Reviews

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

RES - La Dama / The Lady, 2005.  From the series / De la serie Conatus (RES + Constanza Piaggio).

Arte x Arte debuts its new stage as a foundation with an exceptional exhibition that investigates the intersections between painting and photography.

By Victoria Verlichak

In fraganti. Fotografía y pintura. ArtexArte. Buenos Aires

Parte#10. 2015. Fotografía extraida de redes sociales. Gelatina de plata sobre papel fibra / Photograph extracted from social networks. Gelatin silver print on fiber paper.

Medail presents an exhibition in where debate is the obsessions with perfection with roots in romantic thinking of a documentary photography that aspires to be ontology: to show the essence of things exactly as they are.

By Juan Cruz Pedroni

Francisco Medail: Parte. Studio 488, Buenos Aires

Adriana Lestido. Hierve el agua /The Water Boils, Oaxaca, 2010.

The exhibitionfeaturing works by the photographer Adriana Lestido  at Rolf Art, displays two impressive and beautiful photographic essays, developed in Mexican territory in 2010.

By Victoria Verlichak

Adriana Lestido: Mexico. Rolf Art, Buenos Aires

Vic Muñiz, Buenos Aires. Photographic collage, 71 x 110 in. / Collage fotográfico, 180,3 x 279,4 cm

In the work of Vic Muniz, the materials have an economy, a social and political history, or a technology that begs to be included in the discourse.

By Juan Cruz Pedroni

Vik Muñiz: Buenos Aires. Muntref

La casa de Los Rosales, sin fecha / The house at Los Rosales, undated.   Gelatin silver bromide print / Gelatinobromuro de plata.

Cotina was not a professional photographer but through the lens of his camera he captured the loneliness, the fog  and the beauty of the everyday in a way that had never been seen before.

By Beatriz Sogbe

Alfredo Cortina: Photographer. Museo de Arte Contemporáneo del Zulia, Maracaibo

Gyula Kosice. Revolving Water, 1964.

Durban Segnini Gallery celebrates its twenty۔third anniversary at the local level and forty۔five years of existence, with an alluring collective exhibition.

By Janet Batet

Abstraction and Constructivism: Continuity and Breakdown of Latin-American Modernity. Durban Segnini, Miami

Untitled (Circunstancial), 1971.  Installation view / vista de exhibición. National Young Artists Salon, Casa de la Cultura, Maracay, 1971

The exhibition underscores the work developed by the artist during the 1970s, when his proposal became an unequivocal turning۔point within the tradition of modern Venezuelan art.

By Janet Batt

Eugenio Espinoza: Unruly Supports. PAMM, Miami

 Untitled (Rolled steel)/ Sin título (acero enrollado), 2015

There are no frontal or precise ideas in this show; what prevails at all times is a tangential, oblique discourse.

By Píter Ortega Núñez

Mateo Tannatt: Horse. Gallery Diet, Miami

Yoan Capote. Immanence, 2015. Vista de exhibición / exhibition view

Yoan Capote’s exhibition inhabits binary spaces. Two galleries of work explore two seemingly contradictory themes: physical and mental suppression, and human resilience.

By Claire Breukel

Yoan Capote: Collective Unconscious. Jack Shainman, New York

Vista de la exposición A Garden for Beatrix. Cecilia Brunson Projects. London. Foto: Patrick Dodds

Lucía Pizzani’s exhibition at Cecilia Brunson Projectsfeatures a series of four works revolving around the relationship between nature, gender and materiality.

By Alba Colomo

Lucía Pizzani: A Garden for Beatriz. Cecilia Brunson Projects