On Earth Day 2025, we have a look at among the artists at Frieze New York this 12 months are exploring our evolving relationship with the earth and different residing beings. Particularly, these working in Central and South America have created works that join with the urgencies of local weather change and habitat destruction, but in addition the methods wherein the worldwide Covid pandemic has modified the way in which people perceive their place within the pure world. In works by artists resembling Pia Camil, Claudia Alarcón, Maria Nepomuceno and Beatriz Milhazes, we see how environmental connections may be expressed by community-making and an consciousness of ancestral traditions of inventive kinship.
Beatriz Milhazes at Fortes D’Aloia & Gabriel (Stand B14)
Fortes D’Aloia & Gabriel is exhibiting works by Beatriz Milhazes in a three-way presentation with Antonio Tarsis and Tadáskía. Throughout Frieze Week, she can also be the topic of a show on the Guggenheim, ‘Rigor and Magnificence’, which focuses on the environmental points of her follow. Milhazes has at all times referenced nature, significantly the flora of her native Brazil, in her work and collage works (her Rio studio overlooks town’s botanical gardens), combining it with geometric parts to have a tendency in direction of abstraction reasonably than depiction. Her singular strategy of utilizing flat dried sheets of paint as collaging materials even hints on the conventional home craft of urgent flowers and vegetation to protect them as 2D pictures. Her most up-to-date work examine extra explicitly the religious and therapeutic energy of nature in a post-pandemic world, and the way the pure order exhibits us cycles of life, demise and renewal.
Beatriz Milhazes: Rigor and Magnificence is on view on the Guggenheim Museum, New York till 7 September 2025.
Pia Camil at OMR (Stand D4) and Instituto de Visión (Stand D9)
Mexican artist Pia Camil is famend for her large-scale, community-generated installations, reflecting her curiosity in the way in which artists would possibly collaborate and have interaction with different individuals. Her most up-to-date works, on present at Frieze New York with each OMR and Instituto de Imaginative and prescient, had been created throughout her 2024 artist residency at Headlands Middle for the Arts in Sausalito, California. They sign a shift of focus to exploring the connection between people and different species, introducing erotic parts to counsel a legendary dimension to that dialogue (and that, in the event you see the pure order in fetish phrases, people is likely to be subs greater than doms). Camil, who relocated to the historic Aztec metropolis of Acatitlán throughout the Covid pandemic, is presently planning a group gathering area particularly targeted on sharing and studying about people’ relationship to the pure world.
Claudia Alarcón at Proyectos Ultravioleta (Stand C4)
A part of Proyectos Ultravioleta’s group presentation (alongside Basel Abbas & Ruanne Abou-Rahme, Hellen Ascoli, Edgar Calel, Rosa Elena Curruchich and Paula Nicho) Claudia Alarcón’s suspended woven textiles make use of pure supplies and natural types, reinforcing their implicit (and literal) interconnectedness. Alarcón, a textile artist from the Wichí individuals of northern Salta, Argentina, was featured on the 2024 Venice Biennale. Working with a collective referred to as Silät, she spins and dyes fibres from the native chaguar plant, earlier than weaving them into textiles. Each in materials and narrative, the ensuing items signify a reference to water and land, and the normal tales dreamt and informed by elders in the neighborhood concerning the relationships that people forge and break with all residing issues.
Nohemí Pérez at Instituto de Imaginative and prescient (Stand D9)
The curated stand at Instituto de Imaginative and prescient referred to as ‘Twisted Our bodies’ options 5 artists from the Americas who take into account the physique as a geographical agent and a singularity that shares the collective struggles of its group. Colombian artist Nohemí Pérez displays on our bodies crossing the Darién Hole, a notoriously harmful space of marshland and rainforest between Colombia and Panama on a daily migrant route. Over time, Pérez’s works have persistently used uncooked linen, charcoal and cotton-thread embroidery supported by copper tubes, as if the work themselves have needed to be manufactured from out there supplies, or that they may must be dismantled and moved at brief discover. Her latest canvases, although, explode with dense inexperienced foliage, with leaves like scales of armour, suggesting each safety and the violent repulsion of frail our bodies. The irony is that the Darién forest itself is without doubt one of the most weak residing issues in these photos.
Denilson Baniwa, Kelton Fausto Campos and Maria Nepomuceno at A Gentil Carioca (Stand B17)
Rio de Janeiro and São Paulo gallery A Gentil Carioca can also be presenting a curated stand, based mostly on the concept of Brazil as earth – as terrain, floor, homeland, nest and fertile floor. The stand’s three artists, Denilson Baniwa, Kelton Campos Fausto and Maria Nepomuceno, every take into account the earth by way of the bodily substrate and supply of life, but in addition as a logo of reminiscence and future, and because the focal aircraft for pressing social, political and environmental points. Attending to grips with this materials, there’s an emphasis on clay within the presentation. Non-binary artist Kelton Campos Fausto, who works in ceramics, efficiency and portray, appears to be like on the ‘misunderstanding of the Black diaspora in Brazil’, in canvases daubed with earthy tones and peopled by crude black acrylic figures. Maria Nepomuceno references Indigenous communities, weaving traditions and Carnival in her work to query political concepts of ‘cultural range’. Indigenous artist Denilson Baniwa creates interventions in his work, interrupting complacent linear concepts of inventive evolution and incorporating parts resembling beads, seeds, armadillo tails and feathers in his items.
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