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Condemned To Be Modern

 

Curated by Clara Kim
September 10, 2017 – January 28, 2018

 

With a special performance by Crystal Sepúlveda as part of Clarissa Tossin’s newly commissioned project inspired by the Mayan Revival architecture of Frank Lloyd Wright’s Hollyhock House.

 

Condemned To Be Modern, curated by Clara Kim, was an exploration of the lives of buildings and an interrogation of our built environment-the structures we inherit, the cities we live in. Taking its title from the preeminent Brazilian critic Mario Pedrosa’s infamous statement about Brasília, this exhibition brought together the works of twenty-one contemporary artists who responded critically to the history of modernist architecture in Latin America. In works produced over the past two decades, these artists explored the effects, contradictions, and contested legacies of modernism in Brazil, Cuba, and Mexico as expressed through ambitious projects for government buildings, public housing, universities, and even new cities constructed during periods of radical political and social change. In examining these buildings and their histories from a contemporary perspective, the exhibition aimed to deconstruct and demystify the formation of a modern (architectural) identity while provoking consideration of the fate of architecture and its changing representation over time.

 

The exhibition included work by Eduardo Abaroa, Jonathas de Andrade, Leonor Antunes, Alexander Apóstol, Alexandre Arrechea, Ramiro Chaves, Felipe Dulzaides, Carlos Garaicoa, Terence Gower, Tamar Guimarães, Lucia Koch, Runo Lagomarsino, Renata Lucas, Lais Myrrha, Manuel Piña, Mauro Restiffe, Beto Shwafaty, Melanie Smith, Tercerunquinto, Clarissa Tossin, and Héctor Zamora.

 

Condemned To Be Modern and its associated programming were part of Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles.

 

Supported by grants from the Getty Foundation, Pacific Standard Time: LA/LA took place from September 2017 through January 2018 at more than 70 cultural institutions across Southern California, from Los Angeles to Palm Springs, and from San Diego to Santa Barbara.
Pacific Standard Time
was an initiative of the Getty. The presenting sponsor was Bank of America.

 

Major support for this exhibition and publication was provided through grants from the Getty Foundation.

 

Condemned To Be Modern was also supported by the National Endowment for the Arts, The Ralph M. Parsons Foundation, and the City of Los Angeles Department on Disability.

 

Additional support provided by: Galleria Continua (San Gimignano – Beijing – Les Moulin – Havana); Fortes D’Aloia& Gabriel (Sao Paulo); kurimanzutto (Mexico City); and Galeria Luisa Strina (Sao Paulo).

 

Select Press

“Best of 2017: Our Top 10 Los Angeles Art Shows,” Hyperallergic, December 20, 2017

 

Evan Moffitt, “Condemned To Be Modern,” Frieze, November 29, 2019

 

Christopher Hawthorne, “With Pacific Standard Time, Getty finally climbs down from hilltop oasis it built 20 years ago,” Los Angeles Times, October 19, 2017

 

Sharon Mizota, “Nearly a century later, a video artist follows Frank Lloyd Wright’s Mayan Footsteps,” Los Angeles Times, October 15, 2017

 

Janelle Zara, “How Frank Lloyd Wright’s Take on Mayan Temples Shaped Hollywood,” Artsy, September 27, 2017

 

“Pacific Standard Time LA/LA: 1,100 artists from 45 countries,” The Economist, September 23, 2017

 

Avishay Artsy, “Artists from Brazil, Mexico, and Cuba explore ‘the afterlives of modernist projects’,” KCRW, September 5, 2017

 

 

 

Image slider artwork captions

Lucia Koch, The Doors, 2017. commissioned by the City of Los Angeles Department of Cultural Affairs. photograph by Kelly Barrie

Condemned To Be Modern, installation image, September 10, 2017 – January 28, 2018. photograph by Kelly Barrie

Condemned To Be Modern, installation image, September 10, 2017 – January 28, 2018. photograph by Kelly Barrie

Condemned To Be Modern, installation image, September 10, 2017 – January 28, 2018. photograph by Kelly Barrie

Condemned To Be Modern, installation image, September 10, 2017 – January 28, 2018. photograph by Kelly Barrie

Carlos Garaicoa, Self-flagellation, Survival, Insubordination, 2003. photograph by Kelly Barrie

Felipe Dulzaides, Water Runs (installation view), 1999 – 2017. photograph by Kelly Barrie

Jonathas de Andrade, Ressaca Tropical (Tropical Hangover) (installation view), 2009. photograph by Kelly Barrie

Eduardo Abaroa, Total Destruction of the Anthropology Museum, 2012 – 2017. photograph by Kelly Barrie

Eduardo Abaroa, Total Destruction of the Anthropology Museum, 2012 – 2017. photograph by Kelly Barrie

Beto Schwafaty, Remediations (installation view), 2010 – 2014. photograph by Kelly Barrie

Ramiro Chaves, XXXXXXXXXX, 2014. photograph by Kelly Barrie

Clarissa Tossin, Chu’u Mayaa (Maya Blue), 2017. commissioned by the City of Los Angeles Department of Cultural Affairs. photograph by Kelly Barrie

Clarissa Tossin, Chu’u Mayaa (Maya Blue) (video still), 2017. choreography/performer: Crystal Sepúlveda. courtesy of the artist.

Lucia Koch, Light Corrections – Minus Green, 2017. commissioned by the City of Los Angeles Department of Cultural Affairs. photograph by Kelly Barrie

Lucia Koch, Light Corrections – Minus Green, 2017. commissioned by the City of Los Angeles Department of Cultural Affairs. photograph by Kelly Barrie