(Göteborg, Sweden) The exhibition, which also features works by Mexican and Turkish artists Carlos Amorales and Erkan Özgen, explores the limits of verbal language.
Presenting over sixty thematically linked exhibitions, “Pacific Standard Time: LA/LA” starts this month across various venues in Southern California. The project addresses issues about the relations between Latin American art and Latino heritage and culture in the US, and has a special place for Brazil in its program: at least four exhibitions are solely devoted to the country’s art and culture.
(Los Angeles, US) Referencing the title of a collection of short stories by Jorge Luis Borges, “A Universal History of Infamy” showcases works by 16 boundary-defying artists – amongst them Carla Zaccagnini, nominated for PIPA Prize 2012 – to challenge cliches and common sense about Latin America. The exhibition starts this Sunday at the Los Angeles County Museum of Art (LACMA).
(Copenhagen, Denmark) PIPA Prize 2012 nominee Carla Zaccagnini and writer Santiago García Navarro’s new exhibition “I am also stepping on wet sand” explores the cultural life and legacy of Mar del Plata and Skagen in the late 19th and early 20th centuries. The project developed into being mainly about erratic encounters at a distance and the failure of communication. The show combines their thoughts into a representational ecology of experience, moving forward as a cognitive collaboration between regions, space, and time.
(Copenhagen, Denmark) Is it possible to delineate a Nordic identity nowadays? The question guides the group show “Nordic Delights” (a play of words with the Turkish dessert “Turkish delight”), which opens this Saturday, January 14th, at the Fotografisk Center. Inviting photographers and visual artists who currently reside in the Nordic countries, but whose roots are elsewhere, the exhibition aims to question the idea of a general “homogeneity” between these countries’ art scenes.
(Nanjing, China) Carla Zaccagnini, PIPA Prize 2012 nominee, participates in the third edition of the Nanjing International Art Festival (NJIAF), an annual art festival that takes place in Nanjing, in the province of Jiangsu, China. An hour away from Shanghai, the festival happens in the southern part of Nanjing, around the Baijia Lake development. Privately-run, the NJIAF is funded by the Baijia Lake International Culture Investment Group, which acts as a platform to support the development of artists and contribute to the growth of the art scene in Nanjing and China.
(Palma, Spain) Through a selection of works from the collection olorVISUAL, Es Baluard proposes a reflection on the audiovisual: its genesis, its aesthetics and the hidden codes that make it operate within its own conceptual specificity in comparison to other artistic practices. The colección olorVISUAL has begun almost forty years ago with the premise of teaching us to smell and encouraging us to discover and explore this often neglected sense through visual art – an art that the perfumer-collector has always sought in its time.
(Majorca, Spain) The exhibition discourse stresses how the dematerialisation of art and the practices that employed the technologies influenced the production of contemporary culture and the visual arts. In addition, the selected works serve to introduce us to the finds that sought out the temporary structure of audiovisual recordings, thus making progress on fundamental questions regarding the ontology of the gaze and the new relationships with spectators in the “odour” dimension.
Carla Zaccagnini participates in “Économie de la tension” a group show presented by the Centre d’art contemporain du parc Saint Léger
(Pougues-les-Eaux, France) With 20 artists from different countries and various generations, and academic professionals, the exhibition “Économie de la Tension” explores ways to free yourself from the prison of positions.
“Under the Same Sun: Art from Latin America Today” highlights recently acquired works by more than 20 artists
(London, UK) With a focus on work made by artists born after 1968, in addition to several early pioneers who were active internationally in the 1960s and ’70s, the exhibition examines a diversity of creative responses by artists to complex, shared realities that have been influenced by colonial and modern histories, repressive governments, economic crises, and social inequality, as well as by concurrent periods of regional economic wealth, development, and progress.