Reviews

The Century Governs the Ungovernables

The 2012 New Museum Ungovernables Triennial samples work by thirty-four artists born in the 1970s and 80s and from parts of the world “foreign” to New York audiences, primarily the Middle East, Africa and Latin America.

By Claire Breukel
Reviews

The Century Governs the Ungovernables

By Claire Breukel

The 2012 New Museum Ungovernables Triennial samples work by thirty-four artists born in the 1970s and 80s and from parts of the world “foreign” to New York audiences, primarily the Middle East, Africa and Latin America.

June 13, 2012
Foto/Grafica

Le Bal (independent space devoted to photography, videos, cinema and new communication media) invites visitors to an unprecedented experience...

By Patricia Avena Navarro
Reviews

Foto/Grafica

By Patricia Avena Navarro

Le Bal (independent space devoted to photography, videos, cinema and new communication media) invites visitors to an unprecedented experience...

May 31, 2012
Luis Camnitzer

A retrospective of the work of Uruguayan artist Luis Camnitzer will be held in June at the Museo de Arte de la Universidad Nacional de Colombia.

By Camilo Chico Triana
Reviews

Luis Camnitzer

By Camilo Chico Triana

A retrospective of the work of Uruguayan artist Luis Camnitzer will be held in June at the Museo de Arte de la Universidad Nacional de Colombia.

May 31, 2012
Valeska Soares

Three large-scale canvases by Valeska Soares occupy the three main walls of Eleven Rivington – concurrently on view with the artist’s extensive exhibition of the same series at Fortes Vilaça gallery in Sao Paulo.

By Laura F. Gibellini
Reviews

Valeska Soares

By Laura F. Gibellini

Three large-scale canvases by Valeska Soares occupy the three main walls of Eleven Rivington – concurrently on view with the artist’s extensive exhibition of the same series at Fortes Vilaça gallery in Sao Paulo.

May 28, 2012
Soledad Arias

From May 1 through June 22, the first solo show in New York City of Soledad Arias (Buenos Aires, 1959) will be held at RH Gallery. The title of the exhibition, “ON AIR”, refers to the live retransmission of texts and to the exhaling of air necessary for speech.

By Laura Bardier
Reviews

Soledad Arias

By Laura Bardier

From May 1 through June 22, the first solo show in New York City of Soledad Arias (Buenos Aires, 1959) will be held at RH Gallery. The title of the exhibition, “ON AIR”, refers to the live retransmission of texts and to the exhaling of air necessary for speech.

May 28, 2012
Marta Chilindron

Last October, in her third and most recent exhibition “ Constructions” at Cecilia de Torres Gallery, Argentinean born Marta Chilindron presented a series of seven new works - all of which emphasize and highlight trademark themes in her art of the last few years: movement, geometry, responses to light and the difference between perception and reality.

By Berta Sichel*
Reviews

Marta Chilindron

By Berta Sichel*

Last October, in her third and most recent exhibition “ Constructions” at Cecilia de Torres Gallery, Argentinean born Marta Chilindron presented a series of seven new works - all of which emphasize and highlight trademark themes in her art of the last few years: movement, geometry, responses to light and the difference between perception and reality.

May 26, 2012
Manuela Ribadeneira

Finland, Op. 26 is the official title of a symphonic poem written in 1899 by the Finnish composer Jean Sibelius. At that time, Finland was under Russian dominion, and the piece, composed for an event organized by the local press, which was subjected to a rigorous censorship, immediately became a hymn incarnating opposition to foreign rule, and more specifically, to censorship and oppression.

By Jacopo Crivelli Visconti
Reviews

Manuela Ribadeneira

By Jacopo Crivelli Visconti

Finland, Op. 26 is the official title of a symphonic poem written in 1899 by the Finnish composer Jean Sibelius. At that time, Finland was under Russian dominion, and the piece, composed for an event organized by the local press, which was subjected to a rigorous censorship, immediately became a hymn incarnating opposition to foreign rule, and more specifically, to censorship and oppression.

May 17, 2012
Hélio Oiticica

From May 5 through June 16, visitors will have the chance to appreciate for the first time in New York, artist Hélio Oiticica’s (Rio de Janeiro, 1937-1980) installations Penetrável PN1, Penetrável Filtro and Penetrável PN28 “Nas Quebradas” at Galerie Lelong.

By Laura Bardier
Reviews

Hélio Oiticica

By Laura Bardier

From May 5 through June 16, visitors will have the chance to appreciate for the first time in New York, artist Hélio Oiticica’s (Rio de Janeiro, 1937-1980) installations Penetrável PN1, Penetrável Filtro and Penetrável PN28 “Nas Quebradas” at Galerie Lelong.

May 16, 2012
Nayda Collazo-Llorens

Nayda Collazo-Llorens’ latest works displayed in her individual show at LMAKprojects are so fascinating, complex and inquisitive as usual.

By Laura F. Gibellini
Reviews

Nayda Collazo-Llorens

By Laura F. Gibellini

Nayda Collazo-Llorens’ latest works displayed in her individual show at LMAKprojects are so fascinating, complex and inquisitive as usual.

May 13, 2012
Eduardo Stupía.

Eduardo Stupía has been in the public eye ever since his first solo show held in 1972 at the legendary Lirolay gallery. Writer Ricardo Piglia (Argentina, 1941), whose most recent novel, Blanco nocturno (Anagrama, 2010) obtained the Dashiell Hammett Award, the National Critics’ Award (Spain), the Rómulo Gallegos and the Casa de las Américas awards, has kept a private diary for more than fifty years.

By Victoria Verlichak
Reviews

Eduardo Stupía.

By Victoria Verlichak

Eduardo Stupía has been in the public eye ever since his first solo show held in 1972 at the legendary Lirolay gallery. Writer Ricardo Piglia (Argentina, 1941), whose most recent novel, Blanco nocturno (Anagrama, 2010) obtained the Dashiell Hammett Award, the National Critics’ Award (Spain), the Rómulo Gallegos and the Casa de las Américas awards, has kept a private diary for more than fifty years.

May 11, 2012
Fernanda Laguna

Fernanda Laguna, a paradigmatic artist of the 1990s whose artistic talent was many times pushed into the background by her brilliant role as a cultural manager, is presenting the brief retrospective “Don’t trust what you see” at Nora Fisch Gallery.

By Ana Martinez Quijano
Reviews

Fernanda Laguna

By Ana Martinez Quijano

Fernanda Laguna, a paradigmatic artist of the 1990s whose artistic talent was many times pushed into the background by her brilliant role as a cultural manager, is presenting the brief retrospective “Don’t trust what you see” at Nora Fisch Gallery.

April 26, 2012
Color – instructions for use

As a heart-felt paradox and a homage, Mirtha Dermisache (Buenos Aires, 1940-2012) is included among the seven artists of the exhibition Color - instructions for use.

By Victoria Verlichak
Reviews

Color – instructions for use

By Victoria Verlichak

As a heart-felt paradox and a homage, Mirtha Dermisache (Buenos Aires, 1940-2012) is included among the seven artists of the exhibition Color - instructions for use.

April 26, 2012
Miguel Rothschild

According to the Gospels, after Jesus’ death and resurrection he appeared before his disciples. Thomas was not present on that occasion and he did not believe when the other apostles told him what they had seen.

By Victoria Verlichak
Reviews

Miguel Rothschild

By Victoria Verlichak

According to the Gospels, after Jesus’ death and resurrection he appeared before his disciples. Thomas was not present on that occasion and he did not believe when the other apostles told him what they had seen.

April 25, 2012
Erica Sogbe

I became very interested in the seriousness and the rigor of the work of Erica Sogbe (Venezuela, 1979), her analytical capacity at the time of proposing new reading strategies for the construction of the relationship between form and the formless;

By María Luz Cárdenas
Reviews

Erica Sogbe

By María Luz Cárdenas

I became very interested in the seriousness and the rigor of the work of Erica Sogbe (Venezuela, 1979), her analytical capacity at the time of proposing new reading strategies for the construction of the relationship between form and the formless;

April 24, 2012
Alexandre Arrechea

As a foretaste of what will be displayed at the Havana Biennial as of May, Magnan Metz has assembled the latest – and perhaps the most audacious – works of Alexandre Arrechea.

By Laura F. Gibellini
Reviews

Alexandre Arrechea

By Laura F. Gibellini

As a foretaste of what will be displayed at the Havana Biennial as of May, Magnan Metz has assembled the latest – and perhaps the most audacious – works of Alexandre Arrechea.

April 19, 2012
Labor

The Center for Puerto Rican Studies (Centro de Estudios Puertorriqueños), founded almost forty years ago, is a research-based institute with a vast and invaluable collection of materials documenting Puerto Rican life and culture in New York.

By Julia P. Herzberg, Ph.D.
Reviews

Labor

By Julia P. Herzberg, Ph.D.

The Center for Puerto Rican Studies (Centro de Estudios Puertorriqueños), founded almost forty years ago, is a research-based institute with a vast and invaluable collection of materials documenting Puerto Rican life and culture in New York.

April 17, 2012
Iran do Espirito Santo

Iran do Espírito Santo was born in 1963 in the city of Mococa, Brazil. As a teenager, he worked in a photography lab processing black and white prints, which was to later greatly impact his work.

By Claire Breukel, New York
Reviews

Iran do Espirito Santo

By Claire Breukel, New York

Iran do Espírito Santo was born in 1963 in the city of Mococa, Brazil. As a teenager, he worked in a photography lab processing black and white prints, which was to later greatly impact his work.

April 11, 2012
Milton Becerra

Many times − and this occurs in the visual arts − we are presented with a complex narrative, occasionally anachronistic, or with a synthesis that verges on minimalism and forces us to imagine that which has not been depicted, or conversely, to depict the unimaginable.

By Patricia Avena Navarro
Reviews

Milton Becerra

By Patricia Avena Navarro

Many times − and this occurs in the visual arts − we are presented with a complex narrative, occasionally anachronistic, or with a synthesis that verges on minimalism and forces us to imagine that which has not been depicted, or conversely, to depict the unimaginable.

February 09, 2012
Ricardo Alcaide

As of at least 2002, when he began his series of street dwellers in London city, collectively titled Sitters, the work of Ricardo Alcaide (Caracas, 1967) explores the borderline character of the skin; it penetrates into the metaphorical richness of membranes (whether they be walls, blankets, plastic sheets, fences, or the skin itself) that separate the interior from the exterior, that divide one world from another world that is its obverse, its opposite.

By Jacopo Crivelli Visconti, Sao Paulo
Reviews

Ricardo Alcaide

By Jacopo Crivelli Visconti, Sao Paulo

As of at least 2002, when he began his series of street dwellers in London city, collectively titled Sitters, the work of Ricardo Alcaide (Caracas, 1967) explores the borderline character of the skin; it penetrates into the metaphorical richness of membranes (whether they be walls, blankets, plastic sheets, fences, or the skin itself) that separate the interior from the exterior, that divide one world from another world that is its obverse, its opposite.

February 09, 2012
Felipe Ehrenberg

In an interview with Felipe Ehrenberg (Mexico City, 1943) included in the catalogue of his exhibition, Manchuria, Visión Periférica (Manchuria, Peripheral Vision) (2006), Guillermo Gómez-Peña calls the indefinable artist (furiously Mexican in the first place, and then, universal) who prefers to call himself − like his father, Duchamp − an “artisano” (a play with words combining artisan/artist and “sano”/healthy), although his actual profession is that of “neologist”, inventor of logical systems of thought, that is, of languages, "my conceptual goD.F.ather."

By Adriana Herrera, Miami
Reviews

Felipe Ehrenberg

By Adriana Herrera, Miami

In an interview with Felipe Ehrenberg (Mexico City, 1943) included in the catalogue of his exhibition, Manchuria, Visión Periférica (Manchuria, Peripheral Vision) (2006), Guillermo Gómez-Peña calls the indefinable artist (furiously Mexican in the first place, and then, universal) who prefers to call himself − like his father, Duchamp − an “artisano” (a play with words combining artisan/artist and “sano”/healthy), although his actual profession is that of “neologist”, inventor of logical systems of thought, that is, of languages, "my conceptual goD.F.ather."

February 09, 2012
Leopoldo Torres Agüero

A musician and painter, concerned with the human figure and the landscape, mural art and spontaneous symbols, the effects of light and the vibration of nuances, Leopoldo Torres Agüero was, in all the stages of his production, an artist inclined to experiment with form and color.

By Cristina Rossi*
Reviews

Leopoldo Torres Agüero

By Cristina Rossi*

A musician and painter, concerned with the human figure and the landscape, mural art and spontaneous symbols, the effects of light and the vibration of nuances, Leopoldo Torres Agüero was, in all the stages of his production, an artist inclined to experiment with form and color.

February 08, 2012
Alfonso Castillo

Undoubtedly, throughout the 19th and 20th centuries, photography - although also cinema - has contributed to configure the identity profile of the major large cities of the world, which are privileged objects of its shots.

By Jorge Zuzulich
Reviews

Alfonso Castillo

By Jorge Zuzulich

Undoubtedly, throughout the 19th and 20th centuries, photography - although also cinema - has contributed to configure the identity profile of the major large cities of the world, which are privileged objects of its shots.

February 07, 2012
David Maggioni

The sculpture in white tissue paper by David Maggioni from Santa Fe (Argentina, 1988), which inundates the new space of Ruth Benzacar Gallery, resembles a great and soft, peaceful white cloud.

By Victoria Verlichak
Reviews

David Maggioni

By Victoria Verlichak

The sculpture in white tissue paper by David Maggioni from Santa Fe (Argentina, 1988), which inundates the new space of Ruth Benzacar Gallery, resembles a great and soft, peaceful white cloud.

February 07, 2012
Máx Gómez Canle

Max Gómez Canle (Argentina, 1972) creates a magical atmosphere with marvelous paintings, unexpected volumes and delicate voids in Chambre Mentale, a show with a setting design that induces the visitor to observe all the works at the same time from a distance, verifying at first sight the outstanding amalgam.

By Victoria Verlichak
Reviews

Máx Gómez Canle

By Victoria Verlichak

Max Gómez Canle (Argentina, 1972) creates a magical atmosphere with marvelous paintings, unexpected volumes and delicate voids in Chambre Mentale, a show with a setting design that induces the visitor to observe all the works at the same time from a distance, verifying at first sight the outstanding amalgam.

February 07, 2012
Gods, rites and trades of Pre-Hispanic Mexico

The splendid exhibition “Gods, rites and trades of Pre-Hispanic Mexico” displays over 150 beautiful antique pieces from the cultures of the Gulf of Mexico.

By Victoria Verlichak
Reviews

Gods, rites and trades of Pre-Hispanic Mexico

By Victoria Verlichak

The splendid exhibition “Gods, rites and trades of Pre-Hispanic Mexico” displays over 150 beautiful antique pieces from the cultures of the Gulf of Mexico.

February 07, 2012
Patrick Hamilton/Group Show

It is an often told story that the Nazis confiscated gold during their pursuit of Jews in 1930s Germany and later detoured all the wealth they could amass to South America, hiding the valuable metal in the parts of tractors and even in submarines en route to countries like Chile.

By Teodoro Ferrer
Reviews

Patrick Hamilton/Group Show

By Teodoro Ferrer

It is an often told story that the Nazis confiscated gold during their pursuit of Jews in 1930s Germany and later detoured all the wealth they could amass to South America, hiding the valuable metal in the parts of tractors and even in submarines en route to countries like Chile.

February 07, 2012
Jac Leirner

Seen from far away, one of the pieces at Jac Leirner's retrospective show now on at Estação Pinacoteca in São Paulo looks like an all white minimalist composition, a Robert Ryman of sorts, discrete and almost about to disappear against the immaculate wall of the museum.

By Teodoro Ferrer
Reviews

Jac Leirner

By Teodoro Ferrer

Seen from far away, one of the pieces at Jac Leirner's retrospective show now on at Estação Pinacoteca in São Paulo looks like an all white minimalist composition, a Robert Ryman of sorts, discrete and almost about to disappear against the immaculate wall of the museum.

February 07, 2012
 Ana Mercedes Hoyos

For several decades now, Ana Mercedes Hoyos has focused her attention on the cultural influence that a social minority, in particular the one of San Basilio de Palenque, can exert on our national identity as Colombians.

By Camilo Chico Triana
Reviews

Ana Mercedes Hoyos

By Camilo Chico Triana

For several decades now, Ana Mercedes Hoyos has focused her attention on the cultural influence that a social minority, in particular the one of San Basilio de Palenque, can exert on our national identity as Colombians.

February 07, 2012
 Beatríz González. Comedy and tragedy. Retrospective 1948-2010.

Governed by four thematic axes, the retrospective Comedy and tragedy 1948-2010 by Beatríz González, was presented at the Ciudad del Río venue of the Museum of Modern Art of Medellín.

By Camilo Chico Triana
Reviews

Beatríz González. Comedy and tragedy. Retrospective 1948-2010.

By Camilo Chico Triana

Governed by four thematic axes, the retrospective Comedy and tragedy 1948-2010 by Beatríz González, was presented at the Ciudad del Río venue of the Museum of Modern Art of Medellín.

February 07, 2012
Chema Madoz

The first impression when viewing Chema Madoz’s (Spain, 1958) images is one of surprise and perplexity. Then we will identify this impression with the surrealist touch in her work. At a later stage, we will dwell on the warmth of the grain and the compositional purity of the nuances ranging from white to black.

By Beatriz Sogbe
Reviews

Chema Madoz

By Beatriz Sogbe

The first impression when viewing Chema Madoz’s (Spain, 1958) images is one of surprise and perplexity. Then we will identify this impression with the surrealist touch in her work. At a later stage, we will dwell on the warmth of the grain and the compositional purity of the nuances ranging from white to black.

February 07, 2012
 Oscar d’Empaire

The term assemblage is derived from the French assemblage, which means to gather together, unite. So making an art of assemblage is a sort of act of love, inasmuch as objects of different natures are fused. And just like in any human corporal relationship, things will make sense if the mixtures work. Thus the artist of assemblage arises as a magnificent alchemist that processes wastes to turn them into art.

By Beatriz Sogbe
Reviews

Oscar d’Empaire

By Beatriz Sogbe

The term assemblage is derived from the French assemblage, which means to gather together, unite. So making an art of assemblage is a sort of act of love, inasmuch as objects of different natures are fused. And just like in any human corporal relationship, things will make sense if the mixtures work. Thus the artist of assemblage arises as a magnificent alchemist that processes wastes to turn them into art.

February 07, 2012
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