Con una obra que hace pie en el dibujo, Cynthia Kampelmacher, artista visual, Licenciada en Artes Visuales por la Universidad Nacional de las Artes (UNA) y docente, genera desde la línea una proyección fuera del plano, para crear espacialidad desde sutiles hasta grandes instalaciones.
“All of Us,” Sophie Ryder’s current exhibition at The Lightbox in Woking, England, near London, features over 50 examples of her anthropomorphic dream imagery—ladyhares, minotaurs, boars, and dogs, as well as dislocated representations of eyes, hands, and feet, all magically juxtaposed across the exhibition space.
Jim Condron started his career in the mid-1990s as a painter, primarily of abstract works. He moved to Baltimore, Maryland, in 1995, where he attended the graduate program at the Maryland Institute College of Art (MICA), earning an MFA in 2004.
Abigail DeVille lets objects reveal America’s invisible histories. Her recent solo shows in New York—“Bronx Heavens” (Bronx Museum of the Arts, 2022–23), “Original Night” (Eric Firestone Gallery, 2022), and “In the fullness of time, the heart speaks truths too deep for utterance, but a star remembers.”
NEW YORK Anton Kern Gallery In presenting a checkered medley of objects collated under the umbrella category “hooks,” Gamper seeks to show the full breadth of family resemblance—a neo-Wittgensteinian lesson in how one overlapping common feature, form, tethers these diverse objects together.
Beijing-based sculptor Hu Xiaoyuan takes a thoughtful, philosophical approach to contemporary art. Both an installation artist and a creator of individual objects, she is as concerned with the idea of form as its physical existence, investigating the three-dimensional as site as well as object.
NEW YORK Whitney Museum of American Art Kline knows what he wants to say, and a focus on labor and class is central to his practice. Exploring urgent social and political issues, he questions how emergent technologies are changing human life; and though he addresses a broad range of public problems, he does not preach.
BRUSSELS Fondation CAB Pictures taken in Brussels reveal a bar of wood on the floor of a subway station, among magazines at a newsstand, next to a man drying his hands in a washroom, and in the hands of an anonymous woman, who, along with two co-workers, appears to be amused by the object.
For more than two decades, Jennifer Marman and Daniel Borins have been making sculpture, installation, and media art in Toronto. They often break conventional barriers between viewer and artwork, using interactivity to engage beyond the visual.