New York-based Guadalupe Maravilla left his homeland as a young boy during the height of El Salvador’s civil war. That traumatic past and a more recent bout with cancer have directed the course of his life and work.
Spencer Finch: Seeing and Knowing
Spencer Finch is interested in shifting light, both as a subject and as an artistic method. He is fascinated with changes in light at different times of the day and year, from one location to another, and with how light shifts as it is refracted through atmosphere, clouds, and windows, or reflected in different surfaces.
Markus Copper
HELSINKI Museum of Contemporary Art Kiasma Informed by personal experience, an interest in performance art, and tragic events, these visually compelling works can physically affect the body and veer into thematic territory that some viewers and critics have found shocking.
Love and Spirits: A Conversation with Anne Samat
I Love You for the Wrong Reasons #1, 2021. Rattan sticks, kitchen and garden utensils, beads, ceramic, metal, and plastic ornaments, 98 x 42 x 8 in. Photo: Courtesy the artist and Marc Straus. Anne Samat creates brilliantly colorful totemic sculptures using humble everyday materials.
Cerith Wyn Evans
LLANDUDNO, WALES Mostyn Evans’s neon sculptures at Mostyn are, as he has described it, lit with “pale dispassion.” They do not force themselves on the viewer, but act tenderly in their relationships.
“Nothing is Forever: Rethinking Sculpture in Singapore”
SINGAPORE National Gallery Singapore With more than 70 works from the 19th century to the present, the exhibition challenges prevailing aesthetic norms, serving to redefine sculpture’s “object status,” just as the works themselves redefine structure, form, material, and production.
Una Reflexión sobre la Metamorfosis del Estado de las Cosas: Una Conversación con Cecilia Nigro
Inicialmente con estudios en el campo de las relaciones publicas (UADE, Buenos Aires), la artista Cecilia Nigro se incorpora al mundo de las artes pláticas a través de la cerámica.
Anita Molinero
PARIS Musée d’Art Moderne Molinero’s approach is to melt her appropriated objects, a creative process that, like more traditional methods involving marble or bronze, is intimately linked to an act of destruction, or rejection.
Mariana Castillo Deball
LONDON London Mithraeum Bloomberg SPACE The Column of Conglomerates is built from lump-like components that cannot be separated—a clear allusion to archaeological finds in which coins, pins, and crumbled fragments are lodged together with larger unidentified masses of fused material.
Margarita Cabrera
SAN ANTONIO, TEXAS McNay Art Museum Margarita Cabrera’s socially engaged works—often communal projects addressing themes of national identity, hybridity, migration, and sacrifice—draw on the concept of nepantla, a Nahuatl word meaning “the space in the middle.”
