Reviews

Televisor catálogo. 11.8 x 16.8 in./30 x 40 cm. Courtesy/Cortesía Fundación YPF

The ground floor of the tower conceived by César Pelli for YPF is a unique scenario to exhibit Trailer, Nicola Costantino’s most recent production, which consists of five trailers and several bill boards announcing the homonymous short film.

By Julio Sánchez
Reviews

Nicola Costantino

By Julio Sánchez

The ground floor of the tower conceived by César Pelli for YPF is a unique scenario to exhibit Trailer, Nicola Costantino’s most recent production, which consists of five trailers and several bill boards announcing the homonymous short film.

October 19, 2010
MB#43, 2008. Acrylic on canvas, 39.4 x 59 in. Acrílico sobre tela, 100 x 150 cm.

An architect and urban planner, Leonardo Pellegrini (Argentina, 1969) lives and works in Salta “the beautiful”, as announced in the advertisement that promotes this province, in whose premises in Buenos Aires city the solo show MB # is being held.

By Victoria Verlichak
Reviews

Leonardo Pellegrini

By Victoria Verlichak

An architect and urban planner, Leonardo Pellegrini (Argentina, 1969) lives and works in Salta “the beautiful”, as announced in the advertisement that promotes this province, in whose premises in Buenos Aires city the solo show MB # is being held.

October 19, 2010
Nudo de autopista, 2007-2010. Photograph, 12.2 x 21.6 in. Fotografía, 31 x 55 cm.

Graciela Hasper’s (Buenos Aires, 1966) interest in addressing the problems of painting has been evident since she began to show her work in 1989.

By Victoria Verlichak
Reviews

Graciela Hasper

By Victoria Verlichak

Graciela Hasper’s (Buenos Aires, 1966) interest in addressing the problems of painting has been evident since she began to show her work in 1989.

October 19, 2010
La reposición; en cada banco de la clase un niño, o niña visualiza su proyecto sobre una maqueta de yeso, escala 1: 500. 68 x 17 x 15 cm. aprox. Centro Educativo República Mexicana. (registro bitácora 2009). The revival; on each bench in a classroom, a boy or girl visualizes his/her project on a gesso model, scale 1: 500., 26.7 x 6.7 x 5.9 in., approx.

“La enseñanza de la geografía, dos ejercicios” es una obra concebida en proceso, donde la artista se ha relacionado con una historia y una situación de lugar, diseñando actividades y un montaje que buscaron integrar activamente a la comunidad.

By Carola Lara
Reviews

Alicia Villarreal

By Carola Lara

“La enseñanza de la geografía, dos ejercicios” es una obra concebida en proceso, donde la artista se ha relacionado con una historia y una situación de lugar, diseñando actividades y un montaje que buscaron integrar activamente a la comunidad.

October 19, 2010
Escuchando Elliot Smith. 90 x 100 cm /35.4 x 39.in

The series “Fine Tuning VOL. V / La tierra que habla” is inevitably included in a tradition of local landscape and “blot” painting developed from the late 19th century to the preset.

By Carola Lara
Reviews

Alejandro Quiroga

By Carola Lara

The series “Fine Tuning VOL. V / La tierra que habla” is inevitably included in a tradition of local landscape and “blot” painting developed from the late 19th century to the preset.

October 19, 2010
From the series “Shadows of Modernity”, 2009. Mixed media on canvas, 59 x 78.7 in. 150 x 200 cm. De la serie sombras de la modernidad, 2009. Técnica mixta sobre tela. 150 x 200 cm.

Ismael Frigerio (1955) emerged at the end of the 1970s from a generation of Chilean painters influenced by the transavantgard and Neo-Expressionism.

By Carola Lara
Reviews

Ismael Frigerio

By Carola Lara

Ismael Frigerio (1955) emerged at the end of the 1970s from a generation of Chilean painters influenced by the transavantgard and Neo-Expressionism.

October 19, 2010
Taza de leche olvidada, 2010. 100% natural, hand-sewn felt, 5.9 x 5.9 x 3.9 in. Fieltro 100% natural y costura a mano. 15 x 15 x 10 cm.

There is a certain “Neo-conceptual” art in Chile that succeeds in reconnecting the aesthetic discourse and the aesthetic experience through craftswork and ordinary, everyday objects, bringing the public into contact with the artwork.

By Carola Lara
Reviews

Johanna Unzueta

By Carola Lara

There is a certain “Neo-conceptual” art in Chile that succeeds in reconnecting the aesthetic discourse and the aesthetic experience through craftswork and ordinary, everyday objects, bringing the public into contact with the artwork.

October 19, 2010
Forma de Hierro-Colombia. Black and white photograph, 10 x 7.8 in. Fotografía en blanco y negro. 25,4 x 20 cm.

The Comet Gallery presented a small homage exhibition for the photographer Leo Matiz under the title Geometría en Colombia (Geometry in Colombia).

By Juan Pablo Zapata
Reviews

Leo Matiz

By Juan Pablo Zapata

The Comet Gallery presented a small homage exhibition for the photographer Leo Matiz under the title Geometría en Colombia (Geometry in Colombia).

October 13, 2010
Lázaro Saavedra González. (b. 1964, resides in Cuba) (n. 1964, reside en Cuba) The Sacred Heart (El Sagrado Corazón), 1995 Acrylic on cardboard 16 x 13 in. Acrílico s/cartón, 40,6 x 33 cm.

The exhibition Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection at the Lowe Art Museum is the first to exhibit in Miami the art of the politically disobedient generation that introduced contemporary art to Cuba in the early 1980s.

By Adriana Herrera
Reviews

Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection

By Adriana Herrera

The exhibition Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection at the Lowe Art Museum is the first to exhibit in Miami the art of the politically disobedient generation that introduced contemporary art to Cuba in the early 1980s.

October 06, 2010
El Cacao. Digital print on RC paper, 57 x 87.4 in. / 59.8 x 90.5 (frame). Ed. 1/5 + 2 ap. Ensayando la Postura Nacional, 2010. Fotografía digital sobre papel RC. 144 x 222 cm. 152 x 230 cm. (marco). Ed. 1/5 + 2 pa.

When at the end of November of 1952, the Supreme Electoral Council of Venezuela suspended the ballot count corresponding to that year’s elections, the country entered a period of authoritarian rule under General Marcos Pérez Jiménez which would last six years.

By Álvaro de Benito Fernández
Reviews

Alexander Apóstol

By Álvaro de Benito Fernández

When at the end of November of 1952, the Supreme Electoral Council of Venezuela suspended the ballot count corresponding to that year’s elections, the country entered a period of authoritarian rule under General Marcos Pérez Jiménez which would last six years.

October 02, 2010
Flavio de Carvalho. Experiencia No3, 1956. “Nuevo traje de verano para hombres”. Foto B/N. Colección Museo de Arte Brasileiro - FAAP.

Ocasionalmente, el eurocentrismo en el arte ha hecho que se queden atrás, apenas sin analizar al otro lado del océano, algunas de las más interesantes tendencias artísticas fuera del viejo continente.

By Álvaro de Benito Fernández
Reviews

Drifts and Derivations: Experiences, journeys and morphologies

By Álvaro de Benito Fernández

Ocasionalmente, el eurocentrismo en el arte ha hecho que se queden atrás, apenas sin analizar al otro lado del océano, algunas de las más interesantes tendencias artísticas fuera del viejo continente.

October 02, 2010
Rafael Lozano-Hemmer. Company of Colors (Shadow Box), 2009. Interactive high-resolution screen with integrated digital moni- toring system, 55 x 31.5 x 4.7 in. Pantalla de alta resolución interac- tiva con sistema integrado de seguimiento informatizado. 140 x 80 x 12 cm.

Once again, and for the thirteenth consecutive year, Madrid has been the epicenter of the development of a new edition of the Festival of Photography and Visual Arts, PhotoEspaña 2010.

By Álvaro de Benito Fernández
Reviews

PhotoEspaña 2010 Different Venues

By Álvaro de Benito Fernández

Once again, and for the thirteenth consecutive year, Madrid has been the epicenter of the development of a new edition of the Festival of Photography and Visual Arts, PhotoEspaña 2010.

October 02, 2010
Mona Lisa after Leonardo da Vinci, 2009. Digital c-print. Courtesy Galerie Xippas “Gordian Puzzles” series. Mona Lisa al modo de Leonardo da Vinci, 2009. Copia color digital. Cortesía Galería Xippas Serie “Rompecabezas Gordianos”.

To offer an overview of the work of the Brazilian artist Vik Muniz may be a complicated task due to the variety of formats and supports he resorts to.

By Patricia Avena-Navarro
Reviews

Vik Muniz

By Patricia Avena-Navarro

To offer an overview of the work of the Brazilian artist Vik Muniz may be a complicated task due to the variety of formats and supports he resorts to.

October 02, 2010
Behind the Scenes, (All My Friends Series) 2009. Oil on Canvas. 24 x 24 inches. Behind the Scenes, (Serie “All My Friends”) 2009. Óleo sobre tela, 61 x 61 cm.

For an artist, to be free means to digest external influences little by little, to be open to the world but deaf to the sirens of fashion with the aim of reaching his or her own truth.

By Patricia Avena-Navarro
Reviews

Rosario Bond

By Patricia Avena-Navarro

For an artist, to be free means to digest external influences little by little, to be open to the world but deaf to the sirens of fashion with the aim of reaching his or her own truth.

October 01, 2010
Building site of the Pompidou-Metz, December 2009 © Shigeru Ban Architects Europe and Jean de Gastines Architects / Metz Métropole / Centre Pompidou-Metz. Photo Olivier H. Dancy Obra en construcción del Pompidou-Metz, diciembre de 2009 © Shigeru Ban Arquitectos Europa y Jean de Gastines Arquitectos / Metz Métropole / Centre Pompidou-Metz. Foto Olivier H. Dancy

Thirty-three years after the inception of the Centre Pompidou, Musée national d’art moderne, the Centre Pompidou-Metz has been inaugurated in Paris. Representing the first decentralization of a great national cultural institution in France.

By Patricia Avena Navarro
Reviews

Inauguration of the Centre Pompidou

By Patricia Avena Navarro

Thirty-three years after the inception of the Centre Pompidou, Musée national d’art moderne, the Centre Pompidou-Metz has been inaugurated in Paris. Representing the first decentralization of a great national cultural institution in France.

October 01, 2010
Train in the neighborhood of La Bombonera Stadium, copy ca. 1960. Silver gelatin print, 9.4 x 11.8 in. Tren al borde de La Bombonera, copia circa 1960. Gelatina de plata, 24 x 30 cm.

Sameer Makarius was without doubt one of the most prolific photographers in Buenos Aires during the 1950s and 60s.

By Marjan Groothuis
Reviews

Sameer Makarius

By Marjan Groothuis

Sameer Makarius was without doubt one of the most prolific photographers in Buenos Aires during the 1950s and 60s.

October 01, 2010
Tatlin’s Whisper #6 (Havana Version), 2009. Stage, podium, microphone, loudspeakers, curtain, 2 people in military fatigues, dove, audience, and 200 disposable cameras, Wilfredo Lam Center, Havana. Courtesy of Berezdivin Collection, San Juan, Puerto Rico. El susurro de Tatlin #6 (version para La Habana), 2009. Plataforma, podio, micrófonos, baffles, telón, dos personas con vestimenta militar de faena, paloma, público y 200 cámaras desechables. Centro Wifredo Lam, La Habana. Cortesía Colección Berezdivin, San Juan, Puerto Rico.

If there is no longer a center of the international art world, New York at very least remains one of a select few sites for what Pierre Bourdieu long ago called “position-taking”: the articulation of an aesthetic position in relation to a larger field of cultural production.

By Daniel Quiles
Reviews

Tania Bruguera

By Daniel Quiles

If there is no longer a center of the international art world, New York at very least remains one of a select few sites for what Pierre Bourdieu long ago called “position-taking”: the articulation of an aesthetic position in relation to a larger field of cultural production.

September 25, 2010
 Flowers 2, 2003. Homage to Baudelaire. Ensamble in shale, iron oxides, 51 x 2.4 x 2.4 in. Flores 2, 2003. Homenaje a Baudelaire. Ensamble en lutita, óxidos de hierro, 130 x 6 x 6 cm.

Hugo Zapata is a dreamer of utopias who, by dint of holding a dialogue with the earth, suddenly found himself talking to the cosmogony of the Incas, the Mayas and the Aztecs.

By Ana María Escallón
Reviews

Hugo Zapata

By Ana María Escallón

Hugo Zapata is a dreamer of utopias who, by dint of holding a dialogue with the earth, suddenly found himself talking to the cosmogony of the Incas, the Mayas and the Aztecs.

September 19, 2010
Free Compositions Series, 2010. Mixed media on canvas glued onto cardboard, 11.8 x 11.8 in. Serie Composiciones Libres, 2010. Técnica mixta sobre lienzo pegado a cartón, 30 x 30 cm.

There were no Impressionist sunsets before Monet painted them. Oscar Wilde knew it, and for this reason he asserted that nature imitates art.

By Daniel Molina
Reviews

macaparana

By Daniel Molina

There were no Impressionist sunsets before Monet painted them. Oscar Wilde knew it, and for this reason he asserted that nature imitates art.

September 19, 2010
Made to Measure, 2010. View of Mateo López's exhibition at Gasworks, London. Courtesy of Casas Riegner Gallery. Panorama de la exhibición de Mateo López en Gasworks, Londres. Cortesía Galería Casa Riegner.

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.

By Adriana Herrera Téllez
Reviews

Mateo López

By Adriana Herrera Téllez

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.

September 19, 2010
VIDA ESPIRITUAL 2004. Oil on board. 19.6 x 19.6 in. Private Collection, São Paulo. Oleo sobre tabla. 50 x 50 cm. Colección Particular, San Pablo.

It happened during the crisis of 2001. Hundreds of metal signs began to appear in the neighborhoods. Like never before.

By Justo Pastor Mellado
Reviews

Hernán Salamanco

By Justo Pastor Mellado

It happened during the crisis of 2001. Hundreds of metal signs began to appear in the neighborhoods. Like never before.

August 11, 2010
The Somnambulists, 2006. Mixed media on mylar. 59.5 x 52.5". Courtesy Sandroni Rey, Los Angeles.

Anthony Goicolea’s entire body of work can be described as a fictional autobiography.

By Silvia Karman Cubiná (*) (Miami)
Reviews

Anthony Goicolea

By Silvia Karman Cubiná (*) (Miami)

Anthony Goicolea’s entire body of work can be described as a fictional autobiography.

August 07, 2010
Installation view / Vista de la instalación. Courtesy/Cortesía Sala SAM - Instituto Chileno Norteamericano de Cultura

Certain vices of post-90s Chilean art are evident in the proposal of Incas of Emergency: a tautological propension in the thematized work itself, and a distance between aesthetic experience and art discourse.

By Carolina Lara B.
Reviews

Incas of Emergency

By Carolina Lara B.

Certain vices of post-90s Chilean art are evident in the proposal of Incas of Emergency: a tautological propension in the thematized work itself, and a distance between aesthetic experience and art discourse.

July 27, 2010
Fragata, 2009. C-Print. Edición de 6 + AP. 32.4 x 55 in. / 82,5 x 140 cm Ed. 1/6 Ed. 2/6 Ed. 3/6 AP

The works exhibited in “Crónicas eventuales” confirm the fact that the art of Jorge Macchi (Buenos Aires, 1963) resides in the possibility of poetry, forged in his notorious sensitivity and his different visions of everyday life.

By Victoria Verlichak
Reviews

Jorge Macchi

By Victoria Verlichak

The works exhibited in “Crónicas eventuales” confirm the fact that the art of Jorge Macchi (Buenos Aires, 1963) resides in the possibility of poetry, forged in his notorious sensitivity and his different visions of everyday life.

July 27, 2010
 Masculino 31-35 # 1, 2009. C-print, acrylic and wood, 47.2 x 59 in. Copia C, acrílico y madera. 120 cm x 150 cm. 1/3.

In the Guilty! series, Marcelo Grosman (Buenos Aires, 1958) ventures along an uncomfortable path, wondering who might be the one to blame in a society that makes criminals, that judges based on appearance (color, sex, origin).

By Victoria Verlichak
Reviews

Marcelo Grossman

By Victoria Verlichak

In the Guilty! series, Marcelo Grosman (Buenos Aires, 1958) ventures along an uncomfortable path, wondering who might be the one to blame in a society that makes criminals, that judges based on appearance (color, sex, origin).

July 27, 2010
Vestigio (Enrancias) XII, 2010. Courtesy/Cortesía Malba-Fundación Costantini.

Time, memory and words are part of the recurring concerns in the work of Carlos Gallardo (Buenos Aires, 1944-2008)

By Victoria Verlichak
Reviews

Carlos Gallardo

By Victoria Verlichak

Time, memory and words are part of the recurring concerns in the work of Carlos Gallardo (Buenos Aires, 1944-2008)

July 27, 2010
Glasto, 2009. Wooden Stereostructure on canvas painted in acrylic, 59 x 59 in. Courtesy Maman Gallery. Glasto, 2009. Estéreoestructura de madera sobre soporte de tela pintada en acrílico, 150 x 150 cm. Gentileza Galería Maman

In this new exhibition, “El Ajuar”, in Maman Gallery, Jorge Canale (1954) creates once again, with the refined aesthetics that characterizes him, the adequate space and atmosphere to convey his message.

By Marcela Costa Peuser
Reviews

Jorge Canale

By Marcela Costa Peuser

In this new exhibition, “El Ajuar”, in Maman Gallery, Jorge Canale (1954) creates once again, with the refined aesthetics that characterizes him, the adequate space and atmosphere to convey his message.

July 27, 2010
Untitled / Sin título, 2010. 74 x 59.8 x 58.2 in./188 x 152 x 148 cm. Courtesy/Cortesía Daniel Abate

Nicanor Aráoz, a young man who until recently, with just a pot of cocoa and a broken shelf, devised a way to represent anguish, presents a show devoted to Hitchcock at Daniel Abate Gallery.

By Ana Martínez Quijano
Reviews

Nicanor Aráoz Daniel Abate Buenos Aires

By Ana Martínez Quijano

Nicanor Aráoz, a young man who until recently, with just a pot of cocoa and a broken shelf, devised a way to represent anguish, presents a show devoted to Hitchcock at Daniel Abate Gallery.

July 24, 2010
Untitled. Oil. Sin título. Óleo. Courtesy/Cortesía Dabbah Torrejón.

Diego Vergara presented his first solo show in Buenos Aires, under the title “La existencia está en otra parte” (Life is elsewhere), a phrase excerpted from André Breton’s surrealist manifesto.

By Ana Martínez Quijano
Reviews

Diego Vergara Dabbah

By Ana Martínez Quijano

Diego Vergara presented his first solo show in Buenos Aires, under the title “La existencia está en otra parte” (Life is elsewhere), a phrase excerpted from André Breton’s surrealist manifesto.

July 24, 2010
Taller de mi padre, 2009. Ink, graphite and color pencil on paper, 16.5 x 11.8 in. Tinta, grafito y lápiz color s/papel, 42 x 30 cm. Courtesy/Cortesía Maggio Boutique, Buenos Aires

Oscar Smoje’s (Buenos Aires, 1939) new exhibition of works on paper, Oso inédito, is worthy of celebration, since it is increasingly difficult to see this artist’s production in public.

By Victoria Verlichak
Reviews

Oscar Smoje Maggio

By Victoria Verlichak

Oscar Smoje’s (Buenos Aires, 1939) new exhibition of works on paper, Oso inédito, is worthy of celebration, since it is increasingly difficult to see this artist’s production in public.

July 24, 2010
Adabel Guerrero, live shot / toma directa. Courtesy of the artist / Cortesía del artista.

The TV and the celebrity gossip magazines have brought to the forefront of public consideration a series of vaudeville characters, dancers with generous curves in the habit of airing with unusual shamelessness and before millions of people details of their sometimes turbulent existence.

By Victoria Verlichak
Reviews

Luna Paiva

By Victoria Verlichak

The TV and the celebrity gossip magazines have brought to the forefront of public consideration a series of vaudeville characters, dancers with generous curves in the habit of airing with unusual shamelessness and before millions of people details of their sometimes turbulent existence.

July 24, 2010