Reviews

PROCESS AND CLIMATE IMPACT IN HERIBERTO NIEVES

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.

By Álvaro de Benito
Reviews

PROCESS AND CLIMATE IMPACT IN HERIBERTO NIEVES

By Álvaro de Benito

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.

June 14, 2024
FERNANDO BRYCE: FREEDOM AND POST-TRUTH AT 1 MIRA MADRID

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.

By Alvaro de Benito
Reviews

FERNANDO BRYCE: FREEDOM AND POST-TRUTH AT 1 MIRA MADRID

By Alvaro de Benito

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.

June 11, 2024
PATRICIA SICARDI, A BOOK, A LIFE

"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

By Fernando Castro Ramírez. Houston, Texas
Reviews

PATRICIA SICARDI, A BOOK, A LIFE

By Fernando Castro Ramírez. Houston, Texas

"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

June 11, 2024
ANDRÉS SERRANO: PORTRAIS DE L'AMERIQUE IN MUSEÉ MAILLOL

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.

By Patricia Avena Navarro
Reviews

ANDRÉS SERRANO: PORTRAIS DE L'AMERIQUE IN MUSEÉ MAILLOL

By Patricia Avena Navarro

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.

June 07, 2024
LEANDRO FEAL AND HIS GREEN HAVANA

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.

By Alvaro de Benito
Reviews

LEANDRO FEAL AND HIS GREEN HAVANA

By Alvaro de Benito

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.

May 29, 2024
THE URGENT BESTIARY OF ROBERT NAVA

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.

By Álvaro de Benito
Reviews

THE URGENT BESTIARY OF ROBERT NAVA

By Álvaro de Benito

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.

May 28, 2024
THE IBERO-AMERICAN CURATORSHIP AFTER INÉDITOS 2024

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.

By Alvaro de Benito
Reviews

THE IBERO-AMERICAN CURATORSHIP AFTER INÉDITOS 2024

By Alvaro de Benito

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.

May 27, 2024
A BUYER’S MARKET: OPPORTUNITIES AMID UNCERTAINTY

Last week's New York auctions, dubbed "Giga Week," saw art sales soar to an impressive $1.4 billion. This significant figure follows numerous sales at bustling art fairs over the past two weeks. While this amount represents a 22% decrease from the same week in 2023, and 55% less from 2022, auction houses performed admirably given the current challenging economic and political climate.

By Maria Sancho-Arroyo, Art Market specialist
Reviews

A BUYER’S MARKET: OPPORTUNITIES AMID UNCERTAINTY

By Maria Sancho-Arroyo, Art Market specialist

Last week's New York auctions, dubbed "Giga Week," saw art sales soar to an impressive $1.4 billion. This significant figure follows numerous sales at bustling art fairs over the past two weeks. While this amount represents a 22% decrease from the same week in 2023, and 55% less from 2022, auction houses performed admirably given the current challenging economic and political climate.

May 24, 2024
THE WIND OF HISTORY. THE FRAGILITY OF THE ANCESTRAL TIME

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.

By Anna Theis
Reviews

THE WIND OF HISTORY. THE FRAGILITY OF THE ANCESTRAL TIME

By Anna Theis

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.

May 23, 2024
MOVING GRAVES, REVOLVED TERRITORIES, RESISTANCE IN A NET - GRADA KILOMBA, LUANA VITRA AND ABDIAS NASCIMENTO

In Brazil's largest open-air contemporary art center, with an enviable connection between nature and visuality, nautical elements have curiously been the driving force behind important commissioned works. Now at Inhotim, they are central to the metaphors that evoke previous unwanted flows of circulation and, at the same time, act as a reference so that they are not repeated - in this case, the slave trade originating in Africa, whose survivors worked, among other activities, in the exploitation of minerals that sustained the economy of this part of Brazil, today, Minas Gerais.

By Mario Gioia, art critic and independent curator
Reviews

MOVING GRAVES, REVOLVED TERRITORIES, RESISTANCE IN A NET - GRADA KILOMBA, LUANA VITRA AND ABDIAS NASCIMENTO

By Mario Gioia, art critic and independent curator

In Brazil's largest open-air contemporary art center, with an enviable connection between nature and visuality, nautical elements have curiously been the driving force behind important commissioned works. Now at Inhotim, they are central to the metaphors that evoke previous unwanted flows of circulation and, at the same time, act as a reference so that they are not repeated - in this case, the slave trade originating in Africa, whose survivors worked, among other activities, in the exploitation of minerals that sustained the economy of this part of Brazil, today, Minas Gerais.

May 16, 2024
TRÁMITES: PROTOCOLS AND STRATEGIES TO EXIST IN EMERGENCIES

On Thursday, April 18, 2024, the exhibition project Trámites, a duo-show by visual artists Yéssica Montero (1998, Dominican Republic) and Ernesto Rivera (1983, Dominican Republic), opened at the independent spaces of La Sociedad, in Santo Domingo.

By Manuel Vásquez Ortega
Reviews

TRÁMITES: PROTOCOLS AND STRATEGIES TO EXIST IN EMERGENCIES

By Manuel Vásquez Ortega

On Thursday, April 18, 2024, the exhibition project Trámites, a duo-show by visual artists Yéssica Montero (1998, Dominican Republic) and Ernesto Rivera (1983, Dominican Republic), opened at the independent spaces of La Sociedad, in Santo Domingo.

May 15, 2024
FRIEZE NEW YORK 2024 – A VIEW FROM THE FLOOR

With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.

By María Sancho-Arroyo. Art Market specialist
Reviews

FRIEZE NEW YORK 2024 – A VIEW FROM THE FLOOR

By María Sancho-Arroyo. Art Market specialist

With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.

May 09, 2024
PERFORMANCE AND MYTH IN HECTOR CANONGE

Héctor Canonge began to explore the possibilities of performance almost without being aware of it. With an extensive career in the field of new media and the art surrounding these technologies, and almost by inertia, he incorporates the use of his body in one of his installations, Schema CorpoReal, where his body covered by bar codes was scanned by the public so that, through texts that emerged referring to parts of his body, they ended up constructing a narrative of identity.

By Álvaro de Benito
Reviews

PERFORMANCE AND MYTH IN HECTOR CANONGE

By Álvaro de Benito

Héctor Canonge began to explore the possibilities of performance almost without being aware of it. With an extensive career in the field of new media and the art surrounding these technologies, and almost by inertia, he incorporates the use of his body in one of his installations, Schema CorpoReal, where his body covered by bar codes was scanned by the public so that, through texts that emerged referring to parts of his body, they ended up constructing a narrative of identity.

May 08, 2024
ANA GALLARDO'S RECONSTRUCTION AND “DELIRIUM”

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

By Álvaro de Benito
Reviews

ANA GALLARDO'S RECONSTRUCTION AND “DELIRIUM”

By Álvaro de Benito

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

May 07, 2024
LA CHOLA POBLETE EXHIBITS VIRGINS, COLONIALISM AND EROTICA IN GUAYMALLÉN

La Chola Poblete, Argentine artist and LGBTQ+ rights activist, draws confrontation between historical stereotypes and contemporary visual languages. Her colourful works in diverse media disrupt prevailing power structures and celebrate the rich culture of South American Indigenous peoples. Titled after her hometown, Guaymallén is La Chola’s solo exhibition at PalaisPopulaire, curated by Britta Färber, head of Deutsche Bank’s international art and culture program.

By Mercedes Abella
Reviews

LA CHOLA POBLETE EXHIBITS VIRGINS, COLONIALISM AND EROTICA IN GUAYMALLÉN

By Mercedes Abella

La Chola Poblete, Argentine artist and LGBTQ+ rights activist, draws confrontation between historical stereotypes and contemporary visual languages. Her colourful works in diverse media disrupt prevailing power structures and celebrate the rich culture of South American Indigenous peoples. Titled after her hometown, Guaymallén is La Chola’s solo exhibition at PalaisPopulaire, curated by Britta Färber, head of Deutsche Bank’s international art and culture program.

May 06, 2024
BIENNALE UNVEILED: GLOBAL EXHIBITION AND COMMERCE OPPORTUNITIES.

Art fairs and biennials inhabit the same artistic universe but serve distinct purposes. The former primarily functions as commercial hubs where artworks are bought and sold, whereas biennials act as global stages, celebrating the rich diversity of contemporary art.

By Maria Sancho-Arroyo, Art Market Correspondent
Reviews

BIENNALE UNVEILED: GLOBAL EXHIBITION AND COMMERCE OPPORTUNITIES.

By Maria Sancho-Arroyo, Art Market Correspondent

Art fairs and biennials inhabit the same artistic universe but serve distinct purposes. The former primarily functions as commercial hubs where artworks are bought and sold, whereas biennials act as global stages, celebrating the rich diversity of contemporary art.

May 03, 2024
TRACES IN ORDER TO REMEMEBR: BETSABEÉ ROMERO

The Fund for Park Avenue and its Sculpture Committee have invited two artists, Betsabeé Romero and Jorge Otero-Pailos to exhibit their sculptures on Park Avenue from March through October 2024. Their eight works are presented in conjunction with New York City (NYC) Parks’ Art in the Parks program.

By Julia P. Herzberg, Ph.D., independent curator, NY.
Reviews

TRACES IN ORDER TO REMEMEBR: BETSABEÉ ROMERO

By Julia P. Herzberg, Ph.D., independent curator, NY.

The Fund for Park Avenue and its Sculpture Committee have invited two artists, Betsabeé Romero and Jorge Otero-Pailos to exhibit their sculptures on Park Avenue from March through October 2024. Their eight works are presented in conjunction with New York City (NYC) Parks’ Art in the Parks program.

April 30, 2024
HERENCIA. PROYECTO 360º AND THE RECONSIDERATION OF OUR ACTIONS

The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.

By Álvaro de Benito
Reviews

HERENCIA. PROYECTO 360º AND THE RECONSIDERATION OF OUR ACTIONS

By Álvaro de Benito

The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.

April 28, 2024
THE BALANCED REPRESENTATION OF LO LATINOAMERICANO IN THE JORGE M. PÉREZ COLLECTION
By Álvaro de Benito
Reviews

THE BALANCED REPRESENTATION OF LO LATINOAMERICANO IN THE JORGE M. PÉREZ COLLECTION

By Álvaro de Benito
April 26, 2024
NEXT: VIBRANT PLATFORM AND TERRITORY FOR DIALOGUE

The NEXT section of Pinta PArC 2024 is set as a window to the Latin American emerging art scene, tracing a profound dialogue between diverse artistic systems and a dynamic collaboration with six galleries: Vigil Gonzales (Cusco and Buenos Aires), Salón Comunal (Bogotá), Enhorabuena Espacio (Madrid), Remota (Salta), Constitución (Buenos Aires) and Paseolab / Galería del Paseo (Lima and Punta del Este).

By Mercedes Abella
Reviews

NEXT: VIBRANT PLATFORM AND TERRITORY FOR DIALOGUE

By Mercedes Abella

The NEXT section of Pinta PArC 2024 is set as a window to the Latin American emerging art scene, tracing a profound dialogue between diverse artistic systems and a dynamic collaboration with six galleries: Vigil Gonzales (Cusco and Buenos Aires), Salón Comunal (Bogotá), Enhorabuena Espacio (Madrid), Remota (Salta), Constitución (Buenos Aires) and Paseolab / Galería del Paseo (Lima and Punta del Este).

April 22, 2024
BOSCO SODI AND THE VOLUME OF DARKNESS

Bosco Sodi (Mexico, 1970) explores deeply in El día que nos volvimos a encontrar a universe quite distant from his recognizable large format and liveliness production to delve into the pleasures of the search for new material expressions and the abandonment of the chromatic in favour of texture, the depth of the absence of colour and concept.

By Álvaro de Benito
Reviews

BOSCO SODI AND THE VOLUME OF DARKNESS

By Álvaro de Benito

Bosco Sodi (Mexico, 1970) explores deeply in El día que nos volvimos a encontrar a universe quite distant from his recognizable large format and liveliness production to delve into the pleasures of the search for new material expressions and the abandonment of the chromatic in favour of texture, the depth of the absence of colour and concept.

April 19, 2024
TURNING THE MEANINGS OF OUR CONTINENT UPSIDE DOWN: HERLITZKA & CO. + HENRIQUE FARIA AT PINTA PArC

In the next edition of Pinta PArC 2024, Herlitzka & Co. (Buenos Aires) and Henrique Faria (New York) join forces to present a booth proposal that challenges conventional notions of contemporaneity and ancestry in Latin American art.

By María Galarza
Reviews

TURNING THE MEANINGS OF OUR CONTINENT UPSIDE DOWN: HERLITZKA & CO. + HENRIQUE FARIA AT PINTA PArC

By María Galarza

In the next edition of Pinta PArC 2024, Herlitzka & Co. (Buenos Aires) and Henrique Faria (New York) join forces to present a booth proposal that challenges conventional notions of contemporaneity and ancestry in Latin American art.

April 17, 2024
FLAVIO GARCIANDÍA’S SELF-REVISIONISM

Flavio Garciandía (Caibarién, Cuba, 1954) becomes the active and passive subject of his work in his first solo exhibition in Madrid.

By Álvaro de Benito
Reviews

FLAVIO GARCIANDÍA’S SELF-REVISIONISM

By Álvaro de Benito

Flavio Garciandía (Caibarién, Cuba, 1954) becomes the active and passive subject of his work in his first solo exhibition in Madrid.

April 17, 2024
JORGE EIELSON, THE LAST QUIPUCAMAYOC

The vindication of the Peruvian Jorge Eduardo Eielson (Lima, Peru, 1924) looks fundamental, far beyond any framed motivation in the round figures of the anniversaries. However, the work being done around the centenary of his birth shows a titanic effort to explore one of the most versatile artists in the plastic arts and, perhaps in his best-known aspect, in the literature of contemporary Peru.

By Álvaro de Benito
Reviews

JORGE EIELSON, THE LAST QUIPUCAMAYOC

By Álvaro de Benito

The vindication of the Peruvian Jorge Eduardo Eielson (Lima, Peru, 1924) looks fundamental, far beyond any framed motivation in the round figures of the anniversaries. However, the work being done around the centenary of his birth shows a titanic effort to explore one of the most versatile artists in the plastic arts and, perhaps in his best-known aspect, in the literature of contemporary Peru.

April 16, 2024
CABIESES’ INTERCEPTED IMAGE

The geometry in Jorge Cabieses' (Lima, Peru, 1971) usual outline is broken with the action of the spontaneity of the curved and almost organic stroke in his second solo exhibition in the Spanish capital. The Lima-born artist thus proposes, in a certain way, a dialogue between the artificial of the synthetic and the atavistic through the incorporation of those more spontaneous brushstrokes over the usual framework of rectitude that the artist usually presents.

By Álvaro de Benito
Reviews

CABIESES’ INTERCEPTED IMAGE

By Álvaro de Benito

The geometry in Jorge Cabieses' (Lima, Peru, 1971) usual outline is broken with the action of the spontaneity of the curved and almost organic stroke in his second solo exhibition in the Spanish capital. The Lima-born artist thus proposes, in a certain way, a dialogue between the artificial of the synthetic and the atavistic through the incorporation of those more spontaneous brushstrokes over the usual framework of rectitude that the artist usually presents.

April 11, 2024
TOWARDS MIGUEL ÁNGEL ROJAS' QUIEBRAMALES

Two decades after Miguel Ángel Rojas (1946, Bogotá, Colombia) conceptualized in his project David Quiebramales his denunciation of violence and the use of education as the most efficient vehicle towards a catharsis for those who suffer it, the Madrid headquarters of La Cometa revisits his most emblematic work and reinterprets it as the framework for a kind of thematic retrospective. This commemoration of that first David Quiebramales reinforces a view that is still difficult to overcome and that, even today, serves to trace those harmful social dynamics that are created between society and war, the institutional and the political systems.

By Álvaro de Benito
Reviews

TOWARDS MIGUEL ÁNGEL ROJAS' QUIEBRAMALES

By Álvaro de Benito

Two decades after Miguel Ángel Rojas (1946, Bogotá, Colombia) conceptualized in his project David Quiebramales his denunciation of violence and the use of education as the most efficient vehicle towards a catharsis for those who suffer it, the Madrid headquarters of La Cometa revisits his most emblematic work and reinterprets it as the framework for a kind of thematic retrospective. This commemoration of that first David Quiebramales reinforces a view that is still difficult to overcome and that, even today, serves to trace those harmful social dynamics that are created between society and war, the institutional and the political systems.

April 09, 2024
BETWEEN RETROTOPIAS, DRIFTS AND STILL LIFES – CAO FEI – THE FUTURE IS NOT A DREAM

Until this April 2024, one of the recent galleries of the Pinacoteca Contemporânea - the new annex of the traditional and active Pinacoteca do Estado de São Paulo, which opened in 2023 - has become a special locus, where past and future, tradition and modernity, nostalgia and dazzle, fortress and ruin, among other poetic axes, present themselves to a visitor who is between perplexity and fascination. The author of this suspension of time is the Chinese artist Cao Fei (Guanghzou, 1978), one of the key artists of the contemporary world, who has her first solo show in South America, after (more discreet) appearances at the 29th São Paulo Biennial (2010) and the 9th Mercosul Biennial (2013), in Porto Alegre, in the south of the country.

By Mario Gioia, art critic and independent curator
Reviews

BETWEEN RETROTOPIAS, DRIFTS AND STILL LIFES – CAO FEI – THE FUTURE IS NOT A DREAM

By Mario Gioia, art critic and independent curator

Until this April 2024, one of the recent galleries of the Pinacoteca Contemporânea - the new annex of the traditional and active Pinacoteca do Estado de São Paulo, which opened in 2023 - has become a special locus, where past and future, tradition and modernity, nostalgia and dazzle, fortress and ruin, among other poetic axes, present themselves to a visitor who is between perplexity and fascination. The author of this suspension of time is the Chinese artist Cao Fei (Guanghzou, 1978), one of the key artists of the contemporary world, who has her first solo show in South America, after (more discreet) appearances at the 29th São Paulo Biennial (2010) and the 9th Mercosul Biennial (2013), in Porto Alegre, in the south of the country.

April 09, 2024
INFINITE REALITIES OF GRONDONA AND GÓMEZ CANLE ON PINTA'S RADAR

MIAMI

ROSAS Ek Balam gallery, based in Buenos Aires, presents works by Vicente Grondona and Max Gómez Canle in the RADAR section of Pinta Miami. Entitled Épica del paisaje (Epic of Landscape), this exhibition invokes the fragmentation of reality.

By Mercedes Abella
Reviews

INFINITE REALITIES OF GRONDONA AND GÓMEZ CANLE ON PINTA'S RADAR

By Mercedes Abella

MIAMI

ROSAS Ek Balam gallery, based in Buenos Aires, presents works by Vicente Grondona and Max Gómez Canle in the RADAR section of Pinta Miami. Entitled Épica del paisaje (Epic of Landscape), this exhibition invokes the fragmentation of reality.

December 05, 2023
EL DORADO AT AMERICAS SOCIETY, NEW YORK

El Dorado: Myths of Gold is an extensively researched, impeccably installed exhibition featuring one-hundred objects and artworks from the Pre-Columbian period to the 21st century by sixty artists.

By Julia P. Herzberg, Ph.D., art historian, independent curator.
Reviews

EL DORADO AT AMERICAS SOCIETY, NEW YORK

By Julia P. Herzberg, Ph.D., art historian, independent curator.

El Dorado: Myths of Gold is an extensively researched, impeccably installed exhibition featuring one-hundred objects and artworks from the Pre-Columbian period to the 21st century by sixty artists.

November 27, 2023
PINTA MIAMI 2023: A PORTAL TO THE AMAZON

MIAMI

Amazonia is a Pinta Miami project curated by Félix Suazo that proposes a visual expedition through the Amazon, crossing countries, cultures and ecological identities. As a Special Project, Amazonia emphasizes Pinta's commitment as an international platform for Latin American art.

By Mercedes Abella
Reviews

PINTA MIAMI 2023: A PORTAL TO THE AMAZON

By Mercedes Abella

MIAMI

Amazonia is a Pinta Miami project curated by Félix Suazo that proposes a visual expedition through the Amazon, crossing countries, cultures and ecological identities. As a Special Project, Amazonia emphasizes Pinta's commitment as an international platform for Latin American art.

November 24, 2023
GUADALOUP ON DEATH AND CONTEMPORANEITY

Based on futuristic tales, Guadaloup Vilar created an entire universe where life and art are supported by death. Completely functional to organic and cohesive development, Guadaloup’s artworks and installations reshape the notion of expiration.

By Mercedes Abella
Reviews

GUADALOUP ON DEATH AND CONTEMPORANEITY

By Mercedes Abella

Based on futuristic tales, Guadaloup Vilar created an entire universe where life and art are supported by death. Completely functional to organic and cohesive development, Guadaloup’s artworks and installations reshape the notion of expiration.

November 13, 2023
1 2 3 4 ... 26 Next »