Reviews

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.

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.

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

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

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

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.

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.

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.

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

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

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.

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.

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.

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.

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..

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

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

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

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

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.

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

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.

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.

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.

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.

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.