Reviews

PAZ ERRÁZURIZ: THE GREATNESS OF THE MARGIN

Probably anyone who is interested in the visual arts within the Latin American scene will be familiar with the work of the Chilean artist Paz Errázuriz. Her impressive work is characterized, above all, in working, through photography, themes linked to oblivion, marginality and exclusion, showing a particular interest in portraying those people that society, for various reasons, has left aside. This year, Errázuriz took a privileged spot at the 22nd Paiz Perdidos Art Biennial Perdidos. en Medio. Juntos. (Lost. In Between. Together) and she presents during the months of May and June a solo exhibition entitled La grandeza del margen (The Greatness of the Margin). From this exhibition, I find especially notable the Trans Guatemala (2020) and Sepur Zarco (2020) series, two unpublished series where problems of great contingency are evident.

By Jacinta Marín
Reviews

PAZ ERRÁZURIZ: THE GREATNESS OF THE MARGIN

By Jacinta Marín

Probably anyone who is interested in the visual arts within the Latin American scene will be familiar with the work of the Chilean artist Paz Errázuriz. Her impressive work is characterized, above all, in working, through photography, themes linked to oblivion, marginality and exclusion, showing a particular interest in portraying those people that society, for various reasons, has left aside. This year, Errázuriz took a privileged spot at the 22nd Paiz Perdidos Art Biennial Perdidos. en Medio. Juntos. (Lost. In Between. Together) and she presents during the months of May and June a solo exhibition entitled La grandeza del margen (The Greatness of the Margin). From this exhibition, I find especially notable the Trans Guatemala (2020) and Sepur Zarco (2020) series, two unpublished series where problems of great contingency are evident.

June 02, 2021
THE ARTISTIC CAREER OF BEATRIZ GONZÁLEZ

After concluding her retrospective exhibition at the Miguel Urrutia Art Museum, of the Banco de la República, between October and December 2020, the artist Beatriz González has been invited to participate in the exhibition "Another Energy: Power to Continue Challenging", in the company of 15 women artists of wide range and different nationalities, at the Mori Museum in Tokyo (Japan). Here is a summary of her artistic career.

By Eduardo Márceles Daconte
Reviews

THE ARTISTIC CAREER OF BEATRIZ GONZÁLEZ

By Eduardo Márceles Daconte

After concluding her retrospective exhibition at the Miguel Urrutia Art Museum, of the Banco de la República, between October and December 2020, the artist Beatriz González has been invited to participate in the exhibition "Another Energy: Power to Continue Challenging", in the company of 15 women artists of wide range and different nationalities, at the Mori Museum in Tokyo (Japan). Here is a summary of her artistic career.

May 26, 2021
NETWORK RADICALITIES - THE EARTH'S WOMB

"But what messages do these artists, in O Ventre da Terra, address to us? (...) For them, the land is not just one thing. Now it is homeland and nation, sometimes nature and landscape, sometimes texture and materiality, now ancestral and primeval origin, now cemetery and final destination." The art critic from Rio de Janeiro Pollyana Quintella synthesizes the multiple vectors to which the thought-provoking group of pieces present in the collective exhibition of the gallery Superfície in São Paulo can be directed. It does not escape the attention of almost all women in authorship and the time when it was conceived - the 1970s, of marked experimentalism in the face of the repression of the lead years in the political sphere, which would still last some time in the 80´s.

By Mario Gioia, art critic and independent curator. São Paulo
Reviews

NETWORK RADICALITIES - THE EARTH'S WOMB

By Mario Gioia, art critic and independent curator. São Paulo

"But what messages do these artists, in O Ventre da Terra, address to us? (...) For them, the land is not just one thing. Now it is homeland and nation, sometimes nature and landscape, sometimes texture and materiality, now ancestral and primeval origin, now cemetery and final destination." The art critic from Rio de Janeiro Pollyana Quintella synthesizes the multiple vectors to which the thought-provoking group of pieces present in the collective exhibition of the gallery Superfície in São Paulo can be directed. It does not escape the attention of almost all women in authorship and the time when it was conceived - the 1970s, of marked experimentalism in the face of the repression of the lead years in the political sphere, which would still last some time in the 80´s.

April 29, 2021
JOSÉ LUIS LANDET. THE UNSTOPPABLE ASPIRATION TO THE TOTAL WORK OF ART.

It is not the first time that when I go through the work of José Luis Landet I am struck by the feeling that the perseverance, tenacity and insistence of his poetic project point to the realization of the total work of art. Perhaps it is because of the magnitude of his commitment or because of the breadth of his interests’ spectrum, but the feeling I am referring to - which in any case also finds echoes in certain formal decisions - refers to a kind of iron will to create a single work of art that combines the synthesis of all the others.

By Florencia Battiti
Reviews

JOSÉ LUIS LANDET. THE UNSTOPPABLE ASPIRATION TO THE TOTAL WORK OF ART.

By Florencia Battiti

It is not the first time that when I go through the work of José Luis Landet I am struck by the feeling that the perseverance, tenacity and insistence of his poetic project point to the realization of the total work of art. Perhaps it is because of the magnitude of his commitment or because of the breadth of his interests’ spectrum, but the feeling I am referring to - which in any case also finds echoes in certain formal decisions - refers to a kind of iron will to create a single work of art that combines the synthesis of all the others.

April 27, 2021
NFT - THE FUTURE OF ART?

In February 2021, Christie's auction house sold a digital work by Mike Winkemann, popularly known as Beeple, for the sum of $ 69.3 million, making the almost unknown author the third most sought-after living artist in the world, after David Hockney and Jeff Koons. The news shook the art scene. Not only because of the exorbitant amount obtained by Everydays: The First 5000 Days (2021) - the work in question - but, mainly, because of its immaterial nature and because of the implications of the event in a possible reconfiguration of the art system and some of its more established values.

By Rodrigo Alonso
Reviews

NFT - THE FUTURE OF ART?

By Rodrigo Alonso

In February 2021, Christie's auction house sold a digital work by Mike Winkemann, popularly known as Beeple, for the sum of $ 69.3 million, making the almost unknown author the third most sought-after living artist in the world, after David Hockney and Jeff Koons. The news shook the art scene. Not only because of the exorbitant amount obtained by Everydays: The First 5000 Days (2021) - the work in question - but, mainly, because of its immaterial nature and because of the implications of the event in a possible reconfiguration of the art system and some of its more established values.

April 20, 2021
DAGOBERTO RODRÍGUEZ: OMENS OF THE FUTURE

Dagoberto Rodríguez (1969, Caibarién, Cuba) presents Planeta de Cristal (Crystal Planet), his first solo exhibition in Miami, recently opened to the public. It collects part of his production from 2020 and confirms the vitality that his already long and successful career preserves, which, with notable international recognition, has spanned the past three decades. The artist was first part, until very recently, of the Los Carpinteros collective, and then, since 2017, he works and exhibits on his own.

By José Antonio Navarrete
Reviews

DAGOBERTO RODRÍGUEZ: OMENS OF THE FUTURE

By José Antonio Navarrete

Dagoberto Rodríguez (1969, Caibarién, Cuba) presents Planeta de Cristal (Crystal Planet), his first solo exhibition in Miami, recently opened to the public. It collects part of his production from 2020 and confirms the vitality that his already long and successful career preserves, which, with notable international recognition, has spanned the past three decades. The artist was first part, until very recently, of the Los Carpinteros collective, and then, since 2017, he works and exhibits on his own.

April 15, 2021
EVERYTHING IS POSSIBLE IN NEO POST: 50 YEARS OF GEOMETRIC PAINTING IN ARGENTINA, Museo de Arte Contemporáneo de Buenos Aires (MACBA)

The history of art for the last fifty years has yet to be written. But the NEO POST exhibition, 50 years of geometric painting in Argentina 1970-2020, is a good approach to a fundamental chapter of Argentine art, at the Museum of Contemporary Art in Buenos Aires (MACBA). The set of more than 80 artists selected by the curator Rodrigo Alonso reveals trends, nuances, affinities and differences between diverse creators, both historical ones such as Marcelo Bonevardi, Roberto Aizenberg, Kasuya Sakai and María Martorell, and artists in full activity such as Ernesto Ballesteros, Marta Minujín and Pablo Siquier. As a sign of these times, the artist's subjectivity appears, in all its freedom, open to other materialities and forms. It is no longer necessary to react rationally to the illusion, fiction and drama of figurative art. Everything is possible.

By María Paula Zacharías
Reviews

EVERYTHING IS POSSIBLE IN NEO POST: 50 YEARS OF GEOMETRIC PAINTING IN ARGENTINA, Museo de Arte Contemporáneo de Buenos Aires (MACBA)

By María Paula Zacharías

The history of art for the last fifty years has yet to be written. But the NEO POST exhibition, 50 years of geometric painting in Argentina 1970-2020, is a good approach to a fundamental chapter of Argentine art, at the Museum of Contemporary Art in Buenos Aires (MACBA). The set of more than 80 artists selected by the curator Rodrigo Alonso reveals trends, nuances, affinities and differences between diverse creators, both historical ones such as Marcelo Bonevardi, Roberto Aizenberg, Kasuya Sakai and María Martorell, and artists in full activity such as Ernesto Ballesteros, Marta Minujín and Pablo Siquier. As a sign of these times, the artist's subjectivity appears, in all its freedom, open to other materialities and forms. It is no longer necessary to react rationally to the illusion, fiction and drama of figurative art. Everything is possible.

April 13, 2021
ABRIR GALLERY PRESENTS " JAMAS SU TRONCO ENDEREZA " AND "TODAY IS OUR TOMORROW"

The exhibitions, by the artists Alexandra Colmenares and Rocío Gomez, are held online and include works in audio, video, digital art, photography and painting. Creating a stage that enfolds the viewer, the screen that separates them ceases to be a window and becomes a connecting channel.

By Mercedes Abella
Reviews

ABRIR GALLERY PRESENTS " JAMAS SU TRONCO ENDEREZA " AND "TODAY IS OUR TOMORROW"

By Mercedes Abella

The exhibitions, by the artists Alexandra Colmenares and Rocío Gomez, are held online and include works in audio, video, digital art, photography and painting. Creating a stage that enfolds the viewer, the screen that separates them ceases to be a window and becomes a connecting channel.

April 11, 2021
25 ARTISTS WHO OPPOSED THEIR IMAGINATION TO CONFINEMENT IN 2020

An ancient oriental tale tells, with multiple variants, the story of a painter who, having been imprisoned by an arbitrary power, devoted himself to painting a detailed landscape on the prison walls. Day after day the jailers observed the futility of his efforts. But the night he finished it, while everyone was sleeping, the imprisoned artist entered the landscape and was lost in it. Another version says that he painted a door through which he escaped along with other inmates. Spaced Out: Time is Art, curated by Adriana Herrera at the Art Factory Project gallery, brings together a group of paintings, photographs, collages, sculptures and other three-dimensional works created during the pandemic by 21 artists of various nationalities ad based in Miami. The dialogue between multiple visions that configure different exit doors reaffirms the possibility of contrasting the freedom of artistic imagination with the oppressive atmosphere of the present.

Reviews

25 ARTISTS WHO OPPOSED THEIR IMAGINATION TO CONFINEMENT IN 2020

An ancient oriental tale tells, with multiple variants, the story of a painter who, having been imprisoned by an arbitrary power, devoted himself to painting a detailed landscape on the prison walls. Day after day the jailers observed the futility of his efforts. But the night he finished it, while everyone was sleeping, the imprisoned artist entered the landscape and was lost in it. Another version says that he painted a door through which he escaped along with other inmates. Spaced Out: Time is Art, curated by Adriana Herrera at the Art Factory Project gallery, brings together a group of paintings, photographs, collages, sculptures and other three-dimensional works created during the pandemic by 21 artists of various nationalities ad based in Miami. The dialogue between multiple visions that configure different exit doors reaffirms the possibility of contrasting the freedom of artistic imagination with the oppressive atmosphere of the present.

April 09, 2021
ARMAN: THE CREATING FUROR OF THE NEW REALISM IN MIAMI

Arman. Conceptual Perception, the first solo exhibition in Miami by the legendary French-American artist co-founder of the “Nouveau Réalisme” (New Realism), is the result of an applause-worthy collusion between the Ascaso gallery and Corice Canton, widow and trustee of the Arman Marital Trust and its vast legacy.

By Adriana Herrera
Reviews

ARMAN: THE CREATING FUROR OF THE NEW REALISM IN MIAMI

By Adriana Herrera

Arman. Conceptual Perception, the first solo exhibition in Miami by the legendary French-American artist co-founder of the “Nouveau Réalisme” (New Realism), is the result of an applause-worthy collusion between the Ascaso gallery and Corice Canton, widow and trustee of the Arman Marital Trust and its vast legacy.

April 07, 2021
Blind Sensorium, 2021. Ph: Matadero Madrid.

The exhibition at Matadero Madird is the result of ten years of work that the Italian artist Armin Linke (Milan, 1966) has developed in collaboration with Giulia Bruno and Giuseppe Ielasi with the aim of configuring a visual anthropology around political, economic and technological activity and the consequences that these processes have on the planetary ecosystems.

By Matías Helbig, corresponsal en Europa.
Reviews

BLIND SENSORIUM: A VISUAL ANTHROPOLOGY THAT QUESTIONS CLIMATE ACTION

By Matías Helbig, corresponsal en Europa.

The exhibition at Matadero Madird is the result of ten years of work that the Italian artist Armin Linke (Milan, 1966) has developed in collaboration with Giulia Bruno and Giuseppe Ielasi with the aim of configuring a visual anthropology around political, economic and technological activity and the consequences that these processes have on the planetary ecosystems.

March 29, 2021
GEOMETRIC AND INTUITIVE, ARTIST AT HEART - IVAN SERPA - THE EXPRESSION OF CONCRETE
By Mario Gioia, art critic and independent curator. São Paulo
Reviews

GEOMETRIC AND INTUITIVE, ARTIST AT HEART - IVAN SERPA - THE EXPRESSION OF CONCRETE

By Mario Gioia, art critic and independent curator. São Paulo
March 24, 2021
"Light Object", vista de sala. Ph: Estudio David Magán

David Magán inaugurated the projects Hard-line and Light Object at Galería Cayón space.  On the one hand, a series of sculptural artworks that function as a single oeuvre and that deepen Magán's link with the use of line; on the other, an installation made especially for the second space that proposes to highlight the materiality of light through additive colour (the chromatic composition through the superimposition of red, blue and green).

By Matías Helbig, corresponsal en Europa
Reviews

DAVID MAGÁN'S INTERACTIVE ART

By Matías Helbig, corresponsal en Europa

David Magán inaugurated the projects Hard-line and Light Object at Galería Cayón space.  On the one hand, a series of sculptural artworks that function as a single oeuvre and that deepen Magán's link with the use of line; on the other, an installation made especially for the second space that proposes to highlight the materiality of light through additive colour (the chromatic composition through the superimposition of red, blue and green).

March 16, 2021
THE GRAPHIC ARTS FROM A PLURAL AND EXPANDED PERSPECTIVE

Creating a dialogue between heritage/historical collections and contemporary productions is a lucid strategy not only to make these collections visible, many times relegated to art deposits, but also to review certain genealogies of art history and to update and refresh their narratives that not infrequently have been built around disciplines and dogmatic categorizations.

By Florencia Battiti - Curadora e investigadora. Vicepresidenta de la Asociación Argentina de Críticos de Arte (Buenos Aires, Argentina).
Reviews

THE GRAPHIC ARTS FROM A PLURAL AND EXPANDED PERSPECTIVE

By Florencia Battiti - Curadora e investigadora. Vicepresidenta de la Asociación Argentina de Críticos de Arte (Buenos Aires, Argentina).

Creating a dialogue between heritage/historical collections and contemporary productions is a lucid strategy not only to make these collections visible, many times relegated to art deposits, but also to review certain genealogies of art history and to update and refresh their narratives that not infrequently have been built around disciplines and dogmatic categorizations.

March 01, 2021
SKETCHES OF A NEW WORLD: INFINITO VÃO - 90 YEARS OF BRAZILIAN ARCHITECTURE

After a visit to Infinito Vão, one of the predominant sensations is that the best of Brazilian architecture always comes in duo with an expressive presence of the visual arts, both in modern times and in these conflicting current days. The exhibition, subtitled 90 years of Brazilian architecture and curated by Fernando Serapião and Guilherme Wisnik, is based at Sesc 24 de Maio, already emblematic of Paulo Mendes da Rocha, one of the two Pritzkers born in the country.

By Mario Gioia, crítico de arte y curador independiente (Brasil)
Reviews

SKETCHES OF A NEW WORLD: INFINITO VÃO - 90 YEARS OF BRAZILIAN ARCHITECTURE

By Mario Gioia, crítico de arte y curador independiente (Brasil)

After a visit to Infinito Vão, one of the predominant sensations is that the best of Brazilian architecture always comes in duo with an expressive presence of the visual arts, both in modern times and in these conflicting current days. The exhibition, subtitled 90 years of Brazilian architecture and curated by Fernando Serapião and Guilherme Wisnik, is based at Sesc 24 de Maio, already emblematic of Paulo Mendes da Rocha, one of the two Pritzkers born in the country.

February 26, 2021
TO EXHIBIT IN TIMES OF COVID-19: ABRIR GALLERY PROJECTS

Opinion article and review of the exhibitions PDF and #OPENCALL presented by Abrir Galería, online project founded in Peru.

By Carlos Zevallos Trigoso - Curador e investigador independiente (Perú)
Reviews

TO EXHIBIT IN TIMES OF COVID-19: ABRIR GALLERY PROJECTS

By Carlos Zevallos Trigoso - Curador e investigador independiente (Perú)

Opinion article and review of the exhibitions PDF and #OPENCALL presented by Abrir Galería, online project founded in Peru.

February 24, 2021
La Bondadosa Crueldad, Museo Reina Sofía. Ph: Joaquín Cortés y Román Lores

On the 4th floor of the Sabatini Building of the Museo Reina Sofía (Madrid, Spain), a collaborative project managed by the FALFAA (Augusto & León Ferrari Arte and Collection Foundation) and the Museo Reina Sofía presents La Bondadosa Crueldad-León Ferrari, 100 años (The Kind Cruelty - Leon Ferrari, 100 Years). As part of León Ferrar’s (Buenos Aires, 1920-2013) birth centenary, the exhibition aims to highlight in Europe the artwork of one of the most important figures on the international scene from the 1960s until his death.

By Matías Helbig, Corresponsal en Europa
Reviews

WAYS OF DISPLAYING CRUELTY, LEÓN FERRARI AT THE REINA SOFÍA MUSEUM

By Matías Helbig, Corresponsal en Europa

On the 4th floor of the Sabatini Building of the Museo Reina Sofía (Madrid, Spain), a collaborative project managed by the FALFAA (Augusto & León Ferrari Arte and Collection Foundation) and the Museo Reina Sofía presents La Bondadosa Crueldad-León Ferrari, 100 años (The Kind Cruelty - Leon Ferrari, 100 Years). As part of León Ferrar’s (Buenos Aires, 1920-2013) birth centenary, the exhibition aims to highlight in Europe the artwork of one of the most important figures on the international scene from the 1960s until his death.

February 18, 2021
IN MEMORIAM. TERESA BURGA
By Max Hernández Calvo - Curador independiente
Reviews

IN MEMORIAM. TERESA BURGA

By Max Hernández Calvo - Curador independiente
February 12, 2021
PAMM ACQUIRES A WORK BY LYDIA OKUMURA IN PIERO ATCHUGARRY GALLERY

What does it mean for a gallery that an artwork has been acquired by a museum?

By Francisco Fileccia
Reviews

PAMM ACQUIRES A WORK BY LYDIA OKUMURA IN PIERO ATCHUGARRY GALLERY

By Francisco Fileccia

What does it mean for a gallery that an artwork has been acquired by a museum?

February 03, 2021
Leonov, Nikolayev, Istochnikov, Rozhdestvensky, Beregovoi y Shatalov. Sputnik (1997) de Joan Fontcuberta

A lie as a natural instinct of photography.

By Francisco Fileccia
Reviews

DOUBT, DECEPTION AND TRUTH. THE PHOTOGRAPHY OF JOAN FONTCUBERTA

By Francisco Fileccia

A lie as a natural instinct of photography.

February 02, 2021
Rivane Neuenschwander: Poetics and responsability in all worldly things

If there were a quality that might apply to Rivane Neuenschwander’s unclassifiable art, it would be its capacity to implicate. A cyclic poetics of interaction animates the extremely broad range of works that eliminate the conventions of time and space, as well as the network of preconceptions based on which we build for ourselves a place in the world, often separated from one another by pre-established categories.

By Adriana Herrera Téllez
Reviews

Rivane Neuenschwander: Poetics and responsability in all worldly things

By Adriana Herrera Téllez

If there were a quality that might apply to Rivane Neuenschwander’s unclassifiable art, it would be its capacity to implicate. A cyclic poetics of interaction animates the extremely broad range of works that eliminate the conventions of time and space, as well as the network of preconceptions based on which we build for ourselves a place in the world, often separated from one another by pre-established categories.

January 29, 2021
ACEPTAR: GROUP EXHIBITION AT THE JOAN HISAOKA HEALING ARTS GALLERY
By Claudia Rousseau
Reviews

ACEPTAR: GROUP EXHIBITION AT THE JOAN HISAOKA HEALING ARTS GALLERY

By Claudia Rousseau
January 29, 2021
WHAT WE INHABIT AND INHABIT US - DO HO SUH AT LEHMANN MAUPIN

20 years after Do Ho Suh's first exhibition in the United States, Lehmann Maupin Gallery, which accompanied him then and to this day, presents a digital exhibition as a complement to the physical one in London.

By Francisco Fileccia
Reviews

WHAT WE INHABIT AND INHABIT US - DO HO SUH AT LEHMANN MAUPIN

By Francisco Fileccia

20 years after Do Ho Suh's first exhibition in the United States, Lehmann Maupin Gallery, which accompanied him then and to this day, presents a digital exhibition as a complement to the physical one in London.

January 28, 2021
GUSTAVO PRADO’S INSTALLATION “THE UNDERCURRENT” AT MIAMI BEACH BOTANICAL GARDEN

Presented together with The55Project, The Undercurrent revisits Prado’s ongoing series “Measure of Dispersion,” last exhibited at the Jardim Botânico do Rio de Janeiro, Brazil in 2017.

By Jennifer Ignacio
Reviews

GUSTAVO PRADO’S INSTALLATION “THE UNDERCURRENT” AT MIAMI BEACH BOTANICAL GARDEN

By Jennifer Ignacio

Presented together with The55Project, The Undercurrent revisits Prado’s ongoing series “Measure of Dispersion,” last exhibited at the Jardim Botânico do Rio de Janeiro, Brazil in 2017.

December 10, 2020
LAST DAYS OF “TRANSVERSAL” AT CASA HOFFMANN BOGOTÁ

Open until Friday 27, the TRANSVERSAL exhibition is an intersection between art, science and technology, a meeting between the perceptual and the philosophical, beyond the purely technical.

By Santiago Rueda
Reviews

LAST DAYS OF “TRANSVERSAL” AT CASA HOFFMANN BOGOTÁ

By Santiago Rueda

Open until Friday 27, the TRANSVERSAL exhibition is an intersection between art, science and technology, a meeting between the perceptual and the philosophical, beyond the purely technical.

November 24, 2020
" QUE NOS ROBAN LA MEMORIA " CONCHA JEREZ AT THE REINA SOFÍA MUSEUM

On July 28, a retrospective exhibition of the Canarian artist Concha Jerez (Las Palmas de Gran Canaria, 1941) was inaugurated at the Museo Nacional Centro de Arte Reina Sofía. Mounted in the Vault Room, the Protocol Room, the stone stairs and the third floor of the Sabatini Building, the project takes museum visitors on an extensive journey that goes from the 70s - the artist's formative years - to the present. Que nos roban la memoria (They steal our memory), curated by Joao Fernandes is, beyond its regressive nature, a reflection on the mechanisms of censorship and repression in the face of memory mechanisms. Ultimately, a historical review from collective memory and personal memory.

By Matías Helbig
Reviews

" QUE NOS ROBAN LA MEMORIA " CONCHA JEREZ AT THE REINA SOFÍA MUSEUM

By Matías Helbig

On July 28, a retrospective exhibition of the Canarian artist Concha Jerez (Las Palmas de Gran Canaria, 1941) was inaugurated at the Museo Nacional Centro de Arte Reina Sofía. Mounted in the Vault Room, the Protocol Room, the stone stairs and the third floor of the Sabatini Building, the project takes museum visitors on an extensive journey that goes from the 70s - the artist's formative years - to the present. Que nos roban la memoria (They steal our memory), curated by Joao Fernandes is, beyond its regressive nature, a reflection on the mechanisms of censorship and repression in the face of memory mechanisms. Ultimately, a historical review from collective memory and personal memory.

August 18, 2020
BEHIND THE IMAGE OF THE INDIGENOUS IN THE VISUAL ARTS OF EL SALVADOR. AFTER A CONSTRUCTION FROM CONTRADICTION

Article commissioned by Y.ES Contemporary, part of the 2019 Y.ES Artist Academy focused on arts writing, program led by Gabriela Poma. An iniciative of the Robert S. Wennett and Mario Cader-Frech Foundation, Y.ES Contemporary creates opportunities for outstanding Salvadoran contemporary artists to advance their artistic practice and engage with artists, curators, collectors, gallerists and the media within and outside El Salvador.

By Jaime Izaguirre
Reviews

BEHIND THE IMAGE OF THE INDIGENOUS IN THE VISUAL ARTS OF EL SALVADOR. AFTER A CONSTRUCTION FROM CONTRADICTION

By Jaime Izaguirre

Article commissioned by Y.ES Contemporary, part of the 2019 Y.ES Artist Academy focused on arts writing, program led by Gabriela Poma. An iniciative of the Robert S. Wennett and Mario Cader-Frech Foundation, Y.ES Contemporary creates opportunities for outstanding Salvadoran contemporary artists to advance their artistic practice and engage with artists, curators, collectors, gallerists and the media within and outside El Salvador.

August 05, 2020
AESTHETIC RESISTANCE AS AN APPROACH TO THE AESTHETIC REGIME OF THE SALVADORAN ARTISTIC ENVIRONMENT

Article commissioned by Y.ES Contemporary as part of the 2019 Y.ES Artist Academy focused on arts writing, program led by Gabriela Poma. An iniciative of the Robert S. Wennett and Mario Cader-Frech Foundation, Y.ES Contemporary creates opportunities for outstanding Salvadoran contemporary artists to advance their artistic practice and engage with artists, curators, collectors, gallerists and the media within and outside El Salvador.

By Eduardo Crespín
Reviews

AESTHETIC RESISTANCE AS AN APPROACH TO THE AESTHETIC REGIME OF THE SALVADORAN ARTISTIC ENVIRONMENT

By Eduardo Crespín

Article commissioned by Y.ES Contemporary as part of the 2019 Y.ES Artist Academy focused on arts writing, program led by Gabriela Poma. An iniciative of the Robert S. Wennett and Mario Cader-Frech Foundation, Y.ES Contemporary creates opportunities for outstanding Salvadoran contemporary artists to advance their artistic practice and engage with artists, curators, collectors, gallerists and the media within and outside El Salvador.

July 28, 2020
JUAN IRIBARREN: SCALAMANDRE-PFIZER - PHOTOGRAPHS, PAINTINGS AND PRINTED IMAGES

The last exhibition by Juan Iribarren Scalamandre-Pfizer, which took place at the Carmen Araujo Arte Gallery in Caracas, was a "visual essay", a work that brought together different "means" and "ways" of image production, and took the form of an exercise (and also a game) of connections: coming and going, confluences and dispersions. A “visual essay” that, on the one hand, manages to synthesize in an “event” a large part of the artist's pictorial interests, and on the other, narrates a transit, a move.

By Sandra Pinardi
Reviews

JUAN IRIBARREN: SCALAMANDRE-PFIZER - PHOTOGRAPHS, PAINTINGS AND PRINTED IMAGES

By Sandra Pinardi

The last exhibition by Juan Iribarren Scalamandre-Pfizer, which took place at the Carmen Araujo Arte Gallery in Caracas, was a "visual essay", a work that brought together different "means" and "ways" of image production, and took the form of an exercise (and also a game) of connections: coming and going, confluences and dispersions. A “visual essay” that, on the one hand, manages to synthesize in an “event” a large part of the artist's pictorial interests, and on the other, narrates a transit, a move.

July 14, 2020
ART IN THE MARSH: AN EMERGING SCENE IN BUENOS AIRES

The cultural proposal of the collective PANTANOSUMPF and its exhibition Anábasis, in Buenos Aires. Young artists from the River Plate, between the weight of the past and the resignification of the present.

By Tomás Gonzalez Casartelli
Reviews

ART IN THE MARSH: AN EMERGING SCENE IN BUENOS AIRES

By Tomás Gonzalez Casartelli

The cultural proposal of the collective PANTANOSUMPF and its exhibition Anábasis, in Buenos Aires. Young artists from the River Plate, between the weight of the past and the resignification of the present.

March 17, 2020
CLAUDIA ANDUJAR: LA LUTTE YANOMAMI - FONDATION CARTIER POUR L’ART CONTEMPORAIN

The Cartier Foundation presents the largest exhibition dedicated to the work of Brazilian photographer Claudia Andujar who, since the 1970s, has dedicated her life to the photography and defense of the Yanomami, one of the most important indigenous communities of the Brazilian Amazon. 

By Patricia Avena Navarro
Reviews

CLAUDIA ANDUJAR: LA LUTTE YANOMAMI - FONDATION CARTIER POUR L’ART CONTEMPORAIN

By Patricia Avena Navarro

The Cartier Foundation presents the largest exhibition dedicated to the work of Brazilian photographer Claudia Andujar who, since the 1970s, has dedicated her life to the photography and defense of the Yanomami, one of the most important indigenous communities of the Brazilian Amazon. 

March 05, 2020