Within the framework of what was Radical Women exhibition that was given at the Hammer Museum, L.A., California, independent critic and curator Adriana Herrera Téllez reflects on the visibility of these artists and the legacy proposed by the catalog.
Elvis Fuentes reflects on Stories of Sexuality exhiition in the MASP and the importance of controversial art.
Diego Trulls, founder and producer of the CRUDO countercultural project, explains his relationship with art, the objectives for his interview channel and the desire to generate an audiovisual record of the international contemporary scene.
RETURN TO KOYAANISQUAATSI: WILLY CASTELLANOS AT THE KENDALL ARTE CENTER IN MIAMI
In a context of hyperinformation and image overproduction, José Antonio Navarrete reflected on the construction of meaning in contemporary visual arts from the artwork of Willy Castellanos.
DIMENSIONS OF THE SAME
Argentine artist Constanza Oxenford presents Dimensions of the same, her second solo show at OdA, Art Gallery
THE UNEARTHLY ENCHANTMENTS OF NELA ARIAS-MISSON
“I don’t paint to live, I live to paint.” — Nela Arias-Misson when asked about her refusal to sell her work.
SHARED ABSENCE, A DIALOGUE ON MEMORY
The Rolf Art gallery exhibits Falta compartida (Shared Absence). Conceived as a collective exhibition in collaboration with Mon Charpentier, eleven Latin American artists approach memory from diverse languages.
JULIO LE PARC, A VISIONARY
At his 90, the Kirchner Cultural Center presents the most important retrospective of Julio Le Parc. Main figure of optical art and international avant-garde, Julio Le Parc. A visionary will accompany the exhibition that is being set up by the National Museum of Fine Arts of Buenos Aires.
WHO'S THAT GIRL?: FLAVIA DA RIN IN THE MODERN ART MUSEUM OF BUENOS AIRES
On exhibition at the Modern Art Museum of Buenos Aires until September 29, ¿Quién es esa chica? (Who's that girl ?), by Flavia Da Rin, is the first retrospective in a museum of one of the most relevant figures of the Argentine contemporary scene.
LEANDRO ERLICH AT RUTH BENZACAR
"The Scottish artist Andy Goldsworthy said that his art school was not the academy but the beach. Mine was the VCR," wrote Leandro Erlich in the framework of his exhibition Coming Soon, in Ruth Benzacar.
RESONANCES OF PRESENT DAY RE-ELABORATED SELFPORTRAITS
Problems between the genius artist myth and the woman sign. Review of Gachi Rosati's Ver la diferencia (See the difference) exhibition at Lanzallamas Art Space.
PARIS: ANTONIO SEGUÍ AT FRANCE NATIONAL LIBRARY
At France National Library in Paris, a tribute is paid to the renowned Argentine artist, Antonio Seguí. From the pictorial to the narrative, the game of the exhibition reflects Seguí's search for a redefinition of mankind.
WHAT DO WE SEE WHEN WE LOOK?
Leandro Erlich, the artist who questions the look. A profile made by Victoria Verlichak.
THE PRODUCTIVITY OF EMPTINESS
Margarita Sánchez Prieto illustrates the work and thought of the renowned Argentine artist, Dolores Cáceres.
LYDIA OKUMURA’S THOUSAND AND ONE EYES
The curator and art critic Adriana Herrera takes a tour of the prlifica career of the Brazilian artist Lydia Okumura.
TÚLIO PINTO: A CONJUGATION OF FORCES
Brazilian curator, art critic and journalist Angélica de Moraes drew a portrait of the multimedia artist Túlio Pinto. Taking the substantial elements of the career of the artist born in Brasilia, de Moraes illustrates with her words the profile of one of the most interesting protagonists of the contemporary Latin American scene.
IN CONVERSATION: LEANDRO KATZ
The visual artist, writer, and filmmaker spoke with Julia P. Herzberg for Arte al Día about his work process, his interest in photography and its boundaries.
ART PARIS: THE 21st EDITION UNDER THE SIGN OF WOMEN AND LATIN AMERICA
Art Paris 2019!
THE LATIN AMERICAN PRESENCE IN THE ARAB EMIRATES
A FLAMETHROWER MANIFESTO
Curated by Joaquín Barrera, Las cosas que Crecen is the second exhibition of the young project led by the pair Jen Zapata and Andrés Matías Pinilla located in the neighborhood of San Telmo. On this occasion, and as a strong bet during the ArteBA art fair weekend, Lanzallamas attacked with a solid collective proposal.
ALEJANDRO OTERO'S COLORITMOS ARE SHOWN COMPLETELY
The reasoned catalog of the Coloritmos by Alejandro Otero is published in Caracas, a volume with more than three hundred pages that delves for the first time into a chapter little studied and of great value for the Venezuelan and Latin American art of the XX century.
NARCISO PLEBEYO: PABLO SUÁREZ AT THE MUSEUM OF LATIN AMERICAN ART OF BUENOS AIRES
Narciso plebeyo is the title chosen for the Pablo Suárez (1937-2006) exhibition curated by Jimena Ferreiro and Rafael Cippolini at the Museum of Latin American Art of Buenos Aires (MALBA). From the part towards the whole, the sculptural installation Narciso de Mataderos (1984-1985) projects as a key to look at the whole of the portrait of a subjectivity, which in each work is imbricated with the folds of a social history. In these folds the plebeian appears as a program of intervention in the art system and as a torsion of the artistic canon. The biographical effect of the exhibition reflects a work of collective memory carried out by those who knew it and contributed to the historical thickness of the exhibition.
DELIA CANCELA AT BUENOS AIRES MUSEUM OF MODERN ART
Entering Delia Cancela. Reina de corazones (Delia Cancela. Queen of hearts), exhibition curated by Carla Barbero at Buenos Aires Museum of Modern Art, we are greeted by a painting with curved contours. Inward, large planes of primary colors oppress a face with absorbed eyes; outward, those planes push against the edges like a cloud in the instant before losing its contour. In Mujer y nubes (Woman and Clouds), of 1965, the formal synthesis of a pin-up figure and the effects of reverie annotated, with stereotypical signs, by a camp consciousness converge. The piece realized in co-authorship with Pablo Mesejean was, perhaps, chosen for the position it occupies by knotting three tenacious lines in Cancela’s production: visual mass culture, representations of femininity and visualized fantasy as an expanding force.
CARTE BLANCHE: TOMÁS SARACENO AT PALAIS DE TOKYO
On Air is the fourth edition of the carte blanche exhibition series that offers selected artists the opportunity to appropriate all the exhibition spaces of the Palais de Tokyo, in Paris. For the occasion, Tomás Saraceno has made his greatest project to date which brings together some of his main works, installations and unpublished creations. An interactive project that links art and science and that makes the Palais de Tokyo a place of unique sensory experience. This multidisciplinary purpose continues the artist's research on the relationship between humans and non-humans. A collaborative and evolutionary project designed to imagine new ways of inhabiting the world.
GONZALO MAGGI: FROM CINEMA TO PHOTOGRAPHY AND ART MANAGEMENT
Filled with artworks and prototypes for his next individual exhibition in La Boca neighborhood, Gonzalo Maggi’s studio-house in Villa General Miter remains hidden like a small museum. Behind two monitors, in front of the library, the young Argentinean artist takes a review over the works he has been doing throughout his career. Graduated from the Universidad del Cine almost a decade ago, Maggi changed cinema for the photography, but his production processes have more cinematographic filming than anything else.
FONDATION CARTIER: GÉOMÉTRIES SUD, DU MEXIQUE À LA TERRE DE FEU
The Fondation Cartier explores the diversity of Latin America modern art through Géométries Sud, du Mexique à la Terre de Feu, enhancing the richness and variety of ornaments, colors and figures in southern continent art. Gathering about 250 works from pre-Columbian period to the most contemporary productions, including popular art, abstract art, ceramics, sculpture, architecture and basketry, the exposition investigates the multiple forms of geometric abstraction in Latin America, which are inspired in pre-Columbian art, European avant-garde’s or in indigenous cultures still alive.
LE LE LEND, AN EXHIBITION WITHOUT INTERMEDIARIES
Until November 25, on the sixth floor of a business building in Buenos Aires City (928 Lenado N. Alem street), a sui generis collective exhibition within the Argentine contemporary scene opened. With the participation of ten of the most outstanding plastic artists since 2000 -Juan Becú, Florencia Bohtlingk, Laura Codega, Max Gómez Canle, Vicente Grondona, Máximo Pedraza, Tiziana Pierri, Déborah Pruden, Nahuel Vecino and Lorena Ventimiglia-, Le Le Lend inaugurated two weeks ago as a self-curated show.
TISSAGE-TRESSAGE AT VILLA DARTIS FOUNDATION
Since immemorial times, the thread has fascinated and inspired artists and poets, and mythology has developed incessantly its mysteries: The Ariadne thread, the Moebius ribbon ...
A TALE OF TWO WORLDS, AN INVERSION OVER THE HISTORICAL PERSPECTIVE?
After a significant remodeling the Museum of Modern Art of Buenos Aires (MAMBA) reopened its doors this July with an exhibition held jointly with the Museum für Moderne Kunst Frankfurt with the aim of reviewing the modern collections facing a global art history.
SINAPSIS, BY COTTY OXENFORD
To judge an artistic expression is not an easy thing. It is about judging the subjectivity of another within one's sensitivity. Therefore, the text is nothing more than an opinion of another opinion. And reading this is only the multiplication of that process. This is how this review should be read, because that is what the solo exhibition Sinapsis, that takes place in OdA Espacio de Arte (Buenos Aires, Argentina), is all about.
STRANGE THNIGS IN CÓRDOBA
It wanders satisfied around the borders of the global mainstream fairs circuit, Mercado de Arte Contemporáneo – Córdoba, an annual event that brings together a set of galleries, collectives and collections in the second most important city in Argentina.