Frank Expósito

  • The limestone cave in Guayanilla–Peñuelas, Puerto Rico, which houses Allora & Calzadilla's Puerto Rican Light (Cueva Vientos), 2015.
    interviews September 22, 2015

    Allora & Calzadilla

    Artist duo Allora & Calzadilla’s latest project, Puerto Rican Light (Cueva Vientos), 2015, is the Dia Art Foundation’s first commission outside the continental United States since 1982. Here, the artists speak about the work, which incorporates one of Dan Flavin’s multicolored light sculptures and sets it in a prehistoric limestone cave located between the municipalities of Guayanilla and Peñuelas in Puerto Rico. The piece will be on view starting September 23, 2015.

    THIS PROJECT BEGAN years ago when we first encountered Dan Flavin’s Puerto Rican Light (to Jeanie Blake) from 1965 in an art history

  • Left: SP-Arte fair director Fernanda Feitosa. Right: MASP artistic director Adriano Pedrosa. (All photos: Frank Expósito)
    diary April 26, 2015

    Head Above Water

    “PURCHASE POWER comes from optimism,” said SP-Arte fair director Fernanda Feitosa confidently on the second day of its eleventh edition. Fresh off Brazil’s reelection of President Dilma Rousseff and news of its shrinking economy, the national art market had yet to be tested under new conditions. The worst, I was told, was yet to come. Yet despite this, the fair had generously welcomed on its first day five thousand guests who had—optimistically or not—drunk one thousand bottles of champagne.

    “It has affected our mentality,” said dealer Alessandra d’Aloia of Galeria Fortes Vilaça, referring not

  • View of "No Melon No Lemon, 2015.
    picks March 06, 2015

    Claudia Comte

    For her US debut, Swiss artist Claudia Comte uses the language of the palindrome to toy with the viewer’s sense of space: foreground and background are given equal primacy throughout the exhibition. It’s an apt motif for her American arrival that is based so much on a Euro-Brazilian past.

    “No Melon No Lemon” is the result of a month-long residency at the gallery, where the artist created a series of sculptures as well as monumental linear paneling/painting that wraps around the perimeter of the space. Historical references abound in her smooth, burled wooden curvilinear forms and jagged totems

  • Tania Bruguera, El susurro de Tatlin #6 (Versión La Habana) (Tatlin's Whisper #6 [Havana Version]), 2009. Performance view.
    interviews February 18, 2015

    Tania Bruguera

    Artist Tania Bruguera was detained in Havana on December 30, 2014, after announcing her intent to restage her 2009 work Tatlin’s Whisper (#6)—in which individuals are able to talk about freedom of speech at a public podium—in the city’s Plaza de la Revolución without being granted official approval. Here, Bruguera speaks from Cuba, her homeland, about the evolution of the project, which has now become, she says, an “endurance performance.” Bruguera cannot leave Cuba until her passport is released by Cuban authorities, which will not occur until after she stands trial for inciting public disorder

  • View of “Lucy Skaer: Sticks & Stones,” 2015.
    picks January 30, 2015

    Lucy Skaer

    “Under the shade I shall flourish,” reads the national motto of Belize. The Central American country is mostly covered in forest, and in the 1750s it was the site of the first export of logged mahogany to Europe from the New World. In Lucy Skaer’s second exhibition at this gallery, “Sticks & Stones,” which is concurrently on view with Skaer's other show at Peter Freeman, Inc. titled “Random House,” the artist uncovers the shadowed history of Belizean mahogany, a product that was later abandoned because of fluctuating market demand until the mid–twentieth century, by subverting its material

  • Iñaki Bonillas, Archivo J.R. Plaza, 2014, 35-mm slide, 1 x 1 1/2".
    interviews November 18, 2014

    Iñaki Bonillas

    Mexican artist Iñaki Bonillas explores photography’s conceptual underpinnings. He speaks here about Words and Photos, a Web-based project commissioned by the Dia Art Foundation that digitizes the artist’s family photo archive. Bonillas’s latest exhibition, “La Idea Del Norte” (The Idea of North), is on view at ProjecteSD in Barcelona until November 19, 2014.

    IN 2003, I inherited a photographic archive made up of 3,800 images that belonged to my maternal grandfather, J. R. Plaza. My grandfather was not a professional photographer, but he took photography quite seriously because he was fascinated

  • Left: MALBA curator Agustín Pérez Rubio, Museum of Fine Arts Boston curator Liz Munsell, MAMM curator Emiliano Valdés, ArtBO director María Paz Gaviria Múñoz, Tate Modern curator Tanya Barson, and Museum of Contemporary Art senior curator Alma Ruiz. Right: Curator José Roca. (All photos: Frank Expósito)
    diary November 15, 2014

    My Bo

    FOREIGNERS WERE ASSURED they would be safe. Amid the Bogotanos that went outside for a smoke during the blackout at a salsa club on the eve of ArtBO was María Paz Gaviria, ArtBO’s director. Her eyes widened as she spoke: “I’m very happy to have everyone here,” she said, referring to the dealers from twenty-some countries who had traveled to Colombia’s capital for the fair. Curator Emiliano Valdés had just arrived, at the party and also in the country, for his new post as chief curator at Museo de Arte Moderno de Medellín. He stood with María Mercedes González, director of the MAMM, which is

  • View of “R. H. Quaytman: O Tópico, Chapter 27,” 2014.
    interviews November 07, 2014

    R. H. Quaytman

    R. H. Quaytman’s chapter-based works draw upon geometry and grammar to examine how paintings can function structurally. O Tópico, Chapter 27, her latest installation, is on view at Gladstone Gallery in New York until December 20, 2014, before it permanently moves to a pavilion—which, like the architecture in the show, is designed by Solveig Fernlund—at the contemporary art museum and botanical garden Inhotim in Minas Gerais, Brazil.

    AS THE CHAPTERS progress and the paintings accumulate, I am compelled to locate the direction they might lead. What are they adding up to—or, to put it bluntly, what

  • Left: ArtRio director Brenda Valansi. Right: Curators Pablo León De La Barra and Julieta González. (All photos: Frank Expósito)
    diary September 19, 2014

    The Rio Deal

    OPEN RELATIONSHIPS are racy; they reconsider the “you and I” in an otherwise closed system by granting foreigners entry, if only for a moment. For the fourth edition of ArtRio, the Cariocas once again opened their city to the Paulistas, their fellow Brazilians from São Paulo. “I don’t know what first went down between them,” mentioned fair director Brenda Valansi, addressing the fraught relationship between the country’s two largest cities. But Valansi’s sights for the fair are not domestic. “I didn’t decide to do ArtRio to compete with SP-Arte,” she continued. “I created ArtRio to compete with

  • Mario Garcia Torres, I Am Not a Flopper, n.d., HD video, color, sound, 29 minutes.
    interviews September 12, 2014

    Mario Garcia Torres

    The work of Mexico City–based artist Mario Garcia Torres addresses the ways in which art and information are constructed over time. Here he discusses I Am Not a Flopper, n.d., which is on view at the Hammer Museum, Los Angeles, from September 13, 2014 to January 4, 2015. New pieces by Garcia Torres are also included in a joint exhibition with Cildo Meireles, “Que Coisa É? A Conversation,” at Pivô, São Paulo, which runs until November 1, 2014.

    I AM NOT A FLOPPER is a new delivery of a stage monologue I cowrote with philosopher Aaron Schuster a number of years ago. In this thirty-minute one-act

  • View of “Ultrapassado,” 2014.
    picks August 21, 2014

    “Ultrapassado”

    The two-part exhibition “Ultrapassado” exclusively includes the work of female geometric abstractionists. Taking its name from the Portuguese term for transcending, the show in its second iteration comprises multimedia works that do just that; they go beyond the normative conventions of Rio de Janeiro–based Neo-Concretist art of the 1960s that sought to overcome its inheritance of European rationalism. Instead, work by artists Paloma Bosquê, Rosemarie Castoro, and Lydia Okumura illustrate that lyrical geometric abstraction continued and still continues to be explored in New York and Sao Paulo,