Joining the Getty and the arts organizations across the region for Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American art in dialogue with Los Angeles, the Marciano Art Foundation welcomes the opportunity to highlight Latin American artists in the Marciano Collection, reinforcing the Foundation’s focus on revealing an active global dialogue and drawing connections amongst a diverse group of international and Los Angeles-based artists.
Many of the artists presented here have previously worked and exhibited in Los Angeles, while others are being shown in the city for the first time. Taking center stage in its American debut, Damián Ortega’s Architecture without Architects (2010) exemplifies the type of ambitious work that is a hallmark of the collection. With this epic sculpture, Ortega transforms our relationship with domestic architecture and objects. The domestic is also a recurring theme in the work of Argentine-born, Los Angeles-based Analia Saban, who often adopts images of domestic spaces and objects in her unconventional experiments with technique, process, and materials. Gabriel Kuri, Allora & Calzadilla, and Erika Verzutti all reference everyday objects in their work as well, from cigarette butts, to solar panels, bananas, and more. In another vein, several of the featured artists address art history and pop culture–Alex Da Corte’s new video is a shot-for-shot remake of Jørgen Leth’s 1967 short film The Perfect Human, Jose Dávila carries on the tradition of appropriation art with nods to iconic artists such as Donald Judd and Roy Lichtenstein, and Haroldo Higa takes on Walt Disney.
Presented in the Foundation’s third floor Ballroom Gallery, the exhibition features work by artists from Argentina, Brazil, Colombia, Cuba, Mexico, Peru, Puerto Rico, and Venezuela, including Allora & Calzadilla, Pia Camil, Alex Da Corte, Jose Dávila, Haroldo Higa, Gabriel Kuri, Gabriel Orozco, Damián Ortega, Analia Saban, Gabriel Sierra, Adrián Villar Rojas, and Erika Verzutti.
Two additional works are on view outside of the Ballroom Gallery: Adrián Villar Rojas’s Two Suns (II) (2015), a monumental replica of Michelangelo’s David, can be viewed in the backstage of the ground floor theater, and Erika Verzutti’s new work, Centipede (2017), hangs on the building’s north wall, beside the parking lot.