• Mika Rottenberg

    Mika Rottenberg

    Buenos Aires, Ville Autonome de Buenos Aires, Argentine, b. 1976
    Exploring the seduction, magic, and desperation of our hyper-capitalist, globally-connected reality, Mika Rottenberg’s elaborate visual narratives draw on cinematic and sculptural traditions to forge a new language, one that uses cause and effect structures to explore labor and globalization, economy and production of value, and how our own affective relationships are increasingly monetized. Through film, architectural installation, and sculpture, her work illuminates an interconnectedness between seemingly unrelated economies; collapsing geographies and narratives, Rottenberg weaves documentary elements with fiction into complex allegories for human conditions and global systems. Mika Rottenberg lives and works in New York after being raised in Israël. She graduated in 1998 from Hamidrasha, Bait Berl College of Arts, Israël, in 2000 from the School of Visual Arts, NY and in 2004 from Columbia University, NY. She recently had a solo show at Palais de Tokyo, Paris. In 2015, her video NoNoseKnows was shown by Okwui Enwezor at the 2015 Venice Biennial. She has had important solo exhibitions at Shishang Art Museum, Pekin, China ; Jupiter Artland Foundation, Edimbourg, Scotland ; Rose Art Museum, Massachusetts, US ; Israël Museum, Jérusalem ; Magasin 3, Stockholm, Sweden ; Nottingham Contemporary, United-Kingdom ; FRAC Languedoc-Roussillon, Montpellier ; Petach Tikva Museum of Art, Israël ; Museum M, Leuven, Belgium ; Tirana Art Center, Albania ; De Appel Art Center, Amsterdam ; Museum of Modern Art, San Francisco ; La Maison Rouge, Paris. She has also exhibited at Whitney Biennial, NY ; Guggenheim, Bilbao, Spain ; Tate Modern, London ; MoMA PS 1, NY. Her work is part of many private and public collection : Astrup Fearnley Museum of Modern Art, Oslo, Norway ; FRAC Languedoc-Roussillon, Nord-Pas-de-Calais, Provence-Alpes-Côte-d’Azur ; Murakami Collection ; Whitney Museum of Art, NY ; Tel-Aviv Museum of Art ; The Solomon R. Guggenheim Foundation, US ; La Maison Rouge, Paris ; MoMA, NY ; Julia Stoschek Foundation, Düsseldorf, Germany ; San Francisco Museum of Modern Art, US. https://www.laurentgodin.com/mika-rottenberg

    Artist Profile

  • Eduardo Terrazas

    Eduardo Terrazas

    Mexico City, México, b. 1936
    Eduardo Terrazas (1936, Guadalajara, Mexico) lives and works in Mexico City. Terrazas’ practice is defined by his interdisciplinary approach. Architect, urban planer, designer, photographer and artist, for over fifty years he has worked in an array of disciplines in order to understand and reflect on a changing reality, always proposing alternative means of inhabiting and existing in the world, additional modes for relating to one another, or new ways of observing. As a young architect, Terrazas came to prominence as the co-designer of the logo and prevalent design elements for the 1968 Olympic Games in Mexico City. The logo –traced in concentric circles– was inspired by Huichol techniques, and set a precedent for the geometric forms that have come to define the artist’s visual language. His broad artistic practice includes comprehensive bodies of works as heterogeneous as the ongoing series Possibilities of a Structure (originated in 1970), a pictorial investigation based on the characteristics that allow a structure to be infinitely developed and transformed, which is divided into the subseries Cosmos, Nine Circles, Diagonals, Grid and Bar Code; or the series Tablas that since the early 70s explores the technique used by the Huichol community.

    Artist Profile

  • Elise Eeraerts

    Elise Eeraerts

    Antwerp, Belgium, b. 1986
    Elise Eeraerts constructs large-scale installations and sculptures composed of modular units. The geometries of these units grow from the foundation of the stretched or modified cube, that stemmed from her first work. Mäntsälä, an irregular polygon, was physically excavated out of and made using earth. Each subsequent project is built upon traces, utterances, and fragments of a self-designed system aware of proportion and perspective. Eeraerts disrupts this neutrality of geometry through slight shifts in proportions, material, perspective, and space, enabling viewers to observe subtle changes in how one understands an object. Her success stems from a sensitivity to how architectonic surroundings inform the theoretical and concrete. What is the identity of an object? How does one know something given the elusive nature of perception? Concerned with how objects come to be and what properties are apparent either in use, materiality, or form, Eeraerts’s practice functions as philosophical inquiry. The artist likens her practice as a series of abstract moments and actions that eventually manifest to the senses, and clarifies that such objects already exist in the mind. Eeraerts merges the epistemological framework of geometry with primarily raw or natural materials, and in doing so, the artist articulates the seemingly immeasurable space existing between what is self evident and what cannot be obtained through the senses. Hard, angular objects that appear as stone exhibit unexpected integrity, being made of solidified oils. The land-artist’s most dense and ambitious ideas have been expressed humbly, using different types of soil. By the same token, Eeraerts’ documentation reveal techniques conjuring a sort of sublimation, working in tandem with her practice. Photo and video communicate duration and more specifically, the shifting identity of an object: its transformation. Objects are consequences of physical realities, and alchemical changes of material compositions are taut with symbolism. Her incandescent mind is exhibited best when viewers sense that tension between illusionism and verity, as we are transported back to the fundamental and paradoxical possibility that exists between human culture and matter. We are able to reconsider relationships of our natural and social worlds, possibilities of manifestation contrasted to that which appears devoid of intention. Elise Eeraerts holds and MFA from the Sint-Lukas University College of Art and Design in Brussels. She was awarded Master Scholar diploma from the Institute fur Raumexperimente in Berlin, where she was funded by the esteemed DAAD (German Exchange) Scholarship. In 2016, she was the Winner of Arte Laguna Prize in the Land-Art Division in Venice, Italy and has also been awarded numerous grants from the Flemish Ministry of Culture. Most recently, she was a resident at Thread in Senegal, sponsored by the Josef and Anni Albers Foundation. She has exhibited throughout Belgium, in Finland, Spain, Germany, Italy, Switzerland, the Netherlands, and Japan. In 2017, CYDONIA will mount her first American solo exhibition.

    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

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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