Gaby Cepeda

  • “Dar forma al tiempo”

    The Museo de Arte Contemporáneo Lima used to feel half-abandoned. Erected on the edge of a picturesque artificial pond in a beloved neighborhood park, it was immediately cursed with the resentment of the community it allegedly served. Since opening its doors in 2013, it has struggled to find its raison d’être. But since a major shakeup of the institution’s senior staff last year and the arrival of a new head curator, Giuliana Vidart its profile has started to change; word of her good work at the beleaguered museum has spread around town.

    Dar forma al tiempo. Miradas contemporáneas a la cerámica

  • “CARLOS ARIAS VICUÑA: LA TRAMA (AUTO) BIOGRÁFICA: UN ARCHIVO EN TRÁNSITO”

    Curated by Cynthia Francica

    Carlos Arias Vicuña left his home country of Chile as a young boy, fleeing with his family in 1975, two years after Pinochet was forcibly installed as president. He returned in the 1980s to study fine art at the University of Chile in Santiago but has since lived in Mexico, where he built his career and gained recognition, especially for his embroideries. This show will introduce Chilean audiences to sixteen of his key pieces dating from the ’90s to 2018. The artist’s choice of embroidery as his medium challenges preconceived notions of gendered labor; he extends this

  • picks June 11, 2019

    Sergio Zevallos

    Sergio Zevallos’s art is entirely formulaic. Not as in predictable, but in the sense that each element complicates everything around it. On display here are pieces from three separate but related projects. One series, “Haití,” 2018–19, reworks a line from the 1805 Constitution of Hayti: “The Haytians shall hence forward be known only by the generic appellation of Blacks.” Zevallos runs with it in seven broadsheet pieces, developing a chain of reasoning across three phases: a sentence, an image, and a signatory entity. “Humanism shall hence forward be known only by the generic appellation of

  • Héctor Zamora

    As objects, the individual pieces in Héctor Zamora’s exhibition “Movimientos emisores de existencia” (Existence-Emitting Movements) were intriguing. Gathered together in a large oblong island at the center of the gallery, they were clay forms that looked like terra-cotta shells but were in fact vases, the kind that many cultures around the world have historically used to store essentials such as water and oil. These vases, however, would never be employed for such purposes. Zamora had 650 of them put on the floor when they were still fresh, unfired clay. He then, in a performance on the opening

  • picks March 07, 2019

    “Fraccionar”

    The best piece in this group show is, arguably, not a work of art. It is a miniature folding screen featuring six panels jointed together, each with a different image of the transcendental beauty of the supermodel Iman. The curiosity rests on its own wooden table, to the right of a massive colonial-period painting of the Annunciation to the Virgin Mary. That both of these objects are right in front of Luis Barragán’s bed, and that he would have opened his eyes every morning to the Virgin Mary receiving civilization-changing news as well as to the beauty of Iman, is, to me, remarkable. Even better

  • Roni Horn

    A pair of serene yet stern portraits welcomed the viewer into Kurimanzutto’s airy space—the same short gray hair, white T-shirt, focused blue eyes, and flat, contented smile were duplicated in two, possibly identical, white-framed images. Portraying Roni Horn, these photographs demanded to be observed and analyzed; they asked for a deliberation: Were they really identical? Was every hair, freckle and shadow in the exact same place? More important, can two objects ever be absolutely identical while remaining distinct? This question of sameness and difference, and of the possibility of stability

  • picks December 31, 2018

    “La Cabeza que Mató a Todos”

    For this group exhibition—which includes nine artists, various media, and a wide generational scope—Agustina Ferreyra has facilitated works’ shifting and echoing reflections, providing a kaleidoscopic—joyous, multiple—view of the different ways in which we perform ourselves through our bodies.

    Among the high points is Madeline Santil’s gray canvases from her 2018 series “Sexualizar la geometría?” (Can Geometry Be Sexualized?). They are pierced by purple, vibrating sex toys, cheekily overlapping the playful possibilities of abstraction with the contemporary aesthetics of the optimized orgasm.

  • “Murales temporales”

    What? An all-male show about mural painting? Really? I wondered if “Murales temporales” (Temporary Murals) was a deliberate effort to keep with the gentlemen-only tradition of twentieth-century Mexican muralism. But even so, I couldn’t think of a decent reason for a team of three curators (Andrea Bustillos, Karen Huber, and Alejandro Romero) to put together a show about a whole genre of painting that leaves women artists out. In any case, the show was pretty indulgent, taking muralism and its long history in Mexico and relocating it within a gallery space to question ideas of permanence, ownership,

  • picks July 16, 2018

    “Memories of Underdevelopment”

    In addition to crowding nearly four hundred objects by more than sixty artists and art collectives from eight Latin American countries into a labyrinthine gallery on this museum’s second floor, this exhibition also boasts a thick catalogue, lectures, workshops, screenings, courses, and panels. Calling it massive would be an understatement. Twenty-five years of art are on view, all of it meant to address the prevalent economic underdevelopment of the subcontinent, and the multitude of practices that rose up to reject Western-imposed aesthetics and looked instead at cultural expressions born out

  • picks February 09, 2018

    Guillermo Gómez-Peña

    Viewers are welcomed into this exhibition by La Loca, 2010, an enlarged tarot card featuring a nude and saintly Guillermo Gómez-Peña, the performance artist, writer, activist, and educator whose experiences on both sides of the Mexico–United States border have fueled what he calls an “aesthetics of juxtaposition,” an art practice that points furiously at the contradictions of identity.

    The retrospective spans two large galleries and a video room, comprising photographs, books, pamphlets, mementos, and costumes in which pastiche is process and false opposites are confronted: documented and