Reviews

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

Jorge Macchi. Lampo. Vista de exhibición / View of the exhibition. Photo: Oscar Monsalve

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.

By Santiago Rueda

Jorge Macchi: Lampo. NC – arte. Colombia

Rey América [King America]. Oleo sobre lienzo / Oil on canvas, 146x89 cm. 1991. Museo Nacional de Bellas Artes (MNBA) Collection.

The design of this exhibition prioritizes his almost fifty-year search for the specificity of the Americas.

By Laura Casanovas

Pérez Celis: Testimonio americano. Museo Nacional de Bellas Artes. Buenos Aires

Muu Blanco. NCT-M, from the series NCT x 13 Samples, 2015. Intervention on Paolo Gasparini’s book Retromundo [Retroworld], 1986

Muu Blanco’s strategy consists of selecting images by Gasparini and placing on them elements that make reference to Blanco’s daily life.

By Dennys Matos

Muu Blanco: NCTx13 Sample, Photographs & Music. ArtMedia Gallery, Miami

Wifredo Lam, La Jungla [The Jungle], 1943. The Museum of Modern Art, New York.

The exhibition displays the different stages of the long journey that was Lam’s life as well as the varying courses of his production.

By Claire Luna

Wifredo Lam: O la modernidad transcontinental. Centre Georges Pompidou, París

Josefina Guilisasti, La Balsa de la Medusa, 2015

Josefina Guilisasti's work restores the anthropological, historic, and cultural value of objects that no longer have a voice.

By Helena Brum

Josefina Guilisasti: A Matter of Perception. Cecilia Brunson Projects, Londres

Instant Happiness, Rosario Marquardt & Roberto Behar, R & R Studios 2015. Photo / Foto Manuel Ciarlott

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.

By Carolina Muzi

Studio R & R: Ceci n'est pas happening. Monoambiente. Buenos Aires

View of the exhibition Mambo / Vista la exhibición Mambo.

The space directed by Eleonora Molina presents an exhibition that has the optical illusions as starting point.

By Marcela Costa Peuser

Augusto Zanella & Luis Rodríguez: Mambo. Miranda Bosch, Buenos Aires

View of the installation / Vista de la instalación Arena Parking. May/ Mayo 2015

Duville traslada al espacio tridimensional ese mapa mental de motivos que caracterizan su obra.

By Laura Casanovas

Matias Duville: Arena Parking. Centro Cultural Recoleta, Buenos Aires

Iceberg. Photograph, 33.4 x 88.5 in. / Fotografía, 85 x 225 cm.

Carle Catafago’s vistas celebrate the extraordinary landscapes south of the South, and convey, at the same time, their disturbing fleetingness.

By Victoria Verlichak

Christian Carle Catafago: Monumentos a la deriva. Praxis Arte Internacional. Buenos Aires

View of the Exhibition / Vista de la exhibición Fuerzas Productivas. Mayo 2015

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.

By Laura Casanovas

Martin Legón: Las fuerzas productivas. Barro Arte Contemporáneo, Buenos Aires

Azar / Miño.  Pieza #03 (detail / detalle), 2015.

Azar and Miño’s exhibition is not a literal commentary on “the remains of triumph;” its musicality opens up other horizons.

By Victoria Verlichak

Amadeo Azar & Jorge Miño: Los restos del Triunfo. Fundación Klemm, Buenos Aires