Noticias de interés

The retrospective of work by Leonid Sokov, at Rutgers University's Zimmerli, followed an exhibition last year at the Moscow Museum of Contemporary Art.

“Indigenous Identities: Here, Now & Always” refuses easy coherence. A survey of more than 100 works of contemporary Native American art by 97 artists from 56 Indigenous nations, the exhibition at the Zimmerli Museum at Rutgers confronts viewers with a bold statement of heterogeneity. There is pottery, photography, film, and beadwork—jewelry, stone, steel, silver, and paint. Works range in scale and sensibility, from monumental portraits to abstract sculpture, yielding productive frictions and forming solidarities across artists and Indigenous cultures. “Indigenous Identities” is Jaune Quick-to-See Smith’s final curatorial project; the groundbreaking artist, activist, and curator died only a few days before its opening this past February. The product of over a decade of correspondence between Smith and Zimmerli director Maura Reilly, “Indigenous Identities” continues Smith’s legacy of curatorial activism. The artist first developed the idea for what she considered a Whitney Biennial for Indigenous artists in the mid-1980s, a showcase that might highlight not only art world “stars,” to use her term, but rather the breadth of contemporary Indigenous artistic production—she advocated f

In most textbooks, history typically only moves forward, from past to present. But in Britta Marakatt-Labba’s 75-foot-long embroidery Historjá (2003–07), a piece that aspires to sum up the entirety of the Sámi experience, history is a continuum that starts and finishes in the same place: the forest. “You can read it from the right or from the left,” Marakatt-Labba recently told ARTnews by Zoom. “It’s endless.” Sámi history remains a blind spot for many in the Nordic region, and Historjá offers a visual record of events that have traditionally only been transmitted orally within the Sámi community. For that reason, it’s struck a chord with many in the area. But even beyond the Nordic region, Historjá has received notice, drawing praise when it appeared at Documenta 14 in 2017. In Artforum, critic Kaelen Wilson-Goldie wrote that she emerged from that German art exhibition “dying to know more” about Marakatt-Labba. She can. Originally commissioned by a university in the Norwegian city of Tromsø, Historjá now forms the centerpiece of a Marakatt-Labba retrospective that debuted last year at the Nasjonalmuseet in Oslo. This summer, the show will travel to the Moderna Museet in Stockholm,

made by the Louvre, the Rijksmuseum, the Mauritshuis, the Vatican Museums and Italy’s leading public museums, constituting a journey through the exhibition Fratello Sole, Sorella Luna. Nature in Art, between Fra Beato Angelico, Leonardo and Corot, on the occasion of the eighth ecological ideal, in the etymological sense of the term, that was to exert an incredible influence on art from the thirteenth century onwards.Curated Picchiarelli and Carla Scagliosi, art historians responsible for the collections at the National Gallery of Umbria, and held under the patronage of

Her commitment to wellness courses through not only the products and experiences she offers, but through her art as well—although Abramović would surely say those are all the same thing. HER LATEST SHOW, “Marina Abramović: Transforming Energy,” at the Modern Art Museum (MAM) Shanghai, boasts 150 works over three floors, including many crystal-based sculptures nodding to her interest in Eastern medicine. Some of the pieces resemble a cross between furniture and something more ominous. There are wooden beds with large crystals pointed at the head; copper tubs with crystals pointed where a faucet might be; deck chairs facing metronomes; doorways with crystals mounted on every surface. For someone who is nearing 78 years old, she looks incredible: smooth, even skin; thick hair; and seemingly infinite energy. Shai Baitel, the Shanghai show’s curator, noticed too: “Marina is beyond generation. She’s beyond age.” Whatever she is doing is working: sign us all up for the drops, the workshops, whatever it takes. NOW ARGUABLY THE WORLD’S most famous living artist, she has returned to China 36 years later. Using quartz, amethyst, tourmaline, copper, iron, and wood, she made objects for the aud

Native American artists, especially women, have only recently gained a spotlight within the mainstream art world. For centuries, Native art was siloed on reservations, at trading posts, and in Indian markets, with no dedicated Indigenous commercial galleries either in urban Indian centers like New York City, San Francisco, Tulsa, or Phoenix or in other areas with significant Native populations. But lately they are finding their way into major galleries and institutions from Miami to New York to Venice. For Women’s History Month, we delve into art from 15 Native American, Alaska Native, and Native Hawaiian women. While not an exhaustive list, these artists represent a broad spectrum of artistic innovation spanning multiple generations and mediums, from foundational pottery to contemporary Ravenstail weaving. Shattering conventional ideas about fine art while honoring historical techniques and cultural knowledge, they underscore the vitality of Indigenous women’s contributions to contemporary art and the ongoing need to ensure that their voices and visions are centered in mainstream art discourse. Athena LaTocha (b. 1969) is a Hunkpapa Lakota and Ojibwe artist based in Brooklyn whose

By Friday, as art professionals started picking up flights out of Hong Kong, the narrative for this year’s edition of Art Basel Hong Kong, and the surrounding art week, was pretty much set. It went something like this: A ton of energy and excitement met tentative, “deliberate” collectors who were focused on picking up only A+ material. That dynamic meant that blue-chip galleries closed deals on their top works during the Wednesday’s VIP preview, while small and medium-sized galleries spent days trying to do the same. The star of the evening, Jean-Michel Basquiat’s 1984 painting Sabado por la Noche, sold to an Asian collector for $14.5 million, near its high estimate of $16.1 million. (The work had last sold in 2019 at Christie’s London for $10 million.) That good-enough result is the current highest price achieved at auction this year so far, as Christie’s Hong Kong president Francis Belin reminded the Art Newspaper. At Sotheby’s the following evening, the story was similar. The auction house said it had a whopping 35,000 visitors to its pre-sale exhibition of works to be sold—a statistic no doubt boosted by the fact that its new home is centrally located in the Landmark Chater sho

MOMA HAS A NEW DIRECTOR. The Museum of Modern Art in New York has a new director Christophe Cherix, ARTnews  reported on Friday. Cherix will succeed Glenn Lowry, the director of MoMA since 1995, and he will start his new job this September. He has served as chief curator of MoMA’s prints and drawing department since 2013. “As the Museum approaches its centennial, my highest priority is to support its exceptional staff and ensure that their unique ability to navigate the ever-evolving present continues to thrive,” Cherix said in a statement. He has received widespread praise for exhibitions, including retrospectives for Adrian Piper and Ed Ruscha. At that latter show, Cherix personally facilitated the revival of Ruscha’s rarely seen 1970 Chocolate Room installation, which first debuted at that year’s Venice Biennale and which features walls covered sheets of paper printed with chocolate. SHRINE SENT HOME. After 120 years, the American Museum of Natural History in New York is returning an Indigenous shrine known as the Whalers’ Shrine to the Mowachaht/Muchalaht First Nation community in Canada, reports the New York Times. The wooden shrine features 88 carved wooden human figures, 4 c

Marcia Marcus, a painter who spent decades making off-kilter portraits of herself and others in relative obscurity, only to gain positive notice during her final years, died at 97 on Thursday. Her passing was confirmed by her daughter, Kate Prendergast, who said she died of age-related complications. Until very recently, Marcus was a little-known figure, even though her work was featured in group exhibitions by closely watched galleries such Stable and Dwan during the 1950s and ’60s. But recent shows have brought her art to a new audience, generating a small but growing following. She was known for painting portraits of people ranging from the artist Red Grooms to the critic Jill Johnston, both of whom she knew personally. These are no traditional portraits: the Grooms one, a 1961 painting called Florentine Landscape, features the semi-nude artist sprawled out on a blanket in a park-like setting. He adopts the guise of an odalisque, a female archetype that routinely has shown up in paintings by men. Many later works would also subvert traditional notions about gender and representation. Florentine Landscape appeared in a show about artist-run galleries in Downtown New York at NYU’s

The Tate recently announced it will return a painting by Henry Gibbs to the heirs of a Jewish Belgian art collector after initial claims it had been looted by Nazis. The painting being returned is by the Canterbury artist is Aeneas and his family fleeing Burning Troy (1654), a work initially purchased by Tate from Galerie Jan de Maere, Brussels in 1994. A press release from the Tate said that the Spoliation Advisory Panel received a claim in May 2024 from the heirs of art collector Samuel Hartveld, through trustees acting for the Sonia Klein Trust, requesting the return of the painting by Gibbs. “The Spoliation Advisory Panel considered all the evidence and decided that the legal and moral claims to the restitution of the painting were sufficiently compelling for them to advise the Secretary of State that the Sonia Klein Trust is entitled to its return.” Tate Director Maria Balshaw said in a statement that the provenance of Aeneas and his family fleeing Burning Troy was “extensively investigated” when the institution acquired it in 1994, but “crucial facts concerning previous ownership of the painting were not known.” The trustees of the Sonia Klein Trust called the staff at Tate B

Following a 7.7 magnitude earthquake and 6.7 aftershock last Friday, Myanmar’s cultural heritage sites are at risk. As of Saturday morning, the Myanmar government reported almost 400 lives lost, along with damage to roughly 3,000 buildings, including 150 mosques and pagodas. Images circulating online indicate significant damage to the country’s heritage and religious sites, which were already at risk amid the ongoing conflict. The most significant damage to cultural heritage sites appears to have occurred in and around Mandalay, the country’s second-largest city and the home of many ancient monasteries and palaces. The city saw damage to part of a historic royal palace built in the 19th century. A large pagoda erected along the palace walls now juts outward at a sharp angle, while another section of the walls were left entirely crumbled. To the west of Mandalay, the five-story New Masoeyein Monastery gave way, leaving dozens of Buddhist monks who lived there without a place to sleep that night, according to the New York Times. Just 70 miles from the epicenter, in Pindaya, lie the remains of Buddhist monuments known as stupas, golden spires, and countless red bricks. Sagaing, just t

Back in the 1990s, Mowachaht officials voted to begin international discussions about seeking the return of the shrine, but it wasn’t clear until now how, or if, they would be successful in getting it back from the museum. The original $500 sale of the piece to the museum involved two Mowachaht elders and stipulated the shrine could only be removed after the tribe’s seasonal departure. Many repatriation advocates believe that the sale was conducted under duress, however, since American and European researchers often misled Indigenous peoples about why they wanted their objects, claiming they merely wanted to preserve practices and objects that were vulnerable to being lost. Despite the barriers, a newly formed repatriation committee traveled to New York in July for a ceremonial meeting that involved discussion about a potential return. That same month, the museum made strides in repatriating other objects belonging to Native American tribes following officials from their respective nations. The museum subsequently gave back the remains of 124 Native individuals and 90 cultural objects as part of this initiative.

Editor’s Note: This story is part of Newsmakers, a new ARTnews series where we interview the movers and shakers who are making change in the art world. Mexico’s TONO Festival, which focuses on time-based art, opened last week for its third edition. Hosted in Mexico City and the nearby city of Puebla, the festival brings together 50 artists from 22 countries to stage video installations, performances, music events, and screenings. This year’s festival unfolds across major venues in the area, including the Museo Anahuacalli, Ex Teresa Arte Actual, and Museo Universitario del Chopo, UNAM, with nightly music programming extending beyond gallery walls. The festival, which runs until April 6, is the brainchild of Sam Ozer, a curator, writer, and producer. Based between Mexico, New York, and Paris, Ozer has held curatorial and programming positions at the Museum of Modern Art, MoMA PS1, and Zona Maco, and organized projects at galleries and museum in Athens, Los Angeles, Mexico City, Milan, and New York.  The 2025 edition of TONO expands its international reach, teaming up with MoMA film curator Sophie Cavoulacos to screen short films from New York’s 1980s artist collectives, as well as a