Reviews

Beatrix Potter was an English scientist and illustrator who investigated the reproduction and taxonomy of fungi. In spite of her having developed important biological-reproductive theories, her scientific work could never be carried out professionally for reasons of gender.

Since his emergence in the visual arts scene, the photographer Roberto Huarcaya (Lima, 1959) has distinguished himself by the ambition of his projects, in which photography has often been associated with other creative mediums in very solid combinations that have elicited intense responses from different audiences.

The same day that I began writing this text, I saw on a video featured by an online Argentine newspaper, a TransAsia Airways plane cross a Taipei highway with a wing pointed towards the ground and another towards the sky, destroy the front of a taxi and crash on a river.

As a celebration of its 25 years of existence, the Instituto Valenciano de Arte Moderno (IVAM) explores a part of the creation of Latin America through 127 works of its collection, under the special influence of Uruguayan artist Joaquín Torres-García.

The images of Fuera de foco, works by Alejandro Kuropatwa (Buenos Aires, 1956-2003), presented at Vasari gallery, were shot and produced in New York, where the artist lived for around six years.

“Talking to you makes me think that Man’s descent from the apes hasn’t even started yet.”

The passion caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror.

In 1980, the exhibition Didáctica y dialéctica del color, by master of color Carlos Cruz-Diez (Venezuela, 1923), was held at the Universidad Simón Bolívar (USB), Caracas.

At the core of Ricardo Rendón's artistic process is the notion that there are endless possibilities of creation starting from an already given set of elements.

Flavia Da Rin’s (Buenos Aires, 1978) alluring images usually distil fantasy, humor, and a dissimulated melancholy; they are structured around the artist’s appearance in constant and infinite transformation.

In Statement, his second exhibition at Rolf Art, Francisco Medail explores the boundaries between artistic practice and curatorial practice while emphasizing the importance of the public sector in the context of contemporary art.

Hijo de matemáticos y nieto de artistas, Elías Crespín- Caracas, Venezuela, en 1965- asistió cotidianamente, desde que nació al fecundo diálogo entre la matemática y el arte.

For some time, we had been hoping to see in Sao Paulo one of its great artists, who has been living in Berlin for over 20 years.

At first glance, the pencil drawings by Daniel Otero Torres (Bogotá, 1985) elicit joy and fill the viewer with wonder.

There was a time when the relatively small city of Córdoba was a great capital of American art and culture. The 1960s shook the planet, and in the central region of Argentina, this could be perceived in the streets.

After being exhibited at the Calouste Gulbenkian Foundation (Portugal), the Museum of Modern Art in Malmö (Sweden), the National Museum of the 21st Century Arts - MAXXI (Italy), the Pinacoteca of the State of São Paulo (Brazil) and the University Museum of Contemporary Art of the National Autonomous University of Mexico UNAM (Mexico), a part of the installation Plegaria muda arrived at the Flora Foundation in Bogotá.

The Silent Shout… shows the continuity of abstraction in Cuba from the mid-twentieth century to the present, contributing to complete the map of that vast current that spanned the continent, including the Caribbean, ...

Adding color and moving away from monumental sculpture cast in unfired clay, Villar Rojas’ latest in-situ exhibition, Los Teatros de Saturno, at Kurimanzutto gallery does indeed represent a departure from his previous work, though brought to life with the central threads of his creative career, the ephemeral quest for life that often emerges from decay and his theatrical approach to artistic production, well intact.

Enrique Minjares is angry and laughing. The 36-year-old artist draws a thin line between the two in his latest exhibition – derived largely out of faithful respect for formal artwork construction and an earnest sense of humor in what we all must now see as a casually cruel environment for art production in the Americas.

Emilio Pérez’s third solo exhibition at Galerie Lelong, New York, includes recent paintings on wood panels, as well as a triptych executed during his residency at the Lux Art Institute in California in 2011, on view for the first time in the city.

“How do you know I’m mad? said Alice. `You must be,' said the Cat, `or you wouldn't have come here.'

The photographic record of mystical feeling has been commonly addressed by the great religions of our contemporary world.

Previously heralded as the world’s most infamous contemporary artist – his highly contentious photographic work Piss Christ, 1987 pictured a crucifix bathed in his urine –a mature Andrés Serrano now proffers social consciousness.

We can imagine Luis Terán’s studio as a great building work, full of materials scattered all over the floor and with construction workers wearing hard hats swarming about.

What are the applications for such a title? It could be a pulled from a manual of any sort, instructing us how to put up wallpaper, bandage a wound, or any type of industrial assemblage.

Taking the temporal and spatial axes as conducting thread, the exhibition A Language beyond Form (Un lenguaje más allá de la forma) constitutes a poetic incursion into our existential labyrinths, using the refined plastic forms of abstract and/or conceptual nature of ten Latin American leading artists as vital trigger.