Speech is river (raw material) / (water) / current descending or spirit in continuity
Inside a bar in the neighborhood of Old Havana, on the corner of Tejadillo and Aguacate Street, a bartender pours out glasses of rum. The thick sound of a microphone echoes from afar, blending with the hideous sound of street drills coming from an apparent destruction, or reconstruction of the street. The bar and the bartender are, perhaps, an ode to the daily life of such a corner in the innards of Old Havana, but the rest of the elements around are perceived as action and reaction regarding social unrest, evident in the micro-scenario of this space, revealing the isolated struggles for and against freedom of speech.
On Saturday June 30th 2018, on the brink of Mexico’s Presidential Elections, Quiero un Presidente—Mexican poet Luis Felipe Fabre’s free translation and adaptation of Zoe Leonard’s 1992 I Want a President—was read collectively at Hemiciclo a Juárez in Mexico City.
We talked for hourssurrounded by his books and objectsabout language and its origins, about technology, US-Mexican politics, and primordial societies, themes we were pursuing in the translation of his texts.
Located on the outskirts of Puerto Escondido, Oaxaca, Casa Wabi is a non-profit organization offering residencies and opportunities for long-term projects for international and local artists.
Traditional notions of cultural identityonce determined by territorial borders and isolated means of communicationhave been replaced by a global commonality, affecting the development of creative strategies and disparate cultural languages.
Tacita Dean’s retrospective exhibition at Museo Tamayo in Mexico City traces the artist’s career from 1986 to 2016. Showcasing large and small-scale paintings and photographs, manipulated postcards, found objects, installations, and a series of 16mm films, the exhibition is in dialogue with the architecture of the space, illuminating the artist’s perceptive sensibility of Mexico, and stressing her interest on the ephemeral—the microcosm of life.
Cecilia Vicuñas practice exists within a sensory threshold, situated between what is and what is not. It lives in the space of the broken, in the ruptures where the possible finds forms of release and reintegration.
Transmissions: Art in Eastern Europe and Latin America 1960-1980, curated by Stuart Comer, Roxana Marcoci, and Christian Rattemeyer, with Martha Joseph and Giampaolo Bianconi, is an immersion into the peripheries of decentralized art practices that deeply questionedin a time of political upheaval and dictatorial regimeswhat artistic content and production was, and how it could situate itself in relation to its own structural, political, and cultural necessities.
Future Library is a public artwork as well as a conceptual art piece comprising literature and time. In 2014, a thousand trees were planted in Nordmarka, a forest in Oslo. The trees will eventually become the paper for an anthology of books to be printed in a hundred years time.