Reviews

Medail & Pedroni: La semejanza y la Pausa

The notion of similarity seems to have a clear reference in the context of the exhibition: it refers to the use of photography as a reproduction, a faithful record of monuments and works. The connotations of the second term are, on the other hand, less evident, although they seem to point to the instants (or is it, perhaps, of places?) In which the alluded resemblance stops.

By Alejandro C. Frieboes

Medail & Pedroni: La semejanza y la Pausa

Juan Cruz Pedroni

It is a simple gesture to locate Ensayos de apertura, the exhibition by Luciana Lamothe (1975) in the coordinates of a return to order that critics have even come to celebrate. 

By Juan Cruz Pedroni

Luciana Lamothe: Ensayos de abertura

Adriana Bustos: Cartographies of coincidence

"Imago Mundi" is the first individual in Galería 80m2, Lima of the Argentine artist Adriana Bustos, who takes her title from the cosmographic treatise of the geographer and theologian Pierre d'Ailly, which Columbus used on his voyage of discovery.

By Max Hernández Calvo

Adriana Bustos: Cartographies of coincidence

David Lamelas: Con vida Propia

The retrospective exhibition of an artist who traversed historical conceptualism sometimes leaves the image of a collection of muted sites, a repertoire of vacant places. 

By Juan Cruz Pedroni

David Lamelas: Con vida Propia

Pedro Tyler: The measure of the uncountable

"Fragmentaria II" brings together seven pieces from different series by the Uruguayan artist Pedro Tyler, offering a synthetic overview of his work in his second solo show in Lima.

By Max Hernández Calvo

Pedro Tyler: The measure of the uncountable

Daniel Boccato: Centinela

The proposals of Daniel Boccato (Campinas, Brazil, 1991) investigate the relationship between abstraction and figuration and are based on the investigation of the different discursive forms that pose language and form, suggesting other foundations that establish a new thinking with which to challenge any constriction. All this is reflected in Centinela, his last performance and specific project for the space Studies of the old tobacco factory in Madrid, where he follows another of the constants of his production: the breaking of any convention on formats and the preferential use of materials and objects of an industrial nature.

By Álvaro de Benito Fernández

Daniel Boccato: Centinela

Sandra Gamarra: Rojo Indio

In her recent exhibition for the gallery in Madrid, Sandra Gamarra (Lima, Peru, 1972) returns to use the concept of imposition of Western thought, channeled through the appropriation of that vision in Latin America. Nonetheless, the exploration of cultural perception and assimilation are, in a certain way, habitual subjects of study in her trajectory. For the occasion, the space plays a fundamental role for the understanding of the proposal. This, although conformed by several pieces, works as a single environment where everything dialogues within the conceptual framework.

By Álvaro de Benito Fernández

Sandra Gamarra: Rojo Indio

Eduardo Basualdo: La cabeza de Goliat

The Main Hall of the Usina del Arte houses an imposing installation by the Argentine artist Eduardo Basualdo, which can be seen until April 22nd.

By Laura Casanovas

Eduardo Basualdo: La cabeza de Goliat

Doris Salcedo, "Palimpsesto"., 013-2017. Crédito fotográfico: Juan Fernando Castro

Each new intervention made by Doris Salcedo (Bogotá, Colombia, 1958) reaffirms the commitment to narrative based on historical research, usually covered in a certain revisionism, which the artist has been practicing for years, especially focusing on everything that surrounds political violence and what it generates. This is also the case of Palimpsesto, the proposal of monumental character that has developed in the Palacio de Cristal in Madrid and with which it pays tribute to the victims of one of the most dramatic faces of immigration, those who left their lives risking it blindly in the Mediterranean Sea.

By Álvaro de Benito Fernández

Doris Salcedo at the Museo Nacional Centro de Arte Reina Sofía

Eduardo Costa, inside and out, review by Aimar Arriola

Eduardo Costa, inside and out, review by Aimar Arriola

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