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Curated by Giorgio de Finis
October 1, 2018 - December 31, 2019
Museo d'Arte Contemporanea Roma MACRO

Relational multidisciplinary device, "common" space, MACRO Asilo rethinks the museum as an institution, taking its cue from its constituent criteria [from ABC], offering itself as the venue in which to forge a new encounter between artists and the city, between art and society.

In this project, the very idea of the museum seeks to renew itself with the intention of forging a new and prolific relationship between art and the city. The experiment, in that sense, concerns precisely the city's museum of contemporary art, exploring its civic function as an institution operating in the present on the production of skills, sense and knowledge, an institution that uses art to place itself at people's disposal. Macro Asilo is the first piece in the Contemporary and Future Cluster set to become a complementary presence compared to other institutions such as the MAXXI or the Galleria Nazionale, so as to offer the city's residents a rich spectrum of viewpoints and experiences.

That is the challenge from which de Finis took his cue, working in close cooperation with the Azienda Speciale Palaexpo which has been managing the museum since 1 January 2018, and with the Sovrintendenza Capitolina which, in its capacity as part of Roma Capitale, maintains responsibility for the conservation and enhancement of the museum's collection, archive and library.

On entering the museum the public will be confronted with a very different space and will be able to freely and casually walk through many different thematic environments, including the forum hall where the wall with a huge picture gallery will be hosting a selection of works from the collection, a kind of "visual" invitation to collaborate and to be together; the center of this hall will contain the Table of Tables," a live-in work specially produced by Michelangelo Pistoletto.

The new rooms will include one devoted to Romes (the city's name in the plural), the word room (devoted to the vocabulary of contemporary art), the reading room, the media and radio room and the workshop rooms (four twin spaces designed for artists producing a work inside the museum). There will also be three artists "environments", workrooms hosting participatory projects, installations, and performances, adding another 50 thematic environments over time in addition to those already offered by the museum.

The museum will be open from 10 am to 8 pm Tuesday to Sunday with late evening opening until 10 pm on Saturdays. The program will not include a traditional schedule of exhibitions but a daily palimpsest of events, encounters, workshops, installations, and performances, and on a broader level, it will host every other form or practice that the artists working in the museum develop and are thus able to offer visitors.

Video art screenings will be held daily on a huge screen specially installed for the purpose, along with encounters, "self-portraits", seminars, launches and retrospectives in the auditorium and cinema theatre. Also, a cycle of lectiones magistrales is planned at weekly intervals, in addition to a series of staged events held on a stage erected in the foyer, hosting music, dance, and theatre, particularly on Saturday evenings.

The search for artists in recent months has been a crucial part of the comprehensive rethink of the museum mechanism described hitherto and has led, to date, to the preparation of a programme that includes: 250 artists who will be producing a work of art in the museum's workshop, 400 words of video art (1 video per day), 50 artists' rooms, 100 words x 10 encounters = 1,000 lectures (dictionary of contemporary art), 60 Saturday evening concerts, 180 lectiones magistrales and 900 self-portraits.

The artists on the slate of the project include: Michelangelo Pistoletto, Daniel Buren, Dora Garcia, Krysztof Bednarski, Pietro Gilardi, Alberto Garutti, Antonio Muntadas, Marzia Migliora, Liliana Moro, Pablo Echaurren, Dora Garcia, Gianni Pettena, Orlan, Melania Mazzucco, Santiago Sierra, Elina Chauvet, Daniel Buren, Wim Wenders, Alfredo Pirri, Gianni Asdrubali, Giovanni Albanese, Gianfranco Notargiacomo, Ria Lussi, Piero Mottola, Giuseppe Stampone, Regina Jose Galindo, Adrian Paci, Andrea Fraser, Fabrizio Crisafulli and the Stalker collective, among others.

Each one of these artists will leave the mark of his or her work on the Macro, a multitude of acts, practices and forms of research which, through gradual accumulation, will go to fuel a fully-fledge material archive of this experience – an archive which, in addition to having its own physical space within the museum, will also have a constant echo on the web and in the social media to testify and to illustrate the work performed inside the museum in a continuous and in some ways even a reproducible manner.

In addition to the above, there are those who will be offering their testimony in the shape of a lectio magistralis including, to date, Nicolas Bourriaud, Claire Bishop, Jacques Rancière, Paul Preciado, Mary Ann Caws, Don Thompson, Calum Storrie, Sally Price, Juan Josè Lahuerta, Paul Werner, Peter Weibel, Michel Maffesoli, Massimo Cacciari, Giacomo Marramao, Carlo Ratti, Alessandro Dal Lago and Serena Giordano.

Thus the museum is opening up to the city as a whole, also taking its cue from its relationship with the neighbourhood in which it is situated, which is why its space will be constantly open and every section can be crossed from the traditional entrance on Via Reggio Emilia to the new wing in Via Nizza, also enhancing the quality and habitability of its large volumes, from the piazza to the gallery and the foyer. A museum is opening up to the city, to the neighborhood and becoming even more of a community experience.

Nothing is Mine Everything is Stolen
Curated by Luis Camnitzer
Opening Reception: 7:00 PM - 8:00 PM, Monday, July 15, 2019
Closing Reception: 8:00 PM - 9:00 PM, Saturday, July 20, 2019
Gallery Hours: Tuesday - Friday, by appointment.
Present Company
New York

Concerned with ideas of monetary transaction and value creation, subsequent in both their symbolic and practical condition "Nothing is Mine Everything is Stolen" challenges preconceived notions of what precisely is it that we value in art, or for that matter, in money.

Focusing on economic issues emerging from colonial, capitalist and imperialist forces, Jason Mena (Puerto Rico) considers informal modes of production and exchange, paying particular attention to the nature of these practices and their possible impact on the social, political, and cultural domain.

Entanglements: Before And After NAFTA
Moderatd by Bárbara Perea Legorreta
July 9, 2019, 6:30 – 8:00 pm
International Studio & Curatorial Program (ISCP)
New York

In the context of the current ISCP exhibition Entanglements: Before And After NAFTA, curated by Bárbara Perea Legorreta, ISCP Jane Farver Curatorial Resident, two of the participating artists will offer insights into their research and recent work developed for this project.

Jason Mena will discuss his interest in economic trends, commodities, currency and value by establishing a comparison between the abandonment of the gold standard and the adoption of free-floating exchange rates.

Roy Meuwissen will briefly outline and situate Allan Sekula’s Geography Lesson: Canadian Notes within his ongoing research project, which takes up Sekula’s investigation into economic histories by tracing connections between all three NAFTA trading partners. Sekula’s text will serve as a starting point to explore the virtual disappearance of vocabularies of industrialization and class distinction from much contemporary discourse—and their paradoxical resurrection in recent political arenas, in favor of post-Fordist approaches.

This program is supported, in part, by Greenwich Collection Ltd.; Hartfield Foundation; Jane Farver Memorial Fund; Lambent Foundation Fund of Tides Foundation; New York City Department of Cultural Affairs, in partnership with the City Council; New York State Council on the Arts with the support of Governor Andrew M. Cuomo and the New York State Legislature; and Stavros Niarchos Foundation (SNF).

Relational Undercurrents: Contemporary Art of the Caribbean Archipelago
Curated by Tatiana Flores
From 22 Jun 2019 – 08 Sep 2019
Delaware Art Museum

Curated by Tatiana Flores and organized by the Museum of Latin American Art(MOLAA), in Long Beach, California, Relational Undercurrents: Contemporary Art of the Caribbean Archipelago presents 21st-century art by artists with roots in Haiti, the Dominican Republic, Cuba, Puerto Rico, Curaçao, Aruba, St. Maarten, St. Martin, Martinique, Guadeloupe, Trinidad, Jamaica, The Bahamas, Barbados, and St. Vincent. Acknowledging the great diversity represented by these various countries, the exhibition explores thematic continuities found among the region. Relational Undercurrents features contemporary painting, installation art, sculpture, photography, video, and performance by over 50 artists from the islands of the Caribbean.

This exhibition has been organized by the Museum of Latin American Art (MOLAA), Long Beach, California for the Getty Foundation’s Pacific Standard Time: LA/LA initiative. This exhibition is made possible in Delaware by the Emily du Pont Memorial Exhibition Fund. Additional support was provided, in part, by a grant from the Delaware Division of the Arts, a state agency in partnership with the Delaware Division of the Arts, a state agency, in partnership with the National Endowment for the Arts. The Division promotes Delaware arts events on

Entanglements: Before and After NAFTA
Curated by Bárbara Perea Legorreta
From June 4 – September 27, 2019
Tuesday–Friday, 12–6 pm, and by appointment
International Studio & Curatorial Program (ISCP)
New York

The International Studio & Curatorial Program announces the opening of Entanglements: Before and After NAFTA, a group exhibition organized by resident curator Bárbara Perea Legorreta, on Tuesday, June 4, from 6–8 pm.

In the wake of the recent and tense renegotiation of the three-way North American Free Trade Agreement (NAFTA) between Canada, the United States, and Mexico, the growing humanitarian immigration crisis, and new draconian United States border policies, this exhibition presents a critical and transhistorical analysis of economic exchange in North America through the lens of contemporary art practices.

The featured artists in Entanglements: Before and After NAFTA explore a range of issues including links between Canadian mining interests and organized crime, the effects of Big Sugar on the post-NAFTA diet, the necropolitical instrumentalization of populations in service to the drug trade, and other entangled undercurrents that are related to this pact. Currency and exchange value, resource extraction, oil trade, raw materials and shifts in agricultural patterns and food sources, are addressed by eleven artists in a complex interrelated multi-media installation marked by objects, symbology, appropriated imagery, and audiovisual narratives.

Artists in the exhibition are Alejandro Gómez Arias, Gina Arizpe, Patricia Carrillo Carrera, Virginia Colwell, Arcángel Constantini, Iván Edeza, Fritzia Irizar, Jason Mena, Roy Meuwissen, Yoshua Okón, and Miguel Rodríguez Sepúlveda. Of the eleven artists, eight are from Mexico, two from the United States, and one from Canada.

The press release is available for download here.

Reencuentros: Circuito de intervenciones
Sabado 18 de mayo de 13:30 - 17:30 hrs.
Valle de Bravo

Presentacion de la Intervencion Disolución de Jeanette Betancourt
Mesa redonda integrada por Demían Mondragón, Irving Domínguez, Jorge Reynoso Pohlenz y Ingrid Suker (Moderadora).

Recorrido por el cicuito de intervenciones Reencuentros con la participación de Elizabeth Ross, Inmaculada Abarca, Hassan Echair, Jamila Lamrani, Jason Mena, Josep Ginester y Perla Krauze.

You Made What They Wanted to See: Images for People in Solitary Confinement
April 20 - July 1, 2019
Central Library
Brooklyn Public Library
New York

Photo Requests from Solitary (PRFS) is a participatory project that invites men and women held in long-term solitary confinement in U.S. prisons to request a photograph of anything at all, real or imagined, and then finds a volunteer to make the image. The astonishing range of requests, taken together, provide an archive of the hopes, memories, and interests of people who live in extreme isolation.

On any given day, at least 80,000 people are held in solitary in the United States, most placed there not by a judge or jury, but by prison staff. Some will remain for months, years, or even decades in conditions that have been shown to cause deep and lasting psychological and physiological harm.

The goal of PFRS is to fulfill each request to exact specifications for the person who requested it, with images that—through some combination of form, content, composition, design, and/or sheer commitment—are compelling enough that someone would want to return to them for repeated viewing. (People in solitary are sharply limited in the numbers of photographs they can have, so every image is important.)

In addition to sending completed photographs to the people in prison, PRFS uses the project to provide public education about solitary confinement and support campaigns to limit its use. Working in partnership with local advocates, we tour exhibitions of the request forms and photographs, hold events and discussions, and encourage media coverage on the subject of solitary confinement.

PRFS offers audiences a direct and powerful connection to people in solitary confinement, either by contributing photographs or by simply reading their requests and visualizing the images they have described. Making these often elaborate descriptions into images, which can then be sent back to the people who conceived of them, completes an artistic collaboration that acknowledges the shared creativity and humanity of individuals on both sides of the prison walls.

Art is Money - Money is Art
Curated by Edoardo Marcenaro
April 26 - May 11, 2019
The East Village Art View
New York

The East Village Art View is pleased to announce the upcoming show, Art is Money - Money is Art.
Edoardo Marcenaro curated an exhibition of artworks made on actual $1 bills. This exhibition includes works by Banksy, Andy Warhol, Keith Haring, Obey and more than 100 local artists.

Artists show how fluid the nature of money is, as its very transformation demonstrates a change in its value when rebuilt as art.

Artists do so as a method to ironize, undermine, sabotage and subvert the power of money.
Though these re-designed banknotes are mischievous in nature, many pieces offer distinctive and provocative social criticisms.

This unique exhibition explores concepts of wealth, power, equity, justice and creativity.

Location: 111 3rd Avenue, #15 H, New York, NY 10003
Opening reception: Friday, April 26, 2019, 6:00-8:00 PM
On view: April 26 - May 11, 2019
Hours: Thursdays and Fridays by appointment
For more info: / (917) 859-9026

Curated by FOLD
March 8, 2019
Architecture Hall
University of Nebraska-Lincoln

XVIII Bienal de Pintura Rufino Tamayo
Del 22 de febrero del 2019 hasta el 19 de mayo de 2019
Museo de Arte Octavio Ocampo

La Secretaría de Cultura, el Instituto Nacional de Bellas Artes, la Secretaría de las Culturas y las Artes de Oaxaca, a través del Museo de Arte Contemporáneo Internacional Rufino Tamayo, el Museo de Arte Contemporáneo de Oaxaca y la Fundación Olga y Rufino Tamayo, A.C., le invitan a la XVIII Bienal de Pintura Rufino Tamayo.

Jason Mena
Octavio Rangel Ramirez
Marita Guadalupe Terríquez Oliva
Gerardo Monsiváis Flores
Raul Aguilar Canela
Virginia Ledesma Martinez
Rolando Gómez Sosa
Charles Glaubitz Gonzalez
Paul Muguet Maubert
Allan Hernández Villavicencio
Jorge Juan Moyano Gómez
Jerónimo Rüedi Alvarez
Francisco Muñoz Pérez
Juan Carlos Caloca Carbajal
Catalina Salcedo Ortiz
Ángela Leyva Gómez
Silvia Mayoral Molina
Luis Miguel Amador Moreno
Paulina Jaimes Padilla
Yutsil Cruz Hernández
Carlos Enrique Pérez Bucio
Veronica Baltadano Perez
Cecilia Barreto Aguilar
David Alejandro Meraz Valdez
Saúl Gómez Jiménez
María Concepción Guadalupe Sada Villarreal
Armando de la Garza Garza
Tania Esponda Aja
Rafael Rodríguez Cruz
Cristopher Contel Lima
Cristobal Gracia Garrido
Luis Enrique Ramírez
Hampshire Santibáñez
Victor Del Castillo Mier y Teran
Javier Areán Álvarez
Renata Leticia Gerlero Estrada
Jorge Andrés Palos Ramírez
Emilia María Díaz Vega
Francisco Javier Jimenez Hernandez
Omar Miguel Mañueco Cuevas
Sandra Del Pilar
Mauricio Gómez Vélez
Sinohe Sidharta Figueroa Rojas
Philip Edward Nevin Bordes
Bouchan Castro José Rigoberto
Patricia Maria Henriquez Bremer

Relational Undercurrents: Contemporary Art of the Caribbean Archipelago
Curated by Tatiana Flores
February 01 to May 05, 2019
Portland Museum of Art

Relational Undercurrents: Contemporary Art of the Caribbean Archipelago calls attention to a region of the Americas that is difficult to categorize and often overlooked: the island nations of the Caribbean. The exhibition proposes an “archipelagic model”—defining the Caribbean from the perspective of its archipelago of islands, as distinct from the continental experience—to study issues around race, history, the legacy of colonialism, and the environment. The exhibition features artists from the Hispanophone, Anglophone, Francophone, and Dutch Caribbean. Relational Undercurrents will emphasize the thematic continuities of art made throughout the archipelago and its diasporas, challenging conventional geographic and conceptual boundaries of Latin America. This approach draws particular attention to issues arising from the colonial legacy that are relevant to Latin America as a whole, but which emerge as central to the work of 21st-century Caribbean artists.

This exhibition has been organized by the Museum of Latin American Art (MOLAA), Long Beach, California, a project of the Getty Foundation’s Pacific Standard Time: LA/LA Initiative.

This exhibition is part of Art for All, an initiative that supports the Portland Museum of Art dedication to being an open, accessible, inclusive, and welcoming museum for all, through exhibitions and programs that reflect our community and create experiences with art that strengthen our bonds and bring us together.

Catalog available at Duke Press