Galleries

Macaparana (b. José Souza Oliveira Filho, Pernambuco, Brazil, 1952) can find in his work a clear link with primitivism and African art or, at least, in the development and influence in the aesthetic and structural aspects of the same. It might seem something totally alien, given that the basic theoretical principles of the languages of concrete art that emerge without regard in his proposal seem to delve more into the aseptic of geometric forms than in the anthropological and sacred of ethnic art, but the relationship exists precisely because of a heritage raised from the geometric as an identity.

VETA by Fer Francés presents the first solo exhibition of Larry Madrigal (Los Angeles, USA, 1986), one of the latest artists to join the list of those represented by the Madrid gallery. Too Good to be True presents about twenty portraits that revolve around the background of human relationships, interpersonal connection and intimacy, themes that the Mexican-American artist is considering after becoming a father and radically changing his interest in political art.

The Spanish gallery presents a group exhibition exploring the act of weaving as a practice that connects stories, heritages, and generations. Soltaré cien conejos y usted verá cómo le hace para juntarlos todos (I will release a hundred rabbits and you will see how you manage to collect them all) reflects on the intersections between the artisanal and the contemporary, addressing themes such as cultural identity, territorial dispossession, and collective memory.

The first major exhibition of Mucki’s beadwork is being held at Galatea Gallery in São Paulo and will be on display until January 16, 2025. After decades of working with fabrics, the artist now presents a significant collection of works created with the collaboration of a collective of women embroiderers from Ilhéus and Rio de Janeiro.

To commemorate the centenary of the first Surrealist Manifesto, kurimanzutto revisits its collection to present a selection of works produced over the past thirty years that draw inspiration from Surrealist practices or significantly reflect its legacy. This inventory will be on view until January 11, 2025.

In its exhibition Páro Ques̈há, the Madrid-based MEMORIA presents a dialogue between Roldán Pinedo (Yarinacocha, Peru, 1971) and Javier Silva Meinel (Lima, Peru, 1949), works by both artists that present elements from the heart of the Peruvian Amazon and the Shipibo-Conibo cosmogony. In the imaginary of this Amazonian culture, the drawings receive spirit and life when they are embodied and connected to a further cosmic language. Thus, paintings, ceramics, textiles or instruments of various kinds are considered sacred and become receptacles of spirits whose task is to watch over those who possess them. 

The Pablo Goebel Fine Arts Gallery presents the work of master artist Francisco Toledo, a central figure in contemporary Mexican art. This exhibition celebrates the artistic legacy of the Oaxacan artist and revisits his exploration of the indigenous world, ancestral myths, and his unwavering commitment to his community. 

Galería del Paseo presents the dual exhibition A Dos Voces (In To Voices), featuring works by Argentine artist Liliana Porter and Uruguayan artist Ana Tiscornia. The show includes a selection of collaborative pieces and two significant individual works created during 2023/24.

The Gerhardt Braun gallery is showing the second solo exhibition of Martín Mas (Uruguay, 1974) at its Palma de Mallorca headquarters. The Matter Matters presents a new return of the artist with Balearic roots to wood, his main working medium. Although this comeback is not new but recurrent over the last few years, on each occasion a profound productive relationship is confirmed that leads to the creation of works of apparent simplicity, although with a complex base, in which geometric forms, clear lines and organic substrates predominate. 

The photographs of Womankind project by María María Acha-Kutscher (Lima, Peru, 1968) are the protagonists of the exhibition that the Barcelona-based ADN dedicates to one of the leading artists in feminist postulates. The series from which the bulk of the exhibition draws is based on the technique of digital photographic collage, and makes use of images already made and archives as well as snapshots taken by the artist herself. Like a large part of her production, her proposal is based on revising, with greater or lesser success, the apparently heterogeneous imaginary of the social conventions created and related to the feminine and femininity. 

The Departamento 112 gallery -located in Martinez, province of Buenos Aires, Argentina- began by occupying an apartment, then became a garage and finally settled in a disused space that, converted into a hall, provides a view over the entire block.

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.