Cameo ambitiously takes the shape of a multiple device that, in two different phases, provides an expanded experience of Tessi’s work.
Juan Tessi: Cameo. MALBA, Buenos Aires
In Macaparana’s work, colors vibrate in linear structures held in careful balance by parallel, concentric, and slanting lines that follow an abstract and geometric calligraphy that dances over the surface.
Macaparana. Denise René – Rive Gauche. Paris
Cruzvillegas turns this exercise at Turbine Hall into a unique opportunity to bring a number of his interests together in a single action.
Abraham Cruzvillegas: Empty Lot. Tate Modern, Londres
Atelier Morales ventures a new beauty that, albeit with tension and ambiguity, appeals to the viewer’s senses and feelings.
Atelier Morales: Arqueología III. Galerie Nathalie Obadia, Paris
Review of Miguel Rothschild´s exhibition at Ruth Benzacar Gallery.
Miguel Rothschild: Cuarenta días y cuarenta noches. Ruth Benzacar
The exhibition concentrates on one of the most difficult periods in Brazilian political history, a period that began with the imposition of a military dictatorship in 1964.
Claudio Tozzi: New Figuration and the Rise of Pop Art 1967-1971.Cecilia Brunson Projects, London
With almost four hundred works from the Esteban Tedesco collection, Diagonal Sur - Arte Argentino Hoy occupies all the galleries of the Centro Cultural Borges. A milestone in the history of contemporary art collecting, the show makes visible art produced over the course of the last thirty years.
Colección Tedesco: Diagonal Sur - Arte argentino hoy. Centro Cultural Borges. Buenos Aires
This first solo exhibition of the Colombian artist explores the historical representations of what is considered unconventional sexual desire.
Carlos Motta: Deseos. Galerie Mor Charpentier, Paris.
The over seventy paintings and drawings in this anthological exhibition offer us a remarkable opportunity to interrogate the artistic universe Videla has developed over the last twelve years.
Juan Andrés Videla: Nada está quieto. Centro cultural Recoleta. Buenos Aires
Bas’s iconography has been inspired by late 19th-century decadent and symbolist aesthetics in both literature and the visual arts.
Hernán Bas: Fruits and flowers. Galerie Perrotin, Paris
It is truly remarkable that an artist without a high school education was able to produce such a deep body of work, one steeped in the concerns of art, mathematics, and musical harmony.
Jesús Soto: Estático/Dinámico. Galería Ascaso. Caracas
The artist’s reminiscences are alliances she puts together on the basis of other artists’ signatures that, when joined, turn into a vision of art that surprises and captivates us, engaging collage in a creative game with reality.
Guadalupe Valdés: Vencer el olvido. Galería Isabel Aninat, Chile
The apparent working of nature’s chance in Federico Colletta’s process is actually a strategy, a partial loosening.
Federico Colletta: El desmoronamiento de la corteza terrestre. Centro Cultural Recoleta. Buenos Aires
Luis Romero is interested in putting together a sort of inventory of the constructive resources of geometric abstraction in order to discover new discursive possibilities.
Luis Romero: Borderline. Alejandra Von Hartz Gallery, Miami
This show brought together three videos and an installation—a series of open books, as tenuous as memories, displayed on music stands.
Ken Matsubara: Repeticiones. Del Paseo Gallery, Punta del Este
On exhibition at the Fondation Cartier pour l'Art Contemporain is the first retrospective of Fernell Franco (1942-2006), an important, though still little-known, figure in Latin American photography.
Fernell Franco: Cali Clair Obscur. Fondation Cartier, Paris
The exhibitions by experienced artists Gerardo Goldwasser and Pablo Uribe held at Galería del Paseo evidence a shared sensibility and a similar placid atmosphere. By different means, the two shows by artists of the same generation look to ancestral traces and give rise to a multiplicity of meanings.
Goldwasser - Uribe: El sistema de los otros. Galería del Paseo, Punta del Este
Hugo Aveta lives by his work in that infinite universe of halftimes that avoid and survive finiteness.
Hugo Aveta: Sintomas, la imagen sin nombre. El Gran Vidrio. Argentina
The removal of a section of the obelisk, as well as the fiction of transporting it and the choice of the new setting, not only formulates the artist’s political and conceptual agenda but also activates the senses.
Leandro Erlich: La democracia del Símbolo. MALBA. Buenos Aires
Lampo is a pause and change in pace in the programming of NC-arte, as well as the first major show by Macchi in Bogotá.
Jorge Macchi: Lampo. NC – arte. Colombia
The design of this exhibition prioritizes his almost fifty-year search for the specificity of the Americas.
Pérez Celis: Testimonio americano. Museo Nacional de Bellas Artes. Buenos Aires
Muu Blanco’s strategy consists of selecting images by Gasparini and placing on them elements that make reference to Blanco’s daily life.
Muu Blanco: NCTx13 Sample, Photographs & Music. ArtMedia Gallery, Miami
The exhibition displays the different stages of the long journey that was Lam’s life as well as the varying courses of his production.
Wifredo Lam: O la modernidad transcontinental. Centre Georges Pompidou, París
Josefina Guilisasti's work restores the anthropological, historic, and cultural value of objects that no longer have a voice.
Josefina Guilisasti: A Matter of Perception. Cecilia Brunson Projects, Londres
The exhibition was not a happening but that happened: a project featuring the architecture of emotion rendered as a portable party thanks to the abracadabra that completed the sound decoration.
Studio R & R: Ceci n'est pas happening. Monoambiente. Buenos Aires
The space directed by Eleonora Molina presents an exhibition that has the optical illusions as starting point.
Augusto Zanella & Luis Rodríguez: Mambo. Miranda Bosch, Buenos Aires
Duville traslada al espacio tridimensional ese mapa mental de motivos que caracterizan su obra.
Matias Duville: Arena Parking. Centro Cultural Recoleta, Buenos Aires
Carle Catafago’s vistas celebrate the extraordinary landscapes south of the South, and convey, at the same time, their disturbing fleetingness.
Christian Carle Catafago: Monumentos a la deriva. Praxis Arte Internacional. Buenos Aires
We could feel that the whole exhibition becomes a poem, that as soon as it anchors us to a meaning and an experience, it immediately produces a new estrangement to make way for another meaning and another experience.
Martin Legón: Las fuerzas productivas. Barro Arte Contemporáneo, Buenos Aires
Azar and Miño’s exhibition is not a literal commentary on “the remains of triumph;” its musicality opens up other horizons.