Reviews

Guerra de la Paz

Julian Navarro Projects presented “Power Ties”, the first comprehensive exhibition of this series of Guerra de la Paz’s work that spans the past seven years of art-making.

By Claire Breukel
Reviews

Guerra de la Paz

By Claire Breukel

Julian Navarro Projects presented “Power Ties”, the first comprehensive exhibition of this series of Guerra de la Paz’s work that spans the past seven years of art-making.

March 20, 2013
Iván Navarro

On entering the Chilean artist Iván Navarro’s (1972) exhibition Fluorescent Sculptures, the first reference was inevitably the work of Dan Flavin (1933- 1996), since the latter was the artist who pioneered the use of neon tubes as the main material in his work.

By Irina Leyva-Pérez
Reviews

Iván Navarro

By Irina Leyva-Pérez

On entering the Chilean artist Iván Navarro’s (1972) exhibition Fluorescent Sculptures, the first reference was inevitably the work of Dan Flavin (1933- 1996), since the latter was the artist who pioneered the use of neon tubes as the main material in his work.

March 07, 2013
José Luis Torres

A bee-hive, a swarm, a concert of nests made from recycled materials make up a soft architecture installation titled Qué nos rodea ( What surrounds us?) .

By Pancho Marchiaro
Reviews

José Luis Torres

By Pancho Marchiaro

A bee-hive, a swarm, a concert of nests made from recycled materials make up a soft architecture installation titled Qué nos rodea ( What surrounds us?) .

March 06, 2013
Adriana Carvalho

101 Dresses is the Brazilian sculptor Adriana Carvalho’s most recent one-person exhibition. The show is a retrospective look at her work from the years when she was an artist-in-residence at the Art Center South Florida, in Miami Beach.

By Irina Leyva-Perez
Reviews

Adriana Carvalho

By Irina Leyva-Perez

101 Dresses is the Brazilian sculptor Adriana Carvalho’s most recent one-person exhibition. The show is a retrospective look at her work from the years when she was an artist-in-residence at the Art Center South Florida, in Miami Beach.

March 06, 2013
_EXTRANJERO_

“Extranjeros para nosotros mismos” is the title under which, in 1991, Julia Kristeva inquired into the development of a type of multiracial coexistence in 21st-century Europe.

By Mariano Mayer
Reviews

_EXTRANJERO_

By Mariano Mayer

“Extranjeros para nosotros mismos” is the title under which, in 1991, Julia Kristeva inquired into the development of a type of multiracial coexistence in 21st-century Europe.

February 21, 2013
_Violent Frames_

In the center of Santiago de Chile, González & González gallery exhibits the work of four of the most important Latin American artists of our days.

By Ignacio Szmulewicz
Reviews

_Violent Frames_

By Ignacio Szmulewicz

In the center of Santiago de Chile, González & González gallery exhibits the work of four of the most important Latin American artists of our days.

February 21, 2013
_Open Work:_ An Invitation To Do It Yourself

Looking at a decade of artistic production over forty years ago, Open Work in Latin America, New York & Beyond: Conceptualism Reconsidered, 1967-1978 features thirty-six artists affiliated with Latin America, making work on the continent, abroad or in a situation of transience.

By Claire Breukel
Reviews

_Open Work:_ An Invitation To Do It Yourself

By Claire Breukel

Looking at a decade of artistic production over forty years ago, Open Work in Latin America, New York & Beyond: Conceptualism Reconsidered, 1967-1978 features thirty-six artists affiliated with Latin America, making work on the continent, abroad or in a situation of transience.

February 21, 2013
Andrés Monteagudo

In Retroceso el sueño dormido, Andrés Monteagudo (Spain, 1970) prolongs the influence of his native city, Granada, on his childhood, through a poetics of the white cube that dissolves the boundaries between art and life.

By Adriana Herrera
Reviews

Andrés Monteagudo

By Adriana Herrera

In Retroceso el sueño dormido, Andrés Monteagudo (Spain, 1970) prolongs the influence of his native city, Granada, on his childhood, through a poetics of the white cube that dissolves the boundaries between art and life.

January 28, 2013
Miler Lagos

The scene Rompimiento de Gloria, in which a light source irrupts from behind some clouds, dominating the space and transforming it into a place for contemplation characteristic of the Baroque, provides the title for the exhibition presented by Miler Lagos at Espacio Odeón.

By Camilo Chico Triana
Reviews

Miler Lagos

By Camilo Chico Triana

The scene Rompimiento de Gloria, in which a light source irrupts from behind some clouds, dominating the space and transforming it into a place for contemplation characteristic of the Baroque, provides the title for the exhibition presented by Miler Lagos at Espacio Odeón.

January 28, 2013
Lydia Azout

Throughout more than thirty years of conscientious artistic career, the work of Lydia Azout (Bogotá, 1942) has been characterized by her constant research into ontological problems that define our place on the planet as well as our relationship with nature.

By Janet Batet
Reviews

Lydia Azout

By Janet Batet

Throughout more than thirty years of conscientious artistic career, the work of Lydia Azout (Bogotá, 1942) has been characterized by her constant research into ontological problems that define our place on the planet as well as our relationship with nature.

January 28, 2013
Alberto Borea

On an unseasonably warm fall day in October, on a Friday afternoon, I am at Y Gallery, where I am to meet Alberto Borea (b. 1979, Lima, Peru) to tour his second solo exhibition in New York titled “ Because of Construction.

By Ian Cofré, New York City
Reviews

Alberto Borea

By Ian Cofré, New York City

On an unseasonably warm fall day in October, on a Friday afternoon, I am at Y Gallery, where I am to meet Alberto Borea (b. 1979, Lima, Peru) to tour his second solo exhibition in New York titled “ Because of Construction.

January 28, 2013
Mateo López

A collection of diverse actual and simulated objects, in which the only conceptual convergence consists in their being the recordings of a journey midway between imaginary and real, compose Mateo López’s exhibition, titled “Avenida Primavera, Casa No. 2”, at Casas Riegner Gallery, in Bogotá.

By Camilo Chico Triana
Reviews

Mateo López

By Camilo Chico Triana

A collection of diverse actual and simulated objects, in which the only conceptual convergence consists in their being the recordings of a journey midway between imaginary and real, compose Mateo López’s exhibition, titled “Avenida Primavera, Casa No. 2”, at Casas Riegner Gallery, in Bogotá.

January 21, 2013
Concerning the Spiritual in Art

“Concerning the Spiritual in Art”, Aluna Art Foundation’s inaugural exhibit for this alternative curatorial space that opened its doors in August, showcased a collection of works by a group of artists both renowned and unrepresented within the Miami art scene, that reflect their search for “the spiritual in art”.

By Deborah Castellanos
Reviews

Concerning the Spiritual in Art

By Deborah Castellanos

“Concerning the Spiritual in Art”, Aluna Art Foundation’s inaugural exhibit for this alternative curatorial space that opened its doors in August, showcased a collection of works by a group of artists both renowned and unrepresented within the Miami art scene, that reflect their search for “the spiritual in art”.

January 21, 2013
Carlos Cruz-Diez

The 2010 retrospective exhibition “Carlos Cruz-Diez: Across Space and Time” at the Museum of Fine Arts Houston literally left a mark in the city. In front of the museum his designs have remained painted on the crosswalks.

By Fernando Castro R.
Reviews

Carlos Cruz-Diez

By Fernando Castro R.

The 2010 retrospective exhibition “Carlos Cruz-Diez: Across Space and Time” at the Museum of Fine Arts Houston literally left a mark in the city. In front of the museum his designs have remained painted on the crosswalks.

January 21, 2013
Rafael Vega: Beyond Literalism

I’ve been teaching, on and off, for about fifteen years, and frequenting art schools and university art departments as a visiting critic or the like for a good deal longer than that.

By Barry Schwabsky
Reviews

Rafael Vega: Beyond Literalism

By Barry Schwabsky

I’ve been teaching, on and off, for about fifteen years, and frequenting art schools and university art departments as a visiting critic or the like for a good deal longer than that.

January 18, 2013
Roberto Diago

The first New York exhibition for Cuban artist Juan Roberto Diago Durruthy opened this month opened in September at the Magnan Metz Chelsea gallery. Described as distinctly “Afro-Cuban” the exhibition, “Entre Líneas | Between the Lines”, appears at first glance as a standard series of abstract grid canvases center-hung throughout the walls of the large two roomed space.

By Claire Breukel
Reviews

Roberto Diago

By Claire Breukel

The first New York exhibition for Cuban artist Juan Roberto Diago Durruthy opened this month opened in September at the Magnan Metz Chelsea gallery. Described as distinctly “Afro-Cuban” the exhibition, “Entre Líneas | Between the Lines”, appears at first glance as a standard series of abstract grid canvases center-hung throughout the walls of the large two roomed space.

January 09, 2013
Iran do Espírito Santo

The exhibition of Iran do Espírito Santo (Mococa, Sao Paulo, 1963), featured simultaneously with that of Leda Catunda in another level of Ruth Benzacar Gallery, displays (strategically) a series of sculptures and an immense mural painting.

By Victoria Verlichak
Reviews

Iran do Espírito Santo

By Victoria Verlichak

The exhibition of Iran do Espírito Santo (Mococa, Sao Paulo, 1963), featured simultaneously with that of Leda Catunda in another level of Ruth Benzacar Gallery, displays (strategically) a series of sculptures and an immense mural painting.

January 09, 2013
Clemencia Labin

The New World Museum of Houston is one of the city’s premier exhibition spaces. It is modern, tasteful, and although it has only one very spacious room, it lends itself perfectly for one-person shows.

By Fernando Castro R.
Reviews

Clemencia Labin

By Fernando Castro R.

The New World Museum of Houston is one of the city’s premier exhibition spaces. It is modern, tasteful, and although it has only one very spacious room, it lends itself perfectly for one-person shows.

January 09, 2013
Jonathas de Andrade’s Micro-histories

For one of his most recent works, entitled O levante (The Uprising), 2012 − the brute material for which is still in the process of being structured in order to provide it with a definitive format − Jonathas de Andrade organized the 1st Horse-drawn Cart Race in the center of Recife, where he lives.

By Jacopo Crivelli Visconti
Reviews

Jonathas de Andrade’s Micro-histories

By Jacopo Crivelli Visconti

For one of his most recent works, entitled O levante (The Uprising), 2012 − the brute material for which is still in the process of being structured in order to provide it with a definitive format − Jonathas de Andrade organized the 1st Horse-drawn Cart Race in the center of Recife, where he lives.

January 09, 2013
Miguel Rio Branco

This is not the usual Miguel Rio Branco exhibition. While the artist has explored female sexuality in more or less explicit contexts throughout his work, be it in his feverish exploration of brothels in Salvador or the depiction of cheeky schoolgirls of Tokyo, the artist delved into the idea of womanhood and feminine eroticism in his latest solo show at Millan gallery in São Paulo.

By Silas Martí
Reviews

Miguel Rio Branco

By Silas Martí

This is not the usual Miguel Rio Branco exhibition. While the artist has explored female sexuality in more or less explicit contexts throughout his work, be it in his feverish exploration of brothels in Salvador or the depiction of cheeky schoolgirls of Tokyo, the artist delved into the idea of womanhood and feminine eroticism in his latest solo show at Millan gallery in São Paulo.

December 14, 2012
Ana Tiscornia

“Other impertinences”, the most recent solo show of Ana Tiscornia (born in Uruguay in 1951 and living in New York since 1991) continues her deeply rooted dialogue with memory and oblivion, through different channels.

By Rafael López-Ramos
Reviews

Ana Tiscornia

By Rafael López-Ramos

“Other impertinences”, the most recent solo show of Ana Tiscornia (born in Uruguay in 1951 and living in New York since 1991) continues her deeply rooted dialogue with memory and oblivion, through different channels.

December 13, 2012
Rivane Neuenschwander

Out of reach is an idea running through Rivane Neuenschwander’s latest works. After her solo show at New York’s New Museum, where the artist ripped a wall to shreds in search of hidden microphones, her new series of pieces now on show at Fortes Vilaça’s warehouse space in São Paulo seems to advance further into the idea of attaining what is hard to get.

By Silas Martí
Reviews

Rivane Neuenschwander

By Silas Martí

Out of reach is an idea running through Rivane Neuenschwander’s latest works. After her solo show at New York’s New Museum, where the artist ripped a wall to shreds in search of hidden microphones, her new series of pieces now on show at Fortes Vilaça’s warehouse space in São Paulo seems to advance further into the idea of attaining what is hard to get.

November 29, 2012
Pedro Tyler

This fall Sicardi Gallery is featuring “Not Space Nor Time”, the first United States solo show of Uruguayan artist Pedro Tyler. The works included in this exhibit pose a reflection on art and death.

By Fernando Castro R.
Reviews

Pedro Tyler

By Fernando Castro R.

This fall Sicardi Gallery is featuring “Not Space Nor Time”, the first United States solo show of Uruguayan artist Pedro Tyler. The works included in this exhibit pose a reflection on art and death.

November 29, 2012
Teresita Fernández

Teresita Fernández’ latest exhibition Night Writing is a natural evolution of her larger artistic practice that has for some years focused on the world’s natural elements as its central theme: from Bamboo Cinema, 2001, in collaboration with Public Art Fund to Fire, 2005, acquired by San Francisco Museum of Modern Art in 2007 to Stacked Water, 2009, an installation at the Blanton Museum of Art.

By Claire Breukel
Reviews

Teresita Fernández

By Claire Breukel

Teresita Fernández’ latest exhibition Night Writing is a natural evolution of her larger artistic practice that has for some years focused on the world’s natural elements as its central theme: from Bamboo Cinema, 2001, in collaboration with Public Art Fund to Fire, 2005, acquired by San Francisco Museum of Modern Art in 2007 to Stacked Water, 2009, an installation at the Blanton Museum of Art.

November 29, 2012
Villa Datris

The opening of a space devoted to sculpture is quite an unusual event in France. Daniele Marcovici and Fourtine Tristán’s decision to create at Isle-sur-la-Sorgue, near Avignon, a foundation specializing in contemporary sculpture, in the diversity and the evolution of this artistic medium whose richness matches its multiplicity, was most favorably received.

By Patricia Avena Navarro
Reviews

Villa Datris

By Patricia Avena Navarro

The opening of a space devoted to sculpture is quite an unusual event in France. Daniele Marcovici and Fourtine Tristán’s decision to create at Isle-sur-la-Sorgue, near Avignon, a foundation specializing in contemporary sculpture, in the diversity and the evolution of this artistic medium whose richness matches its multiplicity, was most favorably received.

November 23, 2012
Abraham Palatnik

According to art history, the kinetic movement began in Paris in 1955, with the mythical exhibition “Le Mouvement”, organized at Denise René Gallery, an unquestionable fact which marks the origin of a movement that assembles European and South American artists.

By Patricia Avena Navarro
Reviews

Abraham Palatnik

By Patricia Avena Navarro

According to art history, the kinetic movement began in Paris in 1955, with the mythical exhibition “Le Mouvement”, organized at Denise René Gallery, an unquestionable fact which marks the origin of a movement that assembles European and South American artists.

November 23, 2012
Lucas di Pascuale

Lucas Di Pascuale (Córdoba, Argentina, 1968) gained attention when he began to install a gigantic version in iron of (the word) López (2007-2011), even in front of the Centro Cultural de España in Buenos Aires.

By Victoria Verlichak
Reviews

Lucas di Pascuale

By Victoria Verlichak

Lucas Di Pascuale (Córdoba, Argentina, 1968) gained attention when he began to install a gigantic version in iron of (the word) López (2007-2011), even in front of the Centro Cultural de España in Buenos Aires.

November 23, 2012
Julieta Aranda:

Revisiting the paths followed by the speculative variability that has gradually shaped the ever-ongoing work of Julieta Aranda, I can anticipate that we would be lost in simplifications and end up misunderstanding her movement and her drive if we intended to inscribe this work into a moment, or tried to approach it as if it were an arrow that we could immobilize in the middle of its flight.

By Octavio Zaya
Reviews

Julieta Aranda:

By Octavio Zaya

Revisiting the paths followed by the speculative variability that has gradually shaped the ever-ongoing work of Julieta Aranda, I can anticipate that we would be lost in simplifications and end up misunderstanding her movement and her drive if we intended to inscribe this work into a moment, or tried to approach it as if it were an arrow that we could immobilize in the middle of its flight.

November 23, 2012
Gyula Kosice

Like every day for the past seventy years, Gyula Kosice begins his work in his studio, which he currently shares with a museum that reflects his extensive artistic trajectory.

By Rodrigo Alonso
Reviews

Gyula Kosice

By Rodrigo Alonso

Like every day for the past seventy years, Gyula Kosice begins his work in his studio, which he currently shares with a museum that reflects his extensive artistic trajectory.

November 14, 2012
Liliana Porter

Art is an excellent platform from which to experiment with narrative, since in art, languages and their reading are constantly modified. Each particular artist alters the conception of what an artwork is; of what is the story that is being told is, and how it is received.

By Patricia Avena Navarro
Reviews

Liliana Porter

By Patricia Avena Navarro

Art is an excellent platform from which to experiment with narrative, since in art, languages and their reading are constantly modified. Each particular artist alters the conception of what an artwork is; of what is the story that is being told is, and how it is received.

November 14, 2012
Ana Sacerdote

The work of Ana Sacerdote (Rome, 1925), an artist almost unknown here who migrated to Argentina when Fascism caused havoc in Italy, caused surprise in the Buenos Aires art scene.

By Victoria Verlichak
Reviews

Ana Sacerdote

By Victoria Verlichak

The work of Ana Sacerdote (Rome, 1925), an artist almost unknown here who migrated to Argentina when Fascism caused havoc in Italy, caused surprise in the Buenos Aires art scene.

November 14, 2012
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