In a landmark show spotlighting Latin American and Latino artists, “Pacific Standard Time: LA/LA” took over more than 70 exhibition sites in Southern California this past September—financed with over $16 million in grants from the Getty Foundation. A sequel of sorts to 2011-12’s “Pacific Standard Time: Art in L.A., 1945-1980,” the ambitious new exhibitions focus on modern and contemporary art with sociopolitical imagery—more relevant than ever with government programs such as DACA currently hanging in the balance, and in a city like Los Angeles, where almost half of the population has roots in Latin America. Taking place through January 2018, “LA/LA” explores culture in the region by going beyond geographic borders in order to traverse the migration of ideas, artistic practices and strategies, as well as alliances, dissonances, intersections and lineage. A collaborative effort by nearly 100 institutions, “LA/LA” is an ambitious endeavor and a sharp institutional intervention in an age of aggressive political rhetoric on immigration, binationality, Latino citizens and border control. From Santa Barbara to San Diego, it offers a vibrant deep dive into all types of artistic movements with ties to Latino and Latin American art. The interconnected themes include renegade art in 1990s Mexico; the Japanese diaspora in LA, Mexico City, São Paolo and Lima; and African-inspired art from the state of Bahia in Brazil. Laura Aguilar, Three Eagles Flying, 1990, from the exhibition “Laura Aguilar: Show and Tell” at the Vincent Price Art Museum. This page: Liliana Porter, Minnie/Che, 2003, from the exhibition “How to Read El Pato Pascual: Disney’s Latin America and Latin America’s Disney” at the MAK Center for Art and Architecture at the Schindler House. Opposite page: Tlacolulokos, Untitled, 2017, from the exhibition “Visualizing Language: Oaxaca in LA” at the Los Angeles Central Library. Raúl Cañibano, Playing in bed, Havana, 2013, from the exhibition “Cuba Is” at the Annenberg Space for Photography. This page: Marie Orensanz, Limitada (Limited), 1978, from the exhibition “Radical Women: Latin American Art, 1960-1985” at the Hammer Museum. Opposite page: Eduardo Sarabia, Desert Daze, 2015, from the exhibition “Eduardo Sarabia: Drifting on a Dream” at The Mistake Room. THIS PAGE: PHOTOGRAPHY COURTESY OF PABLO LOPEZ LUZ; OPPOSITE PAGE: BY RONALD AMSTUZ, COURTESY OF THE ARTIST Opposite page: Pablo López Luz, Tijuana – San Diego County III, Frontera Mexico – USA, 2014, from the exhibition “Point/Counterpoint: Contemporary Mexican Photography” at the Museum of Photographic Arts. This page: Valeska Soares, Un-rest, 2010, from the exhibition “Valeska Soares: Any Moment Now” at the Santa Barbara Museum of Art. Tomás Saraceno, GJ 876 c/M+M, 2016, presented by Tanya Bonakdar Gallery in the Galleries sector.
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