PALMA DE MALLORCA.- The exhibition "The Agony and the Ecstasy" opened at the Es Baluard Museum in Palma de Mallorca and is on view until October 2nd 2016. Subtitled "Latin American art in Mallorca collections; a review based on contemporaneity", the exhibition shows 90 works of art, including painting, photography, installations, etc. (from private collections and art galleries) by 55 of the most important Latin American artists on the contemporary international art scene.

Curated by Nekane Aramburu, Director of Es Baluard, and assisted by Gerardo Mosquera, this exhibit is a project that shows the evolution of contemporary Latin American art through its presence in the collections of Mallorca. As Gerardo Mosquera points out this proves "the growing importance of private collectors in the articulation of the market, circulation and legitimization of art".

The genealogy of the exhibition reflects the conflict, the aesthetics, the social political commitment and the evolution of the art trends in a distant geographical area that remains however connected with the way we understand the fractures of Postmodernism.

Produced entirely at Es Baluard museum, "The Agony and the Ecstasy" proves that art collecting in Mallorca has become an international meeting point. It shows how it has helped to shape the concept of "Latin American art" along with other terms, such as "international" or "identity". The different pieces of the exhibition deal with universal problems, but share a common background that speaks loudly about political, social and personal tensions.

Artists
Allora & Calzadilla (Philadelphia, EE.UU, 1974 - La Habana, Cuba, 1971); Francis Alÿs (Antwerp, Belgium, 1959); Carlos Amorales (Mexico City, 1970); Alexander Apóstol (Barquisimeto, Venezuela,1969); Artur Barrio (Oporto, Portugal, 1945); Eduardo Basualdo (Buenos Aires, Argentina, 1977); José Bechara (Rio de Janeiro, Brazil, 1957); José Bedia (La Habana, Cuba, 1959); Ángela Bonadies (Caracas, Venezuela, 1970); Iñaki Bonillas (Mexico City, Mexico, 1981); Tania Bruguera (La Habana, Cuba, 1968); Daniel Chust Peters (São Paulo, Brazil, 1965); Nicola Constantino (Rosario, Argentina, 1964); Abraham Cruzvillegas (Mexico City, 1968); Dr. Lakra (Mexico City, 1972); Leandro Erlich (Buenos Aires, Argentina, 1973); León Ferrari (Buenos Aires, Argentina,1920-2013); Regina José Galindo (Guatemala, Guatemala, 1974); Carlos Garaicoa (La Habana, Cuba, 1967); Mario García Torres (Monclova, Mexico, 1975); Luis González Palma (Guatemala City, Guatemala, 1957); Federico Herrero (San José, Costa Rica, 1978); Alfredo Jaar (Santiago de Chile, 1956); Roberto Jacoby / Alejandro Ros (Buenos Aires, 1944-Tucumán, 1964; Argentina); Kcho (Nueva Gerona, Isla de la Juventud, Cuba, 1970); Guillermo Kuitca (Buenos Aires, Argentina, 1961); Glenda León (La Habana, Cuba, 1976); Aníbal López (Guatemala, 1964-2014); Marcos López (Santa Fe, Argentina, 1978); Los Carpinteros, Colectivo (La Habana, Cuba, 1992); Rafael Lozano-Hemmer (Mexico City, 1967); Jorge Macchi (Buenos Aires, Argentina, 1963); Fabián Marcaccio (Rosario, Argentina, 1963); Marepe (San Antonio de Jesús, Bahía, Brazil,1970); Teresa Margolles (Culiacán, Mexico, 1963); Jorge Mayet (La Habana, Cuba, 1962); Adrián Melis (La Habana, Cuba, 1985); Ana Mendieta (La Habana, Cuba, 1948-New York, USA.1985); Priscilla Monge (San José, Costa Rica, 1968); Cirenaica Moreira (La Habana, Cuba, 1969); Vik Muniz (São Paulo, Brazil, 1961); Óscar Muñoz (Popayán, Colombia, 1951); Ernesto Neto (Rio de Janeiro, Brazil, 1964); Andrés Felipe Orjuela Castañeda (Bogotá, Colombia, 1985); Damián Ortega (Mexico City, Mexico, 1967); Cecilia Paredes (Lima, Perú, 1950); Liliana Porter (Buenos Aires, Argentina, 1941); Wilfredo Prieto (Sancti Spiritus, Cuba, 1978); Rosângela Rennó (Belo Horizonte, Brazil, 1962); José Alejandro Restrepo (Bogotá, Colombia, 1959); Miguel Río Branco (Las Palmas de Gran Canaria, Spain, 1946); Doris Salcedo (Bogotá, Colombia, 1958); Tunga (Palmares, Brazil, 1952); Sandra Vásquez de la Horra (Viña del Mar, Chile, 1967); Adrián Villar Rojas (Rosario, Argentina, 1980).