Reviews
Seen from far away, one of the pieces at Jac Leirner's retrospective show now on at Estação Pinacoteca in São Paulo looks like an all white minimalist composition, a Robert Ryman of sorts, discrete and almost about to disappear against the immaculate wall of the museum.
It is an often told story that the Nazis confiscated gold during their pursuit of Jews in 1930s Germany and later detoured all the wealth they could amass to South America, hiding the valuable metal in the parts of tractors and even in submarines en route to countries like Chile.
The splendid exhibition “Gods, rites and trades of Pre-Hispanic Mexico” displays over 150 beautiful antique pieces from the cultures of the Gulf of Mexico.
Max Gómez Canle (Argentina, 1972) creates a magical atmosphere with marvelous paintings, unexpected volumes and delicate voids in Chambre Mentale, a show with a setting design that induces the visitor to observe all the works at the same time from a distance, verifying at first sight the outstanding amalgam.
The sculpture in white tissue paper by David Maggioni from Santa Fe (Argentina, 1988), which inundates the new space of Ruth Benzacar Gallery, resembles a great and soft, peaceful white cloud.
Undoubtedly, throughout the 19th and 20th centuries, photography - although also cinema - has contributed to configure the identity profile of the major large cities of the world, which are privileged objects of its shots.
