Reviews

Probably anyone who is interested in the visual arts within the Latin American scene will be familiar with the work of the Chilean artist Paz Errázuriz. Her impressive work is characterized, above all, in working, through photography, themes linked to oblivion, marginality and exclusion, showing a particular interest in portraying those people that society, for various reasons, has left aside. This year, Errázuriz took a privileged spot at the 22nd Paiz Perdidos Art Biennial Perdidos. en Medio. Juntos. (Lost. In Between. Together) and she presents during the months of May and June a solo exhibition entitled La grandeza del margen (The Greatness of the Margin). From this exhibition, I find especially notable the Trans Guatemala (2020) and Sepur Zarco (2020) series, two unpublished series where problems of great contingency are evident.

After concluding her retrospective exhibition at the Miguel Urrutia Art Museum, of the Banco de la República, between October and December 2020, the artist Beatriz González has been invited to participate in the exhibition "Another Energy: Power to Continue Challenging", in the company of 15 women artists of wide range and different nationalities, at the Mori Museum in Tokyo (Japan). Here is a summary of her artistic career.

"But what messages do these artists, in O Ventre da Terra, address to us? (...) For them, the land is not just one thing. Now it is homeland and nation, sometimes nature and landscape, sometimes texture and materiality, now ancestral and primeval origin, now cemetery and final destination." The art critic from Rio de Janeiro Pollyana Quintella synthesizes the multiple vectors to which the thought-provoking group of pieces present in the collective exhibition of the gallery Superfície in São Paulo can be directed. It does not escape the attention of almost all women in authorship and the time when it was conceived - the 1970s, of marked experimentalism in the face of the repression of the lead years in the political sphere, which would still last some time in the 80´s.

It is not the first time that when I go through the work of José Luis Landet I am struck by the feeling that the perseverance, tenacity and insistence of his poetic project point to the realization of the total work of art. Perhaps it is because of the magnitude of his commitment or because of the breadth of his interests’ spectrum, but the feeling I am referring to - which in any case also finds echoes in certain formal decisions - refers to a kind of iron will to create a single work of art that combines the synthesis of all the others.

In February 2021, Christie's auction house sold a digital work by Mike Winkemann, popularly known as Beeple, for the sum of $ 69.3 million, making the almost unknown author the third most sought-after living artist in the world, after David Hockney and Jeff Koons. The news shook the art scene. Not only because of the exorbitant amount obtained by Everydays: The First 5000 Days (2021) - the work in question - but, mainly, because of its immaterial nature and because of the implications of the event in a possible reconfiguration of the art system and some of its more established values.

Dagoberto Rodríguez (1969, Caibarién, Cuba) presents Planeta de Cristal (Crystal Planet), his first solo exhibition in Miami, recently opened to the public. It collects part of his production from 2020 and confirms the vitality that his already long and successful career preserves, which, with notable international recognition, has spanned the past three decades. The artist was first part, until very recently, of the Los Carpinteros collective, and then, since 2017, he works and exhibits on his own.

The history of art for the last fifty years has yet to be written. But the NEO POST exhibition, 50 years of geometric painting in Argentina 1970-2020, is a good approach to a fundamental chapter of Argentine art, at the Museum of Contemporary Art in Buenos Aires (MACBA). The set of more than 80 artists selected by the curator Rodrigo Alonso reveals trends, nuances, affinities and differences between diverse creators, both historical ones such as Marcelo Bonevardi, Roberto Aizenberg, Kasuya Sakai and María Martorell, and artists in full activity such as Ernesto Ballesteros, Marta Minujín and Pablo Siquier. As a sign of these times, the artist's subjectivity appears, in all its freedom, open to other materialities and forms. It is no longer necessary to react rationally to the illusion, fiction and drama of figurative art. Everything is possible.

The exhibitions, by the artists Alexandra Colmenares and Rocío Gomez, are held online and include works in audio, video, digital art, photography and painting. Creating a stage that enfolds the viewer, the screen that separates them ceases to be a window and becomes a connecting channel.

An ancient oriental tale tells, with multiple variants, the story of a painter who, having been imprisoned by an arbitrary power, devoted himself to painting a detailed landscape on the prison walls. Day after day the jailers observed the futility of his efforts. But the night he finished it, while everyone was sleeping, the imprisoned artist entered the landscape and was lost in it. Another version says that he painted a door through which he escaped along with other inmates. Spaced Out: Time is Art, curated by Adriana Herrera at the Art Factory Project gallery, brings together a group of paintings, photographs, collages, sculptures and other three-dimensional works created during the pandemic by 21 artists of various nationalities ad based in Miami. The dialogue between multiple visions that configure different exit doors reaffirms the possibility of contrasting the freedom of artistic imagination with the oppressive atmosphere of the present.

Arman. Conceptual Perception, the first solo exhibition in Miami by the legendary French-American artist co-founder of the “Nouveau Réalisme” (New Realism), is the result of an applause-worthy collusion between the Ascaso gallery and Corice Canton, widow and trustee of the Arman Marital Trust and its vast legacy.

Digital art experiences a new impulse along with new payment methods.

The exhibition at Matadero Madird is the result of ten years of work that the Italian artist Armin Linke (Milan, 1966) has developed in collaboration with Giulia Bruno and Giuseppe Ielasi with the aim of configuring a visual anthropology around political, economic and technological activity and the consequences that these processes have on the planetary ecosystems.

The personal legacy of Pritzker Prize winning Mexican architect Luis Barragán (1902–1988) is mostly in Mexico, while his professional legacy is owned by a Swiss corporation. Magin’s endeavor flirts with copyright, exclusivity and heritage to question these very notions. Seven are the works within her investigative project that are now part of Centre Pompidou’s permanent collection. These include sculpture, installation, photography and drawing.   

David Magán inaugurated the projects Hard-line and Light Object at Galería Cayón space.  On the one hand, a series of sculptural artworks that function as a single oeuvre and that deepen Magán's link with the use of line; on the other, an installation made especially for the second space that proposes to highlight the materiality of light through additive colour (the chromatic composition through the superimposition of red, blue and green).

Creating a dialogue between heritage/historical collections and contemporary productions is a lucid strategy not only to make these collections visible, many times relegated to art deposits, but also to review certain genealogies of art history and to update and refresh their narratives that not infrequently have been built around disciplines and dogmatic categorizations.

After a visit to Infinito Vão, one of the predominant sensations is that the best of Brazilian architecture always comes in duo with an expressive presence of the visual arts, both in modern times and in these conflicting current days. The exhibition, subtitled 90 years of Brazilian architecture and curated by Fernando Serapião and Guilherme Wisnik, is based at Sesc 24 de Maio, already emblematic of Paulo Mendes da Rocha, one of the two Pritzkers born in the country.

Opinion article and review of the exhibitions PDF and #OPENCALL presented by Abrir Galería, online project founded in Peru.

On the 4^th floor of the Sabatini Building of the Museo Reina Sofía (Madrid, Spain), a collaborative project managed by the FALFAA (Augusto & León Ferrari Arte and Collection Foundation) and the Museo Reina Sofía presents La Bondadosa Crueldad-León Ferrari, 100 años (The Kind Cruelty - Leon Ferrari, 100 Years). As part of León Ferrar’s (Buenos Aires, 1920-2013) birth centenary, the exhibition aims to highlight in Europe the artwork of one of the most important figures on the international scene from the 1960s until his death.

What does it mean for a gallery that an artwork has been acquired by a museum?

A lie as a natural instinct of photography.

If there were a quality that might apply to Rivane Neuenschwander’s unclassifiable art, it would be its capacity to implicate. A cyclic poetics of interaction animates the extremely broad range of works that eliminate the conventions of time and space, as well as the network of preconceptions based on which we build for ourselves a place in the world, often separated from one another by pre-established categories.