THE CRITICAL SENSE OF GALA BERGER’S CARNIVAL AT BOMBON + CRISIS

By María Galarza

Isabella Lenzi (São Paulo, 1986) is a curator trained in architecture, museology, and art history. She lives in Madrid, where she works as Visual Arts Curator at the Círculo de Bellas Artes and as Artistic Director and Chief Curator of the Fundación Alberto Cruz, following a trajectory that includes institutions such as the Museo Reina Sofía, Fundación Mapfre, Videobrasil, the Cuenca Biennial, and the Whitechapel Gallery.

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. 

By Álvaro de Benito

The Fundación Casa de México in Spain hosts Re/Generación, a new installation from the Black Mirror / Espejo Negro series produced by Pedro Lasch (Mexico City, Mexico, 1975) and curated by the National Institute of Anthropology and History of Mexico (INAH). Originating from an initiative originally produced by the Nasher Museum of Art in Durham, North Carolina, in 2007, the series has been transformed through various techniques, evolving its language toward a narrative that makes it impossible to separate past and present, as well as spectator and proposal.

By María Galarza

Antena by Silvia Gurfein, Huir del mundo by Rosa Chancho, and Important Artifacts by Leanne Shapton are three art books published in Spanish during 2025. All three have pink covers. But contrary to the saying, it’s not all roses in these books. Or perhaps it is, but not in an obvious way: they narrate and engage with art through themes of isolation, fragmentation, rupture, and imagination.