Reviews

CHACO

The spacious Juan de Salazar Spanish Cultural Center in Asunción (Paraguay) hosts the group exhibition “Chaco [contemporary inventions]”, which alludes to the artistic fictions associated to the Great American Chaco region rather than to its geographical, historical and socio-political situation.

By Victoria Verlichak
Reviews

CHACO

By Victoria Verlichak

The spacious Juan de Salazar Spanish Cultural Center in Asunción (Paraguay) hosts the group exhibition “Chaco [contemporary inventions]”, which alludes to the artistic fictions associated to the Great American Chaco region rather than to its geographical, historical and socio-political situation.

July 25, 2013
_Electric Blue Night_

It is hard to notice, but the entire room is covered by a light touch of green, a muted color that sprawls across the walls and drowns the space in a sort of reminiscence of natural environment.

By Silas Martí
Reviews

_Electric Blue Night_

By Silas Martí

It is hard to notice, but the entire room is covered by a light touch of green, a muted color that sprawls across the walls and drowns the space in a sort of reminiscence of natural environment.

July 25, 2013
Sergio Vega

Sergio Vega (Argentina, 1959) is featuring the exhibition “Disassembling Paradise”. A paradise he alludes to through two of his series, “Parrot Color Charts” and “Shanty Nucleus After Derrida 2”.

By Marivi Véliz
Reviews

Sergio Vega

By Marivi Véliz

Sergio Vega (Argentina, 1959) is featuring the exhibition “Disassembling Paradise”. A paradise he alludes to through two of his series, “Parrot Color Charts” and “Shanty Nucleus After Derrida 2”.

July 11, 2013
On Painting

At a time when painting as a method, and its validity, are questioned from different fronts, the emergence of voices that somehow oppose those critiques is not undesirable.

By Álvaro de Benito Fernández
Reviews

On Painting

By Álvaro de Benito Fernández

At a time when painting as a method, and its validity, are questioned from different fronts, the emergence of voices that somehow oppose those critiques is not undesirable.

July 11, 2013
Los Carpinteros

That the nave of Matadero, where the program for the development of specific projects, “Abierto x obras”, takes place, is one of the most interesting points in the artistic panorama of Madrid is a fact that few people deny.

By Alvaro de Benito Fernandez
Reviews

Los Carpinteros

By Alvaro de Benito Fernandez

That the nave of Matadero, where the program for the development of specific projects, “Abierto x obras”, takes place, is one of the most interesting points in the artistic panorama of Madrid is a fact that few people deny.

July 11, 2013
Hernán Salamanco

Hernán Salamanco (Buenos Aires, 1974) insists on the fact that “painting is before and above all, (…) above everything else”. Vida espiritual is the vibrant result of his conviction, displayed at Slyzmud, a gallery that has been running for little more than a year.

By Victoria Verlichak
Reviews

Hernán Salamanco

By Victoria Verlichak

Hernán Salamanco (Buenos Aires, 1974) insists on the fact that “painting is before and above all, (…) above everything else”. Vida espiritual is the vibrant result of his conviction, displayed at Slyzmud, a gallery that has been running for little more than a year.

June 28, 2013
Mónica Girón

In Fronterizo y traslación, at ZavaletaLab gallery, Mónica Girón (Argentina, 1959) gathers together works from different series, which include volumes in grey granite as well as watercolors on paper, reflecting a formal difference balanced with refinement and conceptual affinity.

By Victoria Verlichak
Reviews

Mónica Girón

By Victoria Verlichak

In Fronterizo y traslación, at ZavaletaLab gallery, Mónica Girón (Argentina, 1959) gathers together works from different series, which include volumes in grey granite as well as watercolors on paper, reflecting a formal difference balanced with refinement and conceptual affinity.

June 28, 2013
Santiago Cárdenas

We had our first approach to the work of Santiago Cárdenas (Colombia, 1937) in Bogotá –inspired by an article by Galaor Carbonell.

By Beatriz Sogbe
Reviews

Santiago Cárdenas

By Beatriz Sogbe

We had our first approach to the work of Santiago Cárdenas (Colombia, 1937) in Bogotá –inspired by an article by Galaor Carbonell.

June 28, 2013
Fabián Marcaccio

Fabián Marcaccio (Rosario, Argentina, 1963) has deservedly established himself as one of the most evident renovators of the Latin American pictorial language.

Reviews

Fabián Marcaccio

Fabián Marcaccio (Rosario, Argentina, 1963) has deservedly established himself as one of the most evident renovators of the Latin American pictorial language.

June 13, 2013
Jorge Miño  Praxis International Art,  Buenos Aires

Jorge Miño (Argentina, 1973) constructs beautiful and solitary architectonic landscapes that induce fantasy, while at the same time they retain a rare balance.

By Victoria Verlichak
Reviews

Jorge Miño Praxis International Art, Buenos Aires

By Victoria Verlichak

Jorge Miño (Argentina, 1973) constructs beautiful and solitary architectonic landscapes that induce fantasy, while at the same time they retain a rare balance.

June 13, 2013
Luis Brito

In 2006, the photographer Antolín Sánchez made a documentary film on the work of Luis Brito (Venezuela, Edo. Sucre, 1945).

By Beatriz Sogbe
Reviews

Luis Brito

By Beatriz Sogbe

In 2006, the photographer Antolín Sánchez made a documentary film on the work of Luis Brito (Venezuela, Edo. Sucre, 1945).

June 13, 2013
Karina Peisajovich

Karina Peisajovich (Buenos Aires, 1966), whose work in recent years has been linked to her experiences related to the perceptive possibilities of light and movement, presented Totalmente, tácitamente at Vasari Gallery.

By Victoria Verlichak
Reviews

Karina Peisajovich

By Victoria Verlichak

Karina Peisajovich (Buenos Aires, 1966), whose work in recent years has been linked to her experiences related to the perceptive possibilities of light and movement, presented Totalmente, tácitamente at Vasari Gallery.

May 29, 2013
José Luis Landet

To appropriate, make something one’s own. José Luis Landet (Argentina, 1977), who is having his first solo show in his native country at Document Art Gallery, works on the basis of this principle, the principle of original appropriation.

By Marcela Costa Peuser
Reviews

José Luis Landet

By Marcela Costa Peuser

To appropriate, make something one’s own. José Luis Landet (Argentina, 1977), who is having his first solo show in his native country at Document Art Gallery, works on the basis of this principle, the principle of original appropriation.

May 29, 2013
Camila Ramirez

Wealth is badly distributed in the world. And this is even more so in countries which have carried out a fanatically capitalist economic policy, as is the case of Chile.

By Juan José Santos
Reviews

Camila Ramirez

By Juan José Santos

Wealth is badly distributed in the world. And this is even more so in countries which have carried out a fanatically capitalist economic policy, as is the case of Chile.

May 22, 2013
_SUSTENTAZO (LAMENT II)_, MONIKA WEISS

The Museum of Memory is a space devoted to the testimonies of thousands of victims of the period of dictatorial regime in Chile.

By Juan José Santos
Reviews

_SUSTENTAZO (LAMENT II)_, MONIKA WEISS

By Juan José Santos

The Museum of Memory is a space devoted to the testimonies of thousands of victims of the period of dictatorial regime in Chile.

May 16, 2013
Aníbal Vallejo

In Aníbal Vallejo’s recent series of paintings, different references to the history of painting may be perceived, among them, references to Claude Monet’s

By Camilo Chico Triana
Reviews

Aníbal Vallejo

By Camilo Chico Triana

In Aníbal Vallejo’s recent series of paintings, different references to the history of painting may be perceived, among them, references to Claude Monet’s

May 16, 2013
José Luis Anzizar

In Urban Papers, José Luis Anzizar (Buenos Aires, 1962) continues his series Urban birdwatching, both visually and conceptually, marking itineraries and revealing movements which propose a reflection on the urban fabric and on perception.

By Victoria Verlichak
Reviews

José Luis Anzizar

By Victoria Verlichak

In Urban Papers, José Luis Anzizar (Buenos Aires, 1962) continues his series Urban birdwatching, both visually and conceptually, marking itineraries and revealing movements which propose a reflection on the urban fabric and on perception.

May 16, 2013
Antonio Ugarte

It is difficult to partake of two fine art disciplines. Antonio Ugarte (Venezuela, 1961) is a photographer and a painter. The exhibition “Sombras de museo” (“Museum Shadows”) is based on his inquiries into photography.

By Beatriz Sogbe
Reviews

Antonio Ugarte

By Beatriz Sogbe

It is difficult to partake of two fine art disciplines. Antonio Ugarte (Venezuela, 1961) is a photographer and a painter. The exhibition “Sombras de museo” (“Museum Shadows”) is based on his inquiries into photography.

May 02, 2013
_Between Two Continents: Spanish Geometric Abstraction in Latin America_

Starting with its title, this exhibition rescues an almost forgotten chapter in the global history of geometric abstraction, which was the axis of the modernist dream in Spain.

By Adriana Herrera Téllez
Reviews

_Between Two Continents: Spanish Geometric Abstraction in Latin America_

By Adriana Herrera Téllez

Starting with its title, this exhibition rescues an almost forgotten chapter in the global history of geometric abstraction, which was the axis of the modernist dream in Spain.

May 02, 2013
Humberto Vélez

In his presentation in Buenos Aires, Humberto Vélez (Panamá, 1965) exhibits, in the first place, the film The Last Builder (El último físicoculturista / El último constructor), 2008, with Dionisio Herrera González in the leading role, showing his sculpted body to the sound of Nikola Kodjabashia’s music.

By Victoria Verlichak
Reviews

Humberto Vélez

By Victoria Verlichak

In his presentation in Buenos Aires, Humberto Vélez (Panamá, 1965) exhibits, in the first place, the film The Last Builder (El último físicoculturista / El último constructor), 2008, with Dionisio Herrera González in the leading role, showing his sculpted body to the sound of Nikola Kodjabashia’s music.

April 30, 2013
Amalia Caputo

Amalia Caputo (Venezuela, 1964) has an obsession with objects. This does not apply only to found objects, but also to those which are sought, used, discarded, and whose eventual role, assigned to them by the new users, she wants to keep track of..

By Beatriz Sogbe
Reviews

Amalia Caputo

By Beatriz Sogbe

Amalia Caputo (Venezuela, 1964) has an obsession with objects. This does not apply only to found objects, but also to those which are sought, used, discarded, and whose eventual role, assigned to them by the new users, she wants to keep track of..

April 30, 2013
_Listening to Time (On the way of perceiving and other reasons_ in the work of Glenda León).

In the year 2000, artist Glenda León (Havana, 1976) left small frozen flowers inside ice cubes upon the tables of a bar.

Reviews

_Listening to Time (On the way of perceiving and other reasons_ in the work of Glenda León).

In the year 2000, artist Glenda León (Havana, 1976) left small frozen flowers inside ice cubes upon the tables of a bar.

April 30, 2013
Renata Padovan,  Fleeting Traces

Over the course of art history, artists aligned with different trends have shown a fascination with maps.

By Gabriela Salgado*
Reviews

Renata Padovan, Fleeting Traces

By Gabriela Salgado*

Over the course of art history, artists aligned with different trends have shown a fascination with maps.

April 30, 2013
Adriana Minoliti

The work of Adriana Minoliti (Buenos Aires, 1980) attracted attention when she won the Currículum Cero Award (2004), organized by Ruth Benzacar gallery.

By Victoria Verlichak
Reviews

Adriana Minoliti

By Victoria Verlichak

The work of Adriana Minoliti (Buenos Aires, 1980) attracted attention when she won the Currículum Cero Award (2004), organized by Ruth Benzacar gallery.

April 18, 2013
_Four Houses, Some Buildings, and Other Spaces_

Large grey and black pixels amassed an indistinguishable image that appeared macroscopic in relation to the scale of human bodies sharing the space.

By Claire Breukel
Reviews

_Four Houses, Some Buildings, and Other Spaces_

By Claire Breukel

Large grey and black pixels amassed an indistinguishable image that appeared macroscopic in relation to the scale of human bodies sharing the space.

April 18, 2013
_Light Show_

Hayward Gallery, London, is featuring work by 22 international artists in its recently inaugurated exhibition, Light Show, a tour that starts in the 1960s, a time when alliances between art, science and technology began to be forged; when artists on both sides of the Atlantic began to investigate light and its power to transform the perception of space.

By Dolores Galindo
Reviews

_Light Show_

By Dolores Galindo

Hayward Gallery, London, is featuring work by 22 international artists in its recently inaugurated exhibition, Light Show, a tour that starts in the 1960s, a time when alliances between art, science and technology began to be forged; when artists on both sides of the Atlantic began to investigate light and its power to transform the perception of space.

April 18, 2013
Iván Argote

A dose of humility and humor: this is what characterizes the work of Iván Argote (Bogotá, 1983), a young Colombian artist based in Paris.

By Patricia Avena Navarro
Reviews

Iván Argote

By Patricia Avena Navarro

A dose of humility and humor: this is what characterizes the work of Iván Argote (Bogotá, 1983), a young Colombian artist based in Paris.

April 05, 2013
Moris

In a closed space, everyday situations become altered. The order in which we have built a figuration of the world then provides us a dramatic quality, a theatricality which manifests itself through increasingly reduced and repetitive statements.

By Fernando Carbajal
Reviews

Moris

By Fernando Carbajal

In a closed space, everyday situations become altered. The order in which we have built a figuration of the world then provides us a dramatic quality, a theatricality which manifests itself through increasingly reduced and repetitive statements.

April 04, 2013
Carlos Huffmann

Carlos Huffmann (Buenos Aires, 1980) establishes diverse yet unavoidable relationships between the image and the word in La juventud de los ancestros, shown in Ruth Benzacar gallery.

By Victoria Verlichak
Reviews

Carlos Huffmann

By Victoria Verlichak

Carlos Huffmann (Buenos Aires, 1980) establishes diverse yet unavoidable relationships between the image and the word in La juventud de los ancestros, shown in Ruth Benzacar gallery.

April 04, 2013
Odalis Valdivieso

Paper Folding, Odalis Valdivieso’s most recent series, is an interesting pun. And I say this based not only on the complex ad infinitum process of manual and digital manipulation which underpins the work, and which conceals a constant postponement of its meaning, but on the innumerable revisions of artistic tradition itself that this series comprises.

By Janet Batet
Reviews

Odalis Valdivieso

By Janet Batet

Paper Folding, Odalis Valdivieso’s most recent series, is an interesting pun. And I say this based not only on the complex ad infinitum process of manual and digital manipulation which underpins the work, and which conceals a constant postponement of its meaning, but on the innumerable revisions of artistic tradition itself that this series comprises.

March 21, 2013
María Evelia Marmolejo

An acrid smell hangs thickly in the air of the Mandragoras Art Space where the crowd sips on red wine in anticipation of legendary Colombian performance artist María Evelia Marmolejo.

By Claire Breukel
Reviews

María Evelia Marmolejo

By Claire Breukel

An acrid smell hangs thickly in the air of the Mandragoras Art Space where the crowd sips on red wine in anticipation of legendary Colombian performance artist María Evelia Marmolejo.

March 21, 2013
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