Reviews

David Tudor. Photo: Daniel Avena

Under the care of guest curator Emma Lavigne, the 14th Lyon Biennale of Contemporary Art brings together a breadth of artists who echo the instability of these times. 

By Patricia Avena Navarro

14th Lyon Biennale: An Empirical and Sensory Exploration

Jaildo Marinho: Cristalização. Museu de Arte Moderna (MAM). Rio de Janeiro, Brasil

Marinho sculpts and molds to seek not only the shape that emerges between his hands but also the emptiness yielded—that which we may not see so easily, but that is as real as what we do see, and as much part of the work.

By Patricia Avena Navarro

Jaildo Marinho: Cristalização. Museu de Arte Moderna (MAM). Rio de Janeiro, Brasil

Michel BLAZY, I Bookgarden, 2014. © Daniel Avena

The exhibition De Nature en Sculpture shows how nature is perceived by contemporary artists—mainly, as source of inspiration and means of expression. Nature, whether reproduced or in its actual state, is, here, turned into sculpture, and vice versa. Engaging our emotions, the artists summon nature in all of its forms and reveal through their visions its many facets (peaceful, turbulent, sublime, and vexing).

By Patricia Avena Navarro

De Nature en Sculpture. Fundación Villa Datris. L'Isle-Sur-La Sorgue, Francia

Francisco Masó: Surreptitious Stripes. Fundación Arts Connection. Miami

Surreptitious Stripes, an exhibition of work by Francisco Masó (Havana, 1988), was held from July 20 to August 19 at the Connect Now Room of the Arts Connection Foundation in Miami.

By Katherine Chacón

Francisco Masó: Surreptitious Stripes. Fundación Arts Connection. Miami

 Luján Candría: Afar. Artium Gallery, Miami.

Candría’s images suggest the space in a distance not only geographic, but also temporal. On the basis of a series of images taken in Iceland and California, the artist reconstructs the phases of a journey that wanders in memory and imagination.

By Willy Castellanos-Simons

Luján Candría: Afar. Artium Gallery, Miami.

Teatralineados fluo vert, 2016. Plexigras, nylon, moteurs, ordinateur, interface electronique. 20x20x250cm. © Daniel Avena

The show Slow Motion features the most important outgrowths of the creative universe of an artist that invites the viewer to take a new look at the art of movement.

By Patricia Avena Navarro

Elias Crespín:Slow Motion. Maison de L'Amérique Latine, Paris

Ananké Asseff: Soberbia. Rolf Art, Buenos Aires

 Ananké Asseff continues investigating topics that have concerned her in earlier works, specifically the complexity of human interactions and the place of the individual, with its baggage of experiences and memories, within those interactions. 

By José Antonio Navarrete

Ananké Asseff: Soberbia. Rolf Art, Buenos Aires

Donna Huanca: Scar Cymbals. Zabludowicz Collection London

Scar Cymbals is Huanca’s world developed by means of a fluid dialogue between setting and architecture, sculpture and performance. 

By Álvaro de Benito Fernández

Donna Huanca: Scar Cymbals. Zabludowicz Collection London

Artist Immigrants of Washington: The Looking Glass
By Adriana Herrera

Artist Immigrants of Washington: The Looking Glass

Marcia Schvartz: Eye. Fortabat Art Collection, Buenos Aires

The exhibition by Argentine artist Marcia Schvatz can be visited at Amalia Lacroze de Fortabat Art Collection until January 2017

By Alejo Ponce de León

Marcia Schvartz: Eye. Fortabat Art Collection, Buenos Aires

Agustina Woodgate: Power-Line. Spinello Projects, Miami

Beyond specific description, Agustina Woodgate’s works are of interest because the product of careful research; they are objects that set off a poetics that brings to a halt the relentless mechanism of late capitalism and its complex socioeconomic system to open up interstices of subjective flight.

By Adriana Herrera

Agustina Woodgate: Power-Line. Spinello Projects, Miami

Ohne Titel: I’ll never forget what I don’t remember
By Juan Cruz Pedroni

Ohne Titel: I’ll never forget what I don’t remember

Fragmentations and Other Parables. Alejandra von Hartz Gallery, Miami

The point of departure for this exhibition curated by the Aluna collective is fragmentation as a constant of contemporary society. 

By Anelys Alvarez

Fragmentations and Other Parables. Alejandra von Hartz Gallery, Miami

Kazimir Malevich: Retrospective. Fundación Proa. Buenos Aires

This retrospective at Proa is a major institutional accomplishment in a country where original criticism on Malevich’s art has circulated with increasing intensity.

By Juan Cruz Pedroni

Kazimir Malevich: Retrospective. Fundación Proa. Buenos Aires

Antonio Dias, No meu jardín [En mi jardín], 1967. Acrílico, espuma, laminado de melanina sobre aglomerado, lona, parafina, plástico y tejido. 44,7 x 99,8 x 200 cm. Colección Roger Wright, en comodato con la Pinacoteca do Estado de São Paulo. Foto: Isabella Matheus.

This collection allows us, the viewers, to ponder the cultural moves of the country between the inauguration of Brasília.

By José Augusto Ribeiro

Brazilian avant-garde in the 1960s. Roger Wright Collection

Cuando el mundo se disuelva, 2016. Video digital HD. 24 minutos.

The show of work by Tomás Maglione on exhibit at Galería Ruth Benzacar, attests to how sound—and how open to intuition and surprise—Maglione’s project is.

By Victoria Verlichak

Tomás Maglione: Aliento. Galería Ruth Benzacar. Buenos Aires

Doris Salcedo: Unland. Perez Art Museum Miami

Born in Colombia, Salcedo has sculpted or created installations as rituals that are both memory and eulogy, ways of rummaging into mute stones to find and to transcribe the voices buried within them.

By Adriana Herrera

Doris Salcedo: Unland. Perez Art Museum Miami

Relatos de la desolación en México. ArtexArte

ArtexArte - Fundación Alfonso y Luz Castillo presents a group exhibition with works by  José Luis Cuevas, YaelMartínez, and Rodrigo Sánchez. 

By Victoria Verlichak

Relatos de la desolación en México. ArtexArte

Jorge Gamarra Retrospectiva: materia/forma/símbolo

The exhibition is moving due to the patient and painstaking treatment of wood, granite, and acrylic, due to the result of that work—pieces with striking presence and meaning— and due to fifty-one years of coherent production in sculpture that addresses the questions of material, form, and symbol.

By Laura Casanovas

Jorge Gamarra Retrospectiva: materia/forma/símbolo

Voluspa Jarpa: En nuestra pequeña región de por acá

Voluspa Jarpa on exhibit at the Museo de Arte Latinoamericano de Buenos Aires is based on declassified CIA documents about fourteen Latin American countries

By Juan Cruz Pedroni

Voluspa Jarpa: En nuestra pequeña región de por acá

Rogelio Polesello: Advertencia óptica

The show  focuses on his historical works, that is, works from the sixties and early seventies; it features works in acrylic and paintings key to the artist’s career.

By Victoria Verlichak

Rogelio Polesello: Advertencia óptica

Ulises Carrión: "Querido lector. No lea" at MNCARS, Madrid

The retrospective of his work at the Museo Nacional Centro de Arte Reina Sofía in Madrid is the largest exhibition of its kind that the museum has held to date.

By Álvaro de Benito Fernández

Ulises Carrión: "Querido lector. No lea" at MNCARS, Madrid

Karina Peisajovich, Installation View / vista de instalación: Photo by Oriol Tarridas

Peisajovich looks to Seurat’s color studies and his approach to the division of tones on the basis of the position of highlights of color to incite, at a distance, certain combinations on the retina.

By Adriana Herrera

Karina Peisajovich: Background. Alejandra Von Hartz Gallery, Miami

Shutdown, Exhibition view. Barro Gallery

In his new exhibition, Diego Bianchi elevates trash to the plane of what is called art.

By Elena Tavelli

Diego Bianchi: Shutdown. Barro Gallery. Buenos Aires

Avant-Garde. Trojan Horse. The Americas

Magdalena Jitrik & Leila Tschopp. MACBA. Buenos Aires

By Juan Cruz Pedroni

Avant-Garde. Trojan Horse. The Americas

El Dorado: Art new space. Bogotá, Colombia

 El Dorado, as part of the exciting Bogotá art scene, to continue to provide visibility to processes outside the mainstream that are committed to a historical mission.

By Santiago Rueda

El Dorado: Art new space. Bogotá, Colombia

Mario Cravo Neto: A Serene Expectation of Light

The exhibition organized by Autograph ABP and curated by Mark Sealy and Gabriela Salgado evidences the artist’s fascination with the complex cultural heritage of Bahía and of northeastern Brazil as a whole

By Jacqueline Rosenbach

Mario Cravo Neto: A Serene Expectation of Light

Julio Le Parc, Cercle en contorsion sur trame rouge, 1969. Métal, inox, sérigraphie, moteur. 60x60x17 cm. Photo: Daniel Avena

Sculpture en Partage, brings together some one hundred works from the foundation’s holdings, ten of them from Danièle Kapel-Marcovici’s private collection. 

By Patricia Avena Navarro

Sculpture en Partage. Villa Datris Fondation

Eliptico by Andrés Michelena at Sala Mendoza, Caracas

Elíptico articulate a specific polyphony of meanings where each of the works connects with another to construct a specific narrative of questions and intuitions. 

By Gerardo Zavarce

Eliptico by Andrés Michelena at Sala Mendoza, Caracas

Damián Ortega, El cohete y el abismo [The Rocket and the Abyss]. Exhibition view. Palacio de Cristal, Parque del Retiro. May 2016. Photograph: Joaquín Cortés/Román Lores.  Museo Nacional Centro de Arte Reina Sofía

Ortega makes use of three elements steeped in symbolism due to their nature as objects and to the temporality that they represent.

By Álvaro de Benito Fernández

Damián Ortega: El cohete y el abismo Museo Nacional Centro de Arte Reina Sofía, Madrid