such as Arte Povera and Dansaekhwa, but then encouraged viewers to overlay those works with a framework of materiality and the historical conditions of crisis.
Andres Paredes, who was born in Argentina’s Misiones Province and graduated from the Faculty of Arts of the National University of Misiones, has made his home region a distinctive factor in his work. Driven by a systematic search to keep memory active by reworking the past, he creates an intimate imaginary world in works that
Guy Michael Davis and Katie Parker have collaborated as Future Retrieval since 2008. In 1999, after meeting as undergrads in ceramics at the Kansas City Art Institute, the pair earned graduate degrees from Ohio State University; they now lead the ceramics department at the University of Cincinnati’s College of Design, Architecture, Art, and Planning (DAAP).
MILAN Pirelli HangarBicocca HangarBicocca does things with an incredible monumentality, and under the stewardship of Vicente Todolí, the scale appears to have gone through the roof. Last year, the aircraft-hangar-size space hosted works by Mario Merz, which still appear as alien as they do innovative.
LOS ANGELES Hauser & Wirth The enigmatic press release for Hammons’s recent exhibition contains only the words “This exhibition is dedicated to / Ornette / Coleman / Harmolodic Thinker / David Hammons,” superimposed over a freeform drawing of squiggled, wavering horizontal and vertical lines. The press release not only set the tone for this sprawling, theatrical show, it also manifested Hammons’s total control over the display and public presentation of his work within the context of one of the world’s most powerful galleries.
THE HAGUE Museum Beelden aan Zee The survey demonstrated that Visser (1928–2015), one of the Netherlands’ most important 20th-century sculptors, was guided by a deep-seated need to make things, that he employed a remarkably diverse range of themes, materials, and techniques to actualize his ideas and observations, and that he rarely—if ever—acquiesced to artistic trends.
Maarten Vanden Eynde’s work travels back from the future. Fast-forwarding 100 million years or so in the role of a forensic archaeologist, he digs up archaic strata of earth—a smelted stew of plastic, metal, and organic gook cooked by industrial pollution.
“I decided that the whole idea of irony, which is so strong in contemporary art, I didn’t want to do anymore; I wanted to make it all about heart and really open my body up and say, ‘Here I am, I’m revealing myself to you.’ Because that’s what I saw in old art, and it melted me.”
Habiendo incursionado en la pintura, el textil, las instalaciones y la producción de objetos, Hecht encuentra en lo efímero de los “banquetes temáticos” su vehículo de comunicación con el otro, creando situaciones performáticas opulentas y barrocas, para compartir en torno a una mesa.