Bolivian carnival costume embroidery and LED lights on stainless steel frame\t\t\t\t\t \t\t\t\t \t\t\t \t\t \t woven threads and LED lights on stainless steel frame \t\t\t\t \t\t\t\t \t\t\t \t\t \t Bolivian carnival costume embroidery and LED lights on stainless steel frame\t\t\t\t \t\t\t\t \t\t\t \t\t \t Kenia Almaraz Murillo draws on the new and the traditional in her exhibition 'Andean Cosmovision' at London's Waddington Custot Murillo adorns her wall hangings with found from car headlights to motorbike headlamps woven with alpaca threads from Bolivia in a mish-mash of textural nods Bolivian carnival costume embroidery and LED lights on stainless steel frame each piece bears witness to a specific encounter ‘My approach is one of paying homage I have a great admiration for living animals I try to make them come alive through my threads and to almost relive those precise moments when the discovery took place I am highlighting the past by making it alive in the present a way of talking about the nature that surrounds us of becoming aware of the beauty of this Earth and thanking it woven threads and LED lights on stainless steel frame Murillo was taught how to weave in Paris by artist Simone Prouvé Returning to Bolivia for the first time at age 16 friends and local traditions – creating memories and references that she intertwines throughout her work ‘My story with weaving began when I saw my mother spread out some "aguayos" (woven cloths) on the ground to have them take a "baño de Sol" (sunbath) I felt like I was meeting my ancestors through their lines [my] work represents a true meeting between two cultures but I am also working toward finding an overall balance between natural elements and contemporary elements: the quest for harmony in this area is another important root of my work,’ she adds ‘I was born in Santa Cruz and grew up in Paris I think I have always wanted to find a connection somehow between these two cultures I learned weaving in France and this allowed me to reactivate the link with my weaving ancestors in Bolivia Linking thread and light is a personal signature that allows me to honour ancestral knowledge and connect it with modern technology – making them both more alive than ever.’ Kenia Almaraz Murillo's exhibition, 'Andean Cosmovision', is at London's Waddington Custot waddingtoncustot.com Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox. Kenia Almaraz Murillo, El Lagarto, 2024, woven threads, Bolivian carnival costume embroidery and LED lights on stainless steel frame Hannah Silver is the Art Watches & Jewellery Editor of Wallpaper* she has overseen offbeat design trends and in-depth profiles and written extensively across the worlds of culture and luxury. She enjoys meeting artists and designers viewing exhibitions and conducting interviews on her frequent travels. FAD Magazine FAD Magazine covers contemporary art – News Exhibitions and Interviews reported on from London Kathy Murillo opened their solo exhibition OWN JUSTICE at ST.ART Gallery’s new space in Soho during London Gallery Weekend OWN JUSTICE highlights the voices of intergenerational women and their journeys of finding inspiration and solace in shared experiences of sisterhood and solidarity Kathy Murillo challenges the conventional notions of belonging by foregrounding vulnerability feminist Dutch-Latinx artist living in the Hague Jessica Wan: Could you tell us about your show What is the starting point for this new body of work Kathy Murillo: My upcoming show focuses on empowerment inspired by my experiences and those of women around me It also delves into my ancestral womanhood exploring how struggles and resistance could shape one’s identity I’ve transformed that into a form of empowerment for myself and others This exhibition is a reflection of that personal journey I began with a critique of how the justice system often fails survivors sacrificing their well-being for bureaucratic convenience (2023) brings attention to the justice system I tried to report an assault but was initially dismissed by the police the process was disheartening and ultimately dismissive This experience drained me and motivated me to create an artwork that highlights the flaws in the justice system It was both painful and healing to reenact my interaction with the police The name of the artwork shown on ST.ART Gallery is Inspired by a booklet given to sexual assault survivors (2023) aims to raise awareness and question what comes next JW: The empowerment of ancestral womanhood and collective resilience is a thread that weaves through your practice How does your personal journey support the creation of new narratives in your work KM: My life has been shaped by the strong women in my family and mother who were stand-ins for male figures all of whom faced and overcame many struggles This experience along with the challenges I faced when I moved to the Netherlands has deeply influenced how I perceive the world I filter these personal stories and hardships through the lens of collective resilience to create narratives of survival and triumph. The installation Fluid Chair (2023) holds deep personal significance as it symbolises my journey—returning from Venezuela to Holland The reconstructed chair proposes the idea that our identity and sense of belonging are dynamic and capable of transformation and evolution JW: I appreciate you sharing this so openly with me traumatic and oppressive experiences are challenging to deal with Do you have any advice for coping with difficult moments and transforming them into a more empowering force We need to feel and survive in our own ways not only for myself but also for those around me I don’t ask why it’s happening to me I wonder if others are going through similar situations This shift in perspective helps me feel less alone and empowers me to address issues on a collective scale. It’s also important to be aware of your feelings and give yourself time to heal as well as sharing my experiences with supportive people Taking the time you need and listening to your body is vital rather than forcing yourself to act before you’re ready JW: We live in a society that emphasises productivity and often discourages emotional expression Is there a way to grow at a slower pace and embrace vulnerability in our everyday lives and time is something I often reflect on myself Productivity is heavily influenced by our adherence to clock time To embrace vulnerability and connect with ourselves By taking moments to centre ourselves and prioritise our well-being over productivity we can foster a deeper understanding of ourselves and our needs is often driven by economic demands and lacks consideration for our holistic health To truly become more vulnerable and self-aware we must deconstruct this rigid concept of time Tiempo sinking (2024) explores the struggle against clock time reflecting on the cyclical nature of womanhood allowing spiritual time to guide my creative process Our fixation on productivity-driven schedules overlooks individual journeys it’s essential to align with our spiritual time rather than being dictated by the clock what are your sources of inspiration and refuge KM: I draw inspiration from various sources for my artworks (2023) was influenced by Sara Ahmed’s insights on systemic issues which help me recover from intense research on trauma I feel a constant connection and collaboration with everyone and everything the work Anti (2023) explores the entanglement of colonial past and present to reflect on the suffering caused by exploitation we see ongoing suffering in places like Congo I want to question and challenge the legacy of colonialism through this work and that our shared futures should be grounded in collaboration and how has your collaboration with ST.ART Gallery been KM: Own Justice is my first solo show ever and having it in London makes it even more meaningful I have lived in London for six months and that was an amazing experience I love the city’s cultural diversity which makes it feels like home to me. I am grateful for the collaboration with ST.ART Gallery When Charlie called me saying he was opening a gallery and wanted me to be the first artist to have a solo show there I first met Charlie at Central Saint Martins where we were working with other classmates and a curator to set up exhibitions Charlie was curating a show and saw a huge painting I made in the studio which was a wonderful surprise after only being in London for a month at the time It’s similar to what’s happening now — he saw my work and our collaboration happened organically I’m eager to learn their thoughts and hope they leave with new questions about the Dutch justice system and possibly prompting them to question their own Kathy Murillo, OWN JUSTICE, 31st May – 14th June 2024, ST.ART Gallery, 36 Eastcastle Street aims to provide essential visibility for exceptional emerging international artists and demystify the London art scene by connecting people through contemporary art Following a series of successful pop-up exhibitions ST.ART is now making a significant leap into a permanent space Recognising the deep-rooted elitism in the art world ST.ART emphasises active engagement and inclusivity by encouraging visitors to engage in meaningful dialogue and inquiry We met whilst studying Fine Art at CSM and I was instantly drawn to their unique ability to depict and reappropriate pain realising empowering imagery and experiences I am thrilled to present Kathy’s significant new body of work to a larger audience and begin this new chapter Jessica Wan Jessica Wan is an independent curator and writer. She has worked closely with artists and thinkers to develop works in non-profit and commercial organisations, including museums, foundations, galleries, biennales and cultural festivals. Her recent curatorial research focuses on visual artists who engage with ecology, diaspora, feminism and contemporary non-western practice. She has lectured and facilitated workshops at Chelsea College of Arts, Tate, INIVA and TrAIN. At a time when contemporary textile practices often succumb to either decorative nostalgia or hyper-digital spectacle, Yang Yumeng’s “Dining with […] Emerging visual artist Wanting Wang, who has rapidly gained recognition in the art world, recently presented her photographic work Liquid […] What does leaving your home country and moving to the UK feel like? We bring our experiences and traditions with […] Two minutes into my interview with Seffa Klien, granddaughter of Yves Klein, we are already discussing the dreams we had the night before— Join the FAD newsletter and get the latest news and articles straight to your inbox Please enable JS and disable any ad blocker his reputation nosedived in the late 19th century when his hefty religious canvases and genre paintings documenting Andalusian street life came to be viewed as over-sentimental and kitschy Murillo was practically written out of art history altogether considered too tame and treacly for contemporary tastes the Sevillian’s oeuvre has quietly crept back into vogue—culminating in 2018 as cities on both sides of the Atlantic celebrate the 400th anniversary of his birth Murillo’s early paintings were heavily influenced by Zurbarán’s chiaroscuro style featuring illuminated countenances of saints and angels against dark As a devout Catholic with close associations to Seville’s religious orders the fledgling artist quickly became known for his spiritual canvases Yet Murillo was no one-trick pony. Unlike his Spanish contemporaries, he ventured beyond religious themes to paint Sevillian street life. His touching (if idealized) depictions of street urchins, beggars, and flower girls were likely commissioned by itinerant Flemish merchants who frequented the city. While the gritty subject matter might have been familiar to viewers in the Protestant Dutch Republic it was boldly revolutionary in Catholic Spain Murillo had produced more than 400 paintings and cemented a legacy that would endure for some 200 years—making his paintings a magnet for collectors Another Murillo that went missing was The Vision of Saint Anthony (1656) which eschewed the contrasts of chiaroscuro in favor of a more light-handed the painting was the victim of a notorious art heist in 1874 when an unknown thief cut the figure of Saint Anthony out of the canvas The fragment turned up in New York several months later whereupon it was quickly sent back to Spain and re-inserted into the painting Bartolomé Esteban MurilloThe Return of the Prodigal Son, 1667/1670National Gallery of Art, Washington D.C. Murillo was “He was incredibly famous up until the 19th century,” says Salomon “but with shifting fashion for art—and because of many of the subject matters he treated—he has been less popular preferred the vivid portraiture of Velázquez to the wispiness of Murillo “It is a unique opportunity to see them reunited,” Salomon Meanwhile, the “Año Murillo” in Seville—a public celebration of the artist’s quadricentennial organized by the city’s government—has reunited other notable Murillo paintings from across the world The various sections of an altarpiece commissioned by a local Capuchin convent scattered during the Napoleonic conquests of the 19th century have been reassembled for a show at the city’s Museo de Bellas Artes “Murillo and His Trail in Seville” at the Espacio Santa Clara studies his far-reaching influence on other painters while the local cathedral has unveiled an exploration of his religious work Murillo’s legacy is now poised to rejoin that of the Spanish greats The Ripon Unified School District brought on one new teacher and 11 substitute teachers in the early weeks of the new school year That’s according to the Human Resources list presented at the monthly school board meeting last week Included was Lily Valek-Spears as the new instructor at Park View Elementary School along with added numbers to substitute teaching pool consisting of the following: Rachel Sausedo Jason Soriano was brought on as campus security and Bernice de Witte was hired on to Education Specialist Services RUSD Food Services will welcome a new head cook in David Vargasson coupled with three substitute helpers in Judith Gillihan Michelle Keith was hired as the assistant to the Ripon Afterschool Program while Amanda Clifford is the latest addition to Library Services The others on the August new-hire list were Jennifer Vargas (Paraprofessional / Colony Oak Elementary School) Sierra Silva (Paraprofessional / Weston Elementary School) Christopher Lawrence (Paraprofessional substitute) Natalie Hanrion (secretary / Ripon Elementary School) accepted one retirement and nine resignations to go with 13 new hires on Monday Retiring was Ripon High English teacher and former Harvest High principal Sergei Samborski Nichole Meyer was brought on as the new English instructor at RHS Elected leaders also approved Lisa Roper and Jaime Krawchuk as the new teachers at Ripona Elementary School and D’Elena Woodruff as the Tier III teacher at Colony Oak Elementary School Madison Curtis is the newcomer at Weston Elementary School serving as the 1:1 aide while Victoria Pacheco will be the Title I aide at Ripon Elementary School RUSD welcomed Jody Swanson as the paraprofessional rover and Shannon Hartley as a certificated substitute The following were approved as certificated subs / residential teachers: Anthony LaRossa (RHS) ArtReview News12 April 2016artreview.com In a video on French journalist and curator Judith Benhamou-Huet’s blog which wanted to propose a strong situation there seemed to be a lot of conservative attitudes toward allowing an artist to be really freely expressive… So even though there was a degree of satisfaction with what I wanted to offer I nevertheless thought that it wasn’t enough that simply intervening in a space was too symbolic Murillo spoke during a panel discussion at Art Basel Hong Kong expanding on his point: ‘For there to be a valid and open conversation that transpasses [sic] the current still-dominant colonial situation in which we still live in – from a Western context pretty much ready to penetrate the rest of the world as it has been for 500 years or more – we in the context of the art world need to get rid of people like Hans Ulrich Obrist and all these curators and individuals that keep the status quo.’ ArtReview News Mia Stern News ArtReview Newsartreview.com02 May 2025 The painting, worth €50 million, has sustained visible scratches The 10 Exhibitions to See in May 2025 ArtReview Previewsartreview.com02 May 2025 Our editors on the exhibitions they’re looking forward to this month, from the Venice Architecture Biennale to Gallery Weekends in Berlin and Beijing AdvertisementHow the Museum Became a Weapon William Shoki Opinionartreview.com02 May 2025 In apartheid South Africa, museums glorified white settlement and erased Black history; in the US today, they are again being captured under the guise of neutrality Vyjayanthi Rao to curate 2026 Sharjah Architecture Triennial Mia Stern Newsartreview.com02 May 2025 She will be joined by Tau Tavengwa as associate curator Ari Emanuel buys Frieze from Endeavor ArtReview Newsartreview.com01 May 2025 The entertainment company’s own former chief executive has acquired Frieze for a reported $200m Inaugural Annie Leibowitz prize awarded to photographer of migrant experiences ArtReview Newsartreview.com01 May 2025 Zélie Hallosserie to receive $10,000 for her documentary work in Calais Helmut Lang Has Always Been Provocative Claudia Ross ReviewsArtReview01 May 2025 Lang’s newest artwork, like his clothing, explores the uncanny ways that industrial refuse can interact with and even evoke human flesh IKOB Feminist Art Prize announces winners ArtReview Newsartreview.com01 May 2025 Matt Copson: Never Grow Up Martin Herbert ReviewsArtReview30 April 2025 “What’s living with no hope?” asks the artist’s big animated baby at KW, Berlin. One thing is certain: we can’t stop watching Disability Is Not a Separate Category of Personhood Alice Hattrick Opinionartreview.com30 April 2025 The disabled experience is increasingly visible in the artworld yet an ableist political landscape is constantly on the attack. This affects us all We use cookies to understand how you use our site and to improve your experience. This includes personalizing content. By continuing to use our site, you accept our use of cookies, revised Privacy.