Reviews

RE-COLLECTOR: AN EXHIBITION BY ANDRÉS MICHELENA IN VENEZUELA

Venezuelan artist Andrés Michelena presents Re-collector at the Carmen Araujo Art gallery in Caracas, starting December 11th. Check out the review.

RE-COLLECTOR: AN EXHIBITION BY ANDRÉS MICHELENA IN VENEZUELA

THE FORM IS FEMALE

Geometric Abstraction in Latin America, 1950 to today.

By Claire Breukel

THE FORM IS FEMALE

THE TIME WE HAVE LEFT: AN EXHIBITION BY HERNÁN SORIANO AT LANZALLAMAS

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.

By Santiago López

THE TIME WE HAVE LEFT: AN EXHIBITION BY HERNÁN SORIANO AT LANZALLAMAS

XXL CROSSED LANDSCAPES: 15TH LYON BIENNALE

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.

By Patricia Avena Navarro

XXL CROSSED LANDSCAPES: 15TH LYON BIENNALE

"Los movimientos alrededor del sol", Francisco Vazquez Murillo. Ph: @botonrojo.

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.

By Matías Helbig

UN MODELO PARA HABITAR DESDE LA CONCIENCIA

Espacio Entre. Ph: Cortesía Centro Cultural Recoleta.

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.

By Matías Helbig

SPACE BETWEEN: A SKETCH OF THE NEW ARGENTINE GENERATION

Juan Manuel Echavarria. La guerra que no hemos visto, 2007 -2009 Vynil Painting on MDF. Panoramic view. Ríos y Silencios, MAMBO / Pintura vinílica sobre MDF. Panorámica de instalación.

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.

By Natalia Vega (Bogotá, Colombia)

JUAN MANUEL ECHAVARRÍA: RIVERS AND SILENCES

Sonia Falcone, "Royal Love", 2017.

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).

By ADD, Miami (Florida).

SONIA FALCONE: LIFE FIELDS

"Vacuus", 2017, Fredy Alzate. Ph: Oriol Tarridas.

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.

By Yuneikys Villalonga (Miami, Florida)

RETHINKING LATIN AMERICA: CIFO'S GRANTS AND COMMISSIONS PROGRAM

ENERG(ETHICS)

Monument of the heroes, Bogotá.

 

By Nicolás Bonilla Maldonado (Bogotá, Colombia)

ENERG(ETHICS)

Ph: Francisca Etchegaray y Matías Bognnani.

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.

By Matías Helbig

FUERA DE FOCO: UNA REINTERPRETACIÓN DE LO ORNAMENTAL

Copia original de fotograma intervenido por Carlos Alonso, de la serie "De lo que no hay", en BAphoto 2019. Ph: Francisca Etchegaray.

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.

By Matías Helbig

CARLOS ALONSO AND AN UNUSUAL APPEARANCE IN THE EXPERIMENTAL CINEMA OF THE 60

EL PEZ REY: EL POTENCIAL DEL ARCHIVO Y LA LEGITIMACIÓN DEL RELATO

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.

By Matías Helbig

EL PEZ REY: EL POTENCIAL DEL ARCHIVO Y LA LEGITIMACIÓN DEL RELATO

"Untitled", 1950,  Sandu Darie. Ph: Mariano Costa Peuser.

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.

By Adriana Herrera Téllez

THE UNBOUNDED LINE: A SELECTION FROM THE JUAN CARLOS MALDONADO ART COLLECTION

Ph: @botonrojoestudio.

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.

By Matías Helbig

THE FIRST SWORD WAS A GIFT

Martha Araújo (Brazilian, b. 1943), Hábito/Habitante (Habit/inhabitant), 1985 Documentation of performance: four black-and-white photographs. 6 7/8 × 8 7/8 in. each. Collection of Martha Araújo; courtesy of Galeria Jaqueline Martins. ©the artist. Documentación de rendimiento: cuatro fotografías en blanco y negro. 17.46 × 22.5425 cm. cada uno. Colección de Martha Araújo; cortesía de Galeria Jaqueline Martins. © el artista.

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.

By Adriana Herrera Téllez

RADICAL WOMEN

SEX STORIES

Elvis Fuentes reflects on Stories of Sexuality exhiition in the MASP and the importance of controversial art.

By Elvis Fuentes

SEX STORIES

"Return tu Koyaanisqatsi", gallery view.

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.

By José Antonio Navarrete

RETURN TO KOYAANISQUAATSI: WILLY CASTELLANOS AT THE KENDALL ARTE CENTER IN MIAMI

Serie Pantone Agua. Ph: OdA, Galería de Arte.

Argentine artist Constanza Oxenford presents Dimensions of the same, her second solo show at OdA, Art Gallery

DIMENSIONS OF THE SAME

"La Ausencia", 2001-2002, Santiago Porter.

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.

By Matías Helbig

SHARED ABSENCE, A DIALOGUE ON MEMORY

Julio Le Parc, Ondas 110 Nº8, 1974. Ph: Cortesía Atelier Julio Le Parc.

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.

By Laura Casanovas

JULIO LE PARC, A VISIONARY

WHO'S THAT GIRL?: FLAVIA DA RIN IN THE MODERN ART MUSEUM OF BUENOS AIRES

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.

By Laura Casanovas

WHO'S THAT GIRL?: FLAVIA DA RIN IN THE MODERN ART MUSEUM OF BUENOS AIRES

Próximamente (Coming Soon), Ruth Benzacar 2019, registro de sala. Ph: Nacho Iasparra.

"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.

By Laura Casanovas

LEANDRO ERLICH AT RUTH BENZACAR

Exhibition view, "Ver la diferencia", Gachi Rosati. Ph: Espacio Lanzallamas.

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.

By Silvina Amighini

RESONANCES OF PRESENT DAY RE-ELABORATED SELFPORTRAITS

PARIS: ANTONIO SEGUÍ AT FRANCE NATIONAL LIBRARY

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.

By Patricia Avena

PARIS: ANTONIO SEGUÍ AT FRANCE NATIONAL LIBRARY

“Lunar Writing 1 (1001)”, 1974, 16 blue toned black and white photographs mounted on museum board, 6.25 x 9.25 inches each. Courtesy of the artist and Henrique Faria New York & Buenos Aires. / “Lunar Writing 1 (1001)”, 1974, 16 fotografías blanco y negro viradas al azul montadas sobre cartón de museo, de 16 x 24 centímetros cada una. Cortesía del artista y de Henrique Faria, Nueva York y Buenos Aires.

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.

By Julia P. Herzberg

IN CONVERSATION: LEANDRO KATZ

Obra de Tulio Pinto.

Art Paris 2019!

By Patricia Avena Navarro

ART PARIS: THE 21st EDITION UNDER THE SIGN OF WOMEN AND LATIN AMERICA

THE LATIN AMERICAN PRESENCE IN THE ARAB EMIRATES
By Sonia Becce, Curadora Independiente (Independent Curator).

THE LATIN AMERICAN PRESENCE IN THE ARAB EMIRATES

Obras de Lael Servicentro y Julien Antoine. Ph: Fiorella Di Biase

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.

By Fiorella Di Biase

A FLAMETHROWER MANIFESTO

Alejandro Otero entre sus "Coloritmos", 1960. Ph: Joseph Fabry.

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.

By Ernesto J. Guevara

ALEJANDRO OTERO'S COLORITMOS ARE SHOWN COMPLETELY