Reviews

RURAL INSTALLATIONS -  GUILLERMO SRODEK HART IN UNGALLERY

In his first exhibition since 2019, the photographer returns to deep Buenos Aires in search of reflections of our present through a documentary and poetic reading of the past.

By Santiago López
Reviews

RURAL INSTALLATIONS - GUILLERMO SRODEK HART IN UNGALLERY

By Santiago López
September 08, 2022
THE INSEPARABILITY OF ART AND POLITICAL ACTION – LEÓN FERRARI AT THE POMPIDOU

The Centre Pompidou hosts for the first time the sculptures, collages, artist's books, drawings and assemblages by the artist León Ferrari (1920-2013), considered one of the most influential in Latin America.

By Patricia Avena Navarro
Reviews

THE INSEPARABILITY OF ART AND POLITICAL ACTION – LEÓN FERRARI AT THE POMPIDOU

By Patricia Avena Navarro
September 01, 2022
MEAT: NOTES ON SACRIFICE, POWER AND DESIRE

In 2010, the American singer, actress and producer Lady Gaga (New York, 1986) scandalized the audience at the MTV Awards by appearing at the gala in a dress made of beef, designed by Franc Fernández and styled by Nicola Formichetti. The press at the time reviewed the controversy triggered by the extravagant outfit, which for some was offensive and for others a declaration of creative freedom.

By Félix Suazo
Reviews

MEAT: NOTES ON SACRIFICE, POWER AND DESIRE

By Félix Suazo
August 26, 2022
'INHOTIM IS ABSOLUTELY UNIQUE,' SAYS JULIETA GONZÁLEZ

An institution that is more attentive and permeable to public debate, that has its own collection as a living witness to the changes. This could be one of the guiding axes of the work of the Venezuelan Julieta González at the head of the artistic direction of Inhotim, one of the main centers of contemporary art in Brazil and one of the most inspiring open-air museums in the world.

By Mario Gioia, art critic and independent curator
Reviews

'INHOTIM IS ABSOLUTELY UNIQUE,' SAYS JULIETA GONZÁLEZ

By Mario Gioia, art critic and independent curator
July 21, 2022
THE “BIENNIAL WITHOUT PUBLIC” (2020) IN SANTA CRUZ AND AN OUTLINED PATH (PART 2)

If the São Paulo Biennial in Brazil once had what was called the “Biennial of the Void” (2008), it could be said, bridging the gap, that Santa Cruz de la Sierra involuntarily experienced the “Biennial without public” (2020).

By Jorge Luna Ortuño – Philosopher and Researcher
Reviews

THE “BIENNIAL WITHOUT PUBLIC” (2020) IN SANTA CRUZ AND AN OUTLINED PATH (PART 2)

By Jorge Luna Ortuño – Philosopher and Researcher
July 18, 2022
THE “BIENNIAL WITHOUT PUBLIC” (2020) IN SANTA CRUZ AND AN OUTLINED PATH (PART 1)

If the São Paulo Biennial in Brazil once had what was called the “Biennial of the void” (2008), it could be said, bridging the gap, that Santa Cruz de la Sierra involuntarily experienced the “Biennial without an audience” (2020).

By Jorge Luna Ortuño – Philosopher and Researcher
Reviews

THE “BIENNIAL WITHOUT PUBLIC” (2020) IN SANTA CRUZ AND AN OUTLINED PATH (PART 1)

By Jorge Luna Ortuño – Philosopher and Researcher
July 14, 2022
AL DÍA (WITH ART)

I ask myself what it means to be Al día (up to date) with art, when it has already been decreed that we live in posthistory and that the present is now postpresent. The question I propose is not theoretical, but of a practical nature, since many decisions depend on its answer: which exhibitions to visit? what works to see? which artists to recommend? With these initial questions come others, also important, although not easy to answer: how much information is needed to be up to date? where can you get up-to-date information? Who has the news of the day?

By Félix Suazo
Reviews

AL DÍA (WITH ART)

By Félix Suazo
July 07, 2022
NFTS AND METAVERSE: COLLECTORS OR INVESTORS? (PART II)

Although traditional art collecting includes an investment component and a business perspective, it still invokes a sort of romanticism aura that builds around an artist. A classic collector tends to follow an artist's trajectory, supporting his work. The new wave of NFT collectors stand out for not belonging to traditional art environments. Most of them are young aged and have never set foot in a museum or gallery, and therefore prioritize the finance aspect to NFT collecting to the emotional one. Generally, they are folks whose field of expertise is related to fin tech – they come from and drive the crypto world. And yes, they are mainly men.

By Isabel Englebert
Reviews

NFTS AND METAVERSE: COLLECTORS OR INVESTORS? (PART II)

By Isabel Englebert
June 30, 2022
NFTS AND METAVERSE: A CUBIST VIEW ON THE NEW DIGITAL ECOSYSTEM (PART 1)

As a conceptual artist working in the crossroads of art, science, and technology, with a corporate past and a social communications baseline, I am deeply interested in the new digital ecosystem raised by blockchain technology, NFTs and the Metaverse, from a perspective that addresses this realm as a sociological phenomenon, as a new business field, and as another one of the many mediums I utilize to express my ideas.

By Isabel Englebert
Reviews

NFTS AND METAVERSE: A CUBIST VIEW ON THE NEW DIGITAL ECOSYSTEM (PART 1)

By Isabel Englebert
June 29, 2022
DEAD TREE IN THE FRONT YARD

The Thyssen-Bornemisza National Museum (Madrid, Spain) contains the world view of the American people. Almost four centuries of American painting are on display in rooms 46 to 55 on the first floor of the museum. To name but a few names: Peale, Cole, Heade, Church, Hopper, Burchfield, Shahn, Rothko, de Kooning, Pollock, Estes... Probably the most complete collection of American art in Europe, and a must-see exhibition for anyone who wants to understand the history and thougt of the Western country.

By Matías Helbig
Reviews

DEAD TREE IN THE FRONT YARD

By Matías Helbig
June 08, 2022
PARIS - CINETIQUE! THE SCULPTURE IN MOVEMENT

Welcome to the fascinating world of kinetic art! The Espace Monte-Cristo, the Parisian headquarters of the Fondation Villa Datris-Isle-sur-la-Sorgue, presents to celebrate its fifth anniversary "Cinétique! La sculpture en mouvement" (Kinetic! Sculpture in movement). The staging of this exhibition allows us to discover the creations of 25 French and international artists; kinetic sculptures from the 60s to the present mixing historical and scientific references. Static, dynamic or mechanical, these works play with our perception and evolve according to our movements. A colorful, sonorous, rhythmic and moving journey opens up before us.

By Patricia Avena Navarro – Art Historian, Curator and Critic. Paris, France
Reviews

PARIS - CINETIQUE! THE SCULPTURE IN MOVEMENT

By Patricia Avena Navarro – Art Historian, Curator and Critic. Paris, France
June 02, 2022
CLOSE ENCOUNTERS: ART AS A SOCIAL EXPERIMENT - BEATRIZ CHACHAMOVITS IN ART AND CULTURE CENTER, HOLLYWOOD, FLORIDA

Review about the exhibition Into the Great Dying: (The Steps We Take), on view until June 2022

By Amalia Caputo - Artist/Art Writer
Reviews

CLOSE ENCOUNTERS: ART AS A SOCIAL EXPERIMENT - BEATRIZ CHACHAMOVITS IN ART AND CULTURE CENTER, HOLLYWOOD, FLORIDA

By Amalia Caputo - Artist/Art Writer
May 24, 2022
AN AVANT-GARDE IN LOCAL COLORS - ONCE UPON A MODERN TIME

On the occasion of the centenary anniversary of the 1922 Modern Art Week, a key event for the artistic avant-gardes in Brazil and which consolidated what would become known as modernism in the country, several exhibitions throughout the year (and also in 2021) revolved around, discussed, explained, replaced and 'cancelled' such an initiative. Considered a milestone in the cultural renewal of Brazilian art, the week was about to turn around in its already canonical grave.

By Mario Gioia, art critic and independent curator
Reviews

AN AVANT-GARDE IN LOCAL COLORS - ONCE UPON A MODERN TIME

By Mario Gioia, art critic and independent curator
May 21, 2022
ART AND ALGORITHMS. BEFORE (AND AFTER) MACHINES TOOK OVER

Before machines took over, many issues were resolved following an algorithmic principle with some logic and a little math. The originator of the idea was a Persian mathematician in the eleventh century. Later, the procedure became essential for science, everyday life and art. Basically, the algorithmic methods are in the patterns of Islamic art (see tessellation notation), in the Andean chakana and quipus of the Inca period, in the Renaissance perspective and in other representational devices of the pre-digital era.

By Félix Suazo
Reviews

ART AND ALGORITHMS. BEFORE (AND AFTER) MACHINES TOOK OVER

By Félix Suazo
May 18, 2022
ART, A HARD BONE TO CHEW

Regarding Artist in Residence, an exhibition by Fernando “Coco” Bedoya (Borja, 1952), at the Instituto Cultural Peruano Norteamericano (ICPNA) in Miraflores, Lima, Peru. Curated by Max Hernández Calvo, the exhibition is open until June 4, 2022.

By Irina Podgorny - Museo de La Plata and CONICET. Argentina
Reviews

ART, A HARD BONE TO CHEW

By Irina Podgorny - Museo de La Plata and CONICET. Argentina
May 03, 2022
NFT, BLOCKCHAIN AND CRYPTOART: CHAIN REACTION

Collectors, investors and artists are fascinated by the promising profitability of NFTs. The phenomenon exploded with the succulent sale of a digital work by Beeple (Mike Winkelmann) in 2021 and since then it has generated a chain reaction whose consequences are still not entirely clear.

By Felix Suazo
Reviews

NFT, BLOCKCHAIN AND CRYPTOART: CHAIN REACTION

By Felix Suazo
April 14, 2022
THE SURREALIST INTRANSIGENCE OF THE TROPICS – MARIA MARTINS: IMAGINARY DESIRE

Reluctantly classified, with increasing complexity and interest, the work of Maria Martins (1894-1973) has yet to gain recognition in her native country. But a selection of some 50 pieces, on display in Rio de Janeiro through June, should help reposition the sculptor, draftswoman and engraver in the pantheon of leading Brazilian artists.

By Mario Gioia, art critic and independent curator
Reviews

THE SURREALIST INTRANSIGENCE OF THE TROPICS – MARIA MARTINS: IMAGINARY DESIRE

By Mario Gioia, art critic and independent curator
March 31, 2022
FROM PARTICIPATION TO IMMERSION

A few decades ago, the art utopia consisted of incorporating the viewer into the work, either physically or sensorially. Frank Popper called these practices with the term "participation art".

By Félix Suazo
Reviews

FROM PARTICIPATION TO IMMERSION

By Félix Suazo
March 09, 2022
“GRACIELA ITURBIDE: HELIOTROPO 37” AT FONDATION CARTIER POUR L’ART CONTEMPORAIN

The Cartier Foundation presents "Heliotropo 37", the first major exhibition in France dedicated to the work of Mexican photographer Graciela Iturbide. It brings together more than 200 images from the 1970s to today. Photographs from the most iconic to the most recent, as well as a color series specially produced for the exhibition. If today she is famous for her portraits of the Indians of the Sonoran Desert, the women of Juchitán, or for her photographic essays on the ancestral communities and traditions of Mexico, Graciela Iturbide also draws an almost spiritual focus to landscapes and objects. Showing for the first time these two facets, these two points of view of the artist's work, the exhibition thus offers a renewed vision and reveals her great contribution to photographic art.

By Patricia Avena Navarro
Reviews

“GRACIELA ITURBIDE: HELIOTROPO 37” AT FONDATION CARTIER POUR L’ART CONTEMPORAIN

By Patricia Avena Navarro
February 28, 2022
PARADIGMATIC EXHIBITION OF RONALD MORÁN AT THE MARTE MUSEUM

Ronald Morán's individual exhibition, Por encima del Jardín (Above the Garden) (2021-2022), with which public activities were reinstated at the Marte Museum in San Salvador, has become a paradigmatic exhibition, not only as a new consecration of one of the Central American artists of greater international recognition, but as a sign of the vision of an institution that is committed to experimentation and accompaniment in the practices that link contemporary art and social imagination.

Reviews

PARADIGMATIC EXHIBITION OF RONALD MORÁN AT THE MARTE MUSEUM

February 23, 2022
CLAUDIO CORREA: OVERCOMING A RESISTANCE
By PÍA CORDERO, ART RESEARCHER AND CURATOR
Reviews

CLAUDIO CORREA: OVERCOMING A RESISTANCE

By PÍA CORDERO, ART RESEARCHER AND CURATOR
January 25, 2022
ROGELIO LÓPEZ MARÍN (GORY): AT THE INTERSECTIONS OF PHOTOGRAPHY, MUSIC, AND DESIGN AT LnS

This exhibition features thirteen photographs by Gory from the Moonlight Serenade series (2012-2018). The essay by the curator Julia P. Herzberg discusses the varied contexts of the photographs, which are exhibited and discussed here for the first time.

By Julia P. Herzberg, Ph.D. Art historian and curator
Reviews

ROGELIO LÓPEZ MARÍN (GORY): AT THE INTERSECTIONS OF PHOTOGRAPHY, MUSIC, AND DESIGN AT LnS

By Julia P. Herzberg, Ph.D. Art historian and curator
January 05, 2022
SILENT RISINGS - 34th BIENNIAL OF SÃO PAULO, JURACI DÓREA AND GIORGIO MORANDI

One of the key works of the 34th São Paulo Biennial literally anchors the robust and uncomfortable presence between the interstitial areas of this modernist building, so questioned today. However, its meanings go beyond the perimeters of the construction and extend to, for example, some of the civic sculptures that populate public places throughout Brazil and that are also located in the surroundings.

By Mario Gioia - Art Critic and Independent Curator
Reviews

SILENT RISINGS - 34th BIENNIAL OF SÃO PAULO, JURACI DÓREA AND GIORGIO MORANDI

By Mario Gioia - Art Critic and Independent Curator
December 14, 2021
THE BEAUTY OF DANGER AS STIMULUS – NAN GONZÁLEZ IN PINTA CONCEPT

With the curatorship of Félix Suazo, Pinta Miami 2021 becomes a scenario for immersive and thought provoking installations. The aim of Pinta’s section Special Projects is to accentuate the individuality and artistry of contemporary artists who, through their works and installations, bring to life the concerns and possibilities of the near future.

By Mercedes Abella
Reviews

THE BEAUTY OF DANGER AS STIMULUS – NAN GONZÁLEZ IN PINTA CONCEPT

By Mercedes Abella
December 02, 2021
RICHARD GARET: FRAME COMPOSITIONS

Recently, Richard Garet, a multimedia artist based primarily in New York City, opened a solo exhibition titled “Frame Compositions” with 1stDibs NFT marketplace. The eponymous show exhibits 29 vibrant NFT works and explores the relationship between color, light, surface and form. Garet’s practice encompasses sound installations, performance, computer applications and other mediums. Adhering to strict parameters, he creates compositions by carefully selecting high-definition 1080x1080-pixel square frames one-by-one and then collating 60 per second using computer applications. Because each work contains 1800 frames squeezed into a 30 second time period, the eye can no longer identify individual frames, thus, creating moving images.

By Capucine Jenkins
Reviews

RICHARD GARET: FRAME COMPOSITIONS

By Capucine Jenkins
November 15, 2021
DIASPORAS AND ATLANTIC COMMUNIONS - YORUBÁIANO AND JUNTÓ: AYRSON HERÁCLITO

“Moving with great fluidity between spirituality, the production of visuality, academic reflection and political action, Heráclito is explicit when he says that he wants to ‘act, in a symbolic way, on the devastating consequences of racism and social inequality that affect the black populations'." In this way, the curator and researcher Solange Farkas (Videobrasil and ex-MAM Bahía) summarizes the approach to the production of Ayrson Heráclito, a Bahian artist who won a retrospective at the MAR (Museu de Arte do Rio) and who had an important recent solo show at the Simões de Assis Gallery, in São Paulo.

By Mario Gioia, art critic and independent curator
Reviews

DIASPORAS AND ATLANTIC COMMUNIONS - YORUBÁIANO AND JUNTÓ: AYRSON HERÁCLITO

By Mario Gioia, art critic and independent curator
November 09, 2021
THE MEANING OF TRIBUTE IN LIFE: LUCRECIA PLAT AT BAphoto 2021

In the interest of paying tribute to one of the photographers who contributed in building Argentina's visual identity, Francisco Medail dedicated the Artista Homenaje section in BAphoto to Lucrecia Plat. Working with an extensive archive of portraits, conceptual photographs and the collaboration of Clara Nerone, Medail highlights the important role of archives in the conception and appreciation of contemporary art.

By Mercedes Abella
Reviews

THE MEANING OF TRIBUTE IN LIFE: LUCRECIA PLAT AT BAphoto 2021

By Mercedes Abella
October 27, 2021
JUAN RAÚL HOYOS AND HIS REDEFINITION OF THE GRID

Geometries Reimagined, the title of the inaugural exhibition at the Tanya Brillembourg Art space, inquires the way in which the incessant transformation of the abstract forms imagined since cave art, is once again realized in the works of Colombian Juan Raul Hoyos, Guatemalan Tepeu Choc, and Haitian Marcus Blake. By different means, the three of them confront the form that, since the onset of the 20th century, generated the whole current of geometric abstraction imposing itself, according to Rosalind Krauss, as "the emblematic image of the modernist ambition" [1]: the grid. Its presence, explicit or tacit, continues to be unraveled and remade incessantly in contemporary art, and it is no stranger to that "schizophrenia" which, as Krauss wrote, arises between its concentration on the materiality of the pictorial surface and the undeniable spiritual tension that its mythical geometry contains [2]. No less is the opposition between the "discursive silence" sought in the grid through the "complete liberation from naturist appearances" [3], and the paradoxical conversion of its geometry form ─inexistent in nature─ into the matrix of urban modernity: Mondrian ended up creating Boogie Woogie, 1943, in allusion to the rhythm and pulsating vibration of New York.

By Adriana Herrera Téllez
Reviews

JUAN RAÚL HOYOS AND HIS REDEFINITION OF THE GRID

By Adriana Herrera Téllez
October 25, 2021
THE SUM OF ITS PARTS: AMALIA CAPUTO’S ‘EVERY BEING IS AN ISLAND’

In her first solo exhibition at the Deering Estate, Amalia Caputo considers how we construct nature and explore a site around systems of visual classification. Every Being is an Island is an immersive exhibition that serves as an extensive portrait of the native subtropical environment of South Florida.

By Melissa Diaz & Sofia Guerra
Reviews

THE SUM OF ITS PARTS: AMALIA CAPUTO’S ‘EVERY BEING IS AN ISLAND’

By Melissa Diaz & Sofia Guerra
October 07, 2021
ARTIFICIAL PARADISES - RÓMMULO VIEIRA CONCEIÇÃO, LUCIA KOCH AND ALEKSANDRA MIR

The flows of architecture and circulation in continuous movement set the tone for the new commissioned and individual works that are exhibited now at the Inhotim Institute. There are three projects as the result of almost two years of inactivity, without openings, in the immense space of the cultural center located in Brumadinho, in Greater Belo Horizonte, capital of Minas Gerais. It is a mix between a botanical garden and a refuge for contemporary art works specially developed for the institution or that have been reformatted in this special exhibition context that extends over an old estate, now with 140 hectares of visitation.

By Mario Gioia, art critic and independent curator
Reviews

ARTIFICIAL PARADISES - RÓMMULO VIEIRA CONCEIÇÃO, LUCIA KOCH AND ALEKSANDRA MIR

By Mario Gioia, art critic and independent curator
October 05, 2021
LYDIA RUBIO: THE ARTIST IN ARCADIA

Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."

By Kristin Knox
Reviews

LYDIA RUBIO: THE ARTIST IN ARCADIA

By Kristin Knox
September 30, 2021
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