Sunday, 30 January 2011


Kurt Schwitters, reconstruction of the Merz Barn, 1947

archeological sculptures from the British Museum together with early XX century sculptures

Easter Island Sculpture next to a Henry Moore

Jacob Epstein's very virile alabaster Adam, 1939

Antony Caro's bench from his 1953 Whitechapel exhibition

Alfred Gilbert's monument to Queen Victoria, 1887 and Charles Wheeler's Adam, 1934-35 in the background

Frederic Leighton, Athlete Struggling with a Python, 1877

Barbara Hepworth, Single Form (Memorial), 1961

Henry Moore, Reclining Figure, 1951

Victor Pasmore and Richard Hamilton, an Exhibit, 1957

Anthony Caro, Early One Morning, 1962

Tony Cragg, Stack, 1975

Damian Hirst, Let's Eat Outdoors Today, 1990-91

Liam Gillick, Big Conference Platform Platform, 1990s (back left)

Rebecca Warren, Martin Boyce, Julian Opie, etc...

Gustav Metzger's Page Three Girls

Saturday, 29 January 2011


Craig Garrett

Catherine Lampert

crowd at the opening

Press Release:

Victoria Miro is delighted to announce an exhibition of new paintings by Varda Caivano, her second solo show with the gallery. Evocative, elusive, and exuding a quiet confidence, Caivano's paintings present a series of explorations of the medium and the language of abstraction. In her practice, abstraction undergoes a rigorous examination, reinforcing this painterly territory as fluid, undetermined, and open for constant re-evaluation.

Caivano's works are the result of an extensive decision-making process, each brushstroke and colour conceived in relation to the one that came before within the particular space of the canvas. Yet arrived at is not simply an object - a painting - but an encounter: with memory, desire, emotion; something within grasp yet just out of reach. Conveying a sense of the improvised, each canvas contains it's own painterly journey - the collection of marks in unision reveal the whole as greater than the sum of its parts.

The artist's subtle play between surface and depth, material and image, colour and texture registers a tension between the familiar and the unknown, akin to an experience of language forgotten and almost remembered, or a melody lodged deep in the unconscious. Suggestive of liminal spaces, each work bears a decentralised composition held together by its own resonant energy: paint is pushed and pulled across the canvas, built up and withdrawn, lapses and drifts and, suddenly, announces its place. Importantly, time is key to the making and viewing of Caivano's works, as the structure of her paintings is seemingly always in transition, something that unfolds and is still unfolding.

Varda Caivano was born in 1971 in Buenos Aires, Argentina and graduated from Royal College of Art in 2004 with an MA in Painting. Her paintings are included in the British Art Show 7: In the Days of the Comet, which will be on view in London at the Hayward Gallery from 16 February. Other recent exhibitions include Collection 2 - Focus on Recent Acquisitions, National Gallery of Osaka, Japan (2010); Resonance, Suntory Museum, Osaka, Japan (2010); East End Academy: The Painting Edition, Whitechapel Gallery, London (2009); M25 Around London, CCA Andratx Art Centre, Majorca, Spain (2008); Busan Biennale, South Korea (2008); Very Abstract and Hyper Figurative, curated by Jens Hoffmann, at Thomas Dane Gallery (2007); and solo exhibitions at Chisenhale Gallery, London (2007) and Kunsterverein Freiburg (2006). Varda Caivano is a recent recipient of the prestigious Abbey Award, British School at Rome and she will take up the fellowship during 2011.

Thursday, 27 January 2011


grafitti by Radames 'Juni' Figueroa, sculpture by Josue Pellot

A PERSON OF COLOR curated by José Lerma

"We have a lot in common. He is a person of color -- although not a color that appears in the natural world." President Barack Obama on John Boehner.

"I wanted to curate a show in the manner that I would make a painting. I thought orange would be a nice warm color to have in Milwaukee in the middle of January."
José Lerma

Artist exhibiting in the show include:
Andrew Guenther, Angel Otero, Brian Maller, Carmelle Safdie, Christopher Rivera, Cristina Tufiño, Daniel Sullivan, Derrick Buisch, Doug Mellini, Geoffrey Todd Smith, George Wilson, Gregg Perkins, Hallie Mcneill, Hans Viets, Harriet Salmon, Hector Arce, Hector Madera Gonzales, Kate Ruggeri, Kristof Wickman, Jacob Marchowsky, Jess Fuller, Joe Pflieger, Jonathan Torres, Josue Pellot, Mark Schubert, Matias Cuevas, Matt Nichols, Mike Andrews, Phillip Vanderhayden, Radames "Juni" Figueroa, Samuel Toro Rosa, Scott Calhoun, Sebastian Vallejo, Sophy Naess, Tim Bergstrom, Travis Krupka, Zach Buchner.

The Green Gallery East
1500 North Farwell Ave
Milwaukee, Wisconsin 53202
January 21 through February 27, 2011
hours: Th 4-8 pm, F, S, Su 2 – 6 pm

ph: 1.414.226.1978

Wednesday, 26 January 2011


Alexandre da Cunha, Quilt (raft), 2011
Concrete lintels, woolen blanket
10 x 155 x 150 cms, 3 7/8 x 61 x 59 ins

Alexandre da Cunha, 1345041010, 2010
concrete, sand and glass bottle
44 x 20 x 20 cms, 17 3/8 x 7 7/8 x 7 7/8 ins

as seen at exhibition at vilma gold, london

Tuesday, 25 January 2011


Pablo Leon de la Barra, Diagrama Tropical / Nova Cartografia Tropical, 2010
an attempt to rethink  art history from the tropics.


Invited by curator Kiki Mazzucchelli I developed this tropical diagram, an attempt and a first approximation to construct a new tropical history and historiography. The poster also includes the Novo Museo Tropical Manifesto, and is an attempt to create an expanded field for tropical manifestations, which de-localises it from any geography (or Brasilianity). As the Manifesto says: 'Being Tropical is not about location, it's about attitude.' As any collection, it is necessarily incomplete, please feel free to suggest names and moments you believe are absent. If you have some friends that we overlooked there are some extra bananas, fill in!

The poster bananeiro tropical was printed as an edition of A1 posters as part of the project 'O Cartaz Como Espaco Expositivo Expandido', curated by Kiki Mazzucchelli and designed by Mel Duarte, with the support of the Fundacao Bienal de Sao Paulo.

The Diagrama Tropical, was freely inspired (and a response to) Alfred Barr's 'Cubism and Abstract Art' MOMA diagram from 1936 and to Miguel Covarrubias' 'Tree of Modern Art' from 1933 and Ad Reinhardt’s response to it, 'How to Look at Modern Art in America', 1946.

Alfred Barr, 'Cubism and Abstract Art', Diagram, MOMA, 1936

Ad Reinhardt, 'How to Look at Modern Art in America', PM magazine, June 2, 1946.

Miguel Covarrubias, The Tree of Modern Art, Vanity Fair, vol. 40, no.3, May 1933, p.36 (in which Covarrubias, even coming from Mexico, ignored all non-western, non European art!)

the Diagrama Tropical is also inspired by the inverting strategies of Torres Garcia and Robert Smithson:

Joaquín Torres García, América Invertida, 1943

Robert Smithson, Inverted Tree, 1969

Monday, 24 January 2011


Beta-Local, Call for Applications

La Práctica
La práctica
is an experimental study and production program for individuals coming from an art, design, architecture background, or from a related field. The program is aimed at people who are interested in thinking through the work itself and who are critically engaged with the here and now. There is a strong emphasis on production and collaboration. La Práctica is specifically designed for those interested in creating new conditions, relations and positions that will allow them to work in other contexts, not necessarily the established art circuit, and who, because of the particularities of a place’s adverse conditions or a lack of well functioning professional art structure support, have the need to create their own practice and space. We propose a structure through which each individual brings projects to the table which are discussed, critiqued and developed individually or collectively through a process open to collaboration. Visiting artists, program directors, program peers and workshops give shape to each year's program. La Práctica is flexible enough to sustain the kind of organic relationships that we hope take place between participants and visitors to Beta-Local from many fields.

La Práctica is one of Beta-Local's programs. Beta-Local is an independent organization in San Juan, Puerto Rico founded in February 2010. Beta-Local fundraises for its programs through the general public, private foundations, and individual donations, from $10 dinners to larger grants. Beta-Local was founded by Tony Cruz, Beatriz Santiago Muñoz and Michy Marxuach, who are its current directors.

Program Details
The program is one (1) academic year in length (September 2011 - May 2012) and represents a commitment of at least 20 hours a week during which each Fellow participates in a group seminar, attends visiting artist lectures or workshops and develops their work. The program costs are $6,000 USD per participant; Beta-Local fundraises the cost of the program in order to make it effectively free of charge. Travel and living expenses are covered by the participant. Beta-Local can facilitate the process of relocating for those not currently residing in Puerto Rico. Our flexible space is available to all the participants to use in the development of their projects. Besides focusing on their projects, every participant must offer at least one class through La Ivan Illich, [an open school]. 

Visiting artists, during 2010/11 included: Tania Bruguera, Carla Zaccagnni, Ashley Hunt, Jeanine Oleson, Ethan Spigland and others. Applicants should be able to converse in both English and Spanish to get the most out of the program.

To Apply send us this information:
-Send in one document your contact info, cv and two references who know your work well and who we can contact.
-A description of the projects or series of projects that you would like to develop during the following year. Put this in context in relationship to your previous work.
-A well organized zip file, pdf or web link to a well organized portfolio. (Plesase send through yousend it or similar service)

Send this info to

We will respond to all applicants and interview those applicants whose interests and projects are most compatible with the program. The selection committee is composed of 3 current participants of the program and two international artists.

For more information: