Eduardo Terrazas' work "1.1.91" (1970/1972) is part of the 60th edition of The International Art Exhibition of La Biennale di Venezia "Stranieri Ovunque - Foreigners Everywhere", curated by Adriano Pedrosa.⁠ ⁠

Eduardo Terrazas is an architect, designer, and visual artist known for his vast experience as a painter. From the beginning of his career, 1.1.91 (1970–1972) exemplifies his experimentation with materials and his early work interested in recoding craft traditions. Working with the square and its contrast with the curvilinear aspect of the circle, Terrazas proposes strong chromatic contrasts that appeal to the eyes and to the physicality of the human body. The artist refers not only to modernist and European discussions regarding the place of abstraction in art history but also to Indigenous traditions and those associated with the working class in Latin America and elsewhere.⁠ ⁠

This is the first time the work of Eduardo Terrazas is presented at Biennale Arte.⁠ ⁠

- Raphael Fonseca⁠ ⁠

SUPERFLEX are participating in Biennale Arte 2024 with "Foreigners, Please Don’t Leave Us Alone With The Danes!"⁠ ⁠

The theme of the Biennale Arte 2024 is Foreigners Everywhere, a suggestion that every place is filled with foreigners, and that we are all foreigners. Curated by Adriano Pedrosa, the exhibition focuses on artists who are foreigners, immigrants, refugees, or part of diasporic communities. It is in this context that SUPERFLEX was invited to reimagine their work, Foreigners, Please Don’t Leave Us Alone With The Danes!⁠ ⁠

The artwork takes two forms. First, a stack of the original poster lays on the floor for visitors to take freely; 30,000 posters will be printed, ensuring that they once again spread far and wide. Second, a fast-paced slideshow of images is presented as a video. The images provide a historical glimpse of how people have displayed the poster in both public and private spaces. 

SUPERFLEX' work "It is Not The End Of The World" is part of the exhibition "Group Therapy" at Arken Museum of Contemporary Art, on view until July 28, 2024.

The works on display represent recent acquisitions to the museum's collection.⁠ "It Is Not The End Of The World" portrays the familiar phrase as an LED light sign installation reminiscent of a commercial billboard. The viewer is invited to reflect upon our present role in a world of escalating climate change and an apocalyptic human future while imagining a future world of lively, diverse, and perhaps even humanlike lifeforms.⁠

© SUPERFLEX, Photo credit: Emma Sennels⁠

Gert & Uwe Tobias’ solo exhibition “To Bid the Dog Goodbye” at Kunstverein Lübeck, Overbeck-Gesellschaft, is on view through March 19, 2024. ⁠ ⁠

Contextualizing themes of vanitas, memento mori, and votive images, particularly in large still lifes, the artistic duo offers a contemporary take on classic motifs, providing a profound exploration of life's fleeting nature during the COVID-19 pandemic.

The paintings feature a morbidity in floral elements and a mask-like grotesque, evoking a sense of sacredness through suspended individual elements. The spiritual, representing the delicate balance between life and death, emerges as a reflective mirror of life.⁠ ⁠

Photo credit: Fred Dott⁠

Do not miss Ed Templeton's solo exhibition "Wires Crossed: The Culture of Skateboarding, 1995-2012" at Long Beach Museum of Art. ⁠It is on view until 02.05.24.⁠ ⁠

"Through photography, collage, text, maps, and eclectic ephemera from Templeton’s archives, Wires Crossed offers an inside look at a significant facet of youth culture as it was being born."

Wires Crossed is Templeton's 17-year long project documenting the subculture of skateboarding. It culminated in 2023 with a publication and exhibition at Bonnefanten, all under the same title.⁠ ⁠ ⁠ ⁠

Photo credit: Long Beach Museum of Art 

SUPERFLEX’ solo exhibition “Beyond The End Of The World,” is on view at ICA - Institute of Contemporary Art, San Diego. 

The Danish art collective highlights interspecies living - a unique aspect actively involving other species in their project development, considering the perspectives of plants and animals. The exhibition features the two-channel film installation, "Beyond the End of the World" (2021), offering a mysterious glimpse of a post-Anthropocene future, set in a replica of the restroom of the United Nations Framework Convention on Climate Change (UNFCCC).

Also on display is a new series of unfired clay sculptures inspired by the imagery of the film. "Power Toilet Death Masks" are replicas of sanitary equipment from the UNFCCC bathroom.⁠

Dario Escobar’s site-specific installation, "Observe & Reverse LVII," is on view in the main section of ZONA MACO and part of the fair’s 20th-anniversary program.

The captivating work consists of three modules which gather 160 soccer balls sewn inside out, forming a large, cloud-like object. For Escobar, sports equipment reflects globalism, representing objects of multinational brands that have swept across cultures and countries. "Observe & Reverse LVII" delves into the concept of accumulation, gathering merchandise as the fundamental material for contemporary sculpture.