Angela Su’s “Cosmic Call”
              Gaby Cepeda
              We are all aware of the circumstances that have led to the glut of reviews of online shows, as opposed to the usual fare of objects under bricks-and-mortar, and the Museo Universitario de Arte Contemporáneo (MUAC) has responded to them by creating Sala 10, a virtual exhibition space on its website. It’s worth noting the format: a series of two-week-long shows featuring video pieces, displayed on a floating screen that opens unprompted over a page divided into a grid with blocks of curatorial text, an extended interview with the artist, and links to further information and credits. The website has a vertical axis with images and text alternating on each side as one scrolls, and its similarity to the layout of Rhizome’s influential “Net Art Anthology” (2016–19) suggests the emergence of a generic online exhibition design. The combination of background information and work is fitting for an institution known for its dedication to academic research: the artwork as a piece in a contextual puzzle. That being said, Angela Su’s Cosmic Call (2019) is phenomenal on its own terms. It was originally commissioned for “Contagious Cities,” an international cultural initiative funded by the Wellcome Trust to explore the connections between cohabitation, …
              Mexico City Roundup
              Terence Trouillot
              The title of Jim Ricks’s painting, I’m So Bored with the U.S.A. (2019)—borrowed from the Clash song—might be taken as a comment on how pervasively Mexico City’s Art Week has, in recent years, been dominated by the country’s relationship with its northern neighbor. This teal-colored canvas, the text of its title painted neatly against the surface in a sans-serif font, hangs at Daniela Elbahara gallery among a collection of the artist’s playful and witty works interrogating the structures of democracy and resistance. “This is What Democracy Looks Like” is the first painting show for the US-born Irish artist, whose conceptual work often incorporates sculpture and performance. The exhibition uses humor to lay bare the absurdity and hypocrisy of US politics, and to question the amount of attention paid to the country by the rest of the world. Perhaps partly in anticipation of the cancellation of Art Basel Hong Kong, a surplus of American and European dealers and collectors were present during this major week of art fairs, gallery openings, and museum exhibitions. Pia Camil’s exhibition “Ríe ahora, llora después” [Laugh Now, Cry Later] was particularly popular with both visitors and locals. For her second solo show at Galería OMR, the …

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