Reviews

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.

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.

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

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.

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.

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

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

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

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

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.

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

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

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

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.

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

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

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.

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

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.

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.

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

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.

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

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

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