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As a novelty this year, the presence of Latin America takes a different role and adjusted to reality. ARCOmadrid incorporates the section REMITENTE. Latin American Art, produced with the complicity of Mariano Mayer. The proposal shows the importance of Latin American art in the Fair and its essence is to facilitate and support the galleries that this time cannot travel to Madrid.

The Maria and Armando Cabral Collection, the Eulogio Sánchez Collection and the "la Caixa" Foundation Contemporary Art Collection have been awarded on this occasion for their artistic value and work in supporting the dissemination of contemporary art.

A lavish, satirical and vertigo-inducing meditation on the Hollywood ‘Dream Factory,’ Heaven’s Gate is a work of digital psychedelia employing the same state-of-the-art computer compositing technology as the films it references. On view at the Pérez Art Museum Miami until early 2022.

The Good Neighbour, the Canadian artist’s solo show in Americas Society, is focused on his relationship with Mexico since the early 1990s. The exhibition offers an overview of his work from his arrival in Mexico City in 1993 to his involvement with the city’s bustling international art scene, dubbed the “multinational Mexican underground” by Olivier Debroise.

Part of the “Normal Exceptions” solo shows programme, La Restauradora (The Restorer)  tells the story of Mexico City over 800 years from the geographic perspective of a location at the city’s heart.

Within the ambitious Collection reorganization that the Reina Sofía Museum is carrying out, the nucleus Los enemigos de la poesía: Resistencias en América Latina (The enemies of poetry: Resistances in Latin America) is presented, focused on Latin art produced between 1964 and 1987 and its relationship with Spain. The political transformations of the time and the appearance of new artistic practices, such as mail art, favored a series of transcendental exchanges for the future of contemporary art.

American artist Deana Lawson produces portraits of contemporary Black life that are meticulously staged yet profoundly intimate. Deana Lawson’s solo exhibition at the Kunsthalle Basel (Basel, Switzerland) takes place as one of the international collaborations of the 34th Bienal de São Paulo's - Faz escuro mas eu canto (Though it’s dark, still I sing)

The artworks draw on visual, cultural, and mythological cues informed by feminism, decolonialism and the artist’s personal and familial histories, while simultaneously engaging with the biodiversity, geology, and dark skies of Far West Texas. The sky was particularly striking for Huanca–animated with cosmic and extraterrestrial forces while also revealing the natural rhythms of the sun and moon. ESPEJO QUEMADA is curated by Daisy Nam, Ballroom Marfa curator.

Commissioned by Liverpool Biennial with support from Amalia Amoedo and Érica Roberts, Bianchi’s works and immersive installation create a locus where the organic is estranged and the industrial is anthromorphic.  

Organized by the Museo Reina Sofía and curated by Manuel Borja-Villel, the exhibition proposes a scheme where each canvas maintains its own autonomy as a work of art, but also remains in close connection with the rest of the pieces, in a kind of evocative ecosystem of climatic, sensory and emotional experiences. In this sense, Suter's canvases hang, without a frame, in installations that seek an immediate relationship with the architectural and natural space, while inevitably referring to the environment in which they were created.

The exhibition aims to explore the influence of Iberian art in Pablo Picasso’s oeuvre through more tan 200 pieces. Organised with the Musée national Picasso-Paris and curated by Cécile Godefroy and Roberto Ontañón Peredo, this stimulating, original exhibition invites visitors to reflect on how the discovery of a native, “primitive”, art shaped the artistic language and identity of one of the greatest artists in the twentieth century.

Fundación Itaú invites the public to visit and tour the works selected for the 11th edition of the Itaú Visual Arts Award. In the context of the pandemic and due to the impossibility of carrying out an in-person exhibition, Fundación Itaú took on the design of the exhibition in Google Arts & Culture in collaboration with Adriana Lauria, curator of the Prize.

The fair will take place from July 7 to 11 with a special highlight on new protagonists. In addition to the General Program and the Opening Program, ARCO incorporates REMITENTE, a special Latin American art section and concentrates Artist Projects exclusively on women. In total, the fair will host 131 galleries, of which 54% are not Spanish.

Guest Curator Elvira Dyangani Ose, Director of The Showroom (London), presents the project ‘Contra la raza’ [Against Race] at Matadero Madrid within the framework of PHotoESPAÑA 2021. This multidisciplinary initiative incorporates a video-based installation and live programme focusing on futuristic imaginaries expressed through poetics of the Black experience that generate new forms of global and egalitarian humanism.

The ACT Programme (Art Career Transformation), founded by Francesca Bellini-Joseph, is an online platform that offers programmes focused on artistic careers. ACT Meets is a series of periodical get-together sessions where the community meets to share ideas, knowledge and questions about the professional aspects of artistic practices. This Thursday, June 17^th, join for a fascinating conversation with Los Angeles-based artist Gala Porras-Kim and London-based curator Sabel Gavaldon about using the art ecosystem’s intricate networks of stakeholders for bringing her projects to life.

His painting Y me quedé sin nombre (1974) is the first work by a Dominican-born New York artist to be acquired by the museum.

La Casa Encendida (Madrid) and Wellcome Collection (London) present Un Encuentro Vegetal  (A Vegetal Encounter), an exhibition that explores our symbiotic relationship with plants as shown through the work of Patricia Domínguez (1984, Santiago de Chile), Ingela Ihrman (1985, Kalmar, Sweden) and Eduardo Navarro (1979, Buenos Aires). Conceived as a dialogue, it shows the Works of these three artists as they deconstruct the omnipresent artificial wall there is between human beings and nature, the wall that is devastating our ecosystems, our life and our health. Curated by  Bárbara Rodríguez Muñoz.

The Whitney Museum of American Art at New York announces that assistant curators Marcela Guerrero and Rujeko Hockley have been promoted to newly endowed positions. Guerrero has been appointed the Jennifer Rubio Associate Curator and Rujeko Hockley will assume the role of Arnhold Associate Curator, both effective July 1.

The Rafael Tous Collection, donated to MACBA (Museu d'Art Contemporani de Barcelona) just one year ago, is the portrait of a moment and specific artistic practices. A passionate collector linked to the textile world, Rafael Tous opted for conceptual art as a set of plural practices that prioritized the idea and the process over the object. Without speculative intention and in an intuitive way, Tous set up a collection that brings together the attitudes and experimental works of a group of artists with whom, in many cases, he established bonds of friendship, in addition to accompanying them in their artistic growth. Exhibition curated by: Antònia Maria Perelló, curator and head of the MACBA Collection, and Claudia Segura, curator of exhibitions and Collection.

Sitio inespecífico (Unspecific Site) is an essay on spaces and artistic practices in confinement, a virtual refuge in which a group of artists met for the exchange and production of works, assuming that, while the pandemic lasts, virtuality is a possible territory for encounter and action, but also wondering: which virtuality is desirable?

The future Chief Curator of MALBA highlights: "After two decades of prestigious work, Malba consolidates a central trajectory for the local scene and of reference at a regional and international level." María Amalia García explains, and adds: “Maintaining a Latin American perspective around artistic processes entails the commitment to recognize and value the specificities of each region and abandon the pigeonholes in foreign categories. (…) I understand that the reinvention that museums face today has to integrate and promote plural and diverse knowledge and perceptively enable dissident modes”.

When Cortada first witnessed a violent uprooting of mangrove forests in the Florida Keys in 2006, he became motivated to take action and protect these native habitats. He launched the Reclamation Project on Earth Day 2006 at the Bass Museum. This year, Cortada’s solo exhibit, “The Reclamation Project: Engaging Community For 15 Years Through Participatory Eco-art,” honored the quindecennial of his participatory eco-art project at the University of Miami Wynwood Gallery.

American architect Terence Riley has passed away at the age of 66. He was a founding partner of Keenen/Riley Architects and held numerous high-profile positions at well-renowned museums and institutions. He is most remembered by his innovation and strong commitment to the arts.

The Musical Brain is a group exhibition that reflects on the power music has to bring us together. The exhibition is named after a short story by the Argentine contemporary writer César Aira, and explores the ways that artists use music as a tool to inhabit and understand the world. The featured artists approach music through different lenses—historical, political, performative, and playful—to create new installations and soundscapes throughout the park. Organized by High Line Art and Cecilia Alemani.

The exhibition explores the unforgettable creative achievements of São Paulo’s Foto-Cine Clube Bandeirante (FCCB), a group of amateur photographers whose ambitious and innovative works embodied the abundant originality of postwar Brazilian culture. Although their work was heralded around the world in the 1950s, it subsequently faded from view. This is the first museum exhibition to present this fascinating moment in photography’s history to audiences outside of Brazil.

Felipe Mujica: The Swaying Motion on the Bank of the River Falls highlights the ecological and cultural diversity of South Florida in collaboration with the Miccosukee tribe. It features an installation of over 20 new fabric panels, or “curtains,” that spatially interact with the museum as well as function as visual, tactile and conceptual surfaces of inclusion, dialogue, specifically with the tradition of Patchwork of the Miccosukee Tribe. The project is the result of a years-long collaboration between the Chilean artist and Khadijah Cypress, a Miccosukee artisan.

Described by Peter Fischli as “a kaleidoscope of repudiated gestures”, the project explores a series of specific ruptures within the history of painting in the last 150 years, intertwined with the emergence of new social factors and cultural values. The exhibition also intends to understand if the current digital revolution can also cause a new crisis of painting or, on the contrary, contribute to its renewal. Stop Painting is conceived by artist Peter Fischli with more than 110 artworks by international artists on view at the historic palazzo of Ca’ Corner della Regina, Fondazione Prada’s Venetian venue, from 22 May to 21 November 2021.

The Museum commissions site-specific, immersive installation by the Brazilian artist that will transform the Museum’sCullinan Hall into a suspended walkway. Ernesto Neto: SunForceOceanLife, the seventh installment of the Museum’s summer immersive art series, will be on view from May 30 through September 26, 2021.

The Award has selected 4 recipients which will be shown in an exhibition as a Collateral Event of the 17th International Architecture Exhibition – La Biennale di Venezia, opening on May 22nd.

More interactive, modern and interdisciplinary, the magazine broadens its scope and adapts to the new demands of the artistic ecosystem. Integrating greater visibility to artists, galleries, writers, and cultural and academic institutions, the platform now includes eight sections, three of which are new.