Frank Expósito

  • View of “Erika Verzutti: Mineral,” 2014.
    interviews July 18, 2014

    Erika Verzutti

    Brazilian artist Erika Verzutti’s work investigates the role of the natural readymade in sculpture. She speaks here about her first solo museum exhibition, “Mineral,” which is on view at the Frances Young Tang Teaching Museum and Art Gallery, Saratoga Springs, New York, through November 16, 2014, and includes an installation of a field of handmade gemstones. Verzutti’s work can also be seen in a solo exhibition at Galerie Peter Kilchmann, Zurich, on view through July 19, 2014, as well as the Guggenheim UBS Map Global Art Initiative’s “Under the Same Sun: Art from Latin America Today” group

  • View of “Gabriel Kuri,” 2014.
    interviews June 20, 2014

    Gabriel Kuri

    Mexican artist Gabriel Kuri is known for sculptures that mobilize contrasting dualities. Here he speaks about his current exhibitions in Los Angeles: a solo show at Regen Projects, which is on view until June 28, 2014, and the pieces he produced for the Hammer Museum’s “Made in LA 2014” biennial, which closes on September 7, 2014.

    WE LIVE IN A GLOBAL WORLD where it seems like everything is available at the click of a button, yet that’s not exactly the case. Everything that I made for these exhibitions I created in Los Angeles, where I currently reside. That is how I make sense of my life. I adjust

  • View of “Renata Lucas: [ ],” 2014. Photo: Edouard Fraipont.
    interviews April 08, 2014

    Renata Lucas

    The work of Rio de Janeiro–based artist Renata Lucas takes a form from its environment—be it a sidewalk, gallery facade, or museum flooring—and changes a common aspect of its recognizable structure. Lucas speaks here about her two latest interventions, collectively titled “[ ],” at Galeria Luisa Strina, which are on view from March 22 to April 26, 2014.

    IT IS ALWAYS TRICKY for an artist to describe the meaning of an artwork. In this case, we aren’t using a discursive mode at all, but other ways of talking about the subject, place, and space of a work as well as the environment that puts these

  • Left: ARCO director Carlos Urroz Arancibia. Right: A performance by Diego Bianchi. (All photos: Frank Expósito)
    diary March 03, 2014

    Slow and Steady

    CONTEMPORARY ART FAIRS MOVE FAST. For those dealers, collectors, and curators who stick around for the whirlwind of ten-hour fair days, visits to remote private collections, and thumping social hours at neighborhood joints with names like “Why Not?” the fair is quickly supplanted by hazy memories. But ARCO, set thirty minutes out of centro, or downtown Madrid, takes a more measured pace than others, as if mandating a siesta within the normative frenzy. And why not?

    This year’s ARCOmadrid was pushed back a week to accommodate Mexico City’s ascending powerhouse, Zona Maco. But ARCO’s new dates

  • Julio Le Parc, Continuel-lumière avec formes en contorsions (Continuous Light with Contorted Shapes), 1966/1996, wood, metal, polystyrene foil, aluminum, motor, lights, dimensions variable.
    picks February 06, 2014

    Julio Le Parc

    The utopian, kinetic output of Julio Le Parc has found a temporary home in Latin America. Born in Argentina in 1928, Le Parc has lived in Paris since 1958, and this exhibition, curated by Hans-Michael Herzog, focuses on his earliest light works: twenty-one sculptures made between 1960 and 1971. The show also sets the stage for the artist’s profound interest in viewer participation: One often sees children and their equally mesmerized parents gazing at the flexing ephemera and activating the movement sculptures of the salle de jeux, or game room, including one with a wind machine and another with

  • Anthony McCall, Four Projected Movements, 1975/2013. Installation view.
    interviews December 16, 2013

    Anthony McCall

    New York–based British artist Anthony McCall has had two artistic careers: one from 1973 to 1980, and another beginning in 2001. For the nearly twenty years in between, McCall worked as a graphic designer and editor, pursuing a different artistic trajectory. His current retrospective survey, “1970s Solid-Light Works” at Sprüth Magers in Berlin, reconsiders his earliest films, such as 1975’s Four Projected Movements, which he discusses here. The show is on view from November 22, 2013, to January 25, 2014.

    FOUR PROJECTED MOVEMENTS is produced from a single fifteen-minute reel of 16-mm film. In it,

  • Promotional image for Coco Fusco, Observations of Predation in Humans, 2013.
    interviews December 11, 2013

    Coco Fusco

    Cuban-American artist Coco Fusco is well known for addressing abjection in her work. For her latest piece, Observations of Predation in Humans: A Lecture by Dr. Zira, Animal Psychologist, which she will perform at the Studio Museum in Harlem on December 12 and December 13, 2013, Fusco will personify a popular film character—a chimpanzee psychologist who studies human behavior—in order to look at economic violence from an evolutionary perspective. Here, she speaks about the piece and her concurrent research project on contemporary Cuban performance that will result in a book to be published next

  • The pUN delegates in the Queens Museum, November, 24, 2013. Photo: Ramiro Chavez.
    interviews November 23, 2013

    Pedro Reyes

    Mexico City–based artist Pedro Reyes works within public contexts to address social and utopian concerns. At the Queens Museum in New York, Reyes will present “The People’s United Nations (pUN),” an exhibition of new sculpture, on view from November 9, 2013 through March 30, 2014, and a performance sharing the same title, which will be staged on November 23 and November 24, 2013. Here he speaks about the project, which simulates and dissolves the structure of the UN through various interactive and unconventional activities, such as games, jokes, and therapy, in order to reinvigorate person-to-person

  • Dana Schutz, Assembling an Octopus, 2013, oil on canvas, 10 x 13’.
    interviews October 16, 2013

    Dana Schutz

    New York–based artist Dana Schutz is well known for her vivid paintings that freely associate fiction and realism. Her first solo exhibition in England is on view at the Hepworth Wakefield from October 12, 2013 to January 26, 2014. Schutz will also present new work at Contemporary Fine Arts, Berlin, from November 9 to December 7, 2013. Here, Schutz speaks about her recent canvases and the humor as well as “muscle memory” behind them.

    PAINTING HAS MANY ACTS that are put together as one. My exhibition at the Hepworth revolves around canvases that show figures demonstrating simple actions as vehicles

  • Tala Madani, Morris Men, 2012, oil on canvas, 66” x 64”.
    picks October 14, 2013

    Tala Madani

    Tehran-born artist Tala Madani can’t get middle-aged men out of her head. For the artist’s debut museum exhibition, “Rip Image,” the bumbling follies of aging masculinity—baldness, beer bellies, incontinence—are pictured in paintings and animation between 2005 and 2012. Together, the show portends imagemaking as an exercise in disobedience.

    In the painting Aaaa, 2010, a middle-aged man crouched over with pants down repeats the letter “A” as if stuttering to say “anus”; in one instance, the capital letter sprouts a leg that kicks the middle-aged man over onto his knees. In the continuous narrative

  • Cynthia Daignault, Some People Say the Sky Is Just the Sky, But I Say Why Deny the Obvious, 2013, oil on linen, 96 x 84".
    picks October 10, 2013

    Cynthia Daignault

    Throughout the first room of Cynthia Daignault’s latest exhibition, “Which Is the Sun and Which Is the Shadow?,” a series of seven large-scale paintings hang close to the ground. In one, a halo of a lone lightbulb is painted in a palette of gray; in another, the glare of a passing motor vehicle flexes through the blinds of a window. Some People Say the Sky Is Just the Sky, But I Say Why Deny the Obvious, 2013, portrays a black flat screen with a white center that glows as a perfect Pantheonic pupil, the only image of contemporary technology included in the exhibition. In each work, the surface

  • Left: Art writing winner Coco Fusco, art award winner Renata Lucas, and Absolut Art Award jury president Carolyn Christov-Bakargiev. Right: Absolut “Nature Bites” cocktails. (All photos: Frank Expósito)
    diary October 07, 2013

    Pour It Up

    “WE SAY THAT OUR GODFATHER IS ANDY WARHOL.” I heard this remark once from Absolut staff at the press conference for the Absolut Art Awards a fortnight ago, and twice at the dinner the following night in Stockholm. The company famously paired with the Pop artist for their debut artistic collaboration in 1986, and has since run through a host of big names—Keith Haring, Ed Ruscha, Robert Indiana, Ross Bleckner, Rosemarie Trockel—to commission advertisements that are now canonized in Sweden’s Spritmuseum. After a hiatus last year, the latest iteration of the award was being given to both an artist