Reviews

There seems to be, and increasingly so, a constant and growing debate in the social sphere about labor relations and the impact of work on people. Almost absolute concepts in current narratives such as work-life balance or resilience lack the necessary background to create that conversation. However, in order to build precisely on them, the research being done on the impact and culture of work in this new revision that Postmodernity leads to value proposals such as the one Allegra Pacheco (San Jose, Costa Rica, 1986) lands in her conceptual Dear Salaryman, which in its latest evolution is exhibited at the Museo La Neomudéjar in Madrid.

Héctor Zamora (Mexico City, Mexico, 1974) navigates between opposing concepts. His particular interest in the incessant search, or in the eagerness of understanding, for conceptual equilibrium serves as an engine for a creative explosion in the search for that fragile space that results between actions and intentions, between should and being. In Emergencia, his first solo exhibition at Madrid's Albarrán Bourdais, the Mexican artist manages to capture in several dimensions that almost obsessive vocation of his personal struggle between the opposite poles that have been shaping his proposal.

Germán Tagle (Santiago, Chile, 1976) returns to Madrid's Daniel Cuevas, where he held his first exhibition two years ago, with El territorio portátil, a show in which the Chilean artist returns to the axes of landscape, painting and culture that have been the backbone of his latest productions.

The double problem that arose from the acquisition in the 1980s of several hippopotamuses in one of the many eccentricities of the trafficker Pablo Escóbar is the starting point of a fable that, between the tragic and the comic, Camilo Restrepo (Medellín, Colombia, 1975) has managed to weave with a very successful graphic and conceptual narrative. With Cocaine Hippos Sweat Blood, the spectator faces this surrealistic story from its beginnings to the present by the hand of a figurativism that sets aside the academic and the technical for the sake of a greater aesthetic and relational concordance with that of the madness transmitted by the story itself.

Liliana Porter (Buenos Aires, Argentina, 1941) has a long history shared with Espacio Minimo. The Madrid gallery pampers every move and celebrates the extensive relationship with the Argentinean artist, always offering her the possibility of receiving her work and witnessing its evolution. For the opening of the space's season, the landing is called Otros cuentos inconclusos, a new proposal that deals with representation and two dimensional axes —space and time— that bear witness to many of the questions raised about human relations.

The Mexico Pavilion at the Venice Biennale 2024 proposes an immersive experience that invites the viewer to reflect on the act of migrating and its impact on identity and sense of belonging. As we marched away, we were always coming back is Erick Meyenberg's project curated by Tania Ragasol. It includes elements created in Mexico, Italy and Albania.

Lucio Fontana made one of the most extraordinary and radical gestures of modern art in 1958 when he cut the surface of a monochromatic canvas with a razor blade. The exhibition “Il y a eu un futur- Un Futuro c'é stato” at the Musée Soulage, Rodez, revisits the legacy of this artist and offers a survey of his entire oeuvre, before and after the war, in Argentina and Italy.

Why highlight stories that often remain on the periphery of artistic discourse? Adriano Pedrosa justifies his curatorial decision with works by 331 artists -mostly from the global south- that open the way to powerful narratives. Finally, we see the axis being twisted. It is difficult to escape the white gaze, more so to move authentically through a Eurocentric space. Given this, the communicative reach of figuration serves to challenge the symbolic order of domination and destabilize the colonial project. The stories that are made explicit and the narratives of magic and everyday life help to recognize without revictimizing. 

A man is waiting. In elegant clothes, the figure is placed in the center of what looks like a hotel bar. He plays the lead role on a sort of stage, an interior that is something of a cage, something of a scenic locus, as if a possible flirtation or a desired encounter would provide some catalysis of emergence, a quick enjoyment, an intense release, however short and finite, perhaps dismantling a routine of limits. Man in Blue (1954) works as a synthesis of the not so extensive but very significant gathering of the celebrated Francis Bacon (1909-1992) in A Beleza da Carne (The Beauty of Meat), at Masp (São Paulo Museum of Art). The exhibition is curated by Adriano Pedrosa, artistic director of the institution and curator of the current edition of the Venice Biennale, the 60th, on show until November in the Italian city, and co-curated by Laura Cosendey.

The voices of Latin American artists emerge strongly in this 2024 edition of the Venice Biennale. Claudia Alarcón, Julia Isídrez and Juana Marta Rodas, Ana Segovia, Frieda Toranzo Jaeger and Claudia Andújar lead viewers on a profound journey through their cultural heritage and unique artistic practices.

The title of the 60th International Art Exhibition of the Biennale di Venezia, "Stranieri Ovunque", refers, in part, to foreignness as the inherent nature of the subject. Understood in this way, the national pavilions of Spain, the Netherlands and the United Kingdom exhibit artistic proposals that develop the theme of colonialism and reconstruct histories, remedy ties between identity and territory, and explore the dramatic plurality of this potent historical axis. That said, this review does not intend to unveil or unpack the most unjust transcendental truths, but merely to reflect on the musings of others.

Pinta Sud | ASU 2024 presented at the Casa Mayor gallery the exhibition Warm Heart, with works by the Paraguayan artist Feliciano Centurión. It is a collection of works from different periods of his career and is curated by Irene Gelfman.

The powerful painting of Starsky Brines (Caracas, Venezuela, 1977) has in his most recent production the consolidation of one of the most intense expressions of the Latin American panorama. Collected under the accurate epigraph of Paisajes imposibles (Impossible Landscapes), the exhibition invites the spectator to let himself be impacted and submerged in a world as unreal and dreamlike as it is sometimes grotesque. These adjectives, more typical of the symptomatology of the society that underlies each of the Venezuelan's pictorial interpretations, seem to originate in the different angles that converge in Brines' universe.

The world of Alfredo Castañeda (Mexico City, Mexico, 1930 - Madrid, Spain, 2010) is also the ours one. It can be said that, from his narrative poetry and his visual poetry, the Mexican artist accessed a universe that, although its protagonist might seem alien to us, is, in truth, the description through archetypes of a reality that surrounds us. The exhibition that Casa de America in Madrid dedicates to him can boast of compiling all those themes that give shape to those themes of mystical and surrealist character, of that fantastic touch that all life has and that passes through the filter of the experiences of each one and, in this case, of the language with which Castañeda captures it.

Widline Cadet (Pétion-Ville, Haiti, 1992) brings together in her life experience several of the aspects and themes that, perhaps, have inspired more production among all those curatorial lines with more presence. Her biography, constructed through childhood memories, the environment of a generation and a country marked by its own strong culture or the phenomena of emigration, constitutes the framework in which the photographer develops the practical integrity of her work.

On the occasion of the 100th anniversary of Ellsworth Kelly's birth, the Fondation Louis Vuitton pays tribute to the artist with the exhibition “Ellsworth Kelly Formes et Couleurs, 1949-2015”; the first exhibition in France to address in such a broad way the work of this essential creator of the second half of the 20th century, both for its chronology and for the techniques it brings together. Organized with the Glenstone Museum (Potomac, Maryland) and in collaboration with the Ellsworth Kelly Studio, it brings together more than a hundred works, covering a wide range of media used by the artist, from painting to sculpture, works on paper, collage and photography presented on the main and first floors of the Foundation.

There is something structural in the Museo La Neomudéjar that allows plastic initiatives such as those of Heriberto Nieves (Vega Alta, Puerto Rico, 1957) to acquire greater meaning thanks to the dialogue with the space offered by this Madrid institution.

Freedom First is the first solo exhibition that Fernando Bryce (Lima, Peru, 1965) presents at 1 Mira Madrid and is practically a declaration of intentions.

"If you hear a voice within you say, "you cannot paint," then by all means paint, and that voice will be silenced".Vincent Van Gogh

Andres Serrano carries with him a sulfurous reputation that he has not tried to hide in this exhibition, where famous and forceful works are presented. Under the title “Portaits de L'Amérique” the Musée Maillol offers a survey of Serrano's “American” work from his earliest creations in the mid-1980s to his most recent.

The Green Havana project is a captured sample of a time and an attitude, the same one that transits between evasion and hedonism and the social reality of the Cuban capital, a unique and referential site of that almost isolated Cuba and of a popular culture grown in the shadow of political influences.

Standing before the expressive forcefulness of Mexican-American Robert Nava (East Chicago, USA, 1985) can be risky. At first glance, the primitivism in the technique used in his canvases is shocking in the conversion of the strength of the stroke and the basics of the gesture into a language that agglutinates a brute force. Perhaps for that reason, the usual tendency of those who face his work is to quickly pigeonhole it out of the academic, out of that refinement that is presupposed -although less and less- to those who fill the room of a museum, to let themselves be carried away by the urgency of expression in front of that pretended good taste.

For some time now, the Inéditos program carried out by La Casa Encendida -an institution of the Montemadrid Foundation- has become a more or less reliable thermometer of the emerging curatorial scene that has Spain as its epicenter. As a result of that consolidation, within that faithful reflection, the Spanish social and artistic structure itself plays a very prominent role.

History forms an invisible rhythm, resounding in the background of visual stories. Listen carefully and the past will also reveal its intrinsic connection with the future. “Which of these two constructs is the driving force, and which sets the tone of the current moment?” asks "The Fragility of the Ancestral Time," a group exhibition first shown at Casa Velazquez in Santo Domingo and now on view at the Avèle gallery in Cap Cana. Bordering on philosophical treatises, the exhibition provides great aesthetic pleasures.