“On Futures” is a series highlighting how designers, artists, curators, and writers envision alternative cultural and architectural temporalities that map out an expansive range of possible futures.
Born in El Salvador, Los Angeles-based artist Beatriz Cortez crafts sculptures—often large, metal, and architectural—that evoke Latinx and Indigenous pasts and presents. Her practice explores simultaneity, life in different temporalities and different versions of modernity, particularly in relation to memory and loss in the aftermath of war and the experience of migration, and in relation to imagining possible futures. Widely exhibited, Cortez’s has had solo exhibitions at the Craft Contemporary Museum and Clockshop in Los Angeles, and has been included in group shows at the Hammer Museum, the Whitney, and Ballroom Marfa, among others. In 2019 she received the inaugural Frieze LIFEWTR Sculpture Prize and in September 2020, she installed her monumental piece Glacial Erratic in New York City’s Rockefeller Center as part of Frieze Sculpture 2020. In addition to her art practice, she is a cultural and literary critic and professor of Central American Studies at California State University, Northridge. Cortez is the author of Aesthetics of Cynicism: Central American Post War Fiction and the author of numerous essays on postwar Central American literature and culture.
“On Futures” is a series highlighting how designers, artists, curators, and writers envision alternative cultural and architectural temporalities that map out an expansive range of possible futures. Brooklyn-based visual artist Olalekan Jeyifous creates work that critiques the present by looking at the past and the future. Trained in architecture at Cornell University, he blends techniques and skills from the field with speculation drawn from a range of science fiction imaginaries from Afrofuturism to Solarpunk—a genre that envisions possible ecological futures under climate crisis. Best-known for his digital illustrations in the series, Shantytown Megastructures, an imagined Lagos, Nigeria in which contemporary ad hoc construction practices are extrapolated into fantastical vertical settlements, his practice crosses between disciplines and mediums, taking shape as drawings, films, and installations. Jeyifous’ work has been shown at the Shenzhen Biennale of Architecture and Urbanism, the Studio Museum in Harlem, and the Guggenheim Bilbao. His large-scale public artworks were shown at Coachella in 2017 and recently along the waterfront in Alexandria, Virginia. He is one of the participants in the 2020-21 cycle of Exhibit Columbus and the upcoming MoMA exhibition, Reconstructions: Architecture and Blackness in America.