Reviews

Panorama of Young Venezuelan Artists

The institutional spaces to divulge the work of young artists are becoming progressively scarcer in Venezuela. For this reason we welcome the initiatives where new proposals can be shown. Sala CAF is sponsored by the Latin American Development Bank.

By Beatriz Sogbe
Reviews

Panorama of Young Venezuelan Artists

By Beatriz Sogbe

The institutional spaces to divulge the work of young artists are becoming progressively scarcer in Venezuela. For this reason we welcome the initiatives where new proposals can be shown. Sala CAF is sponsored by the Latin American Development Bank.

February 07, 2012
Luis Tomasello

In the book-object Negro el 10, the last collaboration between Julio Cortázar* and Luis Tomasello, the writer accurately describes the artist’s creative procedure. He states that “…

By Adriana Lauria**
Reviews

Luis Tomasello

By Adriana Lauria**

In the book-object Negro el 10, the last collaboration between Julio Cortázar* and Luis Tomasello, the writer accurately describes the artist’s creative procedure. He states that “…

February 07, 2012
Karina Peisajovich

Karina Peisajovich’s recent exhibition, entitled “The eyes, sometimes”, features in the manner of an exploration of the intimate process of creation, the three possible scenarios: the studio, the encounter with nature, and the experience itself as a space for reflection.

By Amalia Caputo
Reviews

Karina Peisajovich

By Amalia Caputo

Karina Peisajovich’s recent exhibition, entitled “The eyes, sometimes”, features in the manner of an exploration of the intimate process of creation, the three possible scenarios: the studio, the encounter with nature, and the experience itself as a space for reflection.

February 01, 2012
Aurora Molina

The critical attitude towards the establishment and towards the power to hurt of some photographs based on an equivocal notion of aging and beauty define, on the whole, the view conveyed by Aurora Molina’s work.

By Eduard Reboll
Reviews

Aurora Molina

By Eduard Reboll

The critical attitude towards the establishment and towards the power to hurt of some photographs based on an equivocal notion of aging and beauty define, on the whole, the view conveyed by Aurora Molina’s work.

February 01, 2012
Radical Optimism, 2

Like the first exhibition bearing the same title, which we could visit in 2010 and with which this show shares a contradictorily paradoxical spirit, the present exhibit opens with a series of graffiti leading to the gallery entrance. As in the previous show, we are overcome by a feeling of being in the presence of something that is not consistent − the words optimism and radical do not seem to work very well together.

By Laura F. Gibellini
Reviews

Radical Optimism, 2

By Laura F. Gibellini

Like the first exhibition bearing the same title, which we could visit in 2010 and with which this show shares a contradictorily paradoxical spirit, the present exhibit opens with a series of graffiti leading to the gallery entrance. As in the previous show, we are overcome by a feeling of being in the presence of something that is not consistent − the words optimism and radical do not seem to work very well together.

February 01, 2012
Cristina Lei Rodríguez

Decadence is, without a doubt, one of the most defining traits of contemporary society. This feeling of deterioration which, in the opinion of Fredric Jameson , is a premonition of Post-Modernism itself, invalidates our capacity to predict with any certainty in what direction we are moving.

By Janet Batet
Reviews

Cristina Lei Rodríguez

By Janet Batet

Decadence is, without a doubt, one of the most defining traits of contemporary society. This feeling of deterioration which, in the opinion of Fredric Jameson , is a premonition of Post-Modernism itself, invalidates our capacity to predict with any certainty in what direction we are moving.

February 01, 2012
Magdalena Fernández

The installation 2iPM009, 2009, by the Venezuelan artist Magdalena Fernández (1964) is currently being shown at the Frost Art Museum, Florida International University, after its tour of the 10th Cuenca Biennial, and it will later travel to the Museum of Latin American Art in California.

By Amalia Caputo
Reviews

Magdalena Fernández

By Amalia Caputo

The installation 2iPM009, 2009, by the Venezuelan artist Magdalena Fernández (1964) is currently being shown at the Frost Art Museum, Florida International University, after its tour of the 10th Cuenca Biennial, and it will later travel to the Museum of Latin American Art in California.

February 01, 2012
An Other Place

Although the works range from painting to video installation, and although the artists are from Peru, Mexico, Argentina, Brazil and Colombia, “An Other Place” reverberates a collective sense of displacement.

By Claire Breukel
Reviews

An Other Place

By Claire Breukel

Although the works range from painting to video installation, and although the artists are from Peru, Mexico, Argentina, Brazil and Colombia, “An Other Place” reverberates a collective sense of displacement.

February 01, 2012
 Jesús Soto

The exhibition “Soto. Paris and Beyond, 1950-1970” curated by Estrellita Brodsky, brings together twenty years of work by the Venezuelan master painter Jesús Soto (1923-2005).

By Laura F. Gibellini
Reviews

Jesús Soto

By Laura F. Gibellini

The exhibition “Soto. Paris and Beyond, 1950-1970” curated by Estrellita Brodsky, brings together twenty years of work by the Venezuelan master painter Jesús Soto (1923-2005).

February 01, 2012
Emilio Perez

Emilio Perez was born in New York and raised in Miami, Florida. In 1990, at the age of 18, he moved back to New York to attend the Pratt Institute and returned to Miami two years later to complete his Bachelor of Arts in Fine Art at the New World School of the Arts.

By Claire Breukel
Reviews

Emilio Perez

By Claire Breukel

Emilio Perez was born in New York and raised in Miami, Florida. In 1990, at the age of 18, he moved back to New York to attend the Pratt Institute and returned to Miami two years later to complete his Bachelor of Arts in Fine Art at the New World School of the Arts.

January 18, 2012
Barrio Workshop Artspace

Five Miami-based Cuban artists aligned with the Neo-Expressionist tradition – Yovani Bauta, Frank Chinea Inguanzo, Carlos A. Díaz Barrios, Vicente Dopico-Lerner, and Ramón Lago − gathered together in a gallery that is deliberately marginal and warmly human: Barrio Workshop Artspace.

By Eduard Reboll
Reviews

Barrio Workshop Artspace

By Eduard Reboll

Five Miami-based Cuban artists aligned with the Neo-Expressionist tradition – Yovani Bauta, Frank Chinea Inguanzo, Carlos A. Díaz Barrios, Vicente Dopico-Lerner, and Ramón Lago − gathered together in a gallery that is deliberately marginal and warmly human: Barrio Workshop Artspace.

January 17, 2012
Rodrigo Echeverri

Looking into the work of Rodrigo Echeverri implies a risk. The strength that his compositions radiate arouses mixed feelings.

By Janet Batet
Reviews

Rodrigo Echeverri

By Janet Batet

Looking into the work of Rodrigo Echeverri implies a risk. The strength that his compositions radiate arouses mixed feelings.

January 17, 2012
Agustina Woodgate

At the temporary headquarters of Spinello Projects, a currently abandoned kindergarten building, Agustina Woodgate, (Buenos Aires, 1981) intervened in the space with an installation, If these walls could talk.

By Amalia Caputo
Reviews

Agustina Woodgate

By Amalia Caputo

At the temporary headquarters of Spinello Projects, a currently abandoned kindergarten building, Agustina Woodgate, (Buenos Aires, 1981) intervened in the space with an installation, If these walls could talk.

January 17, 2012
Jorge Méndez Blake

With Biblioteca Mallarmé, Jorge Méndez Blake (Guadalajara, Mexico, 1974) embarks once again on an exploration of the boundaries and conjunctions between literature, art and architecture, which are recurring elements in his production and the subject of a fruitful study.

By Álvaro de Benito Fernández
Reviews

Jorge Méndez Blake

By Álvaro de Benito Fernández

With Biblioteca Mallarmé, Jorge Méndez Blake (Guadalajara, Mexico, 1974) embarks once again on an exploration of the boundaries and conjunctions between literature, art and architecture, which are recurring elements in his production and the subject of a fruitful study.

January 17, 2012
Emilia Azcárate

Emilia Azcárate’s (Caracas, Venezuela, 1964) most recent work offers us a new vision of the passage from the bidimensionality of the canvas to the three-dimensional object, which goes beyond the studies of depth that may be performed on the plane and that affords the latter a new form of life.

By Álvaro de Benito Fernández
Reviews

Emilia Azcárate

By Álvaro de Benito Fernández

Emilia Azcárate’s (Caracas, Venezuela, 1964) most recent work offers us a new vision of the passage from the bidimensionality of the canvas to the three-dimensional object, which goes beyond the studies of depth that may be performed on the plane and that affords the latter a new form of life.

January 17, 2012
Carolina Antoniadis

Carolina Antoniadis (Argentina, 1961) exhibits her paintings, photographs and objects that summarize part of her biography and reveal the marked interest in design noticeable throughout her work. Behind an apparent exuberance of colors and vibration, the artist’s pictorial oeuvre hides more than what it shows.

By Victoria Verlichak
Reviews

Carolina Antoniadis

By Victoria Verlichak

Carolina Antoniadis (Argentina, 1961) exhibits her paintings, photographs and objects that summarize part of her biography and reveal the marked interest in design noticeable throughout her work. Behind an apparent exuberance of colors and vibration, the artist’s pictorial oeuvre hides more than what it shows.

November 28, 2011
Norberto Gómez

“What impacted me most of those works was their brutal and immediate character, which revealed the scarce concern of the artist for tempering, through rhetoric resources, the proposed experience”, curator Ana María Battistozzi points out when referring to the work that Norberto Gómez (Buenos Aires, 1941) started to make in 1977.

By Victoria Verlichak
Reviews

Norberto Gómez

By Victoria Verlichak

“What impacted me most of those works was their brutal and immediate character, which revealed the scarce concern of the artist for tempering, through rhetoric resources, the proposed experience”, curator Ana María Battistozzi points out when referring to the work that Norberto Gómez (Buenos Aires, 1941) started to make in 1977.

November 28, 2011
Ananké Asseff

Fear, insecurity and anguish are the subjects that Ananké Asseff has been exploring for a decade. Her career began with a series of photographs “Mi presente perfecto” (My perfect present), a sarcastic title for images that account for the economic, political and social crisis that Argentina has gone through.

By Ana Martínez Quijano
Reviews

Ananké Asseff

By Ana Martínez Quijano

Fear, insecurity and anguish are the subjects that Ananké Asseff has been exploring for a decade. Her career began with a series of photographs “Mi presente perfecto” (My perfect present), a sarcastic title for images that account for the economic, political and social crisis that Argentina has gone through.

November 25, 2011
Paraguay rapé

Interested in the complex relationship between Paraguayans and Argentineans, still impregnated with the burdens of war and dictatorial complicities (Triple Alliance, 1964-1870; Cóndor Plan), frontier tensions and illegal immigrants, Victoria Verlichak brings together in Paraguay rapé (Camino paraguayo – Paraguayan Road) the Argentineans of Paraguayan origin Matilde Marín and Luna Paiva, and the Paraguayans Joaquín Sánchez and Ángel Yegros.

By Adriana Almada
Reviews

Paraguay rapé

By Adriana Almada

Interested in the complex relationship between Paraguayans and Argentineans, still impregnated with the burdens of war and dictatorial complicities (Triple Alliance, 1964-1870; Cóndor Plan), frontier tensions and illegal immigrants, Victoria Verlichak brings together in Paraguay rapé (Camino paraguayo – Paraguayan Road) the Argentineans of Paraguayan origin Matilde Marín and Luna Paiva, and the Paraguayans Joaquín Sánchez and Ángel Yegros.

November 25, 2011
Meditation, Trance

A block of ice holds a chair and a flag in place. It melts over the course of 24 hours triggering an act of destruction that may be sudden or gradual depending on the temperature of the room.

By Teo Ferrer
Reviews

Meditation, Trance

By Teo Ferrer

A block of ice holds a chair and a flag in place. It melts over the course of 24 hours triggering an act of destruction that may be sudden or gradual depending on the temperature of the room.

November 25, 2011
Liliana Porter

Tiny human figures swept up in a storm of colour and waves evoke fragility in a piece Liliana Porter showed at her latest solo exhibition at Luciana Brito Gallery in São Paulo.

By Teo Ferrer
Reviews

Liliana Porter

By Teo Ferrer

Tiny human figures swept up in a storm of colour and waves evoke fragility in a piece Liliana Porter showed at her latest solo exhibition at Luciana Brito Gallery in São Paulo.

November 25, 2011
Marco Mojica

A series of paintings and drawings, supported by photography, compose Marco Mojica’s last exhibition. Mediatization of the image both at the source and in the product continues to be the conceptual variable which configures the formal language of his artistic proposal in itself.

By Camilo Chico Triana
Reviews

Marco Mojica

By Camilo Chico Triana

A series of paintings and drawings, supported by photography, compose Marco Mojica’s last exhibition. Mediatization of the image both at the source and in the product continues to be the conceptual variable which configures the formal language of his artistic proposal in itself.

November 25, 2011
Juan Manuel Echavarría

One of the crudest examples of forced displacement in Colombia as a consequence of territorial fights is the one that occurred in the region of Montes de María, between the coastal departments of Bolívar and Sucre, in the north of the country, a strategic corridor for the passage of illegal drugs.

By Camilo Chico Triana
Reviews

Juan Manuel Echavarría

By Camilo Chico Triana

One of the crudest examples of forced displacement in Colombia as a consequence of territorial fights is the one that occurred in the region of Montes de María, between the coastal departments of Bolívar and Sucre, in the north of the country, a strategic corridor for the passage of illegal drugs.

November 25, 2011
José Antonio Dávila

In 1967, José Antonio Dávila (New York, 1935) visited several cities in the United States on an invitation from that country’s State Department. Back in Venezuela, he conceived a figurative approach to contemporary man conveyed through cabins and engine rooms where man is trapped in anguish and alienation.

By Beatriz Sogbe
Reviews

José Antonio Dávila

By Beatriz Sogbe

In 1967, José Antonio Dávila (New York, 1935) visited several cities in the United States on an invitation from that country’s State Department. Back in Venezuela, he conceived a figurative approach to contemporary man conveyed through cabins and engine rooms where man is trapped in anguish and alienation.

November 25, 2011
Héctor Maldonado

The rising career of Héctor Maldonado (Puerto Rico, 1972) has achieved its first great institutional backing with the current exhibition at the Museo las Américas of a comprehensive compendium of his oeuvre under the suggestive title Welcome Home.

By Jesús Rosado
Reviews

Héctor Maldonado

By Jesús Rosado

The rising career of Héctor Maldonado (Puerto Rico, 1972) has achieved its first great institutional backing with the current exhibition at the Museo las Américas of a comprehensive compendium of his oeuvre under the suggestive title Welcome Home.

November 24, 2011
Distant Star

In Los detectives salvajes (The Savage Detectives), Roberto Bolaño described the way in which the real-visceralists, or viscerrealists, walk backward. How backward? Backwards, looking at a point in space but walking away from it, in a straight line towards the unknown.

By Luisa Reyes Retana
Reviews

Distant Star

By Luisa Reyes Retana

In Los detectives salvajes (The Savage Detectives), Roberto Bolaño described the way in which the real-visceralists, or viscerrealists, walk backward. How backward? Backwards, looking at a point in space but walking away from it, in a straight line towards the unknown.

November 24, 2011
Olivier Debroise

Olivier Debroise’s work, even if not exhibited, illustrates the polyvalent quality of writing, of the executer and of the reader, and at the moment of showing himself to the public he links together and unleashes something which is not pointed out anywhere in museography or in history; something which has more to do with the act of cracking a nut open than with eating it in different recipes.

By Fernando Carabajal
Reviews

Olivier Debroise

By Fernando Carabajal

Olivier Debroise’s work, even if not exhibited, illustrates the polyvalent quality of writing, of the executer and of the reader, and at the moment of showing himself to the public he links together and unleashes something which is not pointed out anywhere in museography or in history; something which has more to do with the act of cracking a nut open than with eating it in different recipes.

November 24, 2011
 Nina Surel

With Understory, exhibition of collages of the Argentinean artist Nina Surel, Praxis Gallery of Miami has entered the fall offering an impressive display of works which impose themselves because of their great format and sensorial impact.

By Jesús Rosado
Reviews

Nina Surel

By Jesús Rosado

With Understory, exhibition of collages of the Argentinean artist Nina Surel, Praxis Gallery of Miami has entered the fall offering an impressive display of works which impose themselves because of their great format and sensorial impact.

November 24, 2011
Jorge Pedro Núñez

In the visual tissue created in Concetto spaziale, Pedro Núñez’s solo show (Caracas, 1976), the artist reflects on the experience of art from the starting point of art itself.

By Amalia Caputo
Reviews

Jorge Pedro Núñez

By Amalia Caputo

In the visual tissue created in Concetto spaziale, Pedro Núñez’s solo show (Caracas, 1976), the artist reflects on the experience of art from the starting point of art itself.

November 24, 2011
Patricia and Juan Ruiz-Healy: Collection of Contemporary Art of Oaxaca

Collecting art today implies a kind of dialogue between one’s own imaginary and that of the works that one chooses to be one’s own. That is to say, it implies building a bridge towards forms of collective iconography. This was very clear to Patricia and Juan Ruiz Healy from the first moment that a Rufino Tamayo fell into their hands.

By Eduard Reboll
Reviews

Patricia and Juan Ruiz-Healy: Collection of Contemporary Art of Oaxaca

By Eduard Reboll

Collecting art today implies a kind of dialogue between one’s own imaginary and that of the works that one chooses to be one’s own. That is to say, it implies building a bridge towards forms of collective iconography. This was very clear to Patricia and Juan Ruiz Healy from the first moment that a Rufino Tamayo fell into their hands.

November 24, 2011
Antonio Manuel

From September 15 through December 10, visitors will have the chance to view the first solo exhibition in the United States of the Brazilian artist Antonio Manuel (b.1947, Portugal). The show focuses on Antonio Manuel’s preeminent role in the development of the groundbreaking neo-avant-garde movement that emerged in Rio de Janeiro during the 1960s.

By Laura Bardier
Reviews

Antonio Manuel

By Laura Bardier

From September 15 through December 10, visitors will have the chance to view the first solo exhibition in the United States of the Brazilian artist Antonio Manuel (b.1947, Portugal). The show focuses on Antonio Manuel’s preeminent role in the development of the groundbreaking neo-avant-garde movement that emerged in Rio de Janeiro during the 1960s.

November 24, 2011
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