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.

The trajectory of Regina Silveira is presented in Madrid through her main conceptual frameworks, through which she questions reality and established social structures.

A major exhibition at C/O Berlin traces more than five decades of the Mexican photographer’s career, presenting over 250 works including her most iconic series.

Jorge Volpi, after one year as Artistic Director of Contemporánea Condeduque, reflects on programming through a multidisciplinary narrative and how it fosters dialogue while giving Latin American art a central role in Madrid’s cultural scene.

The exhibition presented at the Irish institution showcases an artist who reflects on the interrelation between humanity and nature and advocates listening as a path toward transformation through memory and connection.

The first retrospective in Spain of Gabriela Bettini reflects on absence and the politics of forgetting through images that challenge official history.

The exhibition, originally conceived to represent Chile at the Venice Biennale, reflects on memory and landscape through a dialogue between the Atacama Desert and Mars.

La lechuza de Minerva reflects on the power of cultural institutions in the contemporary context and creates a space where proposals by Dagoberto Rodríguez, Regina Silveira, and Los Carpinteros, among others, coexist in order to re-read the trajectory of the institution itself.

The exhibition brings together works created ad hoc by the artist in the city. Through them, she reinterprets craft and tradition from a contemporary perspective and invites the audience to understand sound as a language that redefines our relationship with the environment.

beginning, middle, beginning presents an installation by Brazilian artist Cinthia Marcelle, conceived specifically for the Central Gallery of the Serralves Museum. The work questions the linear conception of time and its relationship to colonial structures.

The exhibition by the Ecuadorian artist, featuring works created specifically for the Córdoba space, proposes a journey in which the viewer is invited to explore concepts such as migration, memory, and colonialism by moving through a space that brings together history and displacement.

Embajada presents in Madrid a group exhibition that traces a panorama of artistic practices from a Caribbean context exploring languages, identities, and cultural forms.

The Brazilian artist’s work starts from still life to reinterpret pictorial concepts, integrating references from art history into a distinctive visual language.

The textile work of Trine Ellitsgaard emerges between her Scandinavian origins and Mexican craft traditions, where materials and techniques construct a dialogue between memory, territory, and form. 

The Cuban employs the metaphor of chess to reflect on the tensions within the art industry, examining, from a postmodern perspective, originality, the commodification of aesthetics, and its impact on the artist.

Javier Marín’s first solo exhibition at Hilario Galguera in Madrid brings together nearly thirty works that investigate and rethink contemporary sculpture as a dialogue between technique, material, and technology.

La Neomudéjar presents over 130 works from the Fuentes Angarita Collection, mapping three decades of Latin American political art through themes of identity, gender, diaspora, and the memory of the body.

María Fernanda Cardoso explores, through macro photography and video, the performative dimension of the behavior of spiders of the genus Maratus in a body of work that connects science, chromaticism, and aesthetics through naturalistic observation.