Reviews

Ph: Ignacio Iasparra

At Loyola 32, in Villa Crespo (Argentina), over the ground of Hache graphite in powder, resin, papers and objects of coal universe. Upon entering the gallery a series of absorbent black panels make a wall. However, the wall is false, by means of a curve, the "gray mole" structure, as described by Max Gómez Canle, curator of the exhibition, deposited in the adjoining room where Horizonte (Horizon), the second work of Elena Loson, is presented as a Constellation of objects in a monochrome palette. Un muro más allá (A wall beyond) inaugurated on Tuesday 19th at Hache Gallery in Buenos Aires.

Reviews

ELENA LOSÓN INAUGURATES UN MURO MAS ALLA AT HACHE GALERÍA IN BUENOS AIRES

June 21, 2018
Primera exposición en María, abril 2018

Review by: Carlos Zevallos Trigoso

A sensation that is perceived today in Lima, especially among young artists, is that the activities of the art market do not offer enough stability and that the work necessary to build a personal career is crossed by factors that are not very transparent. It is in this context that initiatives are launched by young people, some of them artists, where they design for themselves and their peers some dynamics that allow them to relate to the market while maintaining greater control and with expectations much greater than that of commercial circulation. Two significant examples of this are Maria and Crisis galleries, projects with less than two years of activities that are directed towards the future with clear readings of the context and their needs.

Reviews

Crisis and Maria: Young projects take the lead in the contemporary Peruvian scene

June 19, 2018
Roberto Huarcayas Amazonia- Bahuaja Sonene

In 2014, the non-profit organization Wildlife Conservation Society invited twelve Latin American artists to enter the Bahuaja Sonene Reserve located in the south east of Peru. The idea of ​​the program was, through artistic expression, to make known the reservation to the region so that awareness is generated. Bahuaja Sonene is one of the six national parks with the most biodiversity on the planet. Among the poets, musicians, chefs and visual artists invited to represent this great landscape was Roberto Huarcaya, a Peruvian psychologist, photographer and artist who has been experimenting with the notion of territory for several years from his series of panoramas Campos de Batalla (Battlefields).

Reviews

Roberto Huarcayas Amazonia- Bahuaja Sonene

June 15, 2018
Klemm Fundation: El cuerpo de una colección.

Juan Cruz Pedroni write about ‘El cuerpo de una Colección’, the new permanent exhibition by Fundacion Klemm, curated by Federico Baeza and Guadalupe Chirotarrab.

By Juan Cruz Pedroni
Reviews

Klemm Fundation: El cuerpo de una colección.

By Juan Cruz Pedroni
April 28, 2018
Medail & Pedroni: La semejanza y la Pausa

The notion of similarity seems to have a clear reference in the context of the exhibition: it refers to the use of photography as a reproduction, a faithful record of monuments and works. The connotations of the second term are, on the other hand, less evident, although they seem to point to the instants (or is it, perhaps, of places?) In which the alluded resemblance stops.

By Alejandro C. Frieboes
Reviews

Medail & Pedroni: La semejanza y la Pausa

By Alejandro C. Frieboes
April 18, 2018
Juan Cruz Pedroni

It is a simple gesture to locate Ensayos de apertura, the exhibition by Luciana Lamothe (1975) in the coordinates of a return to order that critics have even come to celebrate. 

By Juan Cruz Pedroni
Reviews

Luciana Lamothe: Ensayos de abertura

By Juan Cruz Pedroni
April 06, 2018
Adriana Bustos: Cartographies of coincidence

"Imago Mundi" is the first individual in Galería 80m2, Lima of the Argentine artist Adriana Bustos, who takes her title from the cosmographic treatise of the geographer and theologian Pierre d'Ailly, which Columbus used on his voyage of discovery.

By Max Hernández Calvo
Reviews

Adriana Bustos: Cartographies of coincidence

By Max Hernández Calvo
April 05, 2018
David Lamelas: Con vida Propia

The retrospective exhibition of an artist who traversed historical conceptualism sometimes leaves the image of a collection of muted sites, a repertoire of vacant places. 

By Juan Cruz Pedroni
Reviews

David Lamelas: Con vida Propia

By Juan Cruz Pedroni
April 04, 2018
Pedro Tyler: The measure of the uncountable

"Fragmentaria II" brings together seven pieces from different series by the Uruguayan artist Pedro Tyler, offering a synthetic overview of his work in his second solo show in Lima.

By Max Hernández Calvo
Reviews

Pedro Tyler: The measure of the uncountable

By Max Hernández Calvo
April 03, 2018
Daniel Boccato: Centinela

The proposals of Daniel Boccato (Campinas, Brazil, 1991) investigate the relationship between abstraction and figuration and are based on the investigation of the different discursive forms that pose language and form, suggesting other foundations that establish a new thinking with which to challenge any constriction. All this is reflected in Centinela, his last performance and specific project for the space Studies of the old tobacco factory in Madrid, where he follows another of the constants of his production: the breaking of any convention on formats and the preferential use of materials and objects of an industrial nature.

By Álvaro de Benito Fernández
Reviews

Daniel Boccato: Centinela

By Álvaro de Benito Fernández
March 28, 2018
Sandra Gamarra: Rojo Indio

In her recent exhibition for the gallery in Madrid, Sandra Gamarra (Lima, Peru, 1972) returns to use the concept of imposition of Western thought, channeled through the appropriation of that vision in Latin America. Nonetheless, the exploration of cultural perception and assimilation are, in a certain way, habitual subjects of study in her trajectory. For the occasion, the space plays a fundamental role for the understanding of the proposal. This, although conformed by several pieces, works as a single environment where everything dialogues within the conceptual framework.

By Álvaro de Benito Fernández
Reviews

Sandra Gamarra: Rojo Indio

By Álvaro de Benito Fernández
March 26, 2018
Eduardo Basualdo: La cabeza de Goliat

The Main Hall of the Usina del Arte houses an imposing installation by the Argentine artist Eduardo Basualdo, which can be seen until April 22nd.

By Laura Casanovas
Reviews

Eduardo Basualdo: La cabeza de Goliat

By Laura Casanovas
March 21, 2018
Doris Salcedo, "Palimpsesto"., 013-2017. Crédito fotográfico: Juan Fernando Castro

Each new intervention made by Doris Salcedo (Bogotá, Colombia, 1958) reaffirms the commitment to narrative based on historical research, usually covered in a certain revisionism, which the artist has been practicing for years, especially focusing on everything that surrounds political violence and what it generates. This is also the case of Palimpsesto, the proposal of monumental character that has developed in the Palacio de Cristal in Madrid and with which it pays tribute to the victims of one of the most dramatic faces of immigration, those who left their lives risking it blindly in the Mediterranean Sea.

By Álvaro de Benito Fernández
Reviews

Doris Salcedo at the Museo Nacional Centro de Arte Reina Sofía

By Álvaro de Benito Fernández
March 12, 2018
Eduardo Costa, inside and out, review by Aimar Arriola
Reviews

Eduardo Costa, inside and out, review by Aimar Arriola

February 08, 2018
David Tudor. Photo: Daniel Avena

Under the care of guest curator Emma Lavigne, the 14th Lyon Biennale of Contemporary Art brings together a breadth of artists who echo the instability of these times. 

By Patricia Avena Navarro
Reviews

14th Lyon Biennale: An Empirical and Sensory Exploration

By Patricia Avena Navarro
November 23, 2017
Jaildo Marinho: Cristalização. Museu de Arte Moderna (MAM). Rio de Janeiro, Brasil

Marinho sculpts and molds to seek not only the shape that emerges between his hands but also the emptiness yielded—that which we may not see so easily, but that is as real as what we do see, and as much part of the work.

By Patricia Avena Navarro
Reviews

Jaildo Marinho: Cristalização. Museu de Arte Moderna (MAM). Rio de Janeiro, Brasil

By Patricia Avena Navarro
October 26, 2017
Michel BLAZY, I Bookgarden, 2014. © Daniel Avena

The exhibition De Nature en Sculpture shows how nature is perceived by contemporary artists—mainly, as source of inspiration and means of expression. Nature, whether reproduced or in its actual state, is, here, turned into sculpture, and vice versa. Engaging our emotions, the artists summon nature in all of its forms and reveal through their visions its many facets (peaceful, turbulent, sublime, and vexing).

By Patricia Avena Navarro
Reviews

De Nature en Sculpture. Fundación Villa Datris. L'Isle-Sur-La Sorgue, Francia

By Patricia Avena Navarro
October 18, 2017
Francisco Masó: Surreptitious Stripes. Fundación Arts Connection. Miami

Surreptitious Stripes, an exhibition of work by Francisco Masó (Havana, 1988), was held from July 20 to August 19 at the Connect Now Room of the Arts Connection Foundation in Miami.

By Katherine Chacón
Reviews

Francisco Masó: Surreptitious Stripes. Fundación Arts Connection. Miami

By Katherine Chacón
August 07, 2017
 Luján Candría: Afar. Artium Gallery, Miami.

Candría’s images suggest the space in a distance not only geographic, but also temporal. On the basis of a series of images taken in Iceland and California, the artist reconstructs the phases of a journey that wanders in memory and imagination.

By Willy Castellanos-Simons
Reviews

Luján Candría: Afar. Artium Gallery, Miami.

By Willy Castellanos-Simons
July 10, 2017
Teatralineados fluo vert, 2016. Plexigras, nylon, moteurs, ordinateur, interface electronique. 20x20x250cm. © Daniel Avena

The show Slow Motion features the most important outgrowths of the creative universe of an artist that invites the viewer to take a new look at the art of movement.

By Patricia Avena Navarro
Reviews

Elias Crespín:Slow Motion. Maison de L'Amérique Latine, Paris

By Patricia Avena Navarro
April 03, 2017
Ananké Asseff: Soberbia. Rolf Art, Buenos Aires

 Ananké Asseff continues investigating topics that have concerned her in earlier works, specifically the complexity of human interactions and the place of the individual, with its baggage of experiences and memories, within those interactions. 

By José Antonio Navarrete
Reviews

Ananké Asseff: Soberbia. Rolf Art, Buenos Aires

By José Antonio Navarrete
December 20, 2016
Donna Huanca: Scar Cymbals. Zabludowicz Collection London

Scar Cymbals is Huanca’s world developed by means of a fluid dialogue between setting and architecture, sculpture and performance. 

By Álvaro de Benito Fernández
Reviews

Donna Huanca: Scar Cymbals. Zabludowicz Collection London

By Álvaro de Benito Fernández
December 12, 2016
Artist Immigrants of Washington: The Looking Glass
By Adriana Herrera
Reviews

Artist Immigrants of Washington: The Looking Glass

By Adriana Herrera
December 07, 2016
Marcia Schvartz: Eye. Fortabat Art Collection, Buenos Aires

The exhibition by Argentine artist Marcia Schvatz can be visited at Amalia Lacroze de Fortabat Art Collection until January 2017

By Alejo Ponce de León
Reviews

Marcia Schvartz: Eye. Fortabat Art Collection, Buenos Aires

By Alejo Ponce de León
December 05, 2016
Agustina Woodgate: Power-Line. Spinello Projects, Miami

Beyond specific description, Agustina Woodgate’s works are of interest because the product of careful research; they are objects that set off a poetics that brings to a halt the relentless mechanism of late capitalism and its complex socioeconomic system to open up interstices of subjective flight.

By Adriana Herrera
Reviews

Agustina Woodgate: Power-Line. Spinello Projects, Miami

By Adriana Herrera
November 29, 2016
Ohne Titel: I’ll never forget what I don’t remember
By Juan Cruz Pedroni
Reviews

Ohne Titel: I’ll never forget what I don’t remember

By Juan Cruz Pedroni
November 25, 2016
Fragmentations and Other Parables. Alejandra von Hartz Gallery, Miami

The point of departure for this exhibition curated by the Aluna collective is fragmentation as a constant of contemporary society. 

By Anelys Alvarez
Reviews

Fragmentations and Other Parables. Alejandra von Hartz Gallery, Miami

By Anelys Alvarez
November 21, 2016
Kazimir Malevich: Retrospective. Fundación Proa. Buenos Aires

This retrospective at Proa is a major institutional accomplishment in a country where original criticism on Malevich’s art has circulated with increasing intensity.

By Juan Cruz Pedroni
Reviews

Kazimir Malevich: Retrospective. Fundación Proa. Buenos Aires

By Juan Cruz Pedroni
November 11, 2016
Antonio Dias, No meu jardín [En mi jardín], 1967. Acrílico, espuma, laminado de melanina sobre aglomerado, lona, parafina, plástico y tejido. 44,7 x 99,8 x 200 cm. Colección Roger Wright, en comodato con la Pinacoteca do Estado de São Paulo. Foto: Isabella Matheus.

This collection allows us, the viewers, to ponder the cultural moves of the country between the inauguration of Brasília.

By José Augusto Ribeiro
Reviews

Brazilian avant-garde in the 1960s. Roger Wright Collection

By José Augusto Ribeiro
October 31, 2016
Cuando el mundo se disuelva, 2016. Video digital HD. 24 minutos.

The show of work by Tomás Maglione on exhibit at Galería Ruth Benzacar, attests to how sound—and how open to intuition and surprise—Maglione’s project is.

By Victoria Verlichak
Reviews

Tomás Maglione: Aliento. Galería Ruth Benzacar. Buenos Aires

By Victoria Verlichak
October 31, 2016
Doris Salcedo: Unland. Perez Art Museum Miami

Born in Colombia, Salcedo has sculpted or created installations as rituals that are both memory and eulogy, ways of rummaging into mute stones to find and to transcribe the voices buried within them.

By Adriana Herrera
Reviews

Doris Salcedo: Unland. Perez Art Museum Miami

By Adriana Herrera
October 31, 2016