Latino Visions#2: The Hours, Visual Arts of Contemporary Latin America

Museum of Contemporary Art, Sydney
until 2 September 2007

Left: Nicola Costantino Soccer Ball 1999 From the series Human Furriery. Silicone and leather. Courtesy Daros-Latinamerica Collection and Museum of Contemporary Art Sydney. © the artist. Photograph: Peter Schälchli

This is an impressive show, notwithstanding (love using that word) my earlier post comparing it adversely to the vibrancy of the MACO art fair in Mexico. I re-visited it the other day, and although I still thought it somewhat sombre and monochrome overral, there's no denying the sheer quality of all the work. As it's one of those 'from the collection of' shows ( in this case the Rio de Janeiro-based Daros-Latinamerica Collection) it can be excused any omissions, for instance Mexican art star Gabriel Orozco. I didn't get the pricey catalogue, so forgive me for not knowing the names of some of the works referred to below.

Several things called me back for a second look. I was fascinated by Nicola Costantino's (Argentina) extraordinary objects, fashioned from latex, but apearing to be human skin, complete with delicate nipples and puckered anuses. Apparently cast from the skin of a male friend of the artist, her technique is astonshingly realistic, and the vitrine-displayed objects (see the soccer ball, left) resonate with a peculiar power. These works have featured prominently in publicity material, and you can by a limited-edition tote bag in the MCA shop. Vik Muniz's (Brazil) portaits of iconic faces - realised in media like black bean soup (Ché Guevara), ink (Warhol) and diamonds (Mariyn Monroe), then photographed, have also been prominent in publicity material. Though somewhat gimmicky, they are certainly highly skilled, visually arresting, and accessible.

I'm often underwhelmed by video art, but José Alexandro Restrepo's (Columbia) single video installation is mesmerising. To wailing voices (of Columbian tribal women), a dark figure punts a canoe along a dark, jungly waterway. There is of course a cultural and environmental subtext which you can read, but the power of this work sustains itself without explanation. It reminded me, if not in content then in atmosphere, of Susan Norrie's video work - there is a sense of foreboding and menace that isn't easy to convey in words.

There's some beautiful (as aways) work from our very own Maria Fernanda Cardoso Columbia/Australia)and a lot more, including some excellent photography and remarkable carpentry, so if you haven't already, go see it - it's free and it's warm inside.

Hasta lluego, crocadillo.