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