Reviews
![Coplanal Blanc e blue, 1945. Oil on wood, 13.7 x 10. bin./Óleo sobre tabla, 35 x 27 cm. Courtesy/Cortesía Galeria de las Misiones, Uruguay Coplanal Blanc e blue, 1945. Oil on wood, 13.7 x 10. bin./Óleo sobre tabla, 35 x 27 cm. Courtesy/Cortesía Galeria de las Misiones, Uruguay](/var/artealdia_com/storage/images/international/contenidos/resenas/carmelo_arden_quin/365425-4-esl-AR/Carmelo_Arden_Quin_home_ppal.png)
Carmelo Arden Quin
When he arrived in Montevideo, Uruguay, in 1935, Carmelo Arden Quin, born in Rivera in 1913, attended Joaquín Torres García’s famous lectures at the Theosophical Society in Uruguay and became fascinated with his teachings, which also allowed him to come into contact with the European constructivist trends.
![El reino de los ciegos, 2009. Indian ink, acrylic, tempera and pencil on primed wood, 39.4 x 51 in./Tinta china, acrílico, témpera y lápices sobre madera imprimada, 100 x 130 cm. El reino de los ciegos, 2009. Indian ink, acrylic, tempera and pencil on primed wood, 39.4 x 51 in./Tinta china, acrílico, témpera y lápices sobre madera imprimada, 100 x 130 cm.](/var/artealdia_com/storage/images/international/contenidos/resenas/verena_urrutia/365372-1-esl-AR/Verena_Urrutia_grid_horizontal.png)
Verena Urrutia
Verena Urrutia emerged in Santiago in the 2000s, working in the field of photography, performance and video, and featuring images that used to show secretions, pieces of intimate clothing, the idea of the trace and the experience of the body.
![Piezas caóticas de un paisaje chileno, 2009. Mixed media on acrylic panels, variable dimen- sions/Técnica mixta s/paneles de acrílico, medidas variables. Piezas caóticas de un paisaje chileno, 2009. Mixed media on acrylic panels, variable dimen- sions/Técnica mixta s/paneles de acrílico, medidas variables.](/var/artealdia_com/storage/images/international/contenidos/resenas/yvonne_gonza_lez/365183-3-esl-AR/Yvonne_Gonza_lez_grid_horizontal.png)
Yvonne González
Internally, the Chilean art scene often falls under the stereotype of a cold and academized conceptualism. Some artists, on the other hand, have shown an interest in “refreshing” the atmosphere through aesthetic warmth, a certain humor, and urban culture.
![Ocular Espectacular II (líneas), 2009. 31 sculptures on cardboard. String, wood, patching plaster, plaster, glue and cardboard, 295 x 96.4 x 18.8 in. 31esculturas sobre cartón. Cordel, madera, pasta muro, yeso, cola fría y cartón, 750 x 245 x 48 cm. Ocular Espectacular II (líneas), 2009. 31 sculptures on cardboard. String, wood, patching plaster, plaster, glue and cardboard, 295 x 96.4 x 18.8 in. 31esculturas sobre cartón. Cordel, madera, pasta muro, yeso, cola fría y cartón, 750 x 245 x 48 cm.](/var/artealdia_com/storage/images/international/contenidos/resenas/cristo_bal_lehyt/365155-3-esl-AR/Cristo_bal_Lehyt_grid_horizontal.png)
Cristóbal Lehyt
Cristóbal Lehyt positions himself very well in large and reduced contexts
![Arte en el Plata, Arte público, Edificio del Plata Arte en el Plata, Arte público, Edificio del Plata](/var/artealdia_com/storage/images/international/contenidos/resenas/arte_en_el_plata/365127-1-esl-AR/Arte_en_el_Plata_grid_horizontal.png)
Arte en el Plata
Impossible to ignore and really impressive, the four artistic interventions featuring gigantographs of works by up-and-coming contemporary artists on the façade of the Del Plata Building managed to transfer images which are habitually viewed in more intimate venues, such as museums and private collections, to the public sphere.
![Self-Portrait, 1986. © 2009 Andy Warhol Foundation for the Visual Arts ARS, NY SAVA, Buenos Aires. Courtesy/Cortesía MALBA. Self-Portrait, 1986. © 2009 Andy Warhol Foundation for the Visual Arts ARS, NY SAVA, Buenos Aires. Courtesy/Cortesía MALBA.](/var/artealdia_com/storage/images/international/contenidos/resenas/andy_warhol/363095-1-esl-AR/Andy_Warhol_grid_horizontal.png)
Andy Warhol
A great success of attendance, the traveling exhibition Andy Warhol. Mr. America, at Malba-Fundación Costantini, coincided with the sale of 200 One Dollar Bills (1962), auctioned by Sotheby’s for 43 million dollars; a smaller, cross-shaped version of the same work was featured at the Buenos Aires show.
![Partial view of Gabriela Albergaria’s solo show at Galería Vermelho, Sao Paulo. Vista parcial de la exposición individual de Gabriela Albergaria en la Galería Vermelho en San Pablo Partial view of Gabriela Albergaria’s solo show at Galería Vermelho, Sao Paulo. Vista parcial de la exposición individual de Gabriela Albergaria en la Galería Vermelho en San Pablo](/var/artealdia_com/storage/images/international/contenidos/resenas/gabriela_albergaria/363056-1-esl-AR/Gabriela_Albergaria_grid_horizontal.png)
Gabriela Albergaria
Galería Vermelho, Sao Paulo, inaugurated its 2010 exhibitions program with three excellent solo shows: “Universe”, work by the collective Detanico Lain; Ana María Tavares’s “Paisagems perdidas” (Lost Landscapes); and the recent work of the Portuguese artist Gabriela Albergaria.
![Guillermo Trujillo , El Embrujo de la Linea N.12, Courtesy/Cortesía Galería Habitante. Guillermo Trujillo , El Embrujo de la Linea N.12, Courtesy/Cortesía Galería Habitante.](/var/artealdia_com/storage/images/international/contenidos/resenas/guillermo_trujillo/363028-1-esl-AR/Guillermo_Trujillo_grid_horizontal.png)
Guillermo Trujillo
Independently of the pleasure or the gratification that we have always obtained from viewing Guillermo Trujillo’s works, he has not ceased to amaze us with his capacity to offer us new emotional experiences in each of his incursions in the world of creation.
![# 24 BB5, 2006. Collage on paper, 102 x 48.5 in. Mixta collage sobre papel 250,2 x 123,2 cm. Courtesy/Cortesía Sala TAC Trasnocho Cultural, Caracas. # 24 BB5, 2006. Collage on paper, 102 x 48.5 in. Mixta collage sobre papel 250,2 x 123,2 cm. Courtesy/Cortesía Sala TAC Trasnocho Cultural, Caracas.](/var/artealdia_com/storage/images/international/contenidos/resenas/arturo_herrera/362978-1-esl-AR/Arturo_Herrera_grid_horizontal.png)
Arturo Herrera
After a long wait, Venezuela witnessed the first solo show of Arturo Herrera (Caracas, 1959), an artist trained in the U.S.A. and currently living in Berlin.
![Carlos Cruz-Diez. Transcromias. Exhibition/Exposicion. Los galpones, Caracas. photo : Beatriz Sogbe Carlos Cruz-Diez. Transcromias. Exhibition/Exposicion. Los galpones, Caracas. photo : Beatriz Sogbe](/var/artealdia_com/storage/images/international/contenidos/resenas/carlos_cruz-diez/362418-1-esl-AR/Carlos_Cruz-Diez_grid_horizontal.png)
Carlos Cruz-Diez
The sensation of color exerts an influence on and affects our everyday life. The lay person simply does not perceive it. Man shows more interest in form than in color. However, he experiences color in his daily life. To understand this we must analyze “the problem of color” and become aware of the fact that perception of the harmony of colors is part of an individual’s culture.
![Ana María Nava , Monolito 4, Ana María Nava , Monolito 4,](/var/artealdia_com/storage/images/international/contenidos/resenas/ana_mari_a_nava/362390-1-esl-AR/Ana_Mari_a_Nava_grid_horizontal.png)
Ana María Nava
Ana María Nava’s (Venezuela, Edo. Zulia, 1962) work is featured as a fresh proposal related to the use of glass in art.
![El juguete de Torquemada. Wood and metal, 10.2 x 20.8 x 10.6 in. Madera y metal, 26 x 53 x 27 cm. Photos/Fotos: Beatriz Sogbe. El juguete de Torquemada. Wood and metal, 10.2 x 20.8 x 10.6 in. Madera y metal, 26 x 53 x 27 cm. Photos/Fotos: Beatriz Sogbe.](/var/artealdia_com/storage/images/international/contenidos/resenas/oscar_d_empaire/362362-1-esl-AR/Oscar_d_Empaire_grid_horizontal.png)
Oscar d’Empaire
As part of the development of the theme of assemblage, Oscar d’Empaire (Venezuela. Edo Zulia, 1930) is featuring his most recent show, where he exalts the use of iron and welding.
![Elsa María Meléndez. De la memoria: la quimera de un despojo, 2008. Instalación/Installation. Elsa María Meléndez. De la memoria: la quimera de un despojo, 2008. Instalación/Installation.](/var/artealdia_com/storage/images/international/contenidos/resenas/muestra_nacional_de_arte_de_puerto_rico-09/362319-1-esl-AR/Muestra_Nacional_de_Arte_de_Puerto_Rico-09_grid_horizontal.png)
Muestra Nacional de Arte de Puerto Rico-09
Although presented with great irregularity, the Muestra Nacional de Arte de Puerto Rico (National Art Exhibition of Puerto Rico) is an event that is enthusiastically awaited and welcomed by the lovers of the visual arts of this island, since it gives them an idea − sometimes whimsical − of what is taking place in those complex and always changing/controversial creative spaces.
![Grey Tondo, 2009. Acrylic on canvas, 48 in. Acrílico sobre tela, 122 cm. Courtesy/Cortesía Galería Petrus Grey Tondo, 2009. Acrylic on canvas, 48 in. Acrílico sobre tela, 122 cm. Courtesy/Cortesía Galería Petrus](/var/artealdia_com/storage/images/international/contenidos/resenas/tony_bechara/362276-1-esl-AR/Tony_Bechara_grid_horizontal.png)
Tony Bechara
Tony Bechara (Puerto Rico, 1943) is an interesting combination between an icon of New York’s Hispano-American society.
![In the background, Tony Capellán’s installation. (Right), Jorge Pineda’s installation. Al fondo, Instalación deTony Capellán. A la derecha, instalación de Jorge Pineda. In the background, Tony Capellán’s installation. (Right), Jorge Pineda’s installation. Al fondo, Instalación deTony Capellán. A la derecha, instalación de Jorge Pineda.](/var/artealdia_com/storage/images/international/contenidos/resenas/kreyol_factory/362185-1-esl-AR/Kreyol_Factory_grid_horizontal.png)
Kreyol Factory
From the end of November, 2009 to the end of February, 2010, the exhibition spaces of the French Embassy in the Colonial District of Santo Domingo remained open to the public to feature the group show “Intersections/ Kréyol Factory”.
![Sin Título (serieSD/rojo) 2009. Acrylic on canvas, 72 x 72 in. Acrílico sobre tela, 183 x 183 cm. Courtesy/Cortesía Museo de Arte Moderno. Sin Título (serieSD/rojo) 2009. Acrylic on canvas, 72 x 72 in. Acrílico sobre tela, 183 x 183 cm. Courtesy/Cortesía Museo de Arte Moderno.](/var/artealdia_com/storage/images/international/contenidos/resenas/julio_sua_rez/362127-1-esl-AR/Julio_Sua_rez_grid_horizontal.png)
Julio Suárez
“Nothing is more disquieting than the ceaseless movement of that which appears to be motionless”. The phrase belongs to the French philosopher Gilles Deleuze (1925-1995). Julio Suárez (1947) rediscovers it on his clear and vertiginous mirrorlike compositions.
![Piel de Azúcar, 2004. 4 carved used tires and their imprint on sugar. 4 llantas montacargas usadas y grabadas sobre azúcar. Courtesy of the artist/Cortesía de la artista. Piel de Azúcar, 2004. 4 carved used tires and their imprint on sugar. 4 llantas montacargas usadas y grabadas sobre azúcar. Courtesy of the artist/Cortesía de la artista.](/var/artealdia_com/storage/images/international/columna_izquierda/slide_home/betsabe_e_romero/361231-5-esl-AR/Betsabe_e_Romero_grid_horizontal.png)
Betsabée Romero
The traveling retrospective of Betsabée Romero, curated by Julián Zugazagoitia, is an impeccable show in terms of the balance between the challenging baroque style of this Mexican artist who appropriates the rituals of popular aesthetics or combines the traces of pre-Hispanic iconography with participative forms of social irony, and a mise-en-scène that does not fear the void of space.
![Prendidos y desprendidos. Acrylic, 48 x 60 in. Acrílico, 122 x 152.4 cm. Courtesy/Cortesía Galería Americas Collection Prendidos y desprendidos. Acrylic, 48 x 60 in. Acrílico, 122 x 152.4 cm. Courtesy/Cortesía Galería Americas Collection](/var/artealdia_com/storage/images/international/contenidos/resenas/antonia_guzma_n/361161-1-esl-AR/Antonia_Guzma_n_grid_horizontal.png)
Antonia Guzmán
To a great extent, the safeguard for attempting the use of a lan- guage that represents the feminine has been the aggressiveness of proposals which, due to their strong content of emotional or social violence, cannot be considered “weak”.
![Betsabeé Romero. Proyecto Porterías, 2008 Courtesy/Cortesía Centro Cultural Español. Betsabeé Romero. Proyecto Porterías, 2008 Courtesy/Cortesía Centro Cultural Español.](/var/artealdia_com/storage/images/international/columna_izquierda/slide_home/migraciones_mirando_al_sur/361133-3-esl-AR/Migraciones_Mirando_al_Sur_grid_horizontal.png)
Migraciones: Mirando al Sur
The exhibition Migraciones: Mirando al Sur Arte, organized by the Spanish Cultural Center in Miami and curated by Rosina Cazali, inverted the perspective of the migratory movement in the continent that involves multitudes moving northward, and performed a sort of cultural investigation of these crossings looking southward, to the artistic practices of Central America.
![Installation/Instalación. Courtesy/Cortesía Durban Segnini, Miami Installation/Instalación. Courtesy/Cortesía Durban Segnini, Miami](/var/artealdia_com/storage/images/international/columna_izquierda/slide_home/milton_becerra/361105-3-esl-AR/Milton_Becerra_grid_horizontal.png)
Milton Becerra
In its Miami venue, Durban Segnini Gallery presented “ALE’YA” (book of the principle of written truths), the solo show of Venezuelan artist Milton Becerra (Colón, 1951), who has been liv- ing and working in Paris since 1980.
![Rafael López-Ramos Rafael López-Ramos](/var/artealdia_com/storage/images/international/contenidos/resenas/eduardo_costa/360446-3-esl-AR/Eduardo_Costa_grid_horizontal.png)
Eduardo Costa
Ideobox Art Space has brought to Miami a retrospective exhibition of the work of Eduardo Costa (Buenos Aires, 1940) which, under the title “Mid Career Survey - Fashion Fictions, Names of Friends, & The Painting/ Object”, offers the viewer a summary vision of the prolific artistic production of the past forty years of this important and sui generis Argentine conceptualist.
![Guerra de la Paz. Beyond the Daily Life - Installation View./Vista de la instalación Center for Visual Communication - Project Space Guerra de la Paz. Beyond the Daily Life - Installation View./Vista de la instalación Center for Visual Communication - Project Space](/var/artealdia_com/storage/images/international/columna_izquierda/slide_home/guerra_de_la_paz_teresa_diehl/360418-3-esl-AR/Guerra_de_la_Paz_Teresa_Diehl_grid_horizontal.png)
Guerra de la Paz/Teresa Diehl
Beyond the Daily Life, the exhibition curated by Julián Navarro and held at the Center for Visual Communication in Miami from 5 December 2009 through 16 February, 2010, gathers together the work of Guerra de la Paz (the artistic duo formed by Alain Guerra and Neraldo de la Paz) and Teresa Diehl.
![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 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](/var/artealdia_com/storage/images/international/columna_izquierda/slide_home/rube_n_torres_llorca/360390-3-esl-AR/Rube_n_Torres_Llorca_grid_horizontal.png)
Rubén Torres Llorca
So Quiet in Here was a memorable installation by Rubén Torres Llorca at El Museo del Barrio in New York in 1998.
![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 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](/var/artealdia_com/storage/images/international/columna_izquierda/slide_home/pablo_bronstein/360362-3-esl-AR/Pablo_Bronstein_grid_horizontal.png)
Pablo Bronstein
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.
![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 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](/var/artealdia_com/storage/images/international/contenidos/resenas/lydia_rubio/360334-4-esl-AR/Lydia_Rubio_grid_horizontal.png)
Lydia Rubio
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.
![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. 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.](/var/artealdia_com/storage/images/international/contenidos/artistas/nicola_costantino/359858-1-esl-AR/Nicola_Costantino_grid_horizontal.jpg)
Nicola Costantino
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.
![Clínica, 2009. Plastic and wire, 31.5 x 33.8 in. Plástico y alambre, 80 x 86 cm. Courtesy/Cortesía: Galeria Nara Roesler Clínica, 2009. Plastic and wire, 31.5 x 33.8 in. Plástico y alambre, 80 x 86 cm. Courtesy/Cortesía: Galeria Nara Roesler](/var/artealdia_com/storage/images/international/contenidos/artistas/luiz_hermano/359830-1-esl-AR/Luiz_Hermano_grid_horizontal.png)
Luiz Hermano
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.
![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. 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.](/var/artealdia_com/storage/images/international/contenidos/artistas/betsabee_romero/359802-1-esl-AR/Betsabee_Romero_grid_horizontal.png)
Betsabeé Romero
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.
![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 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](/var/artealdia_com/storage/images/international/contenidos/artistas/javier_silva-meinel/359774-1-esl-AR/Javier_Silva-Meinel_grid_horizontal.png)
Javier Silva-Meinel
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.
![Museo de Arte Contemporáneo de la Prefectura de Niterói-RJ-Brasil. Photo/Foto Michel Moch. Museo de Arte Contemporáneo de la Prefectura de Niterói-RJ-Brasil. Photo/Foto Michel Moch.](/var/artealdia_com/storage/images/international/columna_izquierda/slide_home/oscar_niemeyer/359650-4-esl-AR/Oscar_Niemeyer_grid_horizontal.png)
Oscar Niemeyer
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.
![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. 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.](/var/artealdia_com/storage/images/international/columna_izquierda/slide_home/limber_vilorio/359622-3-esl-AR/Limber_Vilorio_grid_horizontal.png)
Limber Vilorio
The always interesting proposal of Limber Vilorio (Santo Domingo, Dominican Republic, 1972)