Reviews

THE TRANSFORMATION OF THE IMMATERIAL IN JORGE SATORRE

Ría, Jorge Satorre’s (Mexico City, Mexico, 1979) first exhibition in Spain, can be approached as a compendium of the sublimation of his ideas and research into the conceptual and material limits of the different practices he has engaged in. The show, curated by Max Andrews and Uruguayan Mariana Cánepa Luna for the Museo Centro de Arte Dos de Mayo, is thus conceived as an immersive space in which those very boundaries are blurred in favor of a deeper observation of processes.

By Álvaro de Benito
Reviews

THE TRANSFORMATION OF THE IMMATERIAL IN JORGE SATORRE

By Álvaro de Benito

Ría, Jorge Satorre’s (Mexico City, Mexico, 1979) first exhibition in Spain, can be approached as a compendium of the sublimation of his ideas and research into the conceptual and material limits of the different practices he has engaged in. The show, curated by Max Andrews and Uruguayan Mariana Cánepa Luna for the Museo Centro de Arte Dos de Mayo, is thus conceived as an immersive space in which those very boundaries are blurred in favor of a deeper observation of processes.

May 19, 2025
THE PALATIAL EXTRAVAGANCE OF VASCONCELOS

Joana Vasconcelos (Paris, France, 1971) walks that fine aesthetic line between the overwhelming and the excessive. The artist does not hide her intentions—she never has—and if the ornate effect of her works is what she aims for, then the mission is accomplished. When faced with a production that is so clearly personal and deliberate, the setting can only serve to further amplify the challenge her installations pose to our ideas of beauty and artistic harmony.

By Álvaro de Benito
Reviews

THE PALATIAL EXTRAVAGANCE OF VASCONCELOS

By Álvaro de Benito

Joana Vasconcelos (Paris, France, 1971) walks that fine aesthetic line between the overwhelming and the excessive. The artist does not hide her intentions—she never has—and if the ornate effect of her works is what she aims for, then the mission is accomplished. When faced with a production that is so clearly personal and deliberate, the setting can only serve to further amplify the challenge her installations pose to our ideas of beauty and artistic harmony.

May 12, 2025
DA-LI-LA: THE MALLEABILITY OF THE FIXED

From White Plaster to Colorful Textiles, Dalila Puzzovio (1942, Buenos Aires) has always known how to appreciate broken bodies and dress the living. While some destroy, others build is the title of one of her photographs—a phrase that runs through her remarkable artistic career.

By Violeta Méndez
Reviews

DA-LI-LA: THE MALLEABILITY OF THE FIXED

By Violeta Méndez

From White Plaster to Colorful Textiles, Dalila Puzzovio (1942, Buenos Aires) has always known how to appreciate broken bodies and dress the living. While some destroy, others build is the title of one of her photographs—a phrase that runs through her remarkable artistic career.

May 07, 2025
ANA TISCORNIA: NEIGHBORS

For those of us who have followed the creative paths of Ana Tiscornia, we are very familiar with the many inventive forms and materials the artist has employed to refer to the architecture of place. The architecture of place may have been a building or a section of it; it may have been a street. Esquina / Corner of 2010, for example, is a complex paper collage of cut-out floor plans, densely layered to represent collapsed structures. This collage features a small red dot signaling the end of a street, a specific place no longer recognizable.

By Julia P. Herzberg, Ph.D.
Reviews

ANA TISCORNIA: NEIGHBORS

By Julia P. Herzberg, Ph.D.

For those of us who have followed the creative paths of Ana Tiscornia, we are very familiar with the many inventive forms and materials the artist has employed to refer to the architecture of place. The architecture of place may have been a building or a section of it; it may have been a street. Esquina / Corner of 2010, for example, is a complex paper collage of cut-out floor plans, densely layered to represent collapsed structures. This collage features a small red dot signaling the end of a street, a specific place no longer recognizable.

May 02, 2025
YESTERDAY AND TOMORROW, INSIDE AND OUTSIDE: SPECIAL PROJECT AT PINTA LIMA

A system. An architecture. A way of setting out the guidelines that connect millenary myths with the manifestations provided by the present. Lo que este paisaje puede decir sobre el futuro (What this landscape can say about the future), Pinta Lima's Special Project, is an oracle: a sacred space that reveals the union between what is and what can be.

By María Galarza
Reviews

YESTERDAY AND TOMORROW, INSIDE AND OUTSIDE: SPECIAL PROJECT AT PINTA LIMA

By María Galarza

A system. An architecture. A way of setting out the guidelines that connect millenary myths with the manifestations provided by the present. Lo que este paisaje puede decir sobre el futuro (What this landscape can say about the future), Pinta Lima's Special Project, is an oracle: a sacred space that reveals the union between what is and what can be.

April 25, 2025
FOUR ARTWORKS THAT TRACE TERESA BURGA'S REVOLUTIONARY JOURNEY

The enduring legacy of Teresa Burga (Iquitos, 1935 – Lima, 2021) is celebrated at the Latin American art fair Pinta Lima, where she was selected as the tribute artist for the Special Project, curated by Miguel A. López. The exhibition brings together, for the first time, various moments of her production between 1966 and 2020, showcasing the intelligence, boldness, and versatility of an artist who was not always recognized or understood in her time.

By Violeta Méndez
Reviews

FOUR ARTWORKS THAT TRACE TERESA BURGA'S REVOLUTIONARY JOURNEY

By Violeta Méndez

The enduring legacy of Teresa Burga (Iquitos, 1935 – Lima, 2021) is celebrated at the Latin American art fair Pinta Lima, where she was selected as the tribute artist for the Special Project, curated by Miguel A. López. The exhibition brings together, for the first time, various moments of her production between 1966 and 2020, showcasing the intelligence, boldness, and versatility of an artist who was not always recognized or understood in her time.

April 25, 2025
JONATHAS DE ANDRADE: “L'ART DE NE PAS ETRE VORACE”

La Commanderie de Peyrassol presents a monographic exhibition by Jonathas de Andrade - Maceió, Brazil, resident in Recife -, within the framework of the cultural season, held this year under the aegis of the Ministries of Foreign Affairs and Culture of Brazil and France. Philippe Austruy - owner of the site and collector of contemporary art -, echoing the desire for a “multidisciplinary, innovative and committed” season and the reflections and contemporary issues defined as thematic axes, in particular, climate and ecological transition, invited the artist to design an exhibition in this vast wine-growing domain in the south of France.

By Patricia Avena Navarro
Reviews

JONATHAS DE ANDRADE: “L'ART DE NE PAS ETRE VORACE”

By Patricia Avena Navarro

La Commanderie de Peyrassol presents a monographic exhibition by Jonathas de Andrade - Maceió, Brazil, resident in Recife -, within the framework of the cultural season, held this year under the aegis of the Ministries of Foreign Affairs and Culture of Brazil and France. Philippe Austruy - owner of the site and collector of contemporary art -, echoing the desire for a “multidisciplinary, innovative and committed” season and the reflections and contemporary issues defined as thematic axes, in particular, climate and ecological transition, invited the artist to design an exhibition in this vast wine-growing domain in the south of France.

April 18, 2025
KUITCA 86: THE VESTIGES OF MATTER

The sincere fiction crafted by the Argentine artist captivates and steals the voice of those who come to see it. Honest and raw, it reveals the indelible traces of history.

By Violeta Méndez
Reviews

KUITCA 86: THE VESTIGES OF MATTER

By Violeta Méndez

The sincere fiction crafted by the Argentine artist captivates and steals the voice of those who come to see it. Honest and raw, it reveals the indelible traces of history.

April 09, 2025
NECESSARY ANCESTRALITY IN ANTONIO PICHILLÁ

Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.

By Álvaro de Benito
Reviews

NECESSARY ANCESTRALITY IN ANTONIO PICHILLÁ

By Álvaro de Benito

Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.

April 08, 2025
LATIN AMERICA ON THE SURREALIST PERIPHERY: A HISTORIOGRAPHY BEYOND BRETON

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

By Álvaro de Benito
Reviews

LATIN AMERICA ON THE SURREALIST PERIPHERY: A HISTORIOGRAPHY BEYOND BRETON

By Álvaro de Benito

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

April 04, 2025
JORGE PARDO: COLOR, SPACE, AND PERCEPTION AT ELBA BENÍTEZ

Elba Benítez Gallery in Madrid, in collaboration with Clarissa Bronfman, presents a must-see exhibition by Jorge Pardo (Havana, Cuba, 1963), featuring a selection of works designed and created specifically for the gallery space. Emphasizing the importance of space, the Cuban artist employs his signature multidisciplinary approach to explore how color and texture influence perception. To this end, the exhibition is arranged in areas that serve a dual purpose.

By Álvaro de Benito
Reviews

JORGE PARDO: COLOR, SPACE, AND PERCEPTION AT ELBA BENÍTEZ

By Álvaro de Benito

Elba Benítez Gallery in Madrid, in collaboration with Clarissa Bronfman, presents a must-see exhibition by Jorge Pardo (Havana, Cuba, 1963), featuring a selection of works designed and created specifically for the gallery space. Emphasizing the importance of space, the Cuban artist employs his signature multidisciplinary approach to explore how color and texture influence perception. To this end, the exhibition is arranged in areas that serve a dual purpose.

April 01, 2025
CELEBRATING LE PARC AT ALBARRÁN BOURDAIS

The Albarrán Bourdais gallery, at its Madrid venue, is hosting the exhibition En movimiento, by Julio Le Parc (Mendoza, Argentina, 1928). With a celebratory tone, as this is the first solo exhibition dedicated to the Argentine artist in Spain in 30 years, the show explores a fundamental part of the work of this master of kinetic and op-art and does so with a selection of several pieces that illustrate key periods. Without being a retrospective, there is something of that essence in the way the tour is presented, which proposes, through connected groups, an analysis of the connection between the past and the present.

By Álvaro de Benito
Reviews

CELEBRATING LE PARC AT ALBARRÁN BOURDAIS

By Álvaro de Benito

The Albarrán Bourdais gallery, at its Madrid venue, is hosting the exhibition En movimiento, by Julio Le Parc (Mendoza, Argentina, 1928). With a celebratory tone, as this is the first solo exhibition dedicated to the Argentine artist in Spain in 30 years, the show explores a fundamental part of the work of this master of kinetic and op-art and does so with a selection of several pieces that illustrate key periods. Without being a retrospective, there is something of that essence in the way the tour is presented, which proposes, through connected groups, an analysis of the connection between the past and the present.

March 20, 2025
TRADITION, IDENTITY AND CONTEMPORARY LANGUAGE IN ÉDGAR CALEL

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

By Álvaro de Benito
Reviews

TRADITION, IDENTITY AND CONTEMPORARY LANGUAGE IN ÉDGAR CALEL

By Álvaro de Benito

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

March 17, 2025
PERCEPTION AND QUOTIDIANITY IN LEANDRO ERLICH

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

By Álvaro de Benito
Reviews

PERCEPTION AND QUOTIDIANITY IN LEANDRO ERLICH

By Álvaro de Benito

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

March 13, 2025
FILM ON PAPER: BETWEEN FICTION AND PHOTOGRAPHY

Observing through George Friedmann’s lens allows one to grasp the power of photography and the charm of artistic fusion. Eso que llaman amor (That Which They Call Love) highlights the beauty of what is carefully constructed yet retains the fragility of the unexpected.

By Violeta Méndez
Reviews

FILM ON PAPER: BETWEEN FICTION AND PHOTOGRAPHY

By Violeta Méndez

Observing through George Friedmann’s lens allows one to grasp the power of photography and the charm of artistic fusion. Eso que llaman amor (That Which They Call Love) highlights the beauty of what is carefully constructed yet retains the fragility of the unexpected.

March 12, 2025
THE UNIVERSES OF THE LATIN AMERICAN GALLERIES IN ARCO

With strong gallery participation, ARCO is an interesting point to measure how the proposals reach the visitor and the collector. The choices based on aesthetic or commercial criteria create synergies that shape a fluid and sometimes circumstantial representation of each catalog. From Arte al Día, we delve into ten of those catalogs, expanded to variegated universes, monographs and dialogues that show a sample of the approach of Latin American galleries in their presence at the Madrid fair.

By Álvaro de Benito
Reviews

THE UNIVERSES OF THE LATIN AMERICAN GALLERIES IN ARCO

By Álvaro de Benito

With strong gallery participation, ARCO is an interesting point to measure how the proposals reach the visitor and the collector. The choices based on aesthetic or commercial criteria create synergies that shape a fluid and sometimes circumstantial representation of each catalog. From Arte al Día, we delve into ten of those catalogs, expanded to variegated universes, monographs and dialogues that show a sample of the approach of Latin American galleries in their presence at the Madrid fair.

March 08, 2025
ARCO 2025: DIFFERENT VIEWS ON LATIN AMERICA

The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.

By Álvaro de Benito
Reviews

ARCO 2025: DIFFERENT VIEWS ON LATIN AMERICA

By Álvaro de Benito

The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.

March 06, 2025
THE LATIN AMERICAN GAZE IN ARCO’S “PROFILES” PROGRAM

The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."

By Álvaro de Benito
Reviews

THE LATIN AMERICAN GAZE IN ARCO’S “PROFILES” PROGRAM

By Álvaro de Benito

The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."

March 05, 2025
THE MARVELLOUS WORLD OF CELINA ECEIZA

Within the walls of the Museum of Modern Art, dreams, stories, and ideas brought by Ofrenda still linger. Yet, even more present are the thoughts left suspended in the air by the audience.

By Violeta Méndez
Reviews

THE MARVELLOUS WORLD OF CELINA ECEIZA

By Violeta Méndez

Within the walls of the Museum of Modern Art, dreams, stories, and ideas brought by Ofrenda still linger. Yet, even more present are the thoughts left suspended in the air by the audience.

February 28, 2025
LEYVA NOVO: DUST IT IS AND TO DUST IT WILL TURN

Intricate between action and register, El Apartamento hosts Algo deja quien se va, the first solo exhibition in Spain by Reynier Leyva Novo (Havana, Cuba, 1983). Starting from the political concept of historical memory and linking it to the issues of power and colonialism, the artist unfolds in two well-differentiated series his proposal to approach these lines, and extends his networks to the impact (or influence) they have on the institutional and cultural fabric.

By Álvaro de Benito
Reviews

LEYVA NOVO: DUST IT IS AND TO DUST IT WILL TURN

By Álvaro de Benito

Intricate between action and register, El Apartamento hosts Algo deja quien se va, the first solo exhibition in Spain by Reynier Leyva Novo (Havana, Cuba, 1983). Starting from the political concept of historical memory and linking it to the issues of power and colonialism, the artist unfolds in two well-differentiated series his proposal to approach these lines, and extends his networks to the impact (or influence) they have on the institutional and cultural fabric.

February 27, 2025
(RE)DISCOVERING SARAH GRILO AT MAISTERRAVALBUENA

Madrid-based Maisterravalbuena proposes a vindication of the work of Sarah Grilo (Buenos Aires, Argentina,1917 - Madrid, Spain, 2007) through Soluciones para pensar, the second exhibition on this artist at the gallery. With a didactic and rediscovery vocation, the exhibition gathers a selection of paintings in different formats made between the 1960s and 1990s, many of them unpublished to the public. This work of selection and direct work of the gallery with the archive and the legacy of the Argentinean artist becomes fundamental in the structuring of the objective of creating opportunities for a greater knowledge of Grilo's work.

By Álvaro de Benito
Reviews

(RE)DISCOVERING SARAH GRILO AT MAISTERRAVALBUENA

By Álvaro de Benito

Madrid-based Maisterravalbuena proposes a vindication of the work of Sarah Grilo (Buenos Aires, Argentina,1917 - Madrid, Spain, 2007) through Soluciones para pensar, the second exhibition on this artist at the gallery. With a didactic and rediscovery vocation, the exhibition gathers a selection of paintings in different formats made between the 1960s and 1990s, many of them unpublished to the public. This work of selection and direct work of the gallery with the archive and the legacy of the Argentinean artist becomes fundamental in the structuring of the objective of creating opportunities for a greater knowledge of Grilo's work.

February 25, 2025
THROUGH WEAVING AND THREADS, CHIHARU SHIOTA AND XIMENA GARRIDO-LECCA CREATE A WORLD OF THEIR OWN IN PUERTO ESCONDIDO

Located in KM 113 of the federal highway that connects Salina Cruz to Pinotepa Nacional, a remote creative jewel stands. Architecture, design, and art cohabit along this section of the Oaxacan coast. A mix of boutique accommodations, gastronomy, and contemporary art proposals enrich Puerto Escondido’s endowment of inspiration and creation.

By Laura Castillo
Reviews

THROUGH WEAVING AND THREADS, CHIHARU SHIOTA AND XIMENA GARRIDO-LECCA CREATE A WORLD OF THEIR OWN IN PUERTO ESCONDIDO

By Laura Castillo

Located in KM 113 of the federal highway that connects Salina Cruz to Pinotepa Nacional, a remote creative jewel stands. Architecture, design, and art cohabit along this section of the Oaxacan coast. A mix of boutique accommodations, gastronomy, and contemporary art proposals enrich Puerto Escondido’s endowment of inspiration and creation.

February 20, 2025
PERUVIAN AMAZONIAN ART THROUGH THE HOCHSCHILD CORREA COLLECTION

The Hochschild Correa Collection boasts of being the most complete private collection of contemporary art from the Peruvian Amazon. Nevertheless, for more than a decade, it has been built on a varied and unrestricted collection, which has made it possible to bring together the different trends and techniques currently being used in the region, with a focus on dialogue and a certain relational patina among the works that make up the collection. 

By Álvaro de Benito
Reviews

PERUVIAN AMAZONIAN ART THROUGH THE HOCHSCHILD CORREA COLLECTION

By Álvaro de Benito

The Hochschild Correa Collection boasts of being the most complete private collection of contemporary art from the Peruvian Amazon. Nevertheless, for more than a decade, it has been built on a varied and unrestricted collection, which has made it possible to bring together the different trends and techniques currently being used in the region, with a focus on dialogue and a certain relational patina among the works that make up the collection. 

February 14, 2025
GEOGRAPHY OF SUBVERSION - ANNA BELLA GEIGER

About to turn 92, Anna Bella Geiger, from Rio de Janeiro, never ceases to attest to her robust experimental side with each new exhibition featuring snippets of her shifting production. Both in Brazil and abroad, in solo and group shows, her body of work remains indomitable, uncompromising and full of meaning.

By Mario Gioia, art critic and independent curator
Reviews

GEOGRAPHY OF SUBVERSION - ANNA BELLA GEIGER

By Mario Gioia, art critic and independent curator

About to turn 92, Anna Bella Geiger, from Rio de Janeiro, never ceases to attest to her robust experimental side with each new exhibition featuring snippets of her shifting production. Both in Brazil and abroad, in solo and group shows, her body of work remains indomitable, uncompromising and full of meaning.

February 04, 2025
LANGUAGE AND SOCIETY IN LÚA CODERCH'S WORK AT THE RYDER

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.

By Álvaro de Benito
Reviews

LANGUAGE AND SOCIETY IN LÚA CODERCH'S WORK AT THE RYDER

By Álvaro de Benito

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.

January 30, 2025
GABRIEL O'SHEA'S HUMAN AND REALISTIC TECHNOLOGICAL FUTURE

Gabriel O'Shea (Metepec, Mexico, 1998) manages to delve into that huge and apparent dichotomy between the technological and the human (or the future and the real) in his most recent proposal at Hilario Galguera's Madrid headquarters, a series of paintings of high conceptual content that critically debate on several technical and thinking aspects.

By Álvaro de Benito
Reviews

GABRIEL O'SHEA'S HUMAN AND REALISTIC TECHNOLOGICAL FUTURE

By Álvaro de Benito

Gabriel O'Shea (Metepec, Mexico, 1998) manages to delve into that huge and apparent dichotomy between the technological and the human (or the future and the real) in his most recent proposal at Hilario Galguera's Madrid headquarters, a series of paintings of high conceptual content that critically debate on several technical and thinking aspects.

January 21, 2025
EMPTINESS AND COLOR IN LÓPEZ-CHÁVEZ

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

By Álvaro de Benito
Reviews

EMPTINESS AND COLOR IN LÓPEZ-CHÁVEZ

By Álvaro de Benito

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

January 16, 2025
A COMPLETE OVERVIEW AT LILIANA PORTER

Museo Casa de la Moneda, in Madrid, celebrates in an exhibition the career of Liliana Porter (Buenos Aires, Argentina, 1941) through several conceptual key points of it, designing a necessary route to cover, in a succinct but very representative way, one of the most relevant productions of the last decades of conceptual art.

By Álvaro de Benito
Reviews

A COMPLETE OVERVIEW AT LILIANA PORTER

By Álvaro de Benito

Museo Casa de la Moneda, in Madrid, celebrates in an exhibition the career of Liliana Porter (Buenos Aires, Argentina, 1941) through several conceptual key points of it, designing a necessary route to cover, in a succinct but very representative way, one of the most relevant productions of the last decades of conceptual art.

December 26, 2024
THE BRITTLE POSTCOLONIAL PROPOSAL OF GRADA KILOMBA

The Reina Sofia Museum presents in the exhibition Opera to a Black Venus a necessary journey to the work of Grada Kilomba (Lisbon, Portugal, 1968), forming the most complete exhibition of her work to date in Spain. The Portuguese artist presents a complete discourse, mainly expressed through the different languages of movement, from the body to performance, but without leaving aside other narrative and artistic techniques with which she analytically presents a certain introspective look at the world of history.

By Álvaro de Benito
Reviews

THE BRITTLE POSTCOLONIAL PROPOSAL OF GRADA KILOMBA

By Álvaro de Benito

The Reina Sofia Museum presents in the exhibition Opera to a Black Venus a necessary journey to the work of Grada Kilomba (Lisbon, Portugal, 1968), forming the most complete exhibition of her work to date in Spain. The Portuguese artist presents a complete discourse, mainly expressed through the different languages of movement, from the body to performance, but without leaving aside other narrative and artistic techniques with which she analytically presents a certain introspective look at the world of history.

December 23, 2024
LITA CABELLUT IN DIALOGUE WITH GOYA

Goya's Los Disparates preceded, or marked, painting's entry into modernity. Beyond this historiographical note, the series by the Aragonese master captures with masterful imagery the vicissitudes of irony, sarcasm and the darkness of a reality that has lasted through time to the present day. The plates of his etchings become the surface that deposits this reality, and the result, once impregnated, works as a full reminder of the origin of our essence, our fears and our actions.

By Álvaro de Benito
Reviews

LITA CABELLUT IN DIALOGUE WITH GOYA

By Álvaro de Benito

Goya's Los Disparates preceded, or marked, painting's entry into modernity. Beyond this historiographical note, the series by the Aragonese master captures with masterful imagery the vicissitudes of irony, sarcasm and the darkness of a reality that has lasted through time to the present day. The plates of his etchings become the surface that deposits this reality, and the result, once impregnated, works as a full reminder of the origin of our essence, our fears and our actions.

December 16, 2024
OLGA DE AMARAL AT FONDATION CARTIER POUR L'ART CONTEMPORAIN

Shocking and enigmatic, this is the first major retrospective in Europe that the Cartier Foundation for Contemporary Art presents of Olga de Amaral, a key figure in the Colombian art scene and Fiber Art. The exhibition brings together nearly 90 works created between the 1960s and the present, many of which have never been presented outside Colombia.

By Patricia Avena Navarro
Reviews

OLGA DE AMARAL AT FONDATION CARTIER POUR L'ART CONTEMPORAIN

By Patricia Avena Navarro

Shocking and enigmatic, this is the first major retrospective in Europe that the Cartier Foundation for Contemporary Art presents of Olga de Amaral, a key figure in the Colombian art scene and Fiber Art. The exhibition brings together nearly 90 works created between the 1960s and the present, many of which have never been presented outside Colombia.

December 10, 2024
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