What projects are you working on right now?
At TEOR/éTica I’m working on the second stop for the itinerant anthology show Equilibrio y colapso. Patricia Belli. Obras 1986-2016 (Equilibrium and Collapse. Patricia Belli. Works 1986-2016), which travels to ArteCentro in Guatemala in August, as well as finishing a monographic book together with the Fundación Ortiz Gurdian in Nicaragua. In September I am co-curating—jointly with Ruth Estevez and Agustín Diez Fischer—an investigation into León Ferrari’s literary collage Palabras Ajenas (The Words of Others, 1967) at REDCAT in Los Angeles, which involves the staging of a theater piece, an exhibition of works, documents and a large quantity of material that will be shown for the first time and two publications: the first English translation of Palabras ajenas and a book of essays about the piece.
The most interesting part of being a curator:
The unexpected encounters, the emotion of finding material that was thought to be lost, the possibility of placing different creative processes in dialog to see if that contact sets off any sparks.
What advice would you give to someone who wants to start buying art?
To see a lot. To ask questions and seek opinions when necessary. To investigate and look for connections that can be made between the works one is interested in, as if they could talk among themselves. To get to know the artists; it’s always important to listen to what they have to say regarding what they do.
Can you name a figure that inspires you?
All the figures that aspire to modify the territory they live in by way of their work, words and energies.
A book you would recommend?
I recommend the last book that Renata Cervetto and I edited together, titled Agítese antes de usar. Desplazamientos educativos, sociales y artísticos (Agitate Before Using. Educational, Social and Artistic Shifts), which was a collaboration between TEOR/éTica and MALBA. I know that recommending one’s own books isn’t smiled upon, but I am very enthusiastic about it because the essays and interviews brought together offer an exceptional opportunity to ask ourselves what art’s public role is, and why it is so fundamental to rethink education today. More information here.
A work of art?
I’m in love with this collage by Cecilia Vicuña.
Cecilia Vicuña. Árbol de manos (Tree of Hands), 1974. Collage on paper, 30.5 x 23 cm.
The last exhibition you would highlight?
The Bruce Conner. Es todo cierto (Bruce Conner. It’s All True) exhibition at the Museo Reina Sofía in February of this year.
A 2017 exhibition that you can’t wait to see?
The Cecilia Vicuña: About to Happen exhibition, co-curated by Andrea Andersson and Julia Bryan-Wilson for the Contemporary Art Center New Orleans; We Wanted a Revolution: Black Radical Women, 1965-1985 which opens in April at the Brooklyn Museum in New York; Radical Women: Latin American Art, 1960-1985 curated by Cecilia Fajardo HIll and Andrea Giunta, which opens in September at the Hammer Museum in Los Angeles; the Jorge Eduardo Eielson retrospective, curated by Sharon Lerner and Gabriela Rangel at the Museo de Arte de Lima; and also the Liliana Maresca retrospective at the Museo de Arte Moderno de Buenos Aires.
Something you would like to visit or do in Buenos Aires?
What I love doing is meeting up with so many friends in the city, although time is always too short…
Where can we follow you on social media?
Miguel A. López
Member of the Curatorial Team of Barrio Joven Chandon
Miguel A. López (Lima, 1983) is a writer, researcher and curator in chief of TEOR/éTica, San José, Costa Rica. His texts and essays have been published in magazines such as Afterall, E-flux journal, Art Journal, ramona, Manifesta Journal, The Exhibitionist, and the Journal of Visual Culture. Outstanding among his recent exhibitions are Frágiles [Fragile Things:]. Patricia Belli. Obras [Works] 1986-2015 at TEOR/éTica, in San José (2016); Teresa Burga. Estructuras de Aires [Structures of Airs] at MALBA, Buenos Aires (co-curated with Agustín Pérez Rubio, 2015); the section Dios es marica [God Is a Fag], for the 31st Bienal de São Paulo (2014); and Perder la forma humana. Una imagen sísmica de los años 80 en América Latina [Losing Human Form: A Seismic Image of the Latin American ‘80s], in collaboration with the Red Conceptualismos del Sur [Southern Conceptualisms Network], Museo Reina Sofía, Madrid (2012). He is the co-founder of Bisagra, an independent visual arts space opened in Lima functioning since 2014.