Reviews

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

Juan Tessi: Cameo. MALBA, Buenos Aires

Cameo ambitiously takes the shape of a multiple device that, in two different phases, provides an expanded experience of Tessi’s work. 

By Renato Mauricio Fumero

Juan Tessi: Cameo. MALBA, Buenos Aires

Macaparana, No title, 2016. Pigment and acrylic paint on hardboard. 92 x 92 cm.

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.

By Patricia Avena Navarro

Macaparana. Denise René – Rive Gauche. Paris

Abraham Cruzvillegas, Empty Lot, 2015. Madera, técnica mixta. Dimensiones variables Photo credit: Andrew Dunkley.

Cruzvillegas turns this exercise at Turbine Hall into a unique opportunity to bring a number of his interests together in a single action.

By Álvaro de Benito Fernández

Abraham Cruzvillegas: Empty Lot. Tate Modern, Londres

Atelier Morales,  Arqueología n° 20, de la serie  Arqueología III. Patrimonio a la deriva.  Impresión fotográfica "Giclée" sobre papel, dibujo a lápiz y guache. 2016

Atelier Morales ventures a new beauty that, albeit with tension and ambiguity, appeals to the viewer’s senses and feelings. 

By Patricia Avena Navarro

Atelier Morales: Arqueología III. Galerie Nathalie Obadia, Paris

Miguel Rothschild in his exhibition /Miguel Rothschild en su exhibición

Review of Miguel Rothschild´s exhibition at Ruth Benzacar Gallery.

By Laura Casanovas

Miguel Rothschild: Cuarenta días y cuarenta noches. Ruth Benzacar

Claudio Tozzi, New Figuration and the Rise of Pop Art 1967–1971. Installation view / vista de exhibición. Cecilia Brunson Projects.

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.

By Jacqueline Rosenbach

Claudio Tozzi: New Figuration and the Rise of Pop Art 1967-1971.Cecilia Brunson Projects, London

Graciela Hasper, Untitled . Acrylic on canvas / Sin título. Acrílico sobre tela. 280x450 cm.

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.

By Ana Martínez Quijano

Colección Tedesco: Diagonal Sur - Arte argentino hoy. Centro Cultural Borges. Buenos Aires

Carlos Motta, La puissance et la jouissance, 2015. Installation of twenty letterpress printed drawings (2.5 x 3.8 cm. each) with magnifying glasses and fluorescent light bulbs.

This first solo exhibition of the Colombian artist explores the historical representations of what is considered unconventional sexual desire.

By Claire Luna

Carlos Motta: Deseos. Galerie Mor Charpentier, Paris.

Juan Andrés Videla. Matorral. Óleo sobre tela 140x180cm

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.

By Laura Casanovas

Juan Andrés Videla: Nada está quieto. Centro cultural Recoleta. Buenos Aires

Hernan Bas, The Unlikely Winner 2015. Acrylic on linen. 182.9 x 152.4 cm.

Bas’s iconography has been inspired by late 19th-century decadent and symbolist aesthetics in both literature and the visual arts.

By Claire Luna

Hernán Bas: Fruits and flowers. Galerie Perrotin, Paris

Jesús Soto, Kinetic structure of geometric elements. 1956. One of the first pieces made in Plexiglas. / Estructura cinética de elementos geométricos. 1956. De las primeras piezas desarrolladas en plexiglás

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.

By Beatriz Sogbe

Jesús Soto: Estático/Dinámico. Galería Ascaso. Caracas

Guadalupe Valdés, Habitar lo nuestro [Inhabiting What’s Ours]. Mixed media on canvas, 55 x 69 cm. 2015

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.

By Ernesto Muñoz

Guadalupe Valdés: Vencer el olvido. Galería Isabel Aninat, Chile

El desmoronamiento de la corteza terrestre. View of the exhibition (vista de exhibicion). Centro Cultural Recoleta

The apparent working of nature’s chance in Federico Colletta’s process is actually a strategy, a partial loosening.

By Ana María Battistozzi

Federico Colletta: El desmoronamiento de la corteza terrestre. Centro Cultural Recoleta. Buenos Aires

Luis Romero. Tu y Yo [You and I], 2015, prints on paper and glass, Alejandra Von Hartz Gallery (photo by O. Torridas)

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.

By José Antonio Navarrete

Luis Romero: Borderline. Alejandra Von Hartz Gallery, Miami

Ken Matsubara,  Potsdamer. Tecnica mixta / Mixed media. 24 x 30 cm

This show brought together three videos and an installation—a series of open books, as tenuous as memories, displayed on music stands.

By Victoria Verlichak

Ken Matsubara: Repeticiones. Del Paseo Gallery, Punta del Este

PACIFICO [PACIFIC], 1994. Pacifico series, 120x104 cm. Vintage print. Photograph: Daniel Avena

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.

By Patricia Avena Navarro

Fernell Franco: Cali Clair Obscur. Fondation Cartier, Paris

Gerardo Goldwasser, Medidas rígidas [Rigid Measures], 2015. Wood and varnish, 100 cm. long / Madera y barniz, 100 cm, largo.

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.

By Victoria Verlichak

Goldwasser - Uribe: El sistema de los otros. Galería del Paseo, Punta del Este

Sintomas. Vista de exhibición/view of exhibition

Hugo Aveta lives by his work in that infinite universe of halftimes that avoid and survive finiteness.

By Adriana Carrizo

Hugo Aveta: Sintomas, la imagen sin nombre. El Gran Vidrio. Argentina

La democracia del símbolo. Vista de la exhibición / View of the installation. Photo: Javier Agustín Rojas. MALBA diptych

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.

By Juan Cruz Pedroni

Leandro Erlich: La democracia del Símbolo. MALBA. Buenos Aires