The Complutense Art Center explores the work of Quisqueya Henríquez, a practice rich both technically and conceptually, which employs social critique, creolization, and multidisciplinary semantics as analytical tools for the discourse of the Caribbean.

La vida se mueve delves into Pablo Reinoso’s most recognizable artistic practice: the transformation of everyday objects into sculptural works that explore existential fragility in dialogue with space and surrealism.

Máscara y compás underscores the importance of Maruja Mallo’s Latin American exile as a key stage in her artistic renewal, during which her avant-garde language expanded through the integration of the cultural and symbolic realities of Latin America.

Spanish art galleries are protesting with a temporary closure against a tax policy that places them at a competitive disadvantage compared to their European counterparts. The sector is calling for the application of a reduced VAT rate to ensure commercial competitiveness and to continue strengthening and reinvesting in the cultural ecosystem.

The three artists will bring their unique Latin American perspectives to reflect on the global themes addressed by the cycle: feminism, historical memory and power relations.

La Tercera Nave brings together the practices of Linarejos Moreno and Vanessa Enríquez in a dialogue centered on the material and symbolic remnants of memory. Through the concepts of textiles and weaving, both artists address fragmentation from industrial and technological perspectives.

Let’s Play. Juguemos en la colección, a BIENALSUR project, engages with the permanent collection of the Museo Nacional de Artes Decorativas through the conceptual lens of play, featuring the work of ten artists, mostly from Latin America, including Marta Minujín, Glenda León, and Silvia Rivas.

The installation is constructed using the artist's usual practices, where sand, pigments, and translucent curtains come together with cosmology and contemporary languages.

Andrea Canepa intervenes in the Palacio de Cristal at the Museo Reina Sofía with Fardo, an installation consisting of a large tarp inspired by pre-Columbian funerary bundles that transforms the building into a symbolic body, inviting reflection on what is visible and displayed, as well as on preservation and transformation.

The exhibition brings together a decade of technical and poetic experimentation that transcends the traditional boundaries of photography and places visual experience at the center of reflection. 

The exhibition traces different moments and formal strategies in her practice, marked by a critical reflection on violence, denial, and the tensions that permeate the female experience in contemporary society.

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.

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.

The Valencian Centre del Carme presents South Body, a broad selection of recent performance documentation by Carlos Martiel (Havana, Cuba, 1989). Through photographs and videos, the exhibition explores the relationship between racism and xenophobia and the way the body becomes the materialization of exclusion. This corporeal object, or objectified body, is employed by the artist as a medium to express cries of resistance and to propose critical reflections on power structures and their influence on the construction of contemporary society.

The Force of the Display. Gae Archive is the title of the project by Nora Ancarola (Buenos Aires, Argentina, 1955) currently on view at the National Art Museum of Catalonia (MNAC). 

The Guggenheim Museum in Bilbao presents Anatomy of Space, an extensive exhibition dedicated to Maria Helena Vieira da Silva (Lisbon, Portugal, 1908 – Paris, France, 1992), which primarily encompasses her production from the 1930s through the 1980s. The exhibition is structured around two fundamental axes: architecture and the architectural landscape as compositional frameworks, and memory as the generator of the image.

Collegium is hosting at its headquarters in the Castilian town of Arévalo the exhibition Jaque. Poder, tiempo e imagen en estado de juego (Check. Power, Time, and Image in a State of Play), a conceptual show that stems from the relationship between chess and the Torre de los Ajedreces, part of the Romanesque-Mudejar style Church of San Martín, which currently serves as the institution’s main headquarters. The building, dating from the 11th and 12th centuries, features an unusual brick frieze in a checkerboard pattern that evokes the chessboard and the strategic dimension of the game.

The Fundación Casa de México in Spain hosts Re/Generación, a new installation from the Black Mirror / Espejo Negro series produced by Pedro Lasch (Mexico City, Mexico, 1975) and curated by the National Institute of Anthropology and History of Mexico (INAH). Originating from an initiative originally produced by the Nasher Museum of Art in Durham, North Carolina, in 2007, the series has been transformed through various techniques, evolving its language toward a narrative that makes it impossible to separate past and present, as well as spectator and proposal.

The Juan March Foundation in Madrid presents an extensive and analytical exhibition on Robert Rauschenberg (Port Arthur, USA, 1925–Captiva, USA, 2008), focusing on the use of image and photography in his work. The exhibition, structured from a novel curatorial perspective, reinterprets the production of one of the great masters of contemporary art, highlighting it as the outcome of an essentially photographic practice.

By Álvaro de Benito

The Fernando Pradilla Gallery is exhibiting Palabra y Obra at its Madrid venue, a new solo show by Óscar Abraham Pabón (San Juan de Colón, Venezuela, 1984) in which, once again, a psychological investigation or anecdotal narrative is transformed into matter—though without restricting the possibility of the reverse path. The exhibition features recent works by the artist, pieces that maintain a certain relationship between the material and the everyday as something tangible through which to address symbolic notions of a philosophical nature.

Es Baluard in Palma de Mallorca presents Preludio para el sol y las estrellas (Prelude for the Sun and the Stars), a project by Sandra Cinto (Santo André, Brazil, 1968) that transforms the museum space into a realm suspended between perception, time, and matter. The result envelops visitors in an expanded landscape that invites reflection through stillness and contemplation, where the sensory and the act of pausing become central to the experience.

The Cultural Institute of Mexico in Spain presents at its headquarters in Madrid the exhibition El silencio sedimenta (Silence Sediments), a look at the most recent production of Vanessa Enríquez (Mexico City, Mexico, 1973). The show revolves around six literary fragments that reflect on her work, materiality, and creative processes.

The presentation of the current season at Madrid’s Reina Sofía Museum has underscored the strategic importance of Latin America and its artistic practices in the vision of Spain’s largest public contemporary art institution. This is not something new, since its commitment as a public museum has incorporated the Ibero-American narrative as an essential part of its historical account from the beginning. However, what does stand out is the accentuation of its critical essence in a program —the first fully developed under the direction of Manuel Segade, with the exception of a single exhibition— which introduces new elements.

Condeduque, one of Madrid’s leading cultural centers, has unveiled its seasonal program, which establishes a strong connection with Latin American art and thought. The municipal institution, which recently appointed the Mexican writer Jorge Volpi to oversee the center’s cultural direction, has also redesigned its proposals into seven areas of activity, reinforcing connections between the various performing arts and exhibition spaces.