Reviews

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
Theo Craveiro

In the dark, Theo Craveiro swims to a distant shore. It is night, and the only thing visible on the horizon are faint spots of light that flicker along a frail skyline.

By Teodoro Ferrer
Reviews

Theo Craveiro

By Teodoro Ferrer

In the dark, Theo Craveiro swims to a distant shore. It is night, and the only thing visible on the horizon are faint spots of light that flicker along a frail skyline.

October 31, 2012
Matías Duville

Like the ancient itinerant painters, Matías Duville (1974) recounts his investigations on the landscape through some fifty drawings, a video, an object and some photographs which are projected together with a soundtrack. The exhibition is called «Safari».

By Ana Martínez Quijano
Reviews

Matías Duville

By Ana Martínez Quijano

Like the ancient itinerant painters, Matías Duville (1974) recounts his investigations on the landscape through some fifty drawings, a video, an object and some photographs which are projected together with a soundtrack. The exhibition is called «Safari».

October 31, 2012
López-Ramos

The Situationists gave the name of détournement to an artistic practice which consisted in taking a consumer good and transforming it into an art object, in such a way that it would deny its own character as merchandise, thus subverting the imperative to consume that characterizes contemporary capitalism.

By Ernesto Menéndez-Conde
Reviews

López-Ramos

By Ernesto Menéndez-Conde

The Situationists gave the name of détournement to an artistic practice which consisted in taking a consumer good and transforming it into an art object, in such a way that it would deny its own character as merchandise, thus subverting the imperative to consume that characterizes contemporary capitalism.

October 31, 2012
Horacio Zabala

Argentinean artist Horacio Zabala opened “Reiterations” , his first solo exhibition at Henrique Faría Fine Art, with an investigation of acts of censorship and how they impact the relationship to one’s surroundings and nationality .

By Claire Breukel
Reviews

Horacio Zabala

By Claire Breukel

Argentinean artist Horacio Zabala opened “Reiterations” , his first solo exhibition at Henrique Faría Fine Art, with an investigation of acts of censorship and how they impact the relationship to one’s surroundings and nationality .

October 18, 2012
Marcela Astorga

Fronteras porosas , by Marcela Astorga (Mendoza, 1965), shows eight pieces which include sculptural objects and a pair of photographs, freezing moments of intriguing reading.

By Victoria Verlichak
Reviews

Marcela Astorga

By Victoria Verlichak

Fronteras porosas , by Marcela Astorga (Mendoza, 1965), shows eight pieces which include sculptural objects and a pair of photographs, freezing moments of intriguing reading.

October 18, 2012
Gustavo Díaz

In his first solo exhibition in the United States, “Justificación a priori” at The Mission Projects in Chicago, Argentine artist Gustavo Díaz (b. 1969) successfully intertwined his esoteric views on science, philosophy, and art history with transparent acrylic sculptures, futuristic modular reliefs, and vibrating optical drawings that dazzled the eyes.

By Pedro Vélez
Reviews

Gustavo Díaz

By Pedro Vélez

In his first solo exhibition in the United States, “Justificación a priori” at The Mission Projects in Chicago, Argentine artist Gustavo Díaz (b. 1969) successfully intertwined his esoteric views on science, philosophy, and art history with transparent acrylic sculptures, futuristic modular reliefs, and vibrating optical drawings that dazzled the eyes.

October 18, 2012
Henrique Oliveira

Henrique Oliveira is known for his installations that transform the space around them. They are wooden formations that seem to breathe in and out, organic bulges that defy the linear nature of architecture and reinvent constructions. Walls, floors and ceilings succumb to a new logic, a material presence impossible to ignore.

By Teodoro Ferrer
Reviews

Henrique Oliveira

By Teodoro Ferrer

Henrique Oliveira is known for his installations that transform the space around them. They are wooden formations that seem to breathe in and out, organic bulges that defy the linear nature of architecture and reinvent constructions. Walls, floors and ceilings succumb to a new logic, a material presence impossible to ignore.

October 11, 2012
Pablo Boneu

With a conceptually powerful body and a deeply subversive and anti-system soul, the exhibition "Instrucciones para destruir dinero" (“Instructions for destroying money”) by Pablo Boneu (1969, Argentina) is a pertinent metaphor for the status of money. A totemic theme reflected in great size via ground up dollars or bills from other countries.

By Pancho Marchiaro
Reviews

Pablo Boneu

By Pancho Marchiaro

With a conceptually powerful body and a deeply subversive and anti-system soul, the exhibition "Instrucciones para destruir dinero" (“Instructions for destroying money”) by Pablo Boneu (1969, Argentina) is a pertinent metaphor for the status of money. A totemic theme reflected in great size via ground up dollars or bills from other countries.

October 11, 2012
José Bedia

“Une Saison en Enfer”, (A Season in Hell), José Bedia’s exhibition at Fredric Snitzer Gallery, takes its name from the poète maudit Arthur Rimbaud’s long and only poem, and marks the most terrible descent journey of this artist who has based his practice on the pilgrimage to territories where myths oppose the narratives of the official history.

By Adriana Herrera
Reviews

José Bedia

By Adriana Herrera

“Une Saison en Enfer”, (A Season in Hell), José Bedia’s exhibition at Fredric Snitzer Gallery, takes its name from the poète maudit Arthur Rimbaud’s long and only poem, and marks the most terrible descent journey of this artist who has based his practice on the pilgrimage to territories where myths oppose the narratives of the official history.

October 11, 2012
Brígida Baltar

In 2005, Brígida Baltar had to leave her house in the Rio de Janeiro district of Botafogo During the fifteen years that preceded this event, the artist had lived and worked almost in a symbiosis with the old brick building, to the point of carving out her silhouette from the walls for the work Abrigo /Shelter (1996), or gathering rainwater from leaks in the roof later to use it in other works.

By Jacopo Crivelli Visconti
Reviews

Brígida Baltar

By Jacopo Crivelli Visconti

In 2005, Brígida Baltar had to leave her house in the Rio de Janeiro district of Botafogo During the fifteen years that preceded this event, the artist had lived and worked almost in a symbiosis with the old brick building, to the point of carving out her silhouette from the walls for the work Abrigo /Shelter (1996), or gathering rainwater from leaks in the roof later to use it in other works.

September 21, 2012
Interview with Ana Tiscornia

Ana Tiscornia (Montevideo, 1951) is a pivotal figure of the community of Latin American artists living in New York. She has developed a very personal and consistent body of work blending artistic practice, criticism, curatorship and teaching.

Reviews

Interview with Ana Tiscornia

Ana Tiscornia (Montevideo, 1951) is a pivotal figure of the community of Latin American artists living in New York. She has developed a very personal and consistent body of work blending artistic practice, criticism, curatorship and teaching.

September 21, 2012
Jorge Méndez Blake

“Ceboruco” tells a story − devised by Méndez Blake himself − that has its origin in the connection between the imaginary space of two volcanoes: the Popocatépetl, which plays a leading role in the plot of Malcolm Lowry’s Under the Volcano, and the Ceboruco, the only volcano still active in the northeastern area of the volcanic axis of the Sierra Madre Occidental, in the Mexican state of Nayarit, whose eruptions over the past three thousand years have created an interesting landscape of volcanic rock.

By Luisa Reyes Retana
Reviews

Jorge Méndez Blake

By Luisa Reyes Retana

“Ceboruco” tells a story − devised by Méndez Blake himself − that has its origin in the connection between the imaginary space of two volcanoes: the Popocatépetl, which plays a leading role in the plot of Malcolm Lowry’s Under the Volcano, and the Ceboruco, the only volcano still active in the northeastern area of the volcanic axis of the Sierra Madre Occidental, in the Mexican state of Nayarit, whose eruptions over the past three thousand years have created an interesting landscape of volcanic rock.

September 20, 2012
Teresa Serrano

The Mexican artist Teresa Serrano just opened her first solo exhibition in Spain at the Centro Atlántico de Arte Moderno (CAAM), in Las Palmas de Gran Canaria.

By Berta Sichel
Reviews

Teresa Serrano

By Berta Sichel

The Mexican artist Teresa Serrano just opened her first solo exhibition in Spain at the Centro Atlántico de Arte Moderno (CAAM), in Las Palmas de Gran Canaria.

September 20, 2012
Doris Salcedo

Doris Salcedo (b. Bogotá 1958) requested Tate Modern not to repair completely the concrete floor of its Turbine Hall, fissured for her installation in 2007. The giant crack − which earned her European acclaim − was only filled, leaving a visible scar that still reminds us of the abyss that exists between the value of life in the north and in the south, in the First World and in its periphery.

By Dolores Galindo
Reviews

Doris Salcedo

By Dolores Galindo

Doris Salcedo (b. Bogotá 1958) requested Tate Modern not to repair completely the concrete floor of its Turbine Hall, fissured for her installation in 2007. The giant crack − which earned her European acclaim − was only filled, leaving a visible scar that still reminds us of the abyss that exists between the value of life in the north and in the south, in the First World and in its periphery.

September 20, 2012
Guillermo Kuitca

Guillermo Kuitca’s (Buenos Aires, 1961) London solo show at the prestigious Hauser & Wirth Gallery marked the definitive presence of Latin American art in the British capital. Kuitca, who has shown in the course of his career a growing interest in maps and architectonic diagrams, incorporated on this occasion new central motifs to his cartographic traces aimed at questioning the perception of the social spaces we inhabit.

By Dolores Galindo
Reviews

Guillermo Kuitca

By Dolores Galindo

Guillermo Kuitca’s (Buenos Aires, 1961) London solo show at the prestigious Hauser & Wirth Gallery marked the definitive presence of Latin American art in the British capital. Kuitca, who has shown in the course of his career a growing interest in maps and architectonic diagrams, incorporated on this occasion new central motifs to his cartographic traces aimed at questioning the perception of the social spaces we inhabit.

August 30, 2012
Isabel Muñoz

The Spanish photographer Isabel Muñoz knew “La Bestia” (“The Beast”) closely and portrayed its entrails. This was the name given by immigrants from Central America – mostly from Honduras, Guatemala and El Salvador – to the freight train which has, for years, transported those who traveled northward through Mexico, trying to reach the border with the United States as stowaways.

By Willy Castellanos Simons
Reviews

Isabel Muñoz

By Willy Castellanos Simons

The Spanish photographer Isabel Muñoz knew “La Bestia” (“The Beast”) closely and portrayed its entrails. This was the name given by immigrants from Central America – mostly from Honduras, Guatemala and El Salvador – to the freight train which has, for years, transported those who traveled northward through Mexico, trying to reach the border with the United States as stowaways.

August 29, 2012
Marta Minujín

After years of mentioning Minuphone every time I wrote about Marta Minujín − for example, in Arte al Día 134, when referring to her retrospective in 2010 −, the author of these lines confirmed the playful sensory effects of the telephone booth created by the artist in 1967.

By Verlichak, Victoria
Reviews

Marta Minujín

By Verlichak, Victoria

After years of mentioning Minuphone every time I wrote about Marta Minujín − for example, in Arte al Día 134, when referring to her retrospective in 2010 −, the author of these lines confirmed the playful sensory effects of the telephone booth created by the artist in 1967.

August 16, 2012
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