Álvaro de Benito 

Memoria vegetal brings together previously unseen works that form landscapes describing processes and absences. Monsalve uses fossil residue as pigment, inserting it into his work both as a technique and as a symbol to reflect on how humanity transforms its environment and its own history.

By Álvaro de Benito 

These canvases, in a variety of formats, use color and geometry as catalysts for exploring the expressive potential of the line, shaping simple, elemental forms such as squares and rectangles in the construction of a distinctly aesthetic language.

At a moment when the world unites around the ball, Football and Art. That Same Emotion invites us to reflect on the sport’s power to bring communities together, build imaginaries, and transcend borders.

By Álvaro de Benito

Becerra explores, in two parallel solo exhibitions, the power of painting to connect memory, emotion, and digital record—crafting through pictorial language an instrumental balance between the everyday and the virtual.

The 2025 edition of Pinta Miami concluded by reaffirming its commitment to elevating Latin American art, celebrating artists, galleries and institutions through its awards program and key acquisitions that strengthened regional collecting.

By Álvaro de Benito 

Bombon + CRISIS presents 12 Carnavales, the first solo exhibition by Gala Berger (Villa Gesell, Argentina, 1983) in its space. The show takes shape as a critical, anthropologically tinged study of festive and performative practices that take place during carnivals in various South American capitals. Drawing from digital archives and textile compositions, the artist explores the role of the image in shaping identities and collectives within community-based celebrations.

By Álvaro de Benito

Antes de todo (Before All Things) is the solo exhibition by Matías Ercole (Buenos Aires, Argentina, 1986) presented at the Madrid venue of La Cometa. The show centers on the exploration of luminosity and obscurity as elements that, although seemingly opposed, become fundamental to the construction of the image. Drawing on the conceptual dimension of the physical principle, the artist materializes the tension between concealment and revelation through techniques such as sgraffito, scraping, and stripping.

By Álvaro de Benito

Un visionado a tres voces (A three-voiced screening frames) is the conversation between three video art collections that draw from the languages and dynamics of different Southern contexts. The selections prepared for the occasion by the Centro de Arte Dos de Mayo Museum (CA2M Museum) in Móstoles —which hosts the initiative—, MAC Panamá and BIENALSUR, carried out through MUNTREF in Buenos Aires, also aim to establish synergies among the institutions.

By Álvaro de Benito 

The Centro de Creación Contemporánea de Andalucía (C3A) in Córdoba is presenting Me duelen los ojos de mirar sin verte, the first solo exhibition in Spain by Ana Segovia (Mexico City, Mexico, 1991), on view until January. Curated by Jimena Blázquez Abascal, the show features thirteen oil paintings on canvas and one work on wood, all created expressly for the occasion.