SAPUCAY MARICA: INTERVIEW WITH LORENZO GONZÁLEZ BALTAZAR

Lorenzo González Baltazar will be part of the NEXT | Out of Focus section with Primor Gallery, in the 20th edition of Pinta BAphoto. He presents his project Sapucay Marica, with photographs that capture the coexistence of the rural and the queer, performance and tradition, the intimate and the collective.

By María Galarza
Interviews

SAPUCAY MARICA: INTERVIEW WITH LORENZO GONZÁLEZ BALTAZAR

By María Galarza

Lorenzo González Baltazar will be part of the NEXT | Out of Focus section with Primor Gallery, in the 20th edition of Pinta BAphoto. He presents his project Sapucay Marica, with photographs that capture the coexistence of the rural and the queer, performance and tradition, the intimate and the collective.

REPETITION AND TRANSFORMATION - SPECIAL PROJECT AT PINTA BAphoto

Cecilia Lenardón's Special Project at Pinta BAphoto, curated by Irene Gelfman, presents an installation that pushes the representation of the body through photography to the limit, transforming the static image into a living and performative experience. Entitled Cuatro piezas clave (Four Key Pieces), the work invites us to reflect on the body's boundaries and its capacity to tolerate effort and repetition.

By María Galarza
Reviews

REPETITION AND TRANSFORMATION - SPECIAL PROJECT AT PINTA BAphoto

By María Galarza

Cecilia Lenardón's Special Project at Pinta BAphoto, curated by Irene Gelfman, presents an installation that pushes the representation of the body through photography to the limit, transforming the static image into a living and performative experience. Entitled Cuatro piezas clave (Four Key Pieces), the work invites us to reflect on the body's boundaries and its capacity to tolerate effort and repetition.

October 22, 2024
CONTINUUM: FROM THE DIALOGUE WITH DELCY MORELOS

The Andalusian Center for Contemporary Art (CAAC) is showing Continuum or the appearance of the parts and the whole in its recovered space in the cellars of the institution's complex in Seville, an exhibition whose origin is to be sought in Profundis, the proposal that Colombian Delcy Morelos (Tierralta, Colombia, 1967) made for this same center this year and that served as a framework to sublimate, from the analysis, the dialogue beyond the material and the relationship she kept with her collaborators when it came to putting together her recent exhibition.

By Álvaro de Benito
News

CONTINUUM: FROM THE DIALOGUE WITH DELCY MORELOS

By Álvaro de Benito

The Andalusian Center for Contemporary Art (CAAC) is showing Continuum or the appearance of the parts and the whole in its recovered space in the cellars of the institution's complex in Seville, an exhibition whose origin is to be sought in Profundis, the proposal that Colombian Delcy Morelos (Tierralta, Colombia, 1967) made for this same center this year and that served as a framework to sublimate, from the analysis, the dialogue beyond the material and the relationship she kept with her collaborators when it came to putting together her recent exhibition.

BODIES & TERRITORY: A GROUP EXHIBITION AT JUMEX MUSEUM

Siluetas sobre maleza [Silhouettes on grass] is a group exhibition at Museo Jumex that explores the ways in which bodies exist and inhabit territory. Spanning several generations, the exhibition features artists who explore the intertwined associations of body, land and identity in Latin America's history and present: Minia Biabiany (Guadalupe, 1988), Vivian Caccuri (Brazil, 1986), Frieda Toranzo Jaeger (Mexico, 1988), Ana Mendieta (Cuba, 1948 - USA, 1985), Nohemí Pérez (Colombia, 1962) and Vivian Suter (Argentina, 1949).

News

BODIES & TERRITORY: A GROUP EXHIBITION AT JUMEX MUSEUM

Siluetas sobre maleza [Silhouettes on grass] is a group exhibition at Museo Jumex that explores the ways in which bodies exist and inhabit territory. Spanning several generations, the exhibition features artists who explore the intertwined associations of body, land and identity in Latin America's history and present: Minia Biabiany (Guadalupe, 1988), Vivian Caccuri (Brazil, 1986), Frieda Toranzo Jaeger (Mexico, 1988), Ana Mendieta (Cuba, 1948 - USA, 1985), Nohemí Pérez (Colombia, 1962) and Vivian Suter (Argentina, 1949).

WITNESSES OF AN EXTENDING TERRITORY - VIDEO PROJECT AT PINTA BAphoto

The eighth edition of Video Project, curated by Irene Gelfman, invites us to immerse in the concept of territory through the moving image. In video art we find a sense of curiosity and exploration that challenges our ideas of materiality and expands to embrace the most intimate. In six selected works, the notion of territory addresses bodies, landscapes and symbols, questioning the stability of physical and conceptual limits. The territory becomes a fluctuating space, as critical as the viewer's place.

By Mercedes Abella
Reviews

WITNESSES OF AN EXTENDING TERRITORY - VIDEO PROJECT AT PINTA BAphoto

By Mercedes Abella

The eighth edition of Video Project, curated by Irene Gelfman, invites us to immerse in the concept of territory through the moving image. In video art we find a sense of curiosity and exploration that challenges our ideas of materiality and expands to embrace the most intimate. In six selected works, the notion of territory addresses bodies, landscapes and symbols, questioning the stability of physical and conceptual limits. The territory becomes a fluctuating space, as critical as the viewer's place.

October 18, 2024
GUILLERMO KUITCA: A CUBIST CHAPELL IN THE MUSÉE NATIONAL PICASSO-PARIS

The Argentine artist Guillermo Kuitca was commissioned to create a site-specific work in the chapel of the Hôtel Salé, home of the Musée national Picasso-Paris. The final commission, whose canvas is the walls of the chapel, can now be visited.

News

GUILLERMO KUITCA: A CUBIST CHAPELL IN THE MUSÉE NATIONAL PICASSO-PARIS

The Argentine artist Guillermo Kuitca was commissioned to create a site-specific work in the chapel of the Hôtel Salé, home of the Musée national Picasso-Paris. The final commission, whose canvas is the walls of the chapel, can now be visited.

SEBASTIÁN VIDAL MACKINSON: “CURATORSHIP IS A PROCESS OF SENSITIVITY AND COLLECTIVE INTELLIGENCE”

Pinta BAphoto –the most important photography fair in the region– presents as a new feature the RADAR section, curated by Sebastián Vidal Mackinson. In an interview with Arte al Día, Sebastián reflects on the diversity of approaches in photography today and its growth as a medium capable of dialoguing with other forms of artistic expression.

By María Galarza
Interviews

SEBASTIÁN VIDAL MACKINSON: “CURATORSHIP IS A PROCESS OF SENSITIVITY AND COLLECTIVE INTELLIGENCE”

By María Galarza

Pinta BAphoto –the most important photography fair in the region– presents as a new feature the RADAR section, curated by Sebastián Vidal Mackinson. In an interview with Arte al Día, Sebastián reflects on the diversity of approaches in photography today and its growth as a medium capable of dialoguing with other forms of artistic expression.

ANTONIO PICHILLÁ QUIACAÍN: THE ARTIST NOMINATED FOR EFG LATIN AMERICA ART AWARD AT ArtBo

Antonio Pichillá Quiacaín was announced as ArtBo's nominated artist for the EFG Latin America Art Award, the company's annual acquisition award. The winning artist will be featured at Pinta Miami 2024.

News

ANTONIO PICHILLÁ QUIACAÍN: THE ARTIST NOMINATED FOR EFG LATIN AMERICA ART AWARD AT ArtBo

Antonio Pichillá Quiacaín was announced as ArtBo's nominated artist for the EFG Latin America Art Award, the company's annual acquisition award. The winning artist will be featured at Pinta Miami 2024.

JUAN JOSÉ CAMBRE AND HIS CHROMATIC LABYRINTHS

Gachi Prieto Arte Contemporáneo inaugurates CAMBRE, an individual exhibition by Juan José Cambre. With unpublished works, the artist continues his obsessive search for a color and its variants, which eventually become a sort of chromatic labyrinth.

Galleries

JUAN JOSÉ CAMBRE AND HIS CHROMATIC LABYRINTHS

Until 12/14/2024
Buenos Aires, Argentina
THE FIRE KEEPERS, A PERSPECTIVE ON THE MYTH OF FIRE FROM A MEXICAN CURATORIAL PERSPECTIVE

In an art industry that increasingly advocates following the lines established by cultural policies, it is always comforting to return to thesis themes, to environments that draw from social and historiographic sources, of course, but also from myths and a well-understood anthropology. You can go deeper in subtitles and lines or you can put together a skeleton, but the overview can also be a reward these days.

By Álvaro de Benito
Reviews

THE FIRE KEEPERS, A PERSPECTIVE ON THE MYTH OF FIRE FROM A MEXICAN CURATORIAL PERSPECTIVE

By Álvaro de Benito

In an art industry that increasingly advocates following the lines established by cultural policies, it is always comforting to return to thesis themes, to environments that draw from social and historiographic sources, of course, but also from myths and a well-understood anthropology. You can go deeper in subtitles and lines or you can put together a skeleton, but the overview can also be a reward these days.

October 18, 2024

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