Notes related to Installation

The exhibition Contar Rutinas (Counting Routines) dedicated by the Cerezales Antonino and Cinia Foundation to the work of Ana Amorim (São Paulo, Brazil, 1956) includes a selection of actions and performative works and installations that reflect the activity of the Brazilian artist from the 1980s to the present. The architecture of this exhibition is marked by the artist's daily conceptual and performative routines, reflecting their influence in the results of monumental dimensions.

Inhotim is presenting three new projects at the end of 2024, in which the protagonists are Rebeca Carapiá, Pipilotti Rist and Rivane Neuenschwander. Three very different strategies by names of different visibilities and generations, which help to forge a moment in the institution that seems more connected to the fascinating and special nature of the place, without leaving aside lively questions about the strange days we are living through.

FACT Liverpool presents Cosmotechnics, a group exhibition by Latin American artists curated by FACT’s Curator-in-residence Beatrice Zaideberg. Cosmotechnics showcases a series of transformative installations featuring video, sound, sculpture, and digital media.

The Bass is presenting the exhibition asume vivid astro focus – XI, an enveloping installation of patterned wallpaper and decal graphics that spans floor to ceiling in a setting created for works by more than thirty artists. On view from November 13, 2024.

Locust Projects presents Bare Tool (Herramienta desnuda), a new exhibition by artist Alexandre Arrechea that explores the action of a stone skipping across water as a metaphor for “social sculpture” and the resulting ripple effect, which the artist envisions in three acts: “The Tool,” “The Action,” and “The Implications,” unfolding as a large scale, immersive multimedia experience that invites reflection on the power of individual acts.

The Copenhagen Planetarium opens a permanent installation by Tomás Saraceno, Cosmic Threads, where the public is invited to reflect on the enigmas of the universe and human responsibility for the future of the planet.

The famous Argentinean artist Leandro Erlich (b. 1973) transforms Kunstmuseum Wolfsburg’s exhibition hall into a fantastically surreal cosmos, playing with the notions of perspective and gravity. His installations seem to suspend the laws of physics, opening up new perspectives on the multiple connections between science, technology, space travel, and migration. Weightless, the artist's first solo exhibition in Germany, was conceived specifically for the Kunstmuseum Wolfsburg, as were most of the works on view.

The Museo Moderno announced that La Menesunda, the legendary work by Marta Minujín and Rubén Santantonín –a work originally created in 1965, reconstructed by the Museo de Arte Moderno de Buenos Aires and inaugurated in 2015 and later in 2019 at the New Museum in New York– is on view for the first time in Europe as part of a tour that will show it in four countries.

The Museo Moderno de Buenos Aires inaugurated Celina Eceiza: Ofrenda, the artist's first solo museum exhibition. It is an immersive project that was produced by the museum in its entirety. The exhibition is curated by Jimena Ferreiro.

Pamen Pereira (Ferrol, Spain, 1963) unfolds her project Don't give up at Artizar gallery in Tenerife, a show made up of fourteen pieces that make up a total, but that must be seen from the prism of combination and language. However, the artist advocates for observing what is hidden behind the relationship of her works, the selection and the dialogue that the tour offers us.

Stefan Brüggemann (Mexico City, Mexico, 1975) disembarks at Casa de México with Dos líneas (fe), a series that is understood as an installation and that starts from the impact and the apparent simplicity exposed to develop the concept of inheritance and its satellites. The Mexican conceptual artist uses the power reflected by symbols, religion and history, an element that he deploys, sometimes explicitly, in his large-format works.

As part of Open House Festival, an event that celebrates architecture, history and culture, four Argentine artists - Martín Cordiano, Sara Sahores, Ignacio Unrrein and Mariela Vita - intervened the space of the Argentine Ambassador's Residence in London, addressing themes such as transition, domesticity and barriers. Curated by Federika Chaimowicz, Carolina Orlando, Mora Pranteda and Pilar Seivane.

The Mexico Pavilion at the Venice Biennale 2024 proposes an immersive experience that invites the viewer to reflect on the act of migrating and its impact on identity and sense of belonging. As we marched away, we were always coming back is Erick Meyenberg's project curated by Tania Ragasol. It includes elements created in Mexico, Italy and Albania.

Rolf Art Gallery presents Arquitectura de la imagen en tiempo real (Real Time Image Architecture) by artist Vivian Galban at the Centro Cultural San Martín. The proposal consists of an interactive installation that creates a large-format camera obscura, where the process of image creation is carried out in real time. Curated by Máximo Jacoby. It was previously exhibited at Rolf Art (2019), BAphoto (2019) and Paris Photo (2023).

The Patio Herreriano Museum hosts the recent proposal by Sandra Gamboa (Bogota, Colombia) in which she outlines the necessary arguments to be able to analyse mental health, especially anxiety and depression. In Encapsulados, the Colombian-Spanish artist invites us to carry out this exercise of understanding, rapprochement and empathy with those who suffer from one of the great plagues of this century through the different related iconography that fills the exhibition hall of the Castilian institution.

Luciérnagas humanas al ras de la tierra (Human fireflies at ground level) is a video-installation that the artist Marcos Benítez presents at the Paraguayan-German Cultural Institute. It is curated by Adriana Almada and will be part of the art week of Asunción Pinta Sud | ASU 2024.

The Centro Atlántico de Arte Moderno (CAAM), located in Las Palmas de Gran Canaria, is hosting the exhibition Toda utopía pasa por la barriga, a tour through the work of Carlos Garaicoa (Havana, Cuba, 1967) curated by Lillebit Fabraga that best connects with architecture, the natural order and the location of the human being in the system.

There is something structural in the Museo La Neomudéjar that allows plastic initiatives such as those of Heriberto Nieves (Vega Alta, Puerto Rico, 1957) to acquire greater meaning thanks to the dialogue with the space offered by this Madrid institution.

Life(s) of Webs, arachnophobias, arachnophilias, and other stories is a permanent installation at Chiesa della Madonna del Carmine, Palazzo Lanfranchi by Tomás Saraceno, arrived in Matera, Italy with a project of the Matera Basilicata 2019 Foundation in collaboration with the National Museum of Matera.

Extravagances is Portuguese artist Joava Vasconcelos’ largest solo show at Brazil in the Oscar Niemeyer Museum (MON). Curated by Marc Pottier, the exhibition invites the audience to an immersion into the magical world of the artist.

MIAMI

Locust Projects presents Waterbirds: Migratory Sound Flow, by Mexican artist Tania Candiani.

MIAMI

Amazonia is a Pinta Miami project curated by Félix Suazo that proposes a visual expedition through the Amazon, crossing countries, cultures and ecological identities. As a Special Project, Amazonia emphasizes Pinta's commitment as an international platform for Latin American art.

US Pavilion selected queer and indigenous artist Jeffrey Gibson for the Venice Biennale 2024. Presented by Portland Art Museum and SITE Santa Fe. 

The 35th São Paulo Biennale, Choreographies of the Impossible, gathered more than 1100 works by 121 participants focused on exploring new perspectives of the world.

The exhibition Marta Minujín: Vive at the Pinacoteca de São Paulo is the first panoramic exhibition in Brazil of one of the most important Latin American artists of her generation.

Within the framework of Pinta Sud ASU 2023 in Asunción, Paraguay, Casa M becomes for a few days the perfect setting for the site-specific intervention by artist Joaquín Sánchez, entitled The architecture of the body. Poetics of space and other fictions.

For the exhibition Reassembling Split Light at Sarasota Art Museum, Carlos Bunga will create a temporary cardboard structure in the 30-foot-high Koski Gallery located on the Museum’s third floor. Beginning and ending as a dialogue with the existing architecture, this installation will transform the gallery’s spatial configuration for the duration of the exhibition. By deploying light as his primary conceptual basis, just as James Turrell has done before him, Bunga explains that he will sculpt light, which cannot be touched, but only felt viscerally.

Tomás Saraceno launched in Serpentine South Gallery a living collaborative and multi-species exhibition that delves into how different life forms, technologies and energy systems are connected in the climate emergency.