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.
Sandra Gamarra: Rojo Indio
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.
Eduardo Basualdo: La cabeza de Goliat
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.
Doris Salcedo at the Museo Nacional Centro de Arte Reina Sofía
Eduardo Costa, inside and out, review by Aimar Arriola
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.
14th Lyon Biennale: An Empirical and Sensory Exploration
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.
Jaildo Marinho: Cristalização. Museu de Arte Moderna (MAM). Rio de Janeiro, Brasil
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).
De Nature en Sculpture. Fundación Villa Datris. L'Isle-Sur-La Sorgue, Francia
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.
Francisco Masó: Surreptitious Stripes. Fundación Arts Connection. 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.
Luján Candría: Afar. Artium Gallery, Miami.
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.
Elias Crespín:Slow Motion. Maison de L'Amérique Latine, Paris
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.
Ananké Asseff: Soberbia. Rolf Art, Buenos Aires
Scar Cymbals is Huanca’s world developed by means of a fluid dialogue between setting and architecture, sculpture and performance.
Donna Huanca: Scar Cymbals. Zabludowicz Collection London
Artist Immigrants of Washington: The Looking Glass
The exhibition by Argentine artist Marcia Schvatz can be visited at Amalia Lacroze de Fortabat Art Collection until January 2017
Marcia Schvartz: Eye. Fortabat Art Collection, Buenos Aires
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.
Agustina Woodgate: Power-Line. Spinello Projects, Miami
Ohne Titel: I’ll never forget what I don’t remember
The point of departure for this exhibition curated by the Aluna collective is fragmentation as a constant of contemporary society.
Fragmentations and Other Parables. Alejandra von Hartz Gallery, Miami
This retrospective at Proa is a major institutional accomplishment in a country where original criticism on Malevich’s art has circulated with increasing intensity.
Kazimir Malevich: Retrospective. Fundación Proa. Buenos Aires
This collection allows us, the viewers, to ponder the cultural moves of the country between the inauguration of Brasília.
Brazilian avant-garde in the 1960s. Roger Wright Collection
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.
Tomás Maglione: Aliento. Galería Ruth Benzacar. Buenos Aires
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.
Doris Salcedo: Unland. Perez Art Museum Miami
ArtexArte - Fundación Alfonso y Luz Castillo presents a group exhibition with works by José Luis Cuevas, YaelMartínez, and Rodrigo Sánchez.
Relatos de la desolación en México. ArtexArte
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.
Jorge Gamarra Retrospectiva: materia/forma/símbolo
Voluspa Jarpa on exhibit at the Museo de Arte Latinoamericano de Buenos Aires is based on declassified CIA documents about fourteen Latin American countries
Voluspa Jarpa: En nuestra pequeña región de por acá
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.
Rogelio Polesello: Advertencia óptica
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.
Ulises Carrión: "Querido lector. No lea" at MNCARS, Madrid
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.
Karina Peisajovich: Background. Alejandra Von Hartz Gallery, Miami
In his new exhibition, Diego Bianchi elevates trash to the plane of what is called art.
Diego Bianchi: Shutdown. Barro Gallery. Buenos Aires
Magdalena Jitrik & Leila Tschopp. MACBA. Buenos Aires
Avant-Garde. Trojan Horse. The Americas
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.