With Fiorella Di Biase's curatorship, the exhibition The time we have left, by Hernán Soriano, takes place at the Lanzallamas gallery. Santiago López shares his thoughts.
THE TIME WE HAVE LEFT: AN EXHIBITION BY HERNÁN SORIANO AT LANZALLAMAS
In the framework of the 15th Lyon Biennial, curator Patricia Avena reflects on the artworks that are part of this new edition and the importance of landscape in contemporary art.
XXL CROSSED LANDSCAPES: 15TH LYON BIENNALE
En el espacio de Fudnación El Mirador (San Telmo, Buenos Aires), el artista rosarino Francisco Vazquez Murillo exhibe Los movimientos alrededor del sol, una exposición que propone revitalizar la relación con la Tierra y habitar el mundo desde la contemplación y la conciencia.
UN MODELO PARA HABITAR DESDE LA CONCIENCIA
Within the framework of the Young Art Biennial, the collective exhibition Espacio Entre is exhibited at the Recoleta Cultural Center (CCR). Under Tainá Azeredo's (Brazil, 1984) curatorship, twenty-five visual and plastic artists were selected to show their artworks in rooms 3, 4 and 5 of the CCR constituting a small sketch of the Argentine sub-32 art production.
SPACE BETWEEN: A SKETCH OF THE NEW ARGENTINE GENERATION
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.