museo nacional de

Gorillaz Humanz House Party Locations

(Sorry if someone’s done this already!)

51.51532, -0.13214
England, London, Soho Square

34.09864, -118.26158
America, Los Angeles, Silver Lake Meadow

-23.58741, -46.65763
Brazil, São Paulo, Parquet Ibirapuera

4.66807, -74.09892
Colombia, Bogotá, Jardin Botánico José Celestine Mutis

-33.44158, -70.68186
Chile, Santiago, Museo Nacional de Historia Natural

40.75358, -73.98345
New York, Manhattan, Bryant Park

50.84674, 4.35251
Belgium, Brussels, Grand-Place de Bruxelles

22.30207, 114.15485
Hong Kong, West Kowloon Cultural District, Nursery Park

19.35297, -99.17291
Mexico, Mexico City, Vivero Coyoacán

These are what they have put on facebook (so far??).
This will be updated when more appear. Please bare with me. I’ll try to do it as quickly as possible.

anonymous asked:

Hey, I love you blog, it's fantastic! Can you post anything of the mexican architecture or of the Mexico City, please?

Thanks! I have posted projects from México many many times! You can see posts of art and architecture of México here.

There are really so many projects I would love to include in this post that it was close to impossible choosing only six. Here are six of my favorite projects in México City, el DF:

Residencia Luis Barragán

Keep reading

Curating is a weird sphere. If the art world is already a strange, rare sphere, I feel like curating is even moreso. It’s this weird sphere of power within the sphere of power that already is the art world. It’s hard to penetrate.” 

Gaby Cepeda

Gaby Cepeda is an independent curator and art writer in Mexico City. Her Girls of the Internet Museum (@gim-museum)  is an expansive Tumblr gallery of women working in digital art. She spoke with The Creative Independent in front of a small audience in Parque España, Mexico City. Read more.

Bellos Jueves V - at Museo Nacional de Bellas Artes, Buenos Aires, 2014 > Débora Delmar Corp., Arabica y Robusta, 2014 hanging out with Manet’s Nymph Surprised

The work of Cuban painter Antonia Eiríz abounds with horror and existential panic. Her melting, gaping-mouthed figures derive their disturbing effect from the fact that we cannot imagine them as part of some fantastical, hellish netherworld—rather, they walk among us in familiar settings and scenarios. Attempting to make sense of the anguish and torturedness of her work, much has been made of Eiríz’s biography, from her polio-stricken childhood to the government criticism that allegedly led her to abandon painting midway through her life and flee to Florida. But, in my view, these psychological postulations miss the bigger point. Eiríz’s great achievement was her synthesis of the abstract expressionist ethos that dominated her era with a belief that art can and should reflect critically on its time. The ambiguity she achieved was probably by design, working as she was under the censorious eye of the government. Though it’s hardly explicit, could we not imagine the wall of demonic press photographers in this painting as a commentary on the newly central role of obsequious, revolutionary propaganda? Eiríz received a bit more recognition later in life, even returning to painting in her final years of exile in Miami, but her reputation is not in step with her extraordinary influence in Cuba and beyond. The Museo Nacional de Bellas Artes in Havana is full of incredible canvases by Eiríz, whose crusty surfaces and torrid sweeps of paint I had the great pleasure of experiencing in person this January.

Antonia Eiríz, La Cámara Fotográfica, 1959