Galleries

The collective exhibition I saw it in a dream presented by the Panamanian gallery Arteconsult brings together women artists who materialize their intuition through different media

The gallery will inaugurate a new venue where historical works by artists from the Global South will be presented.

The Panamanian gallery will host the work of Irene Kopelman this month, a project that keeps open the interval between seeing and understanding.

Glenda León creates a space where art, sound, and dance engage in dialogue in the face of the erosion of traditional systems of belief, through symbols that allow us to rethink the meaning of the contemporary from a ritual perspective.

Vicky Neumann brings together recent works that explore memory and mourning through nostalgia-laden scenes. Through layering, cutting and recomposing the canvas, she reclaims painting as a space of destruction and repair.

The Brazilian duo Detanico Lain explores the relationship between time and space through systems of representation that transform language into visual and physical structures charged with semiological meaning.

Erick Beltrán examines how Baroque iconography shaped imaginaries of power that remain active today and, through a rereading of Hispanic epistles and emblems, questions contemporary forms of authority and representation.

At a time marked by persistent inequalities, ecological urgencies, and identity-based disputes, this space conceives of art as a field of action for imagining and constructing alternative futures.

The artist and Olympic swimmer will present her first solo photography exhibition. The series, created with synchronized swimmers, required strict coordination to achieve precision and visual coherence.

The American artist constructs a “cartography of return” based on a new series of tapestries that dialogue with previous projects, intertwining memories of migration, collective work, and belonging.

The Argentine curator, artist, and gallerist will lead a platform committed to positioning Latin American art within international conversations “without diluting its specificity.”

Igartua presents a pictorial practice that investigates the relationship between the human and the natural through surfaces conceived as organic membranes. Within them, beauty and disorder are set in tension to reveal nature as an enveloping and transformative organism.

The Colombian artist presents El pozo de agua in Mexico City, a series of marks, traces, and impressions that explore social exchange and questions of identity and belonging.

The gallery presents the work of Constanza Alarcón Tennen, which deactivates the hierarchies between viewer and object, thus focusing on intimacy and the connection between bodies and materials.

THIRD BORN presents a show featuring Rey Akdogan, Simon Callery, Ladji Diaby, Rachel Fäth, Emanuel Juárez, David L. Johnson, Devin T. Mays, and María Naidich.

Nebraska Flores transforms discarded books into organic installations inspired by natural forms of organization. Her intervention at Ponce+Robles proposes a rereading of language as a space for affective cohabitation between matter, body, and knowledge.

El plano inestable (The Unstable Plane) upholds Carlos Cruz‑Diez’s investigative legacy in an exhibition that delves into the exploration of chromatic autonomy and dynamism while incorporating the visitor’s perception and experience.

Alberto Baraya brings together his projects Vento and Camelias Expedition, developed in Galicia, in an exhibition that combines video and installation as records of artistic and scientific action and research, reflecting on landscape, botany, and methods of exploration.

By Álvaro de Benito

The group exhibition features the participation of Cecilia Paredes and Luis González Palma, offering a necessary perspective from Latin America on the golden as a sign of wealth and temporal transcendence.

The Colombian artist presents at kurimanzutto a body of works focused on the sedimentation of time and on painting understood as a process.

By Álvaro de Benito

Martinat presents Pintas at Formato Cómodo, an analysis of political semiotics and the spread of propaganda in public space. Through the extraction of layers from urban political graffiti, these decontextualized remnants are re-signified, functioning as ephemeral records of power tensions, memory, and the urban landscape.

By Álvaro de Benito

MEMORIA gallery presents cedemequis, a solo exhibition offering a journey through the photographic production of Yolanda Andrade (Mexico DF, Mexico, 1950). The show focuses on her record and observation of the urban and the everyday in Mexico City, emphasizing the tension between the ordinary and the extraordinary, and acknowledging the individual value of what stands apart within the collective.

By Álvaro de Benito

Gonzalo Lebrija and Jorge Méndez Blake transform the lighthouse into a structuring axis at the boundary between worlds in Finisterre. Moving away from the documentary, the exhibition seeks to create a poetic and sensory experience that invites the viewer to reflect on perception and limits.

The Polish artist makes her debut on the Latin American art scene with a proposal that reveals the material anatomy of Lima.