Reviews

Eugenio Espinoza: Unruly Supports (1970-1980) constitutes a rigorous exhibition that embarks the viewer on an exploration of Eugenio Espinoza’s (San Juan de los Morros, 1950) radical proposal. Curated by Jesús Fuenmayor, the exhibition is composed for more than fifty works that include paintings, photographs, sculptures, postcards and documentations of performances and interventions,

Yoan Capote’s Collective Unconscious inhabits binary spaces. Two galleries of work explore two seemingly contradictory themes—physical and mental suppression, and human resilience.

An impressive topography of tamped down asphalt showing reliefs and planar areas extends throughout the main exhibition room of the Recoleta Cultural Center. Argentine artist Matías Duville’s (Buenos Aires, 1974) enigmatic and attractive installation lends its name to the exhibition: Arena Parking.

The exhibition México, featuring works by the notable photographer Adriana Lestido (Argentina, 1955) at Rolf Art, displays two impressive and beautiful photographic essays, developed in Mexican territory in 2010. The interview México – which lends its title to the exhibition – is the product of an invitation from the Mexican photographer and curator Patricia Mendoza, to capture photographs of forest areas on the occasion of the International Year of Forests.

Beatrix Potter was an English scientist and illustrator who investigated the reproduction and taxonomy of fungi. In spite of her having developed important biological-reproductive theories, her scientific work could never be carried out professionally for reasons of gender.

As a celebration of its 25 years of existence, the Instituto Valenciano de Arte Moderno (IVAM) explores a part of the creation of Latin America through 127 works of its collection, under the special influence of Uruguayan artist Joaquín Torres-García.

The images of Fuera de foco, works by Alejandro Kuropatwa (Buenos Aires, 1956-2003), presented at Vasari gallery, were shot and produced in New York, where the artist lived for around six years.

“Talking to you makes me think that Man’s descent from the apes hasn’t even started yet.”

In 1980, the exhibition Didáctica y dialéctica del color, by master of color Carlos Cruz-Diez (Venezuela, 1923), was held at the Universidad Simón Bolívar (USB), Caracas.

Flavia Da Rin’s (Buenos Aires, 1978) alluring images usually distil fantasy, humor, and a dissimulated melancholy; they are structured around the artist’s appearance in constant and infinite transformation.

Hijo de matemáticos y nieto de artistas, Elías Crespín- Caracas, Venezuela, en 1965- asistió cotidianamente, desde que nació al fecundo diálogo entre la matemática y el arte.

For some time, we had been hoping to see in Sao Paulo one of its great artists, who has been living in Berlin for over 20 years.

At first glance, the pencil drawings by Daniel Otero Torres (Bogotá, 1985) elicit joy and fill the viewer with wonder.

There was a time when the relatively small city of Córdoba was a great capital of American art and culture. The 1960s shook the planet, and in the central region of Argentina, this could be perceived in the streets.

After being exhibited at the Calouste Gulbenkian Foundation (Portugal), the Museum of Modern Art in Malmö (Sweden), the National Museum of the 21st Century Arts - MAXXI (Italy), the Pinacoteca of the State of São Paulo (Brazil) and the University Museum of Contemporary Art of the National Autonomous University of Mexico UNAM (Mexico), a part of the installation Plegaria muda arrived at the Flora Foundation in Bogotá.

The Silent Shout… shows the continuity of abstraction in Cuba from the mid-twentieth century to the present, contributing to complete the map of that vast current that spanned the continent, including the Caribbean, ...

Adding color and moving away from monumental sculpture cast in unfired clay, Villar Rojas’ latest in-situ exhibition, Los Teatros de Saturno, at Kurimanzutto gallery does indeed represent a departure from his previous work, though brought to life with the central threads of his creative career, the ephemeral quest for life that often emerges from decay and his theatrical approach to artistic production, well intact.

Enrique Minjares is angry and laughing. The 36-year-old artist draws a thin line between the two in his latest exhibition – derived largely out of faithful respect for formal artwork construction and an earnest sense of humor in what we all must now see as a casually cruel environment for art production in the Americas.

Emilio Pérez’s third solo exhibition at Galerie Lelong, New York, includes recent paintings on wood panels, as well as a triptych executed during his residency at the Lux Art Institute in California in 2011, on view for the first time in the city.

“How do you know I’m mad? said Alice. `You must be,' said the Cat, `or you wouldn't have come here.'

The photographic record of mystical feeling has been commonly addressed by the great religions of our contemporary world.

Previously heralded as the world’s most infamous contemporary artist – his highly contentious photographic work Piss Christ, 1987 pictured a crucifix bathed in his urine –a mature Andrés Serrano now proffers social consciousness.

We can imagine Luis Terán’s studio as a great building work, full of materials scattered all over the floor and with construction workers wearing hard hats swarming about.

What are the applications for such a title? It could be a pulled from a manual of any sort, instructing us how to put up wallpaper, bandage a wound, or any type of industrial assemblage.

Taking the temporal and spatial axes as conducting thread, the exhibition A Language beyond Form (Un lenguaje más allá de la forma) constitutes a poetic incursion into our existential labyrinths, using the refined plastic forms of abstract and/or conceptual nature of ten Latin American leading artists as vital trigger.

For someone interested in Latin American contemporary art it is always pleasant to fill in some of those gaps that the mental geography seems to have. Let’s be realistic: for some years ̶ too many ̶ and to date, it has been difficult to find that piece of the puzzle which, positioned on Bolivia and Ecuador, would complete the map.

Adding color and moving away from monumental sculpture cast in unfired clay, Villar Rojas’ latest in-situ exhibition, Los Teatros de Saturno, at Kurimanzutto gallery ...

After a sell-out booth at last year’s ArtBo art fair in Bogota, Johannes Voigt, owner of Johannes Voigt Gallery in New York, has a good reason to be fond of Colombia.

Reality as the unalterable context where actions take place and the way in which those same activities have an incidence on everyday life are the point of departure for the investigations that Teresa Margolles (Culiacán, Mexico, 1963) has been carrying out for years.

There are artists who have had such a colossal impact at a given stage in the history of their countries’ art and such a marked influence on the successive generations that no tributes will ever suffice.