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.
El Dorado: Art new space. Bogotá, Colombia
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
Mario Cravo Neto: A Serene Expectation of Light
Sculpture en Partage, brings together some one hundred works from the foundation’s holdings, ten of them from Danièle Kapel-Marcovici’s private collection.
Sculpture en Partage. Villa Datris Fondation
Elíptico articulate a specific polyphony of meanings where each of the works connects with another to construct a specific narrative of questions and intuitions.
Eliptico by Andrés Michelena at Sala Mendoza, Caracas
Ortega makes use of three elements steeped in symbolism due to their nature as objects and to the temporality that they represent.
Damián Ortega: El cohete y el abismo Museo Nacional Centro de Arte Reina Sofía, Madrid
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.