Reviews

Rubén Torres Llorca , Elephant Talk, Mixed Media on canvas, 47 x 47 in / Técnica mixta sobre canvas, 119.4 x 119.4 cm. Courtesy/Cortesía Praxis Art International

So Quiet in Here was a memorable installation by Rubén Torres Llorca at El Museo del Barrio in New York in 1998.

By Julia P. Herzberg
Reviews

Rubén Torres Llorca

By Julia P. Herzberg

So Quiet in Here was a memorable installation by Rubén Torres Llorca at El Museo del Barrio in New York in 1998.

March 31, 2010
First and Second Installations of Precolumbian Objects at the Metropolitan Museum. 2009. Ink and gouache on paper, 61.4 x 98.8 in. Primera y segunda instalación de objetos preco- lombinos en el Metropolitan Museum. Tinta y aguada s/papel, 156 x 251 cm. © 2009 Pablo Bronstein. Courtesy/Cortesía Herald St, London and Franco Noero, Turin

Pablo Bronstein, (b. 1977, Buenos Aires, currently London-based) is the six artist to participate in a series of solo shows of young artists presented annually by the Metropolitan Museum, New York.

By Natalia Vega
Reviews

Pablo Bronstein

By Natalia Vega

Pablo Bronstein, (b. 1977, Buenos Aires, currently London-based) is the six artist to participate in a series of solo shows of young artists presented annually by the Metropolitan Museum, New York.

March 31, 2010
N of MUNDO. Oil on panel, 24 x 24 in. Óleo sobre panel de madera, 61 x 61 cm. Courtesy of the artist/Cortesía de la artista

The title of Lydia Rubio’s exhibition at the Beaux-Arts des Amériques, L’Étrangère (The Foreigner), evokes the title of Albert Camus’s famous book, although the artist obtained inspiration from a poem by Marjorie Agosin.

By Adriana Herrera
Reviews

Lydia Rubio

By Adriana Herrera

The title of Lydia Rubio’s exhibition at the Beaux-Arts des Amériques, L’Étrangère (The Foreigner), evokes the title of Albert Camus’s famous book, although the artist obtained inspiration from a poem by Marjorie Agosin.

March 31, 2010
The Dinner, Death of Nicola No. 1 / La Cena, Muerte de Nicola No 1, 2008. Retablo. Inkjet print, 73 x 110 in. Edition 3. Impresión a chorro de tinta, 185 x 280 cm. Edición 3.

With the strength of an atavism that brings intense emotions to the imaginary of contemporary art, the violence that pervades the history of Argentina seems to resurface in the work of artist Nicola Costantino.

By Ana Martínez Quijano (Buenos Aires)
Reviews

Nicola Costantino

By Ana Martínez Quijano (Buenos Aires)

With the strength of an atavism that brings intense emotions to the imaginary of contemporary art, the violence that pervades the history of Argentina seems to resurface in the work of artist Nicola Costantino.

March 31, 2010
Clínica, 2009. Plastic and wire, 31.5 x 33.8 in. Plástico y alambre, 80 x 86 cm. Courtesy/Cortesía: Galeria Nara Roesler

When I asked Luiz Hermano what he thinks about while weaving his complex threads of wire that bind together all sorts of prosaic objects, his answer was that he meditates.

By Paula Braga (Sao Paulo)
Reviews

Luiz Hermano

By Paula Braga (Sao Paulo)

When I asked Luiz Hermano what he thinks about while weaving his complex threads of wire that bind together all sorts of prosaic objects, his answer was that he meditates.

March 31, 2010
Nocturno al Conejo de la Luna, 2009. Cylindrical stamp made with used and engraved truck tires. Printed on paper 43 x 97.5 in. in diameter (cylinder) Print: 97.5 x 195 in. long. Sello cilíndrico hecho de llantas de camión usadas y grabadas, impreso sobre papel 110 de diametro x 250 de largo (cilindro) Impresión 240 cm. x 5 mts de largo. Courtesy of the Artist / Cortesía de la artista.

The Mexican visual artist Betsabeé Romero1 expresses herself through different artistic mediums – painting, photography, collage, serigraphy, sculpture – but her favorite material is the car and all the parts and accessories that constitute it.

By Caroline Perrée (Guadalajara)
Reviews

Betsabeé Romero

By Caroline Perrée (Guadalajara)

The Mexican visual artist Betsabeé Romero1 expresses herself through different artistic mediums – painting, photography, collage, serigraphy, sculpture – but her favorite material is the car and all the parts and accessories that constitute it.

March 31, 2010
Machu Picchu. Cuzco, Perú 2005-2007. Digital print with charcoal ink on cotton paper. 25 x 20 in. Ampliación digital en papel de algodón con impresión de tinta de carbón. 64 x 51.5 cm. Courtesy/Cortesía: Galería Patricia Ready

Based on the most traditional photography techniques and devoid of any kind of theatrical trick, the images portrayed by photographer Javier Silva-Meinel (Peru, 1949) manage to convey a powerful emotional and aesthetic energy.

By Catalina Mena (Santiago)
Reviews

Javier Silva-Meinel

By Catalina Mena (Santiago)

Based on the most traditional photography techniques and devoid of any kind of theatrical trick, the images portrayed by photographer Javier Silva-Meinel (Peru, 1949) manage to convey a powerful emotional and aesthetic energy.

March 31, 2010
Museo de Arte Contemporáneo de la Prefectura de Niterói-RJ-Brasil. Photo/Foto Michel Moch.

The exhibition presented at Fundación Telefónica in Madrid, in conjunction with the Fundación Cultural Hispano-Brasileña, is the well-deserved tribute to one of the most influential architects in the international context.

By Álvaro de Benito Fernández
Reviews

Oscar Niemeyer

By Álvaro de Benito Fernández

The exhibition presented at Fundación Telefónica in Madrid, in conjunction with the Fundación Cultural Hispano-Brasileña, is the well-deserved tribute to one of the most influential architects in the international context.

March 30, 2010
Acorazado. 210,000 bullet shells, car body, 47.2 x 72.8 x 141.7 in. 210.000 casquillos de bala, carrocería de vehículo, 120 x 185 x 360 cm.

The always interesting proposal of Limber Vilorio (Santo Domingo, Dominican Republic, 1972)

By Álvaro de Benito Fernández
Reviews

Limber Vilorio

By Álvaro de Benito Fernández

The always interesting proposal of Limber Vilorio (Santo Domingo, Dominican Republic, 1972)

March 30, 2010
Compartement, 2009. Installation view at the MMK Zollamt Vista de la instalación en el MMK Zollamt

Dolores Zinny (Rosario, Argentina, 1968) and Juan Maidagán (Rosario, Argentina, 1957) have been invited to explore Zollamt.

By Álvaro de Benito Fernández
Reviews

Zinny/Maidagán

By Álvaro de Benito Fernández

Dolores Zinny (Rosario, Argentina, 1968) and Juan Maidagán (Rosario, Argentina, 1957) have been invited to explore Zollamt.

March 30, 2010
Architecture des ombres, 2009. Serie “Le délire des sanges" Lambda print, 54 x 49.2 in./Impresión lambda, 137 x 125 cm. Courtesy/Cortesía Galerie Bendana Pinel

How difficult it is not to feel impressed by the work of Norton Maza-Lautaro (Chile, 1971 -). An oeuvre reflecting a personal life of exile and travels.

By Patricia Avena Navarro
Reviews

Norton Maza

By Patricia Avena Navarro

How difficult it is not to feel impressed by the work of Norton Maza-Lautaro (Chile, 1971 -). An oeuvre reflecting a personal life of exile and travels.

March 30, 2010
Osiris y Seth. Hermanos enemigos, 2009. Digital print, 17.7 x 35.4 x 47.2 in. Impresión digital, 45 x 90 / 60 x 120 cm. Courtesy/Cortesía Atelier Morales

The Steps Gallery presented the first solo show in London of Atelier Morales.

By Patricia Avena Navarro
Reviews

Atelier Morales

By Patricia Avena Navarro

The Steps Gallery presented the first solo show in London of Atelier Morales.

March 29, 2010
Andy Warhol y Marta Minujin

Marta Minujin interview by Philip Larratt-Smith

By  por Philip Larratt-Smith, Curador. (New York)
Reviews

Interview - Marta Minujin

By  por Philip Larratt-Smith, Curador. (New York)

Marta Minujin interview by Philip Larratt-Smith

March 25, 2010
Marta Minujín

MINUCODEs, the Americas Society’s current exhibition of archival materials and a multimedia environment related to participatory works by Marta Minujín in the late 1960s.

By Daniel R. Quiles
Reviews

Marta Minujín | Short Circuit 1966-1968

By Daniel R. Quiles

MINUCODEs, the Americas Society’s current exhibition of archival materials and a multimedia environment related to participatory works by Marta Minujín in the late 1960s.

March 23, 2010
Trauerspiel, 2001. Oil on canvas, 77 x 133 1/4 in. Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Joseph H. Hirshhorn Purchase Fund, 2003. Courtesy Sperone Westwater, New York. Óleo sobre tela, 195,6 x 338,5 cm. Museo y Jardín de Esculturas Hirshhorn Instituto Smithsoniano, Washington, DC. Fondo para Adquisiciones Joseph H. Hirshhorn, 2003. Cortesía Sperone Westwater, Nueva York

Kuitca’s work leads us to reflect on the power of visual signs and of their evocative influence.

By Milagros Bello
Reviews

Guillermo Kuitca | Noesis of The World

By Milagros Bello

Kuitca’s work leads us to reflect on the power of visual signs and of their evocative influence.

March 23, 2010
Modified Citroën DS, 55 3/16 in x 15’ 9 15/16 in x 45 5/16 in. Fonds national d’art contemporain (Cnap), Ministère de la Culture et de la Communication, Paris, Fnac 94003. Photography: Florian Kleinefenn. ©2009 Gabriel Orozco. Citroën DS, modificado. 140,1 x 482,5 x 115,1 cm. Fondo Nacional para el Arte Contemporáneo (Cnap). Ministerio de Cultura y Comunicación, París. Fnac 94003. Fotografía: Florian Kleinefenn. ©2009 Gabriel Orozco

Gabriel Orozco ́s retrospective at the Museum of Modern Art in New York

By Adriana Herrera Tellez
Reviews

Gabriel Orozco : The Indomitable Gaze at MoMA

By Adriana Herrera Tellez

Gabriel Orozco ́s retrospective at the Museum of Modern Art in New York

March 23, 2010
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