Galleries

Isabel Hurley Gallery in Malaga dedicates an exhibition as a tribute to Alberto Borea (Lima, Peru, 1971- ibidem, 2020). El negro estuvo aquí (2008-2013) goes through his last five years of production through a selection of representative works that were part of the solo shows Ruinas y ciudades, Mountains of America and Turista El Dorado, all of them exhibitions that the Peruvian made in this same gallery, in addition to the proposals made to be exhibited in Volta NY 2011 and ARCO 2013.

Divergent Structure is Guillermo Garcia-Cruz’s installation at Piero Atchugarry gallery that presents a parallel dimension where disjointed sculptural geometry reveals a landscape that intertwines the physical and digital realms. The exhibition is curated by Rina Gitlin.

The work of Voluspa Jarpa (Rancagua, Chile, 1971) has had a very preeminent focus on the political concept surrounding archiving and its documents. Attracted to investigate more about its multiple meanings as a result of the declassification of secrets, specifically the one carried out by the Clinton administration regarding the 1973 coup d'état against Salvador Allende, the artist begins a discursive investigation on the importance of the archival support and the materiality it has as a political document, which leads her to qualify that presupposed legibility.

Close encounters of the new kind is Diana Lownstein Gallery’s collective exhibition presenting artists Lidzie Alvisa, Lole Asikian, Felice Grodin, Ivelisse Jimenez, Clemencia Labin, Alejandra Padilla, Silvia Rivas, Graciela Sacco, Caroline Lathan-Stiefel and Alex Trimino.

The work Nicolás Lamas (Lima, Peru, 1980) presents at The Goma Galery in his solo show Flujos atemporales/sedimentos cognitivos is circumscribed to his way of understanding relationships in a network of knowledge that involves the worlds of the natural and the cultural. Both spheres are the ones that lead him to use in his production processes different materials, artificial and organic, with which he gives life to hybrid elements that have an impact on the viewer's perception.

La Migranta Blue Nipple is Cecilia Vicuña’s second solo exhibition in New York at Lehmann Maupin. Born in Santiago, Chile and based in New York City, the visual artist, poet, filmmaker, and activist presents a series of new paintings, a selection of her “precario” sculptures, and a suite of drawings. The exhibition, encompassing all three floors of the gallery, also includes the first US presentation of Vicuña’s monumental quipu, NAUFraga (2022), since its premiere at the 59th Venice Biennale, as well as a new film based on unseen footage shot while participating in Documenta 14 in Athens, Greece.

Neither one nor the other, but a wound is the exhibition by New York-based Colombian artist Camilo Godoy at Dot Fiftyone Gallery. Curated by Angelica Arbelaez, this exhibition showcases a bold exploration of historical and contemporary social divides.

Noutoupatou, Mondes caribéens en mouvement is the collective exhibition organized by A plus A Gallery and School for Curatorial Studies Venice, in collaboration with Campus Caraïbéen des Arts and curated by Paola Lavra. The exhibition, supported by the Institut français, coincides with the closing of the 60th International Art Exhibition, La Biennale di Venezia.

ENLACE gallery presents the new solo exhibition of Mexican artist Javier Peláez, which condenses five years of his work. An artistic proposal that challenges traditional perceptions of painting and invites us to reflect on reality and representation.

The Brazilian gallery Vermelho inaugurated Elemental Change, Ximena Garrido-Lecca's first solo exhibition in the space.

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.

The Shame (Behind the Scene) is Cynthia Cohen’s first solo show in Miami, at Dot Fiftyone Gallery. The exhibition is curated by Laura Isola. Cohen’s paintings regenerate the historical gaze on the naked female body, creating new relationships between the work and the viewer. She disrupts the logic of art history, reinventing the relationship between subject and observer, private and public. Her work simultaneously veils and unveils sexuality.

Jesús Rafael Soto (Ciudad Bolívar, Venezuela, 1923-Paris, France, 2005) carried out several investigations during the 1960s on possible solutions to face the fragmentation that his language needed. From those explorations emerged the T, a fine, metallic element of simple purity that allowed him to access, with satisfaction, to that disintegration he pursued and to reach a certain sensation of vibration and sublime volatility thanks to the linear disposition of these elements and their uniform arrangement that ended up giving the work a certain mediation between the spectator and the space and movement.

Rolf Art inaugurates Statement, the second solo exhibition of artist Francisco Medail, accompanied by a presentation text by essayist and cultural critic Paola Cortés Rocca.

Kubikulo presents in its Oporto gallery Sol Raso, an installation by Gabriel Ribeiro (Rio de Janeiro, Brazil, 1990) that is presented as a material and superficial photographic event on polyurethane foams in which the evolution of the exposure of the materials to the elements and the sun for thirty days is captured.

Zielinsky presents in its Barcelona space Gladiators of the future, a solo exhibition by Claudio Goulart (Brazil, 1954 - The Netherlands, 2005) that continues Fragmentos da Memória, the exhibition on Goulart held at the gallery's headquarters in São Paulo. The show addresses themes of politics, the body and time, the usual axes of the Brazilian's production, which relied on his life experience as the main source.

One of Carlos Bunga's (Porto, Portugal, 1976) most recognizable features is his way of interacting with architectural spaces. This conversation and intervention has a formal character in the use of materials and chromatic ranges, but also by the introduction of everyday objects that, from the very conception of architecture, reside in it to complement it. This led him to be interested in the most temporary and basic architecture, with flaws in its canonical perception, but equally existing in socially unfavorable environments.

The gallery Lorena Ruiz de Villa hosts the exhibition Casa Encontrada, where the artist Sol Calero (Caracas, Venezuela, 1982) presents a new series of paintings that start from her previous work as a point of reference and in which she advocates the detachment of the most precise definition of her themes, with references to her origins. This proposal, however, leads us to a concept that walks on the line of the interrelation of the human and the natural, making his new production more fractionable.

Ruth Benzacar Art Gallery presented Hypnophilia, the fourth exhibition of Florencia Rodriguez Giles in the space. It features the curatorial work and text by Alfredo Aracil.

ARDE is the exhibition with Alejandro Chaskielberg and Don Rouch, guest artist, that brings together a series of works on which they have recently collaborated.

Madrid's Elba Benitez gallery has entrusted Vik Muniz (Sao Paulo, Brazil, 1961) with its first exhibition of the new season. Entitled Photocubism, the proposal is based on art historiography itself, recovering the cubist aesthetics as a substratum of the technical intervention he makes on iconic works of this movement. The Brazilian artist thus opts for this language to obtain new images that raise questions about perception and result.

Rolf Art presented Marcelo Brodsky's exhibition MARTIRIO, in collaboration with artists Fernando Bryce, Martín Kovensky and Fredi Casco; supported by a research and conceptual approach by José Emilio Burucúa and Carles Guerra.

Cuban-born artist Ariamna Contino presents the exhibition Manigua at El Apartamento, in Spain to revisit the concept of “manigua”, a term historically used to refer to a tropical forest ecosystem.

Lehmann Maupin presented Astral Sea, an exhibition of new work by New York-based artist Teresita Fernández. Featuring a series of glazed ceramic pieces and new sculptural paper panels, Astral Sea extends the artist’s interests in the confluence points of the cosmos, land, and water, as seen through the lens of an embodied sculptural landscape.