The art historian and former curator of the National Museum of Colombia, Natalia Vega, reflects on Juan Manuel Echevarría's (Meddellín, 1947) artwork through Ríos y Silencios (Rivers and Silences) exhibition held at the Museum of Modern Art in Bogotá (MAMBO) between 2017 and 2018.
JUAN MANUEL ECHAVARRÍA: RIVERS AND SILENCES
Anchoring the observation at Sonia Falcone: Fields of life exhibition held during 2017 at the Royal Palace in Lisbon, the editorial staff of Arte Al Día Internacional makes an approach to the artwork of the Bolivian artist Sonia Falcone (Santa Cruz de la Sierra, 1965).
SONIA FALCONE: LIFE FIELDS
Through the exhibition that the Cisneros Fontanals Foundation held in 2017 for its fifteenth anniversary, Yunekis Villalonga makes a revaluation of the foundation scholarship and commission program.
RETHINKING LATIN AMERICA: CIFO'S GRANTS AND COMMISSIONS PROGRAM
Monument of the heroes, Bogotá.
En su proyecto curatorial desarrollado para Fuera de Foco -sección experimental de BAphoto-, Alfredo Aracil propone una reflexión respecto a lo ornamental, entendido como síntoma.
FUERA DE FOCO: UNA REINTERPRETACIÓN DE LO ORNAMENTAL
In BAphoto 2019, the Sasha D gallery presents thirty-five frames intervened by Carlos Alonso for an experimental film by Alejandro Mathe in 1960. The work, never before exhibited, is an exemplary piece that illustrates the avant-garde movements of the 60s and 70s in Argentina.
CARLOS ALONSO AND AN UNUSUAL APPEARANCE IN THE EXPERIMENTAL CINEMA OF THE 60
En plena Ciudad de Buenos Aires hay un pedazo de litoral. El susurro denso de los grillos del campo húmedo reproduce un eco exhaustivo. En la sala se proyectan los testimonios de dos señoras mayores. Leemos lo que dicen en subtítulos porque los videos están silenciados. Los bichos del humedal monopolizan el espacio: el sonido se vuelve casi material en la sala.
EL PEZ REY: EL POTENCIAL DEL ARCHIVO Y LA LEGITIMACIÓN DEL RELATO
The art collection of Juan Carlos Maldonado, from Miami, is a treasure that runs through geometric abstraction and concretism with its social implications, mainly in South America and extended to the international scene.
THE UNBOUNDED LINE: A SELECTION FROM THE JUAN CARLOS MALDONADO ART COLLECTION
In a dialogue between techniques, rituals, mythologies and stories, Argentine artists Constanza Chiappini, Gonzalo Maggi and Julia Rosetti establish a story that challenges the present in the exhibition The first sword was a gift.
THE FIRST SWORD WAS A GIFT
Within the framework of what was Radical Women exhibition that was given at the Hammer Museum, L.A., California, independent critic and curator Adriana Herrera Téllez reflects on the visibility of these artists and the legacy proposed by the catalog.
Elvis Fuentes reflects on Stories of Sexuality exhiition in the MASP and the importance of controversial art.
In a context of hyperinformation and image overproduction, José Antonio Navarrete reflected on the construction of meaning in contemporary visual arts from the artwork of Willy Castellanos.
RETURN TO KOYAANISQUAATSI: WILLY CASTELLANOS AT THE KENDALL ARTE CENTER IN MIAMI
Argentine artist Constanza Oxenford presents Dimensions of the same, her second solo show at OdA, Art Gallery
DIMENSIONS OF THE SAME
The Rolf Art gallery exhibits Falta compartida (Shared Absence). Conceived as a collective exhibition in collaboration with Mon Charpentier, eleven Latin American artists approach memory from diverse languages.
SHARED ABSENCE, A DIALOGUE ON MEMORY
At his 90, the Kirchner Cultural Center presents the most important retrospective of Julio Le Parc. Main figure of optical art and international avant-garde, Julio Le Parc. A visionary will accompany the exhibition that is being set up by the National Museum of Fine Arts of Buenos Aires.
JULIO LE PARC, A VISIONARY
On exhibition at the Modern Art Museum of Buenos Aires until September 29, ¿Quién es esa chica? (Who's that girl ?), by Flavia Da Rin, is the first retrospective in a museum of one of the most relevant figures of the Argentine contemporary scene.
WHO'S THAT GIRL?: FLAVIA DA RIN IN THE MODERN ART MUSEUM OF BUENOS AIRES
"The Scottish artist Andy Goldsworthy said that his art school was not the academy but the beach. Mine was the VCR," wrote Leandro Erlich in the framework of his exhibition Coming Soon, in Ruth Benzacar.
LEANDRO ERLICH AT RUTH BENZACAR
Problems between the genius artist myth and the woman sign. Review of Gachi Rosati's Ver la diferencia (See the difference) exhibition at Lanzallamas Art Space.
RESONANCES OF PRESENT DAY RE-ELABORATED SELFPORTRAITS
At France National Library in Paris, a tribute is paid to the renowned Argentine artist, Antonio Seguí. From the pictorial to the narrative, the game of the exhibition reflects Seguí's search for a redefinition of mankind.
PARIS: ANTONIO SEGUÍ AT FRANCE NATIONAL LIBRARY
The visual artist, writer, and filmmaker spoke with Julia P. Herzberg for Arte al Día about his work process, his interest in photography and its boundaries.
IN CONVERSATION: LEANDRO KATZ
Art Paris 2019!
ART PARIS: THE 21st EDITION UNDER THE SIGN OF WOMEN AND LATIN AMERICA
THE LATIN AMERICAN PRESENCE IN THE ARAB EMIRATES
Curated by Joaquín Barrera, Las cosas que Crecen is the second exhibition of the young project led by the pair Jen Zapata and Andrés Matías Pinilla located in the neighborhood of San Telmo. On this occasion, and as a strong bet during the ArteBA art fair weekend, Lanzallamas attacked with a solid collective proposal.
A FLAMETHROWER MANIFESTO
The reasoned catalog of the Coloritmos by Alejandro Otero is published in Caracas, a volume with more than three hundred pages that delves for the first time into a chapter little studied and of great value for the Venezuelan and Latin American art of the XX century.
ALEJANDRO OTERO'S COLORITMOS ARE SHOWN COMPLETELY
Narciso plebeyo is the title chosen for the Pablo Suárez (1937-2006) exhibition curated by Jimena Ferreiro and Rafael Cippolini at the Museum of Latin American Art of Buenos Aires (MALBA). From the part towards the whole, the sculptural installation Narciso de Mataderos (1984-1985) projects as a key to look at the whole of the portrait of a subjectivity, which in each work is imbricated with the folds of a social history. In these folds the plebeian appears as a program of intervention in the art system and as a torsion of the artistic canon. The biographical effect of the exhibition reflects a work of collective memory carried out by those who knew it and contributed to the historical thickness of the exhibition.
NARCISO PLEBEYO: PABLO SUÁREZ AT THE MUSEUM OF LATIN AMERICAN ART OF BUENOS AIRES
Entering Delia Cancela. Reina de corazones (Delia Cancela. Queen of hearts), exhibition curated by Carla Barbero at Buenos Aires Museum of Modern Art, we are greeted by a painting with curved contours. Inward, large planes of primary colors oppress a face with absorbed eyes; outward, those planes push against the edges like a cloud in the instant before losing its contour. In Mujer y nubes (Woman and Clouds), of 1965, the formal synthesis of a pin-up figure and the effects of reverie annotated, with stereotypical signs, by a camp consciousness converge. The piece realized in co-authorship with Pablo Mesejean was, perhaps, chosen for the position it occupies by knotting three tenacious lines in Cancela’s production: visual mass culture, representations of femininity and visualized fantasy as an expanding force.
DELIA CANCELA AT BUENOS AIRES MUSEUM OF MODERN ART
On Air is the fourth edition of the carte blanche exhibition series that offers selected artists the opportunity to appropriate all the exhibition spaces of the Palais de Tokyo, in Paris. For the occasion, Tomás Saraceno has made his greatest project to date which brings together some of his main works, installations and unpublished creations. An interactive project that links art and science and that makes the Palais de Tokyo a place of unique sensory experience. This multidisciplinary purpose continues the artist's research on the relationship between humans and non-humans. A collaborative and evolutionary project designed to imagine new ways of inhabiting the world.
CARTE BLANCHE: TOMÁS SARACENO AT PALAIS DE TOKYO
Filled with artworks and prototypes for his next individual exhibition in La Boca neighborhood, Gonzalo Maggi’s studio-house in Villa General Miter remains hidden like a small museum. Behind two monitors, in front of the library, the young Argentinean artist takes a review over the works he has been doing throughout his career. Graduated from the Universidad del Cine almost a decade ago, Maggi changed cinema for the photography, but his production processes have more cinematographic filming than anything else.
GONZALO MAGGI: FROM CINEMA TO PHOTOGRAPHY AND ART MANAGEMENT
The Fondation Cartier explores the diversity of Latin America modern art through Géométries Sud, du Mexique à la Terre de Feu, enhancing the richness and variety of ornaments, colors and figures in southern continent art. Gathering about 250 works from pre-Columbian period to the most contemporary productions, including popular art, abstract art, ceramics, sculpture, architecture and basketry, the exposition investigates the multiple forms of geometric abstraction in Latin America, which are inspired in pre-Columbian art, European avant-garde’s or in indigenous cultures still alive.
FONDATION CARTIER: GÉOMÉTRIES SUD, DU MEXIQUE À LA TERRE DE FEU
Until November 25, on the sixth floor of a business building in Buenos Aires City (928 Lenado N. Alem street), a sui generis collective exhibition within the Argentine contemporary scene opened. With the participation of ten of the most outstanding plastic artists since 2000 -Juan Becú, Florencia Bohtlingk, Laura Codega, Max Gómez Canle, Vicente Grondona, Máximo Pedraza, Tiziana Pierri, Déborah Pruden, Nahuel Vecino and Lorena Ventimiglia-, Le Le Lend inaugurated two weeks ago as a self-curated show.