Galleries

Huxley-Parlour presented Adua, an exhibition of works by Colombian artist Karen Paulina Biswell and Colombian Embera-Chami artist and cultural guardian Maria Amilbia Siagama Siagama at the Swallow Street gallery in March 2025.

ICPNA Cultural presents La piel de mi reino, a retrospective of the Peruvian artist Claudia Coca (Lima, 1970). This exhibition brings together works created from the mid-1990s to the present, reflecting the artist's unwavering commitment to researching, deconstructing, and reconstituting historical systems of representation.

The institution commemorates six decades of trajectory reaffirming its commitment to Argentine artistic production and the continuous development of its scene. To kick off the great year, it presents Estudio para la restauración de un perfil (Study for the Restoration of a Profile) by Ana Gallardo and Alquimia para tiempos turbios (Alchemy for Turbulent Times) by Marina De Caro.

The ABRA gallery has inaugurated a show at warehouse 9 of the Centro de Arte Los Galpones (Los Chorros) that brings together 48 drawings by 48 artists from different generations of the Venezuelan art scene.

SKETCH  gallery presents Un todo con partes separadas, an exhibition by Colombian artist David Julián Cortés (1998) that delves into the relationship between painting and weaving, using materials with a strong symbolic and cultural charge.

The exhibitions Retroespectro (Retrospectrum) by Agustín González Goytía and Un amor y una promesa (A love and a promise) by Fabio Risso Pino, presented at the Linse gallery, invite visitors to explore different approaches to memory, the configuration of images, and artistic identity. While both shows come from distinct languages and concerns, they explore the relationship between past and present, the materiality of art, and its impact on the construction of subjectivities.

kurimanzutto presents Haegue Yang’s (1971, South Korea) exhibition Arcane Abstractions, featuring works that present a continuation of her deep engagement with abstraction. The show brings together diverse bodies of work alongside an archival display with pieces made by Mexican artisans and references to local materials.

The British gallery, in collaboration with Proyectos Ultravioleta, presents The Spirit of Science Fiction, the first solo exhibition of Felipe Mujica (Santiago, Chile, 1974) in the United Kingdom. The exhibition takes its title from a novel by Roberto Bolaño and brings together a variety of media, including textiles, screen prints, artist books, and a new series of works on paper titled Te regalaré un abismo.

Macarena Yáñez, Macay (Santiago, Chile, 1982) proceeds with meticulousness to the creative elaboration of textiles that hide numerous analyses. The scraps of clothing that left behind their main function, recover from the hand of the Chilean woman an ancient mandate as a record of oral tradition and become a tool of transmission, but also of reflection of the place of the human being within a vilified natural ecosystem.

The Ecuadorian art space presents Ánima Espina, an exhibition by Nicolás Aguirre (Quito, Ecuador, 1991) and Chloé Viton (Lyon, France, 1993), where the fusion of the human, the ancestral, and the mythical is reflected.

CORRESPONDENCES at Kurimanzutto, the ongoing collaboration between Soundwalk Collective and Patti Smith, marks the first time this body of work is exhibited in New York and in a gallery space; the exhibition explores diverse geographies, histories, and natural environments.

At Plaza Bolognesi, in the historic center of Lima, has opened GATO. Co-founded by Axier Villanueva and Oscar Flórit, this art platform seeks to sustain a dynamic, institutional-level program in a unique commercial environment.

The proposal of Día Muñoz (Guayaquil, Ecuador, 1989) goes through the materialized ideas of a posthumanist future from a speculative perspective in his recent exhibition “Creaturas” de la dimensión de lo inconsciente (Creatures from the dimension of the unconscious) at the Madrid-based Ponce+Robles. To this end, she concentrates on the scientific possibilities and the multiple options of resolution, starting from organic principles with which to operate and create those dimensions of biological character and fundamentally technical essence.

The VIGILGONZALES gallery presents Ansío lo que crece mientras cae (I Long for What Grows While Falling), an individual exhibition by Peruvian artist Natalia Iguiñiz Boggio; it highlights, both from a personal perspective and through historical reflection, the symbolic and epistemological aspects that uphold the vertical order of the patriarchal system.

Dot Fiftyone Gallery presents Guapísimas: A Personal Journey Through Cultural Exchange and Transformation, a solo exhibition by multidisciplinary artist Pepe López; this thought-provoking showcase delves into the complexities of cultural syncretism, exploring the intersection of tradition and modernity in a globalized world.

Galería del Paseo presents Tiza, an exhibition by Ishmael Randall-Weeks that explores the nature of everyday life through its limitations and potential. The exhibition invites the public to reflect on how the relationship between humans and the environment is constructed.

The curatorial duo Carmen Lael Hines and Roberto Majano will be the new Head Curators at The RYDER Projects. This represents a new stage in the gallery that succeeds the period led by Rafa Barber, who has held this position heretofore.

The Fredric Snitzer Gallery welcomes audiences to always vacationing among flamingos, a dynamic solo exhibition by the artist collective assume vivid astro focus (avaf); this show presents eight new paintings that embody the collective’s vibrant creativity and unique artistic approach.

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.