The Mexican artist explores the relationship between memory and identity in her exhibition in Seville through more than thirty large-scale paintings in which the visual language of pop culture invites viewers to recognize themselves and question socially constructed roles.

An extensive exhibition in Bonn featuring more than 400 works and objects presents Amazonia through the perspectives of its Indigenous peoples, exploring their cosmologies through a dialogue between contemporary artistic practices and historical artefacts. 

The Mexican artist departs, at Travesía Cuatro, from his established use of popular culture to embrace a more sensitive imaginary that explores tenderness, childhood, and reconciliation as forms of resistance against the contemporary world.

The Argentine artist returns to carlier | gebauer to explore, through the creation of a suggestive environment, how we perceive and destabilize time and its interruptions.

Tania Candiani arrives in Valencia with an immersive installation that reimagines the subsoil as a living, speculative organism, where nature, technology, and memory converge to configure a hybrid ecosystem.

The exhibition by the Peruvian artist in Madrid examines, through mobile sculptures and mosaics, the ways in which movement and memory function as structuring forces of cultural resistance and continuity.

The two Colombian artists approach the exploration of painting’s zero point through separate solo exhibitions at La Cometa, responding from positions shaped by contemporary visual saturation and the suspended pictorial gesture.

The exhibition by Peruvian artist at Galería Maisterra examines memory, identity, and belonging through a literary narrative articulated across video and sculpture, interrogating systems of social classification and the cultural hierarchies that sustain mechanisms of exclusion.

The Museo Reina Sofía presents a selection of more than fifty participatory, reconfigurable and conceptually driven works by Felix Gonzalez-Torres, activating a contemporary reading of his practice that exceeds both curatorial boundaries and established discursive frameworks.

The Santander-based institution proposes a curatorial reading of Marisol through a major retrospective of her drawing practice, understood as a fundamental axis of her work and as a means of articulating the knowledge acquired through her vital displacements.

The Spanish Pavilion at the Biennale is transformed into an anti-museum led by the Catalan artist, grounded in the accumulation of postcards, memory, and a critique of the archive.

Fundación, by Marlon de Azambuja, transforms one of La Casa Encendida’s towers into a walk-through sculptural installation. Aiming to reflect on the act of founding and the search for what underpins knowledge, the work questions the divisions between reason and sensation and proposes the exhibition space as an experiential environment.

The Argentine artist connects memory and identity in a large-scale installation commissioned by Whitechapel Gallery, where adobe sculptures and collected objects examine the experience of displacement through a contemporary archaeological lens.

Supported by Collegium, the acclaimed installation by the Brazilian artist arrives in Spain with a sensorial and contemplative proposal in dialogue with the Church of San Miguel in Arévalo.

Inspired by Lélia Gonzalez’s concept of “amefricanity,” Seville once again engages with the Jorge M. Pérez collection, bringing together American and African artists and proposals to question the historical, symbolic, and aesthetic links across both sides of the Atlantic.

Peruvian artist Wynnie Mynerva explores migration, love, and resistance in Berlin through Andean cosmology and social thought, interrogating which bodies become legible within regimes of recognition and how forms of attachment persist amid conditions of violence and exclusion.

Artium brings back into the artistic debate the trajectory of Juana Fernández Cima, a body of work shaped by dissidence, identity, and spirituality that was progressively marginalized from the dominant artistic narrative.

The Mexican artist reinterprets colonial-themed prints by Theodor de Bry to question the construction of otherness and denounce neocolonial violence and contemporary conflicts.

Nombrar el mundo reconsiders painting through a political and affective perspective, expanding the canvas as textile toward sculptural and sonic dimensions as a gesture of resistance.

The Madrid gallery delves into the evolution through which Ester Chacón Ávila moved from design to sculpture, reclaiming both the artist’s figure and textile practice as a fully contemporary language.

The Castilian institution examines Matías Ercole’s conception of space as a cultural construction where identity and emotion converge, encouraging a rethinking of perception and interaction with the environment.

In HIPERASIA, Chilean artist Patrick Hamilton examines post-capitalism, consumerism, and neoliberalism through the formal premises of geometric abstraction and minimalism, while reflecting on cultural banalization and contemporary global dynamics.

Enrique Ježik and Matías Costa address violence, memory, and exile in Elche, highlighting the connections shaped by displacement.

The Swiss institution presents an extensive survey spanning five decades of the Venezuelan-born artist’s production, highlighting her ironic focus on power and mass culture.