In the year 2000, artist Glenda León (Havana, 1976) left small frozen flowers inside ice cubes upon the tables of a bar.
Mexico City’s Tamayo Museum inaugurated the exhibition “Juan Downey| A Communication Utopia”, curated by Julieta González.
Gabriel Pérez-Barreiro: Guy, you have worked primarily as an art critic, but you have also curated several very important exhibitions. Many people think these two activities are somewhat incompatible, and there are few cases like yours. How do you approach this crossover, and what makes you decide to curate an exhibition rather than, say, writing an essay about the same artists?
The Project Five Variations of Phonic Circumstances and a Pause presented by Tania Candiani at Museo Arte Alameda, Mexico City, just received the Award of Distinction in the Hybrid Arts Category of The Prix Ars Electronica.
Adrián Villar Rojas: La inocencia de los animales (The innocence of animals) is organized by Klaus Biesenbach, Director, MoMA PS1, and Chief Curator-at-Large, MoMA.
Nest Gallery in Geneva, Switzerland, provides the setting for the exhibition Universos paralelos (Parallel Universes), which gathers together six Peruvian artists under the curatorship of Caroline Briceño.
In Urban Papers, José Luis Anzizar (Buenos Aires, 1962) continues his series Urban birdwatching, both visually and conceptually, marking itineraries and revealing movements which propose a reflection on the urban fabric and on perception.
In Aníbal Vallejo’s recent series of paintings, different references to the history of painting may be perceived, among them, references to Claude Monet’s
The Museum of Memory is a space devoted to the testimonies of thousands of victims of the period of dictatorial regime in Chile.