Ciudad de México, México, b. 1967
    Tomás Casademunt (Barcelona, 1967) Licenciado en Ciencias de la Comunicación por la Universidad Autónoma de Barcelona (1993). Cursó estudios de fotografía en el Instituto de Estudios Fotográficos de Cataluña, Barcelona (1988). Trabajó de 1986 a 1991 como reportero gráfico en el diario “El Punt” (Gerona, España). A finales de los años 80 viajó extensamente por Centroamérica, realizando reportajes y fotografías para diversas revistas españolas. En 1989 residió durante seis meses en La Habana, donde produjo la serie de retratos de grandes soneros cubanos, publicada en su primer libro, Son de Cuba. De 1992 a 1996 trabajó para la agencia fotográfica Cover, en Madrid y en México, dedicándose al reportaje gráfico y al retrato. Desde 1995 reside en México, donde trabaja como fotógrafo independiente, centrado en la fotografía de arquitectura y proyectos personales. Ha publicado varias libros, dentro de los cuales: Son de Cuba, retratos de soneros cubanos en todo el mundo, textos de Carlos Galilea, Helio orovio y del autor (Focal Editor, Barcelona, 1992); Son de Cuba, textos de Carlos Galilea, Helio orovio y del autor (Trilce Ediciones, México, 1999); Fábrica de Santos, imaginería religiosa en España y México, textos de Alvaro Mutis y del autor (Artes de México, México, 2000); Mitla, fotografías nocturnas de las ruinas zapotecas (Editorial RM, México, 2006); La Muerte en el Altar, ofrendas de día de muertos en la República Mexicana, texto de Mercurio López (Editorial RM, México, 2008); Maya Puuc, Palacios mayas en Yucatán bajo la luz de la luna, textos de Alfonso López Morales y del autor (Editorial RM, México, 2009); Obra Negra, serie fotográfica que sintetiza una plástica de la construcción arquitectónica, (Arquine, 2013). Sus series han sido expuestas individualmente en diferentes museos, centros culturales y galerías, tanto en México, como en el extranjero: Casa de América de Madrid (España, 1994) ; Museum of Fine Arts de Houston (EU, 1996); Sala Nezhuatcoyotl, Fotoseptiembre ´96, (México DF, 1996); Centro de la Imagen (México DF, 2000) ; Centro Fotográfico Manuel Alvarez Bravo (Oaxaca, 2001); Museo de Arte Contemporáneo de Aguascalientes (Aguascalientes, México, 2002); Centro Cultural ICI, Embajada de España, (Buenos Aires, Argentina, 2003); Museo de la Ciudad (México DF, 2008); galería le laboratoire (México DF, 2009 y 2013), Antigua Casa de Gobierno (La Paz, BCS, México 2010); Museo Nacional de Antropología (México, 2010), Jardín Borda (Cuernavaca, 2012).

    Artist Profile

  • Federico Lanzi

    Federico Lanzi

    Buenos Aires, Autonomous City of Buenos Aires, Argentina, b. 1979
    Vive y trabaja en Buenos Aires. Se formó en el Programa De Artistas, Universidad Torcuato Di Tella, 2011. C.I.A Centro De Investigaciones Artísticas,2010. Clínica de obra a cargo de Diana Aisenberg 2006 /2009. Clínica de obra con Ernesto Ballesteros 2009. Estudios de actuación con Vivi Tellas, 2009. Clínicas de obra del C.C Rojas 2006. Asistencia al taller de Marina De Caro 2006. Obtuvo Becas para formación de la Fundación Antorchas y becas para producción de obra otorgadas por el banco BERSA. Estudió Tecnicatura y profesorado en Artes en la Universidad Autónoma de Entre Ríos. Obtuvo premios y residencias. Trabajò como gestor cultural con el apoyo de la Fundación Antorchas, la Universidad Nacional De Entre Ríos y el Nuevo Banco de Entre Ríos. Su trabajo se encuentra en Museos y colecciones privadas de Argentina y el exterior.

    Artist Profile

  • Anna Virnich

    Anna Virnich

    Berlín, Alemania, b. 1984
    Anna Virnich (1984, Berlin) lives and works in Berlin. Her artistic practice has recently been focusing on a body of work incorporating found fabrics as well as new textiles, which the artist stretches on wooden frames thus creating organic and almost painterly compositions that oscillate between transparency and density, foreground and background. While working with different textiles and its textures, Virnich emphasises on their existing traces of use – weather stains, dirt marks, human sweat – but also adds her own manipulations such as holes, flaws, seams and fragrances. The aspect of the bodily and physical is crucial, as is the element of fetish. The constant flux in the working process between adding and withdrawing, disclosing and concealing reveals itself in Virnich’s tableaus.

    Artist Profile

  • Alan and Michael Fleming

    Alan and Michael Fleming

    New York, NY, United States, b. 1985
    Alan and Michael Fleming’s practice is marked by their desire to merge and condense the physical act with cerebral action. For the brothers, how we engage with our bodies is not separate from how we master ideas and understand the world. Bodily movement is and can be one with our thoughts. Though their practice is notably influenced by Bruce Nauman, the meister of conceptual post-studio practice, the artists distinguish themselves by referencing their unique context of being twins. By going back to their relationship as a foundation, they investigate what it means to look at the world around us as a series of relationships. This turn in perspective rests within the nature of Cartesian dualism and in particular, the mind-body split. Their inquiries operate in gaps created by dualism and make visible bonds between seemingly divorced faculties of human understanding. Within their spatial interventions, these faculties become intermeshed. By combining phenomenological sensibilities with methodical application, they unite the nuances of the physical and cerebral to where they are no longer autonomous but interdependent. Always in a state of curiosity and good humor, these exercises of empathy and support reveal that codependence is not only crucial but also celebrated. While drawing from elements of dance and acrobatics, they use their bodies in a manner that is distinct and separate from the virtuosic styles of these pursuits. The variation lies in the application of these elements to form a series of procedures for experimentation, exercises that test the potential of the body as a medium of examination of our relationship to surrounding architecture. While their interventions start from a set of operations and tasks, it is tempered by their sensitivity to know their surroundings and each other. They balance off, mimic, and interlock with each other; physical feats are not possible without one another. They use their empathy as brothers and collaborators as a tool for investigating where these sensibilities apply. The Flemings’ understanding extends into their sculptures and videos that typically serve as artifacts of these exercises. As a result, they take on role of surrogates wherein each object represents each brother by their execution of a task. This anthropomorphism accounts for inherent differences in conjunction with the way in which they correlate to one another. Through applying empathy as a critical tool, they examine what actually exists between individuals, faculties, or objects. Empathy is where one begins to understand one another and develop the ability to appreciate and respond to complex emotional or aesthetic influences in the world around us. In 2010, Alan and Michael Fleming received their MFAs from the School of the Art Institute of Chicago, which they attended together. They have exhibited and performed extensively throughout the United States and in Denmark, Germany, Scotland, the Ukraine, and Brazil. The winner of numerous awards, the twins were awarded fellowships to the NARS Foundation in Brooklyn in 2012, and the Artist in the Marketplace Program at the Bronx Museum of the Arts in 2011. Their last solo show, Studio Audience, was at Cindy Rucker Gallery in New York.

    Artist Profile

Each year ZONAMACO, Latin America’s most important contemporary art fair, brings collectors, specialists and galleries from every part of the world to Mexico City. Founded by Zélika García in 2002, ZONAMACO has established itself as one of the most notable platforms for selling, displaying, and promoting international contemporary art in the region.

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