Monday, 24 February 2014


Hola, Mexico City! Once notorious for its traffic and pollution—and more recently for its drug violence and lack of security—this city of about twenty million inhabitants is one of the three biggest metropolitan areas in the world, and for the past twenty years has been busy cleaning up its act and generally reinventing itself. Within this shifting context, a revolution has also been taking place within the local contemporary art scene, which has matured from small, independent beginnings into a structured movement with resonance in everyday life and a place in Mexican society’s wider dialogue.

Here pictured, the Museo Jumex, which opened last November in a new location in Polanco, and which houses Eugenio Lopez’s collection of international contemporary art, one of the most important in Latin America. The discreet and elegant modernist building, designed by David Chipperfield, winks at both Le Corbusier and Juan O’Gorman, a Mexican modernist architect from the 1930s and ’40s who designed Diego Rivera and Frida Kahlo’s studios in San Angel. La Fundacion Jumex has changed the relation of Mexicans to contemporary art, also providing economic support for art projects, research, and publications, and providing grants for artists and curators to pursue graduate study abroad.

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Sunday, 19 January 2014


Two Hotel, a project by Fabian Marti in Piracanga, Brazil

Fabian Marti

TwoHOTEL is a project by Swiss artist Fabian Marti. It has been built in February 2013 on Piracanga Beach in Bahia, Brazil with the aim of creating a hotel for artists.

The architecture, furniture and ceramic tableware are all designed and handmade by the artist and follow his conceptual line.

The house and furniture were build within the very short timespan of three weeks by Fabian Marti with the help of a carpenter and two local workers. For the lack of an electrical supply only basic tools were used.

The main component of the architecture and furniture is it‘s material: a cheap plywood called "Maderite" which is used throughout Brazil for basic needs in the building industry and normally not applied for housing. It‘s typical pink tint is the hallmark of TwoHOTEL.

The architectural structure is in line with the materiality of the Maderite sheets. Twelve of them constitute the front wall of the building. They can be opened and closed individually like flaps and take the function of windows and doors at the same time. This front side of the architecture is aligned with the nearby ocean front and a small river dividing the beach from the property of TwoHOTEL.

TwoHOTEL is designed as a place where two people can stay and work for a specific time. The space is big enough to be used as a studio such as habitation.

The idea of a hotel as a creative act is inspired by Alighero Boetti‘s One Hotel which he maintained in Kabul in the Sixties. However TwoHOTEL has a different focus as it is specifically aimed as a hotel for artists. Rather than functioning on an institutional or commercial level it is advertised on a word of mouth-level and very much based on the condition of friendship and artistic appraisal. The structure has been designed by one artist for others to fill, develop and live it and thereby keep it alive.

Wednesday, 15 January 2014


Welcome to Santiago de Chile. Pictured here the Palacio de la Moneda. It was here that on September 11, 1973, a U.S.-supported military coup d’etat against democratically elected socialist president Salvador Allende took place. What followed was 17 years of dictatorship, repression, and “stability” under general Augusto Pinochet, whose rule ended only in 1990.

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Saturday, 7 December 2013


Herzog & de Meuron's Perez Art Museum in Miami

The building is like a Ceiba or a Banyan tree, where the columns become branches/roots that support the canopy and give shade underneath, in this way the Perez Museum becomes a tropical museum. In Jaques Herzog's words after a conversation with him in Miami, "it's about creating an architectonic language for the tropics that responds to to the climate and conditions of the place, not about creating air conditioned spaces which are like entering a refrigerator"... "We tried to create new architectonic typologies for the tropics, working with what would work in Miami's weather. It wouldn't work to import European or North American typologies to the building. You have to cook with local ingredients, if not, it would be like cooking fondue for dinner in the tropics"

PAMM's hanging gardens

last construction finishing touches

up the stairs and into the building

Hew Locke's floating boats in the entrance space project gallery

the Americana exhibition presents an expanded notion of what art in the Americas is, and in doing so, redefines American art history through works in the collection. Using Miami as the axis from where to do this, the exhibition rewrites the history of art previously read as a linear history dominated by the European-AngloAmerican axis. PAMM's chief curator, Tobia Ostrander (who previously was at Tamayo and El Eco in Mexico) presents an expanded field of works from the American continent. Through the incorporation of works from Latin American and Caribbean origin, exhibited together with North American works, Americana creates new historical narratives through the juxtaposition of these works and histories, which today can no longer continue to be read as other or parallel histories, but need to be read as equal histories coexisting in same spatial temporalities.

Alfredo Jaar's ' A Logo for America', (This is Not America) 1987

Americana: Desiring Landscapes gallery
works by Mark Dion's The South Florida Wildlife Rescue Unit: Mobile Laboratory, together with Fernando Botero, Leandro Katz

Fernando Botero's tropical Patio and Leandro Katz' Catherwood Project

Wilfredo Lam next to Ana Mendieta in the Americana: Sources of the Self gallery

up the stairs which also act as an open auditorium to the second floor

Ai Weiwei, According to What?, retrospective in the second floor

Ai Weiwei retrospective in the second floor

Americana: Progressive Forms Gallery
Paulo Pires, Helio Oiticica, Donald Judd, Joseph Albers

Americana: Progressive Forms gallery
Gego, Ellsworth Kelly, Waldemar Cordeiro, Lygia Clark

Torres Garcia next to Pablo Rasgado

Damian Ortega, Pablo Rasgado

Damian Ortega, Sam Durant, Eugenio Espinoza

Alexander Apostol, Robert Morris' portal, and Sarah Morris painting

Americana: Commodity Cultures gallery
Jac Leirner next to Andy Warhol

Josephine Meckseper

Cildo Meireles, Insertion into Ideological Circuits

Nadin Ospina's stone carved Bart Simpson

Americana: Corporeal Violence gallery, Oscar Muñoz, Cortinas de Baño

Miguel Angel Rojas

Artur Barrio's Situation T/T

Americana: Formalizing Craft gallery

Adrian Esparza's sarape and Gabriel Orozco's table with baked clay sculpture

PAMM's photography gallery

PAMM's paper gallery exhibiting A Human Document: Selections from the Sackner Archive of Concrete and Visual Poetry

a retrospective exhibition of Cuban painter Amelia Peláez: The Craft of Modernity

PAMM's Project Gallery with Yael Bartana's Inferno video on the construction of the third Temple of Solomon (Templo de Salmão) in São Paulo by a Brazilian Neo-Pentecostal Church, the Universal Church of the Kingdom of God

with Elisa on the rooftop, view of Miami from PAMM

and Ai Wei Wei head outside PAMM

PAMM's website

and read more on PAMM at Dezeen