Permission to fall is a performance that triggers an event evocative of sculpture that occurs through unexpected encounters. For the first time in the history of Frieze Sculpture, an artist has been commissioned to create a performance work. Connected to the conception and experience of sculpture, Permission to fall will take place at the weekend, in the afternoons at unspecified times. The non-descriptive nature of this announcement is intended to blur the boundaries between routine, everyday acts, events and art encounters. 

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Eduardo Terrazas design for the 1968 Olympics in Mexico, is included in the exhibition When the World Is Watching at the San Francisco Museum of Modern Art. 

“ Major international competitions where athletes compete as members of a national team are highly anticipated and widely watched media events. Such tournaments find participants facing their fiercest competitors, and often befriending them. Host cities invest in building state-of-the-art arenas, transportation, and hospitality to increase tourism. Nations finance research and development of performance sports gear, like the racing wheelchair and hydrofoil sailboat on view here, which in turn influence the sporting goods made available to the public. Given the global attention, many athletes take the opportunity to surface inequities they have encountered for broader perspectives and debate. In addition to showcasing the highest level of performance, international games spur innovations in design and urban planning, and significant discussions that influence broader social progress. "
– SFMoMA

The exhibitions is on view from the 17^th of August 2024  to the 4^th of May 2025

A site-specific intervention by FOS at the Anahuacalli Museum in Mexico City.   

The project combines sculpture, architecture, design, and music to create a space that fosters reflection and discussion on the concept of Justice and the creation of laws as manifestations of social cooperation.    

Architecturally, ABOGADO is conceived as a 10 x 10 meter plan volume that symbolizes the structure within which we organize ourselves as a society. Inside, it houses enough space to carry out activations through the public program and the presence of visitors. The pavilion is oriented in the space in relation to the Anahuacalli museum building. The entrance of the pavilion welcomes the public entering the esplanade, and the exit coincides with the main entrance of the museum, connecting both buildings.    

For this intervention, artist FOS was inspired by one of the multiple facets that the Anahuacalli and the City of the Arts project conceived by Diego Rivera had in their origins: to provide space for reflection on relevant topics and artistic and cultural expressions of the contemporary world, as well as to provide a space where different crafts and disciplines could coincide. Taking this as a starting point, FOS sought to create a space to think about our coexistence in freedom under the law, as well as our ability to re-imagine and redesign a future based on our past and present, maintaining ourselves as a free society.   

The roof of the pavilion is composed of magnified fragments of Mesoamerican pieces belonging to the Anahuacalli museum collection, thus integrating the history of the place and the original vocation of housing Diego Rivera’s collection.    

As in most of FOS’ previous works, this space conveys the history of the place through signs and references. When entering the pavilion, the public will be covered by fragments of artifacts from their own history.

The exhibition is open from July 20 to August 11, 2024

Tove Storch’s work “Untitled” (2024) is part of the exhibition “SAMMENBRUD” at Ved Skoven, on view until September 1, 2024.⁠ ⁠

A long row of rusted iron rods rests like heavy wet ropes over two transverse bars. The hard individual parts fuse together like threads in a huge piece of textile that is hung to dry. The threads resemble a drawing, a transparent sculpture, simply made up of lines.⁠ ⁠

Photo: Malle Madsen⁠

For Heartland Festival 2024, Tove Storch created a site-specific installation for people to interact with while washing their hands at the festival site.⁠ ⁠

With this work, Storch set the stage for a grand communal ritual performance, where the audience could rub their wet hands up and down soft, smooth sculptural forms. Storch emphasized the sensory experience, highlighting the intense interaction between the body, hands, and imagination with the object.⁠ ⁠

Photo: Anne Mie Bak 

Lea Porsager’s work “OFFSHORE G.O.D. [Generator. Organizer. Destroyer.], Remains.” (2024⁠) is part of the exhibition ”After the Sun — Forecasts from the North” at the Buffalo AKG.⁠ ⁠

The exhibition is curated by Helga Christoffersen, and is on view through August 19, 202⁠4.⁠ ⁠

Photo: Brenda Bieger⁠ ⁠

Ed Templeton's 'Wires Crossed' is part of the group exhibition ‘Turning the Page’ at Pier 24 Photo Museum, San Francisco, CA, US. ⁠
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In 'Wires Crossed' Templeton shares all aspects of his life and the lives of his friends and colleagues. On their tours, they explore their own boundaries, both physical and mental. The photos show the twilight zone between adolescence and adult life: jokes, broken bones, boredom, arguments and sex.⁠
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The exhibition is on view through December 31, 2024⁠

Photo: Josef Jacques

The work of Eduardo Terrazas, spanning five decades from 1968 to 2023, is currently featured in a comprehensive exhibition at The Museum of Contemporary Art of Monterrey (MARCO).

“The Museum of Contemporary Art of Monterrey presents the exhibition Eduardo Terrazas. Multiple balance. Works and projects (1968-2023), a retrospective of more than five decades of the career and legacy of the Mexican architect, designer and artist. The exhibition comes from the Museum of the Palace of Fine Arts and is organized in collaboration with the federal Ministry of Culture and the National Institute of Fine Arts and Literature (INBAL). For its presentation at MARCO, projects developed by Terrazas for Monterrey were added to the exhibition, such as Cintermex, located inside the Fundidora Park.

Curated by Daniel Garza Usabiaga, who points out that Terrazas' projects throughout his career “have stood out for their iconic character; Furthermore, their humanist vocation unites them.” And through multiple disciplines, Terrazas has created stimulating and imaginative works, many of them placing the viewer as an important part of the piece. In the exhibition at MARCO, the public will be able to appreciate not only the pieces of geometric and color composition that distinguish Terrazas, with its wool thread technique applied to the surface with Campeche wax, but will also have the experience of enjoying immersive installations, such as Crecimiento exponential (2014) or the recreation of the Imagen México mural, a logo printed on reflective metallic paper that he created in 1969 for the inauguration of the Metro in Mexico City, which was included in the exhibition Graphics 1: New Dimensions at the Museum of Art New York Modern (MoMA) in 1970.”
- MARCO

The exhibition is on view until November 2024