Reviews

Cassava with Rolex/Yuca con Rolex, 2010. Wood and crystal box, cassava and Rolex watch, 61 x 91.4 x 40.6 in./Caja de madera y cristal, yuca y Rolex, 24 x 36 x 16 in. Photo/Foto: Natasha Perdomo

José Luis Alonso Mateo (1964, Havana) has focused his works for several years on the analysis of the rites and symbols of power, the high classes, aristocracy and royalty hence perhaps the reason for his being dubbed El Conde (the Count).

By Rafael López-Ramos
Reviews

Alonso Mateo

By Rafael López-Ramos

José Luis Alonso Mateo (1964, Havana) has focused his works for several years on the analysis of the rites and symbols of power, the high classes, aristocracy and royalty hence perhaps the reason for his being dubbed El Conde (the Count).

December 17, 2010
Actor de Poder, 2010. Bronze, 52 x 48 in. (Photo: Courtesy Edge Zones) Bronce, 132 x 122 cm. (Foto: Cortesía de Edge Zones)

Ángel Vapor’s (Havana, Cuba, 1970) artistic oeuvre has been characterized by its versatility and by the enigmatic aura typical of any creative production that includes such diversity of genres and sources

By Rafael López-Ramos
Reviews

Ángel Vapor

By Rafael López-Ramos

Ángel Vapor’s (Havana, Cuba, 1970) artistic oeuvre has been characterized by its versatility and by the enigmatic aura typical of any creative production that includes such diversity of genres and sources

December 17, 2010
Ernesto Burgos. Untitled, 2008. MDF, wooden table, and paint 60 x 32 x 95 in. Sin título, 2008. MDF, mesa de madera y pintura, 152,4 x 81,3 x 241,3 cm.

The Every other Day, an exhibition that occupies the spatious first floor of the building adjoining the main exhibition premises of Ideobox Art Space, includes the recent work of eleven artists.

By José Antonio Navarrete
Reviews

The Every Other Dayi

By José Antonio Navarrete

The Every other Day, an exhibition that occupies the spatious first floor of the building adjoining the main exhibition premises of Ideobox Art Space, includes the recent work of eleven artists.

December 17, 2010
Elida Tessler. Dublin, 2010. 4,311 postcards and glass bottles with custom engraved corks Dimensions variable/ 4311 tarjetas postales y bote- llas de vidrio con corchos tallados por encargo. Photo/foto: Oriol Tarridas Courtesy/Cortesía CIFO

The annual exhibition of works by artists selected for the Grants and Commissions Program of the Cisneros Fontanals Art Foundation, CIFO, in Miami, is a reference point.

By Adriana Herrera
Reviews

In Transition

By Adriana Herrera

The annual exhibition of works by artists selected for the Grants and Commissions Program of the Cisneros Fontanals Art Foundation, CIFO, in Miami, is a reference point.

December 17, 2010
Hunt, 2009. Acrylic on canvas, 48 X 60 in. Acrílico sobre tela, 122 x 152,4 cm.

If there is something conclusive in the work of Héctor Maldonado (Puerto Rico, 1972) it is his versatility.

By Jesús Rosado-West
Reviews

Héctor Maldonado

By Jesús Rosado-West

If there is something conclusive in the work of Héctor Maldonado (Puerto Rico, 1972) it is his versatility.

December 17, 2010
Claudio Perna. Sin título, s/f (c. 1975-76) / Untitled, undated (c. 1975-76). Plata en gelatina sobre papel. Silver gelatin photograph. 25,5 x 20,3 cm. / 10 x 8 in.

Henrique Faria Fine Art is closing this season with an exhibition never presented before in the United States: Gerd Leufert & Gego.

By María Carlota Pérez
Reviews

GERD LEUFERT & GEGO / CLAUDIO PERNA

By María Carlota Pérez

Henrique Faria Fine Art is closing this season with an exhibition never presented before in the United States: Gerd Leufert & Gego.

December 17, 2010
Le Bain Animique, 2010. Ceramic scullpture, calcite ball, wooden table and sheets of expan- ded PVC, 47.2 x 55 x 98.4 in. Escultura de cerámica, bola de calcita, mesa de madera y láminas de pvc expandido, 120 x 140 x 250 cm.

Estudios paragráficos is José Damasceno’s (Rio de Janeiro, Brasil, 1968) most recent proposal, a combination of prints and installations created specifically for this exhibition with which the Madrid gallery Distrito 4 opens its new season.

By Álvaro de Benito Fernández
Reviews

José Damasceno

By Álvaro de Benito Fernández

Estudios paragráficos is José Damasceno’s (Rio de Janeiro, Brasil, 1968) most recent proposal, a combination of prints and installations created specifically for this exhibition with which the Madrid gallery Distrito 4 opens its new season.

December 17, 2010
Fin de siglo, 2010. Partial view of the installation. Parte de la instalación.

It is not a simple task to interpret in a concise manner a space like the one occupied by the coldstore facility in Madrid’s central slaughter house; Carlos Garaicoa ((Havana, Cuba, 1967) however, has managed to do so.

By Álvaro de Benito Fernández
Reviews

Carlos Garaicoa

By Álvaro de Benito Fernández

It is not a simple task to interpret in a concise manner a space like the one occupied by the coldstore facility in Madrid’s central slaughter house; Carlos Garaicoa ((Havana, Cuba, 1967) however, has managed to do so.

December 17, 2010
Julio Pantoja. From the series Madres del monte, 2007. 15.7 x 98.4 in. De la serie Madres del monte, 2007. 40 x 250 cm.

Chronological leaps and narrative soundness may be found in “Photography in Argentina 1840-2010”, the exhibition that spans the history of the discipline from its origins to the present, through canonical images and other less known ones.

By Victoria Verlichak
Reviews

ArtexArte

By Victoria Verlichak

Chronological leaps and narrative soundness may be found in “Photography in Argentina 1840-2010”, the exhibition that spans the history of the discipline from its origins to the present, through canonical images and other less known ones.

December 09, 2010
The Sailor, Head/Cabeza El Marino, 1993. Altuglas, 11.8 x 9.8 x 11.8 in./ 30 x 25 x 30 cm.

They look like exotic jewels from an Arabian Nights’ tale. We are referrring to the work of an artist with a long and fruitful trajectory, Monique Rozanès.

By Julio Sánchez
Reviews

Monique Rozanès

By Julio Sánchez

They look like exotic jewels from an Arabian Nights’ tale. We are referrring to the work of an artist with a long and fruitful trajectory, Monique Rozanès.

December 05, 2010
Untitled (El Ixchell Negro), 1977 Lifetime color photograph mounted on board, 20 x 13 1/4 in. © The Estate of Ana Mendieta Collection Courtesy Galerie Lelong, New York. Sin título (El Ixchell Negro), 1977. Fotografía de la artista montada sobre panel de madera, 50,8 x 33,7 cm Copyright de la Colección Sucesión Ana Mendieta. Cortesía de Galérie Lelong, Nueva York.

Who was Ana Mendieta? Who is Ana Mendieta today? “One of the most inventive and iconoclastic artists of the late 20th century;” such the categorical assertion of Olga Viso, director of the Hirshhorn Museum and Sculpture Garden in Washington, D.C.

By Adriana Herrera Téllez
Reviews

Ana Mendieta

By Adriana Herrera Téllez

Who was Ana Mendieta? Who is Ana Mendieta today? “One of the most inventive and iconoclastic artists of the late 20th century;” such the categorical assertion of Olga Viso, director of the Hirshhorn Museum and Sculpture Garden in Washington, D.C.

November 30, 2010
Stills of Eclipses for Austin digital video. Lo res, 2010. Digital video, five channels. Stills de Eclipses para Austin, video digital. Lo res, 2010. Video digital, cinco canales.

I first came across the work of Pablo Vargas Lugo (Mexico City, 1968) in the late 1990’s around the time that his seminal pieces began to exhibit internationally, thus becoming referential outside of Mexican contemporary art circles

By Jennifer Teets
Reviews

Pablo Vargas Lugo

By Jennifer Teets

I first came across the work of Pablo Vargas Lugo (Mexico City, 1968) in the late 1990’s around the time that his seminal pieces began to exhibit internationally, thus becoming referential outside of Mexican contemporary art circles

November 30, 2010
Pablo Reinoso

Pablo Reinoso’s Buenos Aires, 1955 bold oeuvre defies perception; it plays with illusion and with the viewer’s participation, offering a framework for reflection.

By Patricia Avena Navarro
Reviews

Pablo Reinoso

By Patricia Avena Navarro

Pablo Reinoso’s Buenos Aires, 1955 bold oeuvre defies perception; it plays with illusion and with the viewer’s participation, offering a framework for reflection.

November 30, 2010
Cover of Mateo López’s book, Deriva Tapa del libro de Mateo López, Deriva

In Mateo López’s oeuvre, drawing and its three dimensional projections are analogous to the hand that gropingly explores the world, spreading out into lines over the space with a playfulness that evokes Plato’s Myth of the Cave.

Reviews

MATEO LÓPEZ: AN OEUVRE ADRIFT FROM THE CONTINENT

In Mateo López’s oeuvre, drawing and its three dimensional projections are analogous to the hand that gropingly explores the world, spreading out into lines over the space with a playfulness that evokes Plato’s Myth of the Cave.

November 07, 2010
Carlos Cruz-Diez in Conversation with /en conversación con Ariel Jiménez, de la serie CONVERSACIONES/CONVERSATIONS. Fundación Cisneros, Colección Patricia Phelps de Cisneros."

Carlos Cruz-Diez in conversation with Ariel Jiménez is the title of the first of a series of books included in an important editorial project conceived by the Cisneros Foundation, aimed at enriching the history under construction of Latin American art through a valuable resource that has been over looked by critics: the unreplaceable dialogue with the artist.

Reviews

THE REVEALING DIALOGUE BETWEEN CRUZ-DIEZ AND ARIEL JIMÉNEZ

Carlos Cruz-Diez in conversation with Ariel Jiménez is the title of the first of a series of books included in an important editorial project conceived by the Cisneros Foundation, aimed at enriching the history under construction of Latin American art through a valuable resource that has been over looked by critics: the unreplaceable dialogue with the artist.

November 07, 2010
Villa miseria en el fondo del mar, 2010. Synthetic enamel on panel, 39.4 x 59 in. Courtesy Zavaleta Lab. Villa miseria en el fondo del mar, 2010. Esmalte sintético sobre panel. 100 x 150 cm. Cortesía Zavaleta Lab.

In search of new images, Marcelo Pombo reached “The Depths of the Sea” (“Lo profundo del mar”) the title of his latest exhibition , and this is the origin of the works he is currently showing at Zavaleta Lab.

By Ana María Martínez Quijano
Reviews

Marcelo Pombo

By Ana María Martínez Quijano

In search of new images, Marcelo Pombo reached “The Depths of the Sea” (“Lo profundo del mar”) the title of his latest exhibition , and this is the origin of the works he is currently showing at Zavaleta Lab.

November 07, 2010
Maqueta de poliedros, 2010. Gesso, dimensions variable/Yeso, dimensiones variables. Courtesy/Cortesía Casas Riegner Gallery / Photo/Foto: Oscar Monsalve.

Between 12 August and 2 October, 2010, Casas Riegner Gallery, Bogotá is hosting the exhibition “Rosario López: lo informe y el límite” (Rosario López: the shapeless and the limit), in which the Colombian artist presents her most recent production.

By Halim Badawi
Reviews

Rosario López

By Halim Badawi

Between 12 August and 2 October, 2010, Casas Riegner Gallery, Bogotá is hosting the exhibition “Rosario López: lo informe y el límite” (Rosario López: the shapeless and the limit), in which the Colombian artist presents her most recent production.

November 07, 2010
Miguel Ángel Rojas. David, 2005. Digital print, 78.7 x 39.4 in. Courtesy of the artist. Impresión digital, 200 x 100 cm. Cortesía del artista.

From 11 August through 27 October, 2010, the Mint of the Bank of the Republic is hosting the temporary exhibition “Re(cámaras): Espacios para una fotografía extendida”, curated by María Wills Londoño.

By Halim Badawi
Reviews

Re(cámaras): Espacios para una fotografía extendida.

By Halim Badawi

From 11 August through 27 October, 2010, the Mint of the Bank of the Republic is hosting the temporary exhibition “Re(cámaras): Espacios para una fotografía extendida”, curated by María Wills Londoño.

November 07, 2010
Tres versiones, 1966. Tempera grassa on glass veil with tarp and reinforced polyester support, 59 x 177in. /Temple graso s/velo de vidrio con soporte de lona y poliéster reforzado, 150 x 450 cm. Museo de la Solidaridad Salvador Allende (Chile).

Social and artistic memory in Juan Carlos Distéfano. Obras 1958- 2010, the wonderful exhibition featuring more than 70 works by the remarkable Juan Carlos Distéfano (Buenos Aires, 1933), held at the Art Space of the OSDE Foundation in Buenos Aires.

By Victoria Verlichak
Reviews

Juan Carlos Distéfano

By Victoria Verlichak

Social and artistic memory in Juan Carlos Distéfano. Obras 1958- 2010, the wonderful exhibition featuring more than 70 works by the remarkable Juan Carlos Distéfano (Buenos Aires, 1933), held at the Art Space of the OSDE Foundation in Buenos Aires.

November 07, 2010
Beatriz Sogbe

The exhibition of photographies by brothers Graziano and Paolo Gasparini, entitled “2 x Gasparini” takes us back to two visions of contemporary Venezuelan photography.

By Beatriz Sogbe
Reviews

Paolo Gasparini

By Beatriz Sogbe

The exhibition of photographies by brothers Graziano and Paolo Gasparini, entitled “2 x Gasparini” takes us back to two visions of contemporary Venezuelan photography.

November 04, 2010
Untitled, 2010. Collage of postcards on paper, signed on verso; 5.1 x 2.4 in. Sin título, 2010; 13 x 6 cm. Collage de postales s/papel; firmada dorso. Courtesy Galería Carmen Araujo Arte.

The title of this exhibition is somewhat disconcerting. Luis Lizardo (Venezuela, Caracas, 1956) is showing his recent work in the framework of the old coffeee drying patios of the Hacienda La Trinidad, in Caracas.

By Beatriz Sogbe
Reviews

Luis Lizardo

By Beatriz Sogbe

The title of this exhibition is somewhat disconcerting. Luis Lizardo (Venezuela, Caracas, 1956) is showing his recent work in the framework of the old coffeee drying patios of the Hacienda La Trinidad, in Caracas.

November 04, 2010
Proof 2010-I (from the series “Std. Color”); 2010. Paint on corrugated cardboard; 14,7 x 18.3 in. Photo: Juan José Olavarría. Prueba 2010-I (de la serie Std. Color); año 2010; pintura sobre cartón corrugado; medidas: 37,5 x 46,5 cm. Courtesy, Fotografia Juan Jose Olavarria

The story of carmine red is associated to sex, violence and political struggles. Also to war and drama. The humble cochineal (Dactylopius coccus) that produces it was always alien to the passions it generated. I

By Beatriz Sogbe
Reviews

Domingo de Lucía

By Beatriz Sogbe

The story of carmine red is associated to sex, violence and political struggles. Also to war and drama. The humble cochineal (Dactylopius coccus) that produces it was always alien to the passions it generated. I

November 04, 2010
The Scarecrow, 2009. Mixed media on can- vas, re tela, 73.2 x 61.4 in. Courtesy Alinka Arte Contemporáneo. La Espantapájaros, 2009. Mixta sobre tela, 186 x 156 cm. Cortesía: Alinka Arte Contemporáneo

“De Cuba Nelson Domínguez: Pintura, escultura, dibujo y grabados” (“From Cuba Nelson Domínguez: Painting, sculpture, drawing and engraving”), the first solo show of this great Cuban artist in the Dominican Republic, ran from mid-June to the end of September at the welcoming spaces of Alinka Arte Contemporáneo.

By Amable López Meléndez
Reviews

Nelson Domínguez

By Amable López Meléndez

“De Cuba Nelson Domínguez: Pintura, escultura, dibujo y grabados” (“From Cuba Nelson Domínguez: Painting, sculpture, drawing and engraving”), the first solo show of this great Cuban artist in the Dominican Republic, ran from mid-June to the end of September at the welcoming spaces of Alinka Arte Contemporáneo.

November 04, 2010
Sombra sobre linea 3, 2010. Vinyl and 9 mm. glass, 63 x 82,7 x 7,8 in. Courtesy OMR Gallery. Vinil y vidrio de 9 mm. 160 x 210 x 20 cm. Cortesía: galería OMR.

In José Dávila’s one-person exhibition at OMR Gallery in Mexico City, Ningún donde puede ser aquí a title inspired by the expression “Nowhere can be there".

By Adriana Herrera
Reviews

José Dávila

By Adriana Herrera

In José Dávila’s one-person exhibition at OMR Gallery in Mexico City, Ningún donde puede ser aquí a title inspired by the expression “Nowhere can be there".

November 04, 2010
Partial view of the exhibition/Vista parcial de la muestra “Sesera”. Four in One. Oil on canvas, 60 x 109 in. Óleo s/tela, 152 x 276,8 cm. Photo/Foto: Dot Fiftyone Gallery and/y Leslie Gabaldon.

The term ‘sesera’ (brainpan) refers to the part of the skull that encloses the brain and the grey matter itself, while at the same time it also serves to describe the person who acts with prudence and good judgment.

By Janet Batet
Reviews

José Luis Landet

By Janet Batet

The term ‘sesera’ (brainpan) refers to the part of the skull that encloses the brain and the grey matter itself, while at the same time it also serves to describe the person who acts with prudence and good judgment.

November 01, 2010
Michael Vásquez. Chain Strangle, 2010. Mixed media/técnica mixta, 58 x 84 in. 147 x 213.3 cm. Photo/Foto: Natasha Perdomo

The Miami gallery Fredric Snitzer presented its summer group show, which explores a “macho/masculine” position throughout a wide spectrum ranging from the macho-macho, the peacock, and the gay man or woman, to childhood and the boy-girl relationship.

By Rafael López-Ramos
Reviews

"Boy, Oh Boy!"

By Rafael López-Ramos

The Miami gallery Fredric Snitzer presented its summer group show, which explores a “macho/masculine” position throughout a wide spectrum ranging from the macho-macho, the peacock, and the gay man or woman, to childhood and the boy-girl relationship.

November 01, 2010
“Papagayos” Series. Installation. Wooden rods, string. Dimensions variable. Courtesy of the artist. Serie “Papagayos”. Instalación: varillas de madera, cordel. Dimensiones variables. Cortesía del artista.

Under the title A Collective Sum, the Wynwood District gallery Ideobox Artspace presented during the past month of April three solo shows.

By Janet Batet
Reviews

Pepe López

By Janet Batet

Under the title A Collective Sum, the Wynwood District gallery Ideobox Artspace presented during the past month of April three solo shows.

November 01, 2010
Viking Funeral (Carlos Ascurra and Juan Gonzalez) Temporary Arts, 2008/2010. Mixed media and sound. Variable. Installation view. Courtesy of the Artists. Photo by Sid Hoeltzell. Técnica mixta y sonido. Dimensiones variables. Vista de la instalación. Cortesía de los artistas. Foto: Sid Hoeltzell.

New Work Miami 2010, “was conceived as an exuberant salute to Miami’s artistic community, and it will provide a partial snapshot of the Miami art scene at this moment,” according to the press release issued by the Miami Art Museum to promote the exhibit.

By Rafael López-Ramos
Reviews

New Work Miami 2010

By Rafael López-Ramos

New Work Miami 2010, “was conceived as an exuberant salute to Miami’s artistic community, and it will provide a partial snapshot of the Miami art scene at this moment,” according to the press release issued by the Miami Art Museum to promote the exhibit.

November 01, 2010
Sunflower 2, 1999. Laser-cut metal on wood 48 x 30 x 18 inches. Courtesy of the Artist. Metal cortado a laser s/madera, 122 x 76 x 45,7 cm. Cortesía del artista.

One day, talking with Volf Roitman, he confessed to me that he saw everything in the shape of the geometric forms that the MADI movement had created.

By Carlos M. Luis
Reviews

Volf Roitman

By Carlos M. Luis

One day, talking with Volf Roitman, he confessed to me that he saw everything in the shape of the geometric forms that the MADI movement had created.

November 01, 2010
Petit Tyrants, 2010. Acrylic on canvas. 42 x 72 in. Petit Tyrants, 2010. Acrílico sobre tela

Painting, as we are taught by Asians, Romantics and Surrealists alike, is valuable insofar as it opens a door to imagination.

By Carlos M. Luis
Reviews

Liliam Cuenca

By Carlos M. Luis

Painting, as we are taught by Asians, Romantics and Surrealists alike, is valuable insofar as it opens a door to imagination.

November 01, 2010
“Carpeta de los Diez”. Poster/Afiche, Courtesy/Cortesía Galería Vasari

The idea of grouping together was Fred Schiffer’s, and it was inspired by a similar model, an association of photographers formed at the end of the 19th century in London (Linked Ring Brotherhood), but the written pages were kept by Annemarie Heinrich.

By Victoria Verlichak
Reviews

La carpeta de los diez

By Victoria Verlichak

The idea of grouping together was Fred Schiffer’s, and it was inspired by a similar model, an association of photographers formed at the end of the 19th century in London (Linked Ring Brotherhood), but the written pages were kept by Annemarie Heinrich.

October 19, 2010
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