Galleries

By Álvaro de Benito 

Bombon + CRISIS presents 12 Carnavales, the first solo exhibition by Gala Berger (Villa Gesell, Argentina, 1983) in its space. The show takes shape as a critical, anthropologically tinged study of festive and performative practices that take place during carnivals in various South American capitals. Drawing from digital archives and textile compositions, the artist explores the role of the image in shaping identities and collectives within community-based celebrations.

By Álvaro de Benito

Max Estrella Gallery presents The Life of the Nonliving, the first solo exhibition by Alba Triana (Bogotá, Colombia, 1969) at its space. The Colombian artist’s work is the result of a long-standing dedication to exploring the capacities of sound and its physics, transforming her research into creative languages that bring together science, technology, and art to sublimate the invisibility of everyday forces that sustain the symbiosis between life and matter.

By Álvaro de Benito

The History of Peru. 13 artists, 12 works, presented at Galería Daniel Cuevas and curated by Miguel Aguirre, brings together the work of thirteen Peruvian artists to trace a critical journey through the social and political history of Peru. By revisiting key episodes and moments in the country’s past, the exhibition reveals how the impact of tensions, inequalities and unresolved conflicts continues to shape its structural problems and its social fabric.

By Álvaro de Benito

Una lucha de paisajes (A Struggle of Landscapes) is Iván Argote’s (Bogotá, Colombia, 1983) second exhibition at Albarrán Bourdais, a presentation that introduces a new series of works revolving around a video recording of actions through which the artist explores the idea of repair as a political act. Within this dialogue, the exhibition examines space and identity, delving into the characteristics and inherent qualities of public space and the ways in which our relationship with everyday symbols is constructed.

By Álvaro de Benito

With the aim of analysing the incorporation of craft techniques into contemporary art, the Isabel Hurley Gallery in Málaga presents Manos, materia y memoria (Hands, Matter and Memory), curated by Alicia Ventura, on view until mid-month. This group exhibition re-signifies the traditional role of craft and its historical association with the domestic and the feminine. 

The exhibition brings together emblematic works created between the 1970s and 1980s, including remastered films, photographs, drawings, and ephemeral pieces that reveal the ritual, corporeal, and earthbound force of her artistic practice.

A panoramic exhibition at LnS Gallery unfolds alongside the debut of his monumental public installation Milagros at the Temple of Abundance, opening a new chapter in his exploration of urban space.

By Álvaro de Benito

The Barcelona venue of Zielinsky hosts GDA – Galeria de Artistas in its space and presents its group exhibition Perquirere. The show brings together works by several Brazilian artists associated with GDA, who share a common approach to research and to questioning the categorization of Western art. The selection of works seeks to move away from the stereotypes that have shaped the notion of so-called “brasilidade,” while reinforcing the institution’s aim to promote Brazilian artistic thought and practice.

The exhibition of the Uitoto artist intertwines territory, technique, and spirituality in a dialogue of history and resistance.

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.