Galleries

The Cuban artist presents new works inspired by the Hudson River and his experiences in the United States, in a show that combines painting, process, and live presence.

By Álvaro de Benito

OFF Galería Elba Benítez, the complementary space of the historic Madrid gallery, hosts The History of the Eye, a project that merges science and art by Mariano Sigman (Buenos Aires, Argentina, 1972) and Mariano Sardón (Bahía Blanca, Argentina, 1968). The exhibition is structured around extensive research into the perceptual processes that shape visual reality. Both artists, with solid scientific backgrounds in physics and neuroscience, have explored the mechanisms through which the brain transforms light stimuli into images and the influence of memory on visual experience.

By Álvaro de Benito

The Río & Meñaka gallery presents El otro lado (The Other Side) at its Madrid venue — an exhibition showcasing the latest body of work by Marlon de Azambuja (Porto Alegre, Brazil, 1978), in which the artist invites viewers to explore the relationship between matter, perception, and memory. Conceived through the material and tactile nature of his sculptures, paintings, and installations, the Brazilian artist encourages the visitor to delve into the blurred boundaries between light and shadow, as well as into the role of memory in shaping the self.

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.

By Álvaro de Benito

Belmonte is showing, until mid-month, Timelines (or Cross-Sections of Time), the first solo exhibition by Isabella Benshimol (Caracas, Venezuela, 1994) at the gallery. The show brings together some of the artist’s latest works, in which she explores accumulation as a translation of both memory and matter.

The Brazilian artist presents an exhibition that activates public participation and shifts painting toward the terrain of relationality, abstraction, and collective transformation.

European artists Isabel Cordovil, Cristina Garrido and Gabriele Beveridge land in Lima with a show that turns the familiar into a territory of questions and revelations.

By Álvaro de Benito

The Marbella-based gallery Yusto/Giner presents El peso de lo inmaterial (The Weight of the Immaterial), the first solo exhibition of Horacio Quiroz (Mexico City, Mexico, 1977), in which the artist employs the corporeality of painting itself as a material element to give form and volume to certain unrepresentable expressions. Self-taught by formation, his pictorial expressiveness approaches the use of line and color in an almost ritual manner, treating them as essential components of creation.

Álvaro de Benito

The Valencian gallery Jorge López presents Felices los que creen sin haber visto (Blessed are those who have not seen and yet they have believed), an exhibition where Miguel Rothschild (Buenos Aires, 1963) confronts the sacred and the profane, the sublime and the fragile, unfolding throughout the body of works the tension created by these concepts through material, visual, and poetic strategies.

By Álvaro de Benito

(S)Obras Completas is the exhibition with which MEMORIA celebrates its five years of activity. This exhibition, presented simultaneously in the two spaces the Madrid gallery maintains in the Spanish capital, seeks to open a space for reflection on this time and the impact of its activity, rather than to function as a retrospective or a gesture of self-congratulation.

The Argentine artist presents Las máquinas no lloran (Machines Don’t Cry) at the Buenos Aires gallery, where he fuses diverse artistic techniques with automated mechanisms.

In his new exhibition at VIGIL GONZALES Galería, Germán Sandoval explores the boundaries between perception, delirium, and political memory through an improbable hypothesis: hallucinations induced by tear gas.

By Álvaro de Benito 

The Madrid gallery Formato Cómodo presents the exhibition Sueño Bolivariano, Preludio I by José Carlos Martinat (Lima, Peru, 1974). The show, the first of two to be hosted by the space, reflects the initial stage of an ongoing project in which the Peruvian artist draws inspiration from Simón Bolívar and his route. Based on the propagandistic actions of the independence leader, the author seeks references in contemporary Latin American politics that allow him, through the establishment of parallels, to reinterpret its messages, spaces, and intentions.

By Álvaro de Benito

A veces sueño que cae un meteorito sobre el mundo y lo construye (Sometimes I dream that a meteorite falls upon the world and builds it) is the proposal that Karlo Andrei Ibarra (San Juan, Puerto Rico, 1982) presents at the Madrid venue of La Cometa. This exhibition, of enormous conceptualism, originates in the author’s fantasy and is transformed into a paradox: the reconstruction of a world that seems only possible through the impact of an asteroid.

Álvaro de Benito

At its Madrid venue Travesía Cuatro presents Las niñas del altiplano, an exhibition that forms the second chapter of Donna Huanca’s (Chicago, United States, 1980) first solo show in this space. While in Lengua de Bartolina Sisa (2017) the Bolivian-American artist paid a personal tribute to the heroine who led the Indigenous revolution against colonialism in the 18th century, her most recent proposal focuses on the female body and psyche, seeking reconstruction on all levels and instrumentalizing ritual as a means of repair oriented toward the future.

By Álvaro de Benito

Barcelona’s ADN Galería hosts Glass Ceiling, the second solo exhibition by Regina José Galindo (Guatemala City, Guatemala, 1974) in this space. The show brings together a selection of works that combine the techniques most often employed by the artist, with a key emphasis on her production in performance, video, and photography.

By Álvaro de Benito

Ninety-five years have passed since the iconic exhibition at New York’s Julien Levy Gallery dedicated to Manuel Álvarez Bravo (Mexico City, Mexico, 1902 – ibid., 2002), which brought the Mexican photographer’s work into the spotlight. Now, his oeuvre is once again the subject of study in Spain, where it had not been shown for more than a decade, through the exhibition organized by the Blanca Berlín Gallery in Madrid.

By Álvaro de Benito

Espacio Mínimo presents Alamandas, the second solo show by Mauro Piva (Rio de Janeiro, Brazil, 1977) at the Madrid gallery. The proposal navigates through a universe with a strong natural presence, where connections between memory and spirituality—almost shamanic—emerge. From his own life experience, the Brazilian artist draws an environment built around remembrance, around the force and impact of the present upon the space one longs to return to, but which, in a certain sense, drifts away from the real.

By Álvaro de Benito

The Madrid gallery VETA by Fer Frances hosts a double exhibition of Eduardo Sarabia’s (Los Angeles, U.S., 1976) work, made up of the series Mi gente and, complementarily, La luz. The production of the Los Angeles–born artist, who has lived for years in Guadalajara, Mexico, moves between traditional artisanal techniques and the most contemporary procedures of sculpture and installation and, above all—as is the case here—painting.

By Álvaro de Benito

Bernal Espacio presents, in collaboration with the Albarrán Bourdais gallery, Drawings from the Year 2020, a solo exhibition that encompasses an interesting body of work, bounded in time, by José Antonio Suárez Londoño (Medellín, Colombia, 1955), one of the great figures of contemporary drawing. The series on display represents a visual record of the pre-pandemic and pandemic era, serving as a testimony to the uncertainty and isolation that surrounded and shaped the complexity of that period.

The space brings together nine artists who turn sculpture into domestic ritual and affective politics: installations that listen, fragmented bodies, maps of memory.

By Álvaro de Benito

The exhibition project created in Madrid by the galleries Bombon Projects (Barcelona) and CRISIS (Lima) presents its second show, building a dialogue between the works of Daniel Jacoby (Lima, Peru, 1985) and Marie Zolamian (Beirut, Lebanon, 1975). The shared setting, conceived specifically for the intersection of artists, exhibitions, and unforeseen connections, takes shape this time with Pink specks of dust in a garden with no sun, a symbiosis of sculptural installation and painting that explores common ground in the human relationship with different environments.

By Álvaro de Benito

Zielinsky presents Traces of Violence, an exhibition that brings together the most recent work by Marcelo Brodsky (Buenos Aires, Argentina, 1954). The show consists of a series of historical photographs taken during the genocide that occurred in Namibia at the beginning of the last century, which the artist intervenes either with insertions or by appropriating them, thus inviting reflection on violence and colonialism.

Her work moves between uprootedness and invention, between the intimate and the universal, proposing a visual language that resists labels and reactivates cultural memory through a singular perspective.