- Current

Exhibition(s)

(Jan. 17 - March 14, 2015)

Paulo Bruscky: Artist Books and Films, 1970-2013

Vivian Suter: Panajachel

Logo

L: Paulo Brucsky, Lógica versus acaso (Logic versus chance), 1986, Photographs. Courtesy of the artist and Galeria Nara Roesler. R: Vivian Suter Studio in Panajachel, Guatemala. Courtesy of the artist and House of Gaga, Mexico City.


Paulo Bruscky: Artist Books and Films, 1970 - 2013
Guest Curated by Clara M. Kim

A key participant in the international mail art movement, known in Brazil as arte correio, and known for his extensive Fluxus archive developed through networks with artists, Bruscky is a singular figure who has developed a radically innovative artistic practice. A life-long resident of Recife, Bruscky came of age during the military dictatorship - producing work that responded to the urgencies of the political situation with a signature sense of humor. Bruscky was among the first to explore new technologies like Xerox machines while creating unique distribution strategies for his work. Coining the term "communication art," Bruscky utilized unorthodox channels for art-making as a means to subvert and transform the status quo. The exhibition at The Mistake Room focuses on the artist's body of artist books and Super-8 films-a critical backbone of his rich and prolific practice. More than mere records of past actions, the works operate as foils for the activation of ideas and evidence of the individual passion and will to connect critically, poetically and artistically to the contemporary moment.


Vivian Suter: Panajachel
Curated by Cesar Garcia, TMR Director | Chief Curator

The daughter of European immigrants who arrived in Argentina in the late 1930's, Vivian Suter was born in Buenos Aires in 1949. In 1962 she returned to Europe where she spent a majority of her youth living in Basel, Switzerland until 1983 when during a trip across North and Central America that included a brief stay in LA, she arrived in Panajachel-a small town on the northeastern shore of Guatemala's Lake Atitlán that she has since then called home. Suter built a home and studio on a lush terrain that was formerly a coffee plantation and it was here that she began to create works that resulted from her immediate experiences within the landscape. Suter's exhibition at The Mistake Room encompasses a large-scale installation inclusive of unstretched canvases, works on paper, floor pieces, and a hanging canopy of draping works that have come to anchor Suter's oeuvre. Often deemed a landscape painter, Suter's works in reality have shaped a unique genre of art-making altogether-one that negates the preciousness of the singular artwork and presents us with a recollection of vanishing images, surreal pictures, saturated stains, and forgotten objects that contemplate the space between our perceptions of nature and its actual realities.