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 MA'A* Cultural Innovation Editor | hello@monagendart.com 
...is the new destination for discoverers defending the best of Art, Architecture and Design
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Stones against diamonds | Installation at the Art Basel | Rolls-Royce in partnership with National YoungArts Foundation | Isaac Julien©


MEXI MECITL

m m m #SylvainMarcoux


AMERICA LATINA

CARRÉ LATIN #LéonorCPara


CARIBBEAN

DECOLONIAL EQUATION #NathalieHainaut


BIG APPLE

MANHATTAN #HansUlrichObrist

For this 33rd issue, CULTURAMA continues its investigations off the beaten track, exploring the resonance of the cultural diversity on the American continent.


For more information on an article, click on the corresponding images
MEXI MECITL
m m m #MEX
maison marcoux mexico
Mezcallian collection | maison marcoux mexico & Constance Guisset© | Photo. Diego Velazquez©
Eric of MA'A*: Collector, former curator and design enthusiast, you launched your project maison marcoux mexico at the Design Week Mexico 2018. Its aim is to produce artistic objects in limited series. How have you progressed since?

Sylvain Marcoux: This year was emblematic. We presented the Mezcallian collection designed by Constance Guisset and made by Lalo Martinez, at the Cultural Institute of Mexico in Paris. This exhibition was part of events such as Paris Design Week and London Design Week. After the exhibition at Fabien Delbarre’s Galerie 9 in Lille, the collection will be redirected to the Quai Branly museum shop in Paris and will then be part of the selection of the Concept Store “The Webster” in Miami during the Design Miami show in December.
Eric: How do you position your adopted country, Mexico, in relation to international contemporary art?
Sylvain: As a Canadian who has lived in Paris for thirty years and, more recently, in Mexico, I see that the emergence of contemporary art in the Mexican capital is of an imaginative fertility. As for design, it is more and more present, combining craftsmanship and contemporary creativity. Young designers, especially the collective mexico territorio creativo, as well as the publishing houses like Taller Lu'um and maison marcoux mexico, among others, contribute to the rise of new artistic practices.
Mezcallian collection | maison marcoux mexico & Constance Guisset© | Photo. Diego Velazquez©
Eric: What are you preparing for 2020?
Sylvain: In February, maison marcoux mexico will present a pop-up store at the Tamayo Museum Shop in Mexico. Then, in March, it will participate in an exhibition on black ceramics in Limoges, France. May 2020 bring as much joy, novelty and as many encounters as 2019 did, for sure!

+info: Official site | Email
Paris : + 33 6 11 23 52 50 | Mexico : + 52 1 55 87 81 1967

MA'A* becomes CULTURAMA
A magazine from the trend researchers and explorers!

The 21st century began with a media revolution and new paradigms. The Social Network MY AGEND'ART* is thus becoming CULTURAMA: an Art web-magazine which focuses each month on exclusive interviews and reports.
AMERICA LATINA
CARRÉ LATIN #FR
Léonor C. Para
Interfacia | Carré Latin festival | Antonio Asis©

Eric of MA'A*: You direct the Carré Latin whose objective is to offer an exhibition platform for Latin American artists in Paris. What is the news that struck you the most in 2019?

Leonor C Parra: Unfortunately, this year was marked for me by the loss of two of the greatest figures of modern Latin American art: Argentinian Antonio Asis and Venezuelan Carlos Cruz-Diez, whom I have known and admired both. Antonio Asis allowed me to accompany him in his studio and study his work during the past five years.

La obra invitada | Chromosaturation | Museo Würth La Rioja | Carlos Cruz-Diez© | Photo. Rafael Lafuente©
This experience was by far one of the most rewarding of my career. Asis, through mastery of shapes and Crus-Diez, through colour, have dedicated their lives to the Art Optique movement. Their artistic research does not aim to activate our imagination but our retinal faculties. Faced with their works, mere vision is an experience in itself. Together, they leave us more than one hundred years of devotion to artistic research and a more joyful, colourful world.
Space cylinder A1 | Installation at the Carré Latin 2015 | Carlos Medina©
Oblique space | Installation at the Carré Latin 2017 | Carlos Medina©
Carlos Medina is an artist specialized in geometric abstraction

Eric: Living between France and Venezuela, what is your vision of International Art?

Leonor: I am convinced that France remains a living crossroads of international artistic and cultural movements, with a high-quality program for contemporary art exhibitions, not only in big cultural institutions, but also in art centers and foundations, both in Paris and outside.
Barricade | Installation at the Carré Latin 2017 | Alejandro Vega Beauvin©
Today we’re going through — with a little help from Brexit — a renaissance of the Parisian market, long dominated by New York, London and Hong Kong. There is evident growth with FIAC's latest edition, which ranks among the three market leaders with Art Basel and Frieze in London, accompanied by a new wave of large international galleries. My approach is based on this desire to grow. I believe in it so much that after analyzing  the international contemporary art scene for several years, seven years ago, I made the decision to leave Caracas to undertake Paris.
Yanomami Siglo XXI | Installation at the Carré Latin 2017 | Milton Becerra©

Eric: What are you preparing for 2020?

Leonor: The fourth edition of the Carré Latin! We want to continue the event next year. Carré Latin 2020 promises some surprises and an exciting dive into the heart of the Latin American artistic avant-garde, by associating with the image of excellence of Paris and in a privileged place, the Royal Palace. Today, we represent about forty recognized artists or rising stars. Our goal is to become an essential link between the Parisian audience and the contemporary Latin American art scene, thus perpetuating Paris’ tradition of being the center of international artistic movements and promoting Latin American cultural wealth.
CARIBBEAN
DECOLONIAL EQUATION #FR
Nathalie Hainaut

I am not lonely | Mixed techniques | Venice Biennale, 2019 | Joel Nankin©

Eric de MA'A*: As an art critic and advisor in Guadeloupe, what struck you the most about 2019?

Nathalie Hainaut: This year has been fruitful for the promotion of the artists of our "archipelago region", French department of America or French ultramarine department, depending on the wording.

 
The first major event is undoubtedly the presence of three Guadeloupe artists, Jean-Marc Hunt, François Piquet and Joël Nankin, at the Venice Biennale 2019. A pavilion of the Guadeloupe Islands has integrated the major exhibition of the European Cultural Center-Italy, "PERSONAL STRUCTURES — Identities", in the prestigious Palazzo Bembo and Palazzo Mora, alongside artists from more than fifty countries. This historic circumstance sparked a great international enthusiasm for our artistic writings, which aren’t visible enough outside the Caribbean. As well as being present at the Venice Biennale, Guadeloupe hosted the fifth edition of Tilting Axis devoted to the theme "Beyond trends: decolonization and Art criticism" at the ACTe Memorial.

In red was painted the town | Mixed techniques | Venice Biennale, 2019 | Joel Nankin©

Annalee Davis and Holly Bynoe's conference examined the role of artists, curators, art critics, writers, teachers and academics in the cultural sector of the Caribbean territory. It was a great opportunity to gather our experiences and hear rich statements, including those of Edouard Duval Carrié, about the influence of our creative spaces on the contemporary world.
Palazzo Mora in Venice
Tilting Axis V | Symposium on decolonisation and art criticism | MACTe, Guadeloupe, 2019©

Eric: How do you place your adopted country, Guadeloupe, in relation to international art movement?

Nathalie: As Edouard Glissant said, "act in your environment, think with the world". I adapted to the country in which I have lived for almost twenty years, thanks to my personal experiences in Africa, South East Asia, Europe, and then in the Caribbean. Guadeloupe has many high-quality artists, photographers and contemporary artists, but very few exhibition venues, few suitable structures, few critical and academic publications. I have been working on contributing to the evolution of all this since my arrival, like a hummingbird. As a member of the Center for Studies and Research in Aesthetics and Visual Arts, which is very active in Guadeloupe and Martinique, I pay great attention to contemporary art here, in Dominica, Jamaica, Barbados, Trinidad and other islands. In the space of two decades, with the help from new technologies, the contemporary art world is finding its bearings, even if we can notice a kind of fracture between the three generations of artists who occupy the modern visual arts’ scene. The absence of a structure, foundation or art center on a territory of 400,000 inhabitants leads some of our artists to exile in North America, Europe or Africa, even in Asia.

Decolonial equation | Iron blades and video projection | Venice Biennale, 2019 | François Piquet©

Eric: What are your plans for 2020?

Nathalie: 2020 will be a pivotal year for me. I am preparing an exhibition and artist residency in Senegal as well as a trip to Ethiopia around contemporary photography. We need to bring together a set of reliable partners and funders for such projects because of the transporting costs which are, let's be honest, three to four times higher than elsewhere in the world. I will also accompany young Caribbean artists who have asked me to share my experience with them.

Contemporary Art Fund | Beausoleil residence, Saint-Claude, Guadeloupe
EssentialS | Digital series | Nathalie Hainaut©
Additionally, in Guadeloupe, there will be publications in which I shall participate, depending on what themes are proposed. I will as well take the time to write for myself, which I could not do in 2019 since I was busy with the Contemporary Art Fund (cf. CULTURAMA 19) and the exhibition Les MURs Galeries: an open-air gallery installed on the forecourt of the Pôle Caraïbes international airport. This exhibition, of which I am the curator, welcomed thirty artists and showed sixty unique works, including paintings, photography and street art.
+info: Email | Tel. 05 90 99 78 53
PERSONAL STRUCTURE — Identities Exposition
Beyond Trends: Decolonisation and Art Criticism symposium
BIG APPLE
MANHATTAN #USA

Hans Ulrich Obrist
Hans Ulrich Obrist | Curator of the Serpentine Galleries in London and artistic advisor of the Shed arts Center in New York | Interview taken by Judith Benhamou-Huet Reports©
The Shed | Arts center in New York | Architecture design by Diller Scofidio©

« No one is free, even the birds are chained to the sky. »

Bob Dylan


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CULTURAMA 2019 — MON AGEND'ART — VEYAPROD
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