JOSÉ DE LA MANO RECLAIMS THE SCULPTURAL WORK OF CHACÓN ÁVILA

In HIPERASIA, Chilean artist Patrick Hamilton examines post-capitalism, consumerism, and neoliberalism through the formal premises of geometric abstraction and minimalism, while reflecting on cultural banalization and contemporary global dynamics.

Enrique Ježik and Matías Costa address violence, memory, and exile in Elche, highlighting the connections shaped by displacement.

The trajectory of Regina Silveira is presented in Madrid through her main conceptual frameworks, through which she questions reality and established social structures.

Jorge Volpi, after one year as Artistic Director of Contemporánea Condeduque, reflects on programming through a multidisciplinary narrative and how it fosters dialogue while giving Latin American art a central role in Madrid’s cultural scene.

The first retrospective in Spain of Gabriela Bettini reflects on absence and the politics of forgetting through images that challenge official history.

Nombrar el mundo reconsiders painting through a political and affective perspective, expanding the canvas as textile toward sculptural and sonic dimensions as a gesture of resistance.

The Mexican artist reinterprets colonial-themed prints by Theodor de Bry to question the construction of otherness and denounce neocolonial violence and contemporary conflicts.

Artium brings back into the artistic debate the trajectory of Juana Fernández Cima, a body of work shaped by dissidence, identity, and spirituality that was progressively marginalized from the dominant artistic narrative.

Inspired by Lélia Gonzalez’s concept of “amefricanity,” Seville once again engages with the Jorge M. Pérez collection, bringing together American and African artists and proposals to question the historical, symbolic, and aesthetic links across both sides of the Atlantic.

Fundación, by Marlon de Azambuja, transforms one of La Casa Encendida’s towers into a walk-through sculptural installation. Aiming to reflect on the act of founding and the search for what underpins knowledge, the work questions the divisions between reason and sensation and proposes the exhibition space as an experiential environment.