Saturday, 28 May 2011

ALESSANDRO RAHO, NEW PAINTINGS


Alessandro Raho, 'Pablo', Oil on canvas, 274 x 198 cm, 2011


Pablo and Adham


Jessica and Jessica


Alessandro Raho, 'Jessica', Oil on canvas, 264 x 195 cm, 2011


Alessandro Raho, 'Adele', Oil on canvas, 271 x 195 cm, 2011


Alessandro Raho, 'Ewan', Oil on canvas, 271 x 195 cm, 2011


Ewan again


and Ewan and Pablo


Press Release:
ALESSANDRO RAHO
The Pavilion of Realism
11 May - 24 June 2011

Internationally renowned Alessandro Raho, one of the youngest artists to be included in the groundbreaking "Brilliant! New Art from London" at the Walker Art Centre, Minneapolis in 1995, is to present one of his most important exhibitions to date. Opening on 11 May 2011 at Thomas Williams Fine Art, the artist will show a selection of innovative large-scale portraits. Deliberately choosing to paint siblings and friends, Raho's subjects directly look back at us, challenging our gaze whilst stimulating our sense of emotional engagement. On display will be two life-size male and female nudes; the artist's first attempt at the subject. While contemporary culture is saturated with pornography and artificially enhanced bodies, these two figures deliberately stand apart. Unexposed and uncorrupted, their sense of autonomy is preserved with powerful effect. In this must-see exhibition, Alessandro Raho's new work undeniably affirms is position as a principle figure in the generation of contemporary artists leading the current revival of figurative painting in the UK.

Alessandro Raho was born in the Bahamas in 1971. After training at Goldsmith's College, London for a degree in Fine Art he has gone on to achieve international acclaim. His previous exhibition venues include the Kunsthalle, Basel, Cheim and Reid in New York and Taro Nasu in Tokyo, to name a few. In 2004 Raho was commissioned by London's National Portrait Gallery to paint the actress Dame Judi Dench. Examples of his work can be found in many important public collections, including the Museum of Modern Art, New York and the Berardo Collection, Lisbon. He lives and works in London.

Thomas Williams Fine Art Ltd
22 Old Bond Street, London
http://www.thomaswilliamsfineart.com/?exhibitions,pavilionofrealism,2011

http://www.alessandroraho.com/

Friday, 27 May 2011

MATHIEU COPELAND, 'STUDIES FOR AN EXHIBITION' AT DAVID ROBERTS ART FOUNDATION, LONDON



Recreation of Gustav Metzger’s 1956 exhibition/display covering the windows of 30Queens, Kings Lynn, with posters he collected of the exhibition This is Tomorrow shown at the Whitechapel Art Gallery, 1956/2011. Courtesy of the artist. With thanks to Tate Archive and Adrian Glew.


exhibition view




Elena Bajo, Illusion, Delusion, Allusion: The Order of Anarchy (Studies for a Movement at 66 r.p.m), 2011. Courtesy of the artist and D+T Project, Brussels.


Niele Toroni, Quand les empreintes de pinceau n°50 s’affichent sur leurs affiches – Haags Gemeentemuseum, 1994. Courtesy of the artist and Gallery Pietro Sparta, Chagny.


An Exhibition to Hear Read/Une Exposition à être lue, Volume 3. Daily readings at 2pm.


exhibition view with reading plattform





Karin Sander, Mailed Paintings, 2004 - 2011. Courtesy of the artist.


Julia Rometti and Victor Costales, Exotismo Ordinario Internacional Neotropical, 2011. Courtesy of the artists. Booklets available at the front desk.




Study for an exhibition of violence in contemporary art, Institute of Contemporary Art’, February-March 1964.


Emma Bjornesparr, The Commercial Waste Collection, 2011. Courtesy of the artist.


curators’ series # 4
Studies for an Exhibition
07.04.2011 -11.06.2011.

With Elena Bajo, Robert Barry, Emma Bjornesparr, Jarrod Fowler, Nicolas Garait, Karl Holmqvist, Bethan Huws, David Medalla, Gustav Metzger, Roman Opalka, Julia Rometti & Victor Costales, Karin Sander, Yann Sérandour, Cally Spooner, Sue Tompkins, and Niele Toroni.

an exhibition by Mathieu Copeland.

Mathieu Copeland is the fourth guest curator invited by The David Roberts Art Foundation to be part of the Curators’ Series. Studies for an Exhibition, explores how exhibitions are to be envisaged in regard to transient thoughts – an art that reveals itself through time, as movements of transitions, as possible studies giving the feeling of what is, and what can be.

Following a desire to not fix in form an exhibition to be, Studies for an Exhibition brings together practices that explore the possibilities of immateriality and the temporal nature of an art object. The question of time and accumulation is adamant to an exhibition that considers a recycling of our current reality as the means to generate transitory new forms.

Moments of history are revisited, as with the recreation of Gustav Metzger’s 1956 display/appropriation of the posters advertising the seminal show at the Whitechapel Gallery This Is Tomorrow, which he used to cover the entire shop windows of his then second hand shop/exhibition space 30Queens in Kings Lynn. A means to advertise what was tomorrow then, the posters can be read in parallel to the altered exhibition posters by Niele Toroni, who painted over posters advertising his own exhibitions, thereby blurring the moment of the original shows and when these are painted, and shown. Past realities are again revisited and appropriated when confronted with the entire ‘bootleg’ of a 1964 ICA exhibition entitled Study for an exhibition of violence in contemporary art.

In relation to these works of past and present readings, the ‘mailed paintings’ by Karin Sander create in the space of the gallery an unstable hanging as these are being mailed back and forth to the artist in Berlin for the duration of the exhibition. The paintings capture their own reality by acquiring marks as they travel unprotected from one place to the next. As an echo to this reality in motion for an exhibition to be, Emma Bjornesparr addresses the location of the gallery and the habits of consumption. Through a temporary sculpture that frames the entire time of an exhibition in saving the accumulated waste, the artist creates the inversed portrait of the host institution.

Since 1972 Roman Opalka marks time through the progressive inscription of numbers painted from one to infinity. The constant evolution of these paintings is accompanied by a tape recording of his own voice saying the numbers out loud as he writes them. By disseminating these recordings in the space of the gallery we are projected into an ephemeral experience of time.

Accumulation of knowledge is the focus of Julia Rometti and Victor Costales’ work. Exotismo Ordinario Internacional Neotropical is an archive based on their ongoing research into plants from the neotropical region. As part of this continuous study, a series of booklets will be handed out. Elena Bajo’s commission is to be dreamt, forgotten, drawn on a wall or indeed erased. Showing the process of becoming, it is a piece that is all of its studies, changes and potentialities, echoing the exhibition in becoming a study for all that it can and could be.

And as yet another possible study discussing the form of an exhibition, Mathieu Copeland has edited a new publication, the third volume of his series entitled An Exhibition to Hear Read/Une Exposition à être lue. The book will be read out at 2pm every day for the duration of the exhibition. This publication features text based artworks by Robert Barry, Jarrod Fowler, Nicolas Garait, Karl Holmqvist, Bethan Huws, David Medalla, Yann Sérandour, Cally Spooner, and Sue Tompkins. These contributions consider the relation between a text as an art piece to be and its spoken realisation, questioning the ‘performativity’ of the act of reading from a book.

The David Roberts Art Foundation
111 Great Titchfield Street
London W1W 6RY
http://www.davidrobertsartfoundation.com

http://www.mathieucopeland.net

Thursday, 26 May 2011

DAVID LAMELAS: SOME NOTES ON HIS OWN HISTORY AND ON ARGENTINEAN ART HISTORY


drawing of the installation of 'Connection of three spaces' also known as 'Extension of a limited spatial volume' made in 1966 at the Instituto di Tella in Buenos Aires, revisited by David Lamelas in his current exhibition at Bloomberg Space in London



drawing of one of David Lamelas very early works in his first solo show at the Galeria Lirolay in Buenos Aires in 1964. Three large-scale pop paintings of tango singer Carlos Gardel, the paintings were fragmented in parts and included paint drippings. As Lamelas himself noted about the exhibition "The theme isn't painting but the questioning of popular myth", quote in 'Listen, here, now!: Argentine art of the 1960s: writings of the avant-garde' edited by Inés Katzenstein, MOMA, NY, 2004, p. 339




A brief an selected history of Argentinean art.


David Lamelas
David Lamelas was born in Buenos Aires in 1946, he lives and works in Los Angeles and Buenos Aires. Lamelas studied at the Academia Nacional de Bellas Artes [National Fine Arts Academy] in Buenos Aires. During the 1960s he was one of the leaders of the vanguard movement that was spawned at the Instituto Torcuato di Tella. In 1968 he traveled to London and studied at St. Martin’s School of Arts with a British Council grant. In 1978 he moved to Los Angeles; in 1988 he took up residence in New York and from 1991 to 1997 divided his time between New York and Brussels. In 1998 and 1999 he lived in Berlin, and since 1999 has been dividing his time between Los Angeles, Paris and New York.

He was the Argentinean representative at the 9th Sao Paulo Biennial (1967), where he received the Sao Paulo Biennial Award for his installation; he also represented Argentina at the 34th Venice Biennial (1968). In 1972 he took part in Documenta 5, Kassel. A retrospective exhibition of his work, David Lamelas: A New Refutation of Time, was shown at Rotterdam’s Witte de With and Munich’s Kunstyerein in 1997. He received a Guggenheim grant in 1993, and in 1997 was awarded another by the German Academic Exchange Service, (DAAD), Germany. In 2001, London’s Royal College of Arts organized a symposium on his work.

Lamelas has participated in numerous individual and collective exhibitions, among them an anthological exhibition, David Lamelas: Extranjero, Foreigner, Étranger, Auslander, held in 2005 at the Rufino Tamayo Museum in Mexico City. Others include: America, the Bride of the Sun: 500 years of Latin America and the Low Countries, Antwerp (1992); Reconsidering the Object of Art 1965-75, Los Angeles (1995); Global Conceptualism - Points of Origin 1950s-1980s; MIT List Visual Arts Centre, Cambridge, and Bronx Museum of Art, New York (2000); Live in your Head, The Whitechapel Art Gallery, London (2000); Beyond Geometry, Experiments in Form, 1940s-1970s, Los Angeles County Museum of Art, Los Angeles (2002), and Behind the Facts. Interfunktionen 1968-1975, Fundación Joan Miró, Barcelona (2003).

David Lamelas' work can currently be seen at his exhibition in Bloomberg Space
http://www.bloombergspace.com/archive/comma36_essay.html

For more of David's work, visit
http://www.spruethmagers.com/artists/david_lamelas
and
http://www.janmot.com/david_lamelas/index.php

Tuesday, 24 May 2011

THE OPEN VEINS OF AMERICA LATINA: 'CRISISSS. ART AND CONFRONTATION IN LATIN AMERICA 1910-2010' GERARDO MOSQUERA'S MEGAEXPOSICION AT BELLAS ARTES


Palacio de Bellas Artes, Mexico City

Lobby:

Juan Downey, 'Yanomami Indian', 1976
welcoming the visitors to the Palacio de Bellas Artes


Rafael Ferrer, 'Artforhum', 1970-2011, vinyl on wall on the mezzanine
phonetically to be read as Art for Whom

Room 1: Identity, Passports, Corpses and Murder


Joaquin Torres Garcia, 'Inverted America', 1943 and Luis Camnitzer, 'Fosa Comun' (Common Grave), 1969


Joaquin Torres Garcia, 'Inverted America', 1943


Felix Gonzalez Torres, Untitled (Passport), 1991


Helio Oiticica, 'Metaesquema', 1968
(not sure what Helio is doing in this room...)


on the right: Arturo Duclos, 'Untitled', 1995, human femurs drawing Chile's flag
left: Carlos Rodriguez Cardenas, 'Construir el cielo', 1989


Alfredo Jaar, 'This is Not America', 1987
(you can see the video on you tube here.)


Nadin Ospina, 'American Dream, Mrs. Simpson', 1996



Teresa Margolles, gold jewelry incrusted with remains of car crystal shot during narco violence, 2007


Francis Alys, drawings and hanged person painting, 2005-2011


Antonio Caro, 'Colombia', 1976 and Elias Adasme, Documentation of Performances done in Chile during the Dictatorship, 1979-1980


Elias Adasme, Documentation of Performances done in Chile during the Dictatorship, 1979-1980



Artur Barrio, 'Situaçâo T/T 1, Belo Horizonte', 1970
16 mms film transfered to video, in which Barrio leaves a wrapped bulk of meat near a river bed which looks like a dead body of someone killed during the military regime.

Room 2: The Cuban Room: Fidel, Che, Pop, Power and Dictatorship

Raul Martinez, 'Oye América', 1967 (Pop Fidel) and Jose Toirac, 'Opus', 2005, video with the voice of Fidel saying different numbers
(Raul Martinez was Cuba's great socialist-pop artist, he also happened to be homosexual)


Antonia Eiriz, 'A tribune for democratic peace', 1968
(Tania Bruguera's 'Tatlin’s Whispers # 6 (Havana Version)' about freedom of speech in Cuba, needed to be in this room, but was exhibited in another room, next to Gordon Matta Clark...)


Aaron Valdez, 'State of the Union (Clinton)', 1997 (Clinton saying numbers, you can see the video here and Raul Martinez, 'Fenix', 1968, (Pop Che!)

Room 3: The Mexican Room: Revolution, Violence, Migration to the USA and Transvestite Fridas


Jorge Mendez Blake, 'Diles que no me maten', 2003
(The voice of Juan Rulfo repeating in loop "Tell them not to kill me", to get an idea, the complete reading by Rulfo of his text can be heard here.)


Semefo, 'Fosilized Memory', 1999
personal belongings found on the bodies of 247 murder victims buried in a concrete block
(Teresa Margolles used to be part of the Semefo Collectivo together with the famous Doctor Angulo)


Diego Rivera, 'Emiliano Zapata', 1932


Jose Clemente Orozco, 'El Combate', 1925-1928


David Alfaro Siqueiros, 'May 1st Parade', 1951


Yeguas del Apocalipsis (from Chile) with their version of the 'The two Fridas', 1990



Guillermo Gomez Peña, 'Border Brujo' 1985
(translation of subtitles :Have you ever worked legally?)


Dulce Pinzon, 'Noé Reyes as Superman' from the series 'The Real History of the Superheroes', 2005-2010

Corridor between Exhibition Rooms:

Beatriz Gonzalez, 'Interior Decoration', 1981



Wilfredo Prieto, 'Speech', 1999
toilet paper roll made with the Cuban official newspaper Gramma

Room 4: Foreign Artists, Airmail Paintings, Impenetrables, Migrants waiting for a Plane going nowhere, and the evolution of the Cholo

Eugenio Dittborn, 'Airmail Paintings 2 and 8', 1984


Miguel Calderon, 'Evolution of Man', 1995


Mona Hatoum 'Impenetrable', 2009
(a reference to Oiticica's and Jesus Soto's Penetrables but made of barbed wire...)


Hatoum's Impenetrable, Calderon's Evolution and Adrian Paci's 'Centro di Permanenza Temporarea', 2007, Mexican immigrants in California standing on the stairs waiting for an airplane that will never arrive.

Intermezzos:

Santiago Sierra, 'Untitled', 2007
the national hymns of Argentina, Brasil, Chile, Paraguay y Uruguay played simultaneously


and Jesse Lerner's great curated film programme

Mezzanine:



Jesus Bubu Negron, cigarette butt sculptures made of cigarette butts collected in the pyramids of Teotihuacan, 2011
one of the few new commissions of the exhibition


Glexis Novoa, 'Untitled' (Etapa Practica), installation, 1989



Lotty Rosenfeld, 'Crosses over the Pavement', 1985
documentation of aesthetic political resistance to Chile's dictatorship

Second Floor
Room 5: Latin idols, Family, Class Divisions, Artist Stardom, Marta, Andy, Marylin and Cocaine

Oscar Bony, 'La familia obrera', 1968-1999 (at the centre) and Lucia Egañas 'Repujado', 2007
120 "beautiful" plaques of copper plaques embossed with Latin American idols and motifs


Daniela Rosell, 'Ricas y Famosas', 2001, photos of wealthy Mexican women photographed in their luxury interiors, next to Bony's working class family on a plinth and the latino idols copper floor...


Marta Minujin, 'The payment of the external debt of Argentina to Andy Warhol in exchange for corn, Latin America's gold', 1985 next to Helio Oiticica's 15-CC3 (Maileryn/Cosmococa Programa in Progress), 1973/2003


Miguel Luciano, 'Platano Pride', 2006

Room 6: Fissures, Cuts, Collapse of American Suburban Dream, Freedom of Speech, Censorship,

Doris Salcedo, 'Shibboleth I-IV', 2007, inkjet on photographic paper, edition of 45 + 10 AP
souvenirs of her intervention at Tate's turbine hall


Tania Bruguera, 'Tatlin’s Whispers # 6 (Havana Version)', 2009
you can see documentation and video of the original performance here
and it's recreation at the Berezdivin collection in San Juan here


Gordon Matta Clark, 'Splitting', 1974


Tucuman Arde Archive, 1968, digital reproductions from the Graciela Carnevale archive


Antonio Manuel, 'Repressão Outra Vez: Eis o saldo', 1968
'Repression Again: Here is what is Left': silkscreened newspaper pages covered by black fabric, a cord needs to be pulled by the visitor to activate them


installation view

Mezanine 2: Che between the Muralists

Che's signature as President of the Bank of Cuba on a 10 Pesos Cuban bill of 1960


Luis Camnitzer, 'Che', 1968

Room 7: Protest and Survive, and Insertions into Ideological Circuits

Yeguas del Apocalipsis, 'Tu dolor dice minado', 1992.
Performance in which they read the complete list of those disappeared during the Chilean dictatorship.



Cildo Meireles, 'Insertions in Ideological Circuits', 1970
where Meireles removed Coca-Cola bottles from circulation and added political statements such as ‘Yankees Go Home' or instructions on how to transform the bottle into a Molotov bomb, before returning them to the everyday circuit of exchange. He did similar operations on currency notes.


Yeguas del Apocalipsis, 'The Conquest of America', 1989
documentation of performance at the Human Rights Commission in Chile where the dressed up artists dance a national dance over a map of Latin America covered with fragments of Coca Cola bottles.


CADA (Colectivo de Acciones De Arte: Fernando Balcells, Juan Castillo, Diamela Eltit, Lotty Rosenfeld y Raúl Zurita) NO+, 1983
Sign saying No More installed in different parts of Santiago





Javier Tellez, 'The Battle of Mexico', 2004
A video installation made in collaboration with the patients of the psychiatric Hospital Fray Bernardino in Mexico City. The work documents a fictitious militia of patients who take over the hospital and produce their own banners and demands, and are armed with machine guns, camouflage uniforms and Zapatista style ski masks.

Room 8: Language, Translations, Signatures, Weavings, and the Inferiority of God

Carlos Colombino, 'El demagogo', 1968; Antonio Caro's 'Homage to Quintín Lame', 1979; and Jarbas Lopes, 'The Debate', 2003-4, political propaganda of candidates from different political parties, woven together


Jarbas Lopes, 'The Debate', 2003-4, political propaganda of candidates from different political parties, woven together


Antonio Caro's 'Homage to Quintín Lame', 1979


Cristina Lucas with Gerardo Mosquera, 'Untitled' Feminine and Masculine Maps, 2007
The different names given to the vagina and the penis in different countries of Latin America written over each country, a great work, intelligent and humorous, the curator as an artist!


Santiago Sierra, '11 People paid to Learn a Phrase', 2001
Eleven Tzotzil Indian women were brought together in an auditorium to be taught a phrase in Spanish, a language they do not speak. The phrase was the following: “I am being paid to say something, the meaning of which I don’t know”. They were paid by the artist $2 dollars each.” Done at the Casa de la Cultura de Zinacantán, Zinacantán, Mexico


Flavio de Carvalho, Inferiority of God, 1931


ASCO, 'Instant Mural', 1974
Neo Chicano mural in Los Angeles


X-Teresa:
The exhibition continued in the ex convent of Santa Teresa, some 25 minutes walk from Bellas Artes in the  zone located behind the National Palace.


Wilfredo Prieto, 'Apolitical', 2001
21 black and white flags of the countries with artists in the exhibition: Argentina, Bolivia, Brasil, Chile, Colombia, Costa Rica, Cuba, Ecuador, Estados Unidos, Guatemala, Nicaragua, Panamá, Paraguay, Perú, Puerto Rico, República Dominicana, Uruguay, Venezuela, Albania, Bélgica, España y Palestina.


Ana Mendieta, Sweating Blood, 1973


exhibition view, Ernesto Salmeron's truck and Teresa Margolles 'The cloth of the corpse', 2003 (Morgue sheets with imprints of assesinated persons 2260 x 274 cms.)


Ernesto Salmeron, 'Auras of War', (El Gringo y La Centro America), 1996-2006
this is the truck that was exhibited in Venice Bienal of 2007, and which was afterwards polemically bought by the Tate Latin American Committee (whose curatorial advisor at the time was Cuauhtemoc Medina) for £36,703 (after discount, asking price must have been around £50,000: for info google 'Tate Donated Works and Purchased Acquisitions 2009-10'). I can only imagine the transport cost of shipping the truck from London to Mexico for the exhibition. Read Virginia Perez Ratton's apology of the work here.

Outside of the Exhibition:
Real World Crisisss: El Zocalo
sometimes reality is stronger than the artist's attempt to portrait it, below images of the interventions, offerings and demonstrations happening at the same time and done by non artists (Mexican citizens) in Mexico City's main square (El Zocalo), a labyrinth, flower offerings for those that had been killed in Mexico's crime and narco violence, shoes protesting against the privatisation of the national Electricity Company...






exhibition press release:
Crisisss. Art and Confrontation in Latin America. 1910-2010
Palacio de Bellas Artes and Ex Teresa Arte Actual, Mexico City
From March 12th to June 5th, 2011
www.bellasartes.gob.mx

This exhibition, curated by Gerardo Mosquera, presents an overview of confrontational and transgressive Latin American artworks dating from the hundred years following the Mexican Revolution. Featuring 103 artists and some 200 artworks, crisisss… has been the largest and most wide-ranging show of its kind ever organized. Among the artists included were Francis Alÿs, David Alfaro Siqueiros, ASCO, Oscar Bony, Tania Bruguera, Miguel Calderón, Luis Camnitzer, Antonio Caro, Luis Cruz Azaceta, Gonzalo Díaz, Eugenio Dittborn, Juan Downey, Arturo Duclos, Jimmie Durhan, Regina José Galindo, Beatriz González, Félix González-Torres, Mona Hatoum, Cristina Lucas, Teresa Margolles, Gordon Matta-Clark, Cildo Meireles, Ana Mendieta, Marta Minujin, Hélio Oiticica, José Clemente Orozco, Adrian Paci, José Guadalupe Posada, Wilfredo Prieto, Diego Rivera, Lotty Rosenfeld, Graciela Sacco, Doris Salcedo, Rosemberg Sandoval, Martín Sastre, Santiago Sierra, Javier Téllez, Joaquín Torres García…

Many artists throughout Latin America have reacted to a variety of intense social emergencies and have used the permissiveness provided by art’s aura to posit radical messages and actions. They have explored intricate social and cultural problems by deploying art’s intrinsic semantic potential, thus expanding the possibilities of art as language. crisisss… additionally included diasporic artists together with European and North American ones with works that make reference to the show’s content. The exhibition foregrounds the global relevance of Latin America’s art of dissent, which is exemplary not only because of its diversity, extent and reach, but also due to the plausible and complex drive it has lent to both the political and the aesthetic fields. The exhibition focused on works aimed to social, cultural and artistic confrontation which remained within the realm of art and aesthetics in a critical way. Few pieces presented were close to pamphlets or strict political illustrations, while, on the other hand, very few transcended the artistic field to become direct social and political action.

crisisss… was not a strictly historical show, nor an exhaustive survey, and it did not pursue a country-by-country presentation. Instead, its curatorial vision sought to construct discourse through the show itself, with the artworks—and not curatorial generalizations—as the starting point. It addressed Latin America in all its complexities and conflicts, and emphasized contemporary problems and positions. Confronting hierarchies and totalizations, the exhibition articulated multiple narratives, drives and cross-sectional dialogues through the relationship the works created among themselves and within the context of the Palacio de Bellas Artes’ and the Ex Teresa’s spaces. In addition to six exhibition galleries at the Palacio, additional interior spaces, the building’s façade, and outdoor spaces came into play and incorporated interventions involving the building. Other areas of the show integrated the museum’s famed murals by Orozco, Rivera and Siqueiros by interrelating them with contemporary artworks. A creative, playful education space was open to all audiences at the Bellas Artes venue.

Hélio Oiticica has famously said: “We thrive from adversity”. So it would seem that Latin America not only lives along with adversity and crisis, but, in fact, makes it some sort of a lifestyle. Oiticica’s mischievous dialectics might serve as a synthesis of both the achievements and the contradictions of the art submitted in the exhibition—and, ultimately, of the exhibition itself.

*****
The Politics of Representation:
Latin America by number of representing artists according to Crisissss:

Cuba 16
Mexico 15
Chile 12
Colombia 7
Argentina 6
USA 6
Brasil 6
Uruguay 3
Puerto Rico 3
Peru 2 
Paraguay 2
Costa Rica 2
Guatemala 2 
Spain 2
Ecuador 1
Venezuela 1
Panama 1
Nicaragua 1 
Dominicana 1
Bolivia 1
Albania 1
Lebanon 1
Honduras 0
El Salvador 0