Reviews

Piezas caóticas de un paisaje chileno, 2009. Mixed media on acrylic panels, variable dimen- sions/Técnica mixta s/paneles de acrílico, medidas variables.

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.

By Carolina Lara
Reviews

Yvonne González

By Carolina Lara

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.

April 16, 2010
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.

Cristóbal Lehyt positions himself very well in large and reduced contexts

By Carolina Lara
Reviews

Cristóbal Lehyt

By Carolina Lara

Cristóbal Lehyt positions himself very well in large and reduced contexts

April 16, 2010
Arte en el Plata, Arte público, Edificio del 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.

By Victoria Verlichak
Reviews

Arte en el Plata

By Victoria Verlichak

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.

April 15, 2010
Self-Portrait, 1986. © 2009 Andy Warhol Foundation for the Visual Arts ARS, NY SAVA, Buenos Aires. Courtesy/Cortesía MALBA.

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.

By Victoria Verlichak
Reviews

Andy Warhol

By Victoria Verlichak

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.

April 11, 2010
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

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.

By Marta Chiape
Reviews

Gabriela Albergaria

By Marta Chiape

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.

April 11, 2010
Guillermo Trujillo , El Embrujo de la Linea N.12, Courtesy/Cortesía Galería Habitante.

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.

By Pedro Luis Prados S.
Reviews

Guillermo Trujillo

By Pedro Luis Prados S.

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.

April 11, 2010
# 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.

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.

By Beatriz Sogbe
Reviews

Arturo Herrera

By Beatriz Sogbe

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.

April 11, 2010
Carlos Cruz-Diez. Transcromias. Exhibition/Exposicion. Los galpones, Caracas. photo : Beatriz Sogbe

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.

By Beatriz Sogbe
Reviews

Carlos Cruz-Diez

By Beatriz Sogbe

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.

April 08, 2010
Ana María Nava , Monolito 4,

Ana María Nava’s (Venezuela, Edo. Zulia, 1962) work is featured as a fresh proposal related to the use of glass in art.

By Beatriz Sogbe
Reviews

Ana María Nava

By Beatriz Sogbe

Ana María Nava’s (Venezuela, Edo. Zulia, 1962) work is featured as a fresh proposal related to the use of glass in art.

April 08, 2010
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.

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.

By Beatriz Sogbe
Reviews

Oscar d’Empaire

By Beatriz Sogbe

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.

April 08, 2010
Elsa María Meléndez. De la memoria: la quimera de un despojo, 2008. Instalación/Installation.

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.

By Manuel Álvarez Lezama
Reviews

Muestra Nacional de Arte de Puerto Rico-09

By Manuel Álvarez Lezama

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.

April 08, 2010
Grey Tondo, 2009. Acrylic on canvas, 48 in. Acrílico sobre tela, 122 cm. Courtesy/Cortesía Galería Petrus

Tony Bechara (Puerto Rico, 1943) is an interesting combination between an icon of New York’s Hispano-American society.

By Manuel Álvarez Lezama
Reviews

Tony Bechara

By Manuel Álvarez Lezama

Tony Bechara (Puerto Rico, 1943) is an interesting combination between an icon of New York’s Hispano-American society.

April 08, 2010
In the background, Tony Capellán’s installation. (Right), Jorge Pineda’s installation. Al fondo, Instalación deTony Capellán. A la derecha, instalación de Jorge Pineda.

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”.

By Amable López Meléndez
Reviews

Kreyol Factory

By Amable López Meléndez

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”.

April 08, 2010
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.

“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.

By Amable López Meléndez
Reviews

Julio Suárez

By Amable López Meléndez

“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.

April 08, 2010
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.

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.

By Adriana Herrera Tellez
Reviews

Betsabée Romero

By Adriana Herrera Tellez

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.

April 05, 2010
Prendidos y desprendidos. Acrylic, 48 x 60 in. Acrílico, 122 x 152.4 cm. Courtesy/Cortesía Galería Americas Collection

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”.

By Adriana Herrera Tellez
Reviews

Antonia Guzmán

By Adriana Herrera Tellez

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”.

April 05, 2010
Betsabeé Romero. Proyecto Porterías, 2008 Courtesy/Cortesía Centro Cultural Español.

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.

Reviews

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.

April 05, 2010
Installation/Instalación. Courtesy/Cortesía Durban Segnini, Miami

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.

By Rafael López-Ramos
Reviews

Milton Becerra

By Rafael López-Ramos

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.

April 05, 2010
Rafael López-Ramos

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.

Reviews

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.

March 31, 2010
Guerra de la Paz. Beyond the Daily Life - Installation View./Vista de la instalación Center for Visual Communication - Project Space

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.

By Milagros González
Reviews

Guerra de la Paz/Teresa Diehl

By Milagros González

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.

March 31, 2010
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