Galleries

The Ecuadorian gallery presents A circle called zero, a solo exhibition by David Rickard (New Zealand/UK) curated by Rubén Darío Díaz Chávez. The proposal brings together works in painting, objects, installation, sculpture, video and photography and reflects on the territory, its representation and how we relate to each other in times of pandemic.

This group show at the Buenos Aires gallery offers a multiple panorama of the urban experience. With the city as the protagonist, the works evoke the different relationships that can be found between the individual and its built environment.

Exhibited at La Galería Rebelde (Guatemala City – Los Ángeles), Distensiones is a story, a metaphor of life, of technology versus nature, of the symbiosis and juxtaposition of the evolution of the human being. Within this series there is also a personal narrative of travels, experiences and connections with past generations and personal visions.

The exhibition PROHIBIDO (Forbidden) showcases selection of 13 paintings and an oversized travel journal completed from 1992 to 2014 by artist Lydia Rubio, who represents her environment in a naturalistic style reminiscent of the Hudson River School. For four decades, she has painted highly technical oils on panel, using the traditions of the old masters with a systematic conceptual approach; the traditional style transformed through her subversive allegorical and poetic play.

Curated by Ariel Jiménez, this exhibition is where abstract-geometrical and concrete artists such as Lygia Clark and Tomás Maldonado engage in dialogue with those of artists who, while bordering abstraction, or even clearly abstract in nature, such as Julio Alpuy, Martín Blaszko and César Pasternosto, still bestow their works with a metaphorical and/or symbolic dimension that they consider to be essential. It is also an opportunity to discuss concepts that are not always well-comprehended, such as the difference between geometric abstraction and concrete abstraction, or between works that, while geometric, can work in a radically different manner; some with the plastic autonomy sought by the concrete artist, and others integrating a metaphoric dimension that many Latin American artists consider to be fundamental in maintaining the ties that bind them to the history of the continent.

In this exhibition, the Colombian artist presents ten works in different media: drawing, video, sculpture, and installation. These explore the idea of play, movement and activation of the exhibition space.

The Colombian artist presents a selection of sculptures that flesh out her vision in accordance with what is currently happening: What happens when a space of clarity becomes a vitiated, expressionless space? Absurdity is negative. Is negativity always the end? Or is it rather a path to make way to the new? This is a personal thought process that has become matter; rather than purely conceptual, “Tierra Vieja / Tierra Nueva” is a risk, a medication, a vulnerability opened to the rebirth of pleasure and freedom.

Exhibited at Galería Zielinsky, this solo exhibition will take place until September 10, 2021 in Barcelona. It gives an account of the recent production of the artist, who bases his research on envisioning a new perspective of the landscape: extracting the layers of the environment he inhabits and discovering the synergies that arise between fragments of everyday ruins with materials of great symbolic charge.

Set in Valle Sagrado de los Incas (Peru), the works are exhibited along with a made-for-the-occasion text written by Rafael Mayu Nolte. Taking its elements from banking, advertising and finance, the show aims to expose the ways in which a generation was manipulated and even suffocated by monetary schemes. Through metonimias and the deliberate invisibility of all identities but the white male, Cieza Hurtado speaks to the middle-class consciense of Lima.

This solo show, by one of the most recognized contemporary artists in Colombia, is made up of unseen works made specifically for this project. In Visceral, Luz Lizarazo (Bogotá, 1966) consolidates her work around the body as a living territory in which all forms of memory are registered. The selection of works exhibited serves as a prelude to the retrospective that she will have from August in the Museum of Modern Art of Bogotá (MamBo), curated by the Italian Eugenio Viola, the museum’s chief curator.

“To suppress detail and enhance harmony. Let matter arise, the very essence that is born from dispossession. To print of solemnity on the simple. Discover pure sensitivity in form. It is the absence of light. It is background and also figure. This exhibition proposes an ode to works in black color, freeing them from all drama. The representation of each piece is evident through the simplicity in the composition with the predominance of the flat, forceful color. The works are not explained or thought, they are only expressed. From the most subtle to the effective and concrete. Abstractions and geometric shapes, silhouettes, human faces and organisms. Conditionings and prejudices are not relevant. It is a formal and aesthetic choice for each artist, challenging to see beyond this present and uncertain time." expresses Laura San Martín, founder and curator of the Buenos Aires-based gallery.

Varejão’s rich and diverse artistic oeuvre embodies the mythic pluralism of Brazilian identity and the fraught social, cultural, and aesthetic interactions that engendered it. Living and working in Rio de Janeiro, she draws upon the potent visual legacy of colonial histories and transnational exchange, creating confluent forms that expose the multivalent nature of memory and representation.

The artista exhibits Pa tu run ché (From the treetop) in Proyectos Ultravioleta, Guatemala City.

The gallery's proposal consists of a transdisciplinary project that builds a futuristic narrative fiction about an era ruled by artificial intelligence. From three scenarios: Extinción, Génesis and Tecnotrópico, experimental and innovative proposals of 24 contemporary Colombian artists are exhibited, whose artistic practice is framed in the discussions between art, science and technology.

As the gallery announces exclusive worldwide representation of Villalba, it also presents the artist’s first solo exhibition since his death in 2009. Set for Art Paris 2021, the gallery will exhibit Villalbas’s 1960-1970 works under the title of Le réalisme de l’aliénation (The Realism of Alienation ) and curated by Manuel Neves.

Bringing together recent works by Bernardo Ortiz and Luis Roldan, the exhibition De saltos y tropiezos (Of Jumps and Stumbles) is the result of a year-long intellectual exchange between the artists. Thanks to their affinity for painting, their similar artistic pursuits and a longtime friendship, Ortíz and Roldán engage in an artistic dialogue marked by issues of confinement and the impossibility of leading a life free from temporal and spatial restrictions.

It is an individual exhibition by the Venezuelan artist Juan Carlos Portillo made up of a set of 23 works that unfold in the room as a journey towards memory, where the flight of birds and a translucent atmosphere on the canvas trace a network that introduces the viewer in an anachronic album, the artist's personal blog, according to the gallery representatives.

Collaborating to energize the local market, the galleries + Arte and Talō (both Ecuadorian) present parte de mí / aparte de mí (part of me / apart from me) by the artists Karen Miranda Rivadeneira and Misha Vallejo Prut. Exhibited at Talō and curated by Gabriela Moyano (+ Arte), the show will be open until July 26.

No Lugar and Proyecto N.A.S.A. (L) present Noetic, by the Ecuadorian artist. Curated by Pily Estrada Lecaro, the proposal brings together works in sculpture, photography, objects, videoperfomance and interactive installations to reflect on the relationship between art, nature and technology. Open until Saturday June 19.

The works presented make use of and reference to the image as a channel, as a concept, as a medium. Migrating from one ontological level to another, Candeo highlights the way in which the contemporary world is built from immediate registers, multiple narratives, and memory models.

The Chilean artist Pablo Linsambarth (Santiago de Chile, 1989) exhibits in VIGIL GONZALES’ Online Viewing Room (Peru). The exhibition aims to account for a new figurative aesthetic in development in the American continent. Taking into consideration the historical and social framework that surrounds Linsambarth's artistic impulses, the paintings on display are part of an equally interesting dialogue on an aesthetic, conceptual and political level.

Galería RGR (Mexico City) presents the fourth individual exhibition in the country of the Guatemalan artist, curated by curator and art critic Daniel Garza-Usabiaga. Questioning the relationship between the object and the social masses, the exhibition will be open until June 5, 2021.

Michael Scoggins, New York-based artist, exhibits metonymic imagery of hints and references of the American culture in large scale artworks. On view until July 31st at Diana Lowenstein Gallery in Miami.  

This is the third solo show devoted to Luis Tomasello, and it highlights a selection of some thirty seminal Atmosphères chromoplastiques, Objets plastiques and Lumières noires spanning nearly forty years of creative activity, from 1976 to 2012.