Reviews

Rogelio Polesello: Advertencia óptica

The show  focuses on his historical works, that is, works from the sixties and early seventies; it features works in acrylic and paintings key to the artist’s career.

By Victoria Verlichak
Reviews

Rogelio Polesello: Advertencia óptica

By Victoria Verlichak
September 19, 2016
Ulises Carrión: "Querido lector. No lea" at MNCARS, Madrid

The retrospective of his work at the Museo Nacional Centro de Arte Reina Sofía in Madrid is the largest exhibition of its kind that the museum has held to date.

By Álvaro de Benito Fernández
Reviews

Ulises Carrión: "Querido lector. No lea" at MNCARS, Madrid

By Álvaro de Benito Fernández
August 30, 2016
Karina Peisajovich, Installation View / vista de instalación: Photo by Oriol Tarridas

Peisajovich looks to Seurat’s color studies and his approach to the division of tones on the basis of the position of highlights of color to incite, at a distance, certain combinations on the retina.

By Adriana Herrera
Reviews

Karina Peisajovich: Background. Alejandra Von Hartz Gallery, Miami

By Adriana Herrera
August 11, 2016
Shutdown, Exhibition view. Barro Gallery

In his new exhibition, Diego Bianchi elevates trash to the plane of what is called art.

By Elena Tavelli
Reviews

Diego Bianchi: Shutdown. Barro Gallery. Buenos Aires

By Elena Tavelli
August 06, 2016
Avant-Garde. Trojan Horse. The Americas

Magdalena Jitrik & Leila Tschopp. MACBA. Buenos Aires

By Juan Cruz Pedroni
Reviews

Avant-Garde. Trojan Horse. The Americas

By Juan Cruz Pedroni
August 01, 2016
El Dorado: Art new space. Bogotá, Colombia

 El Dorado, as part of the exciting Bogotá art scene, to continue to provide visibility to processes outside the mainstream that are committed to a historical mission.

By Santiago Rueda
Reviews

El Dorado: Art new space. Bogotá, Colombia

By Santiago Rueda
August 01, 2016
Mario Cravo Neto: A Serene Expectation of Light

The exhibition organized by Autograph ABP and curated by Mark Sealy and Gabriela Salgado evidences the artist’s fascination with the complex cultural heritage of Bahía and of northeastern Brazil as a whole

By Jacqueline Rosenbach
Reviews

Mario Cravo Neto: A Serene Expectation of Light

By Jacqueline Rosenbach
August 01, 2016
Julio Le Parc, Cercle en contorsion sur trame rouge, 1969. Métal, inox, sérigraphie, moteur. 60x60x17 cm. Photo: Daniel Avena

Sculpture en Partage, brings together some one hundred works from the foundation’s holdings, ten of them from Danièle Kapel-Marcovici’s private collection. 

By Patricia Avena Navarro
Reviews

Sculpture en Partage. Villa Datris Fondation

By Patricia Avena Navarro
July 25, 2016
Eliptico by Andrés Michelena at Sala Mendoza, Caracas

Elíptico articulate a specific polyphony of meanings where each of the works connects with another to construct a specific narrative of questions and intuitions. 

By Gerardo Zavarce
Reviews

Eliptico by Andrés Michelena at Sala Mendoza, Caracas

By Gerardo Zavarce
June 30, 2016
Damián Ortega, El cohete y el abismo [The Rocket and the Abyss]. Exhibition view. Palacio de Cristal, Parque del Retiro. May 2016. Photograph: Joaquín Cortés/Román Lores.  Museo Nacional Centro de Arte Reina Sofía

Ortega makes use of three elements steeped in symbolism due to their nature as objects and to the temporality that they represent.

By Álvaro de Benito Fernández
Reviews

Damián Ortega: El cohete y el abismo Museo Nacional Centro de Arte Reina Sofía, Madrid

By Álvaro de Benito Fernández
June 22, 2016
Juan Tessi: Cameo. MALBA, Buenos Aires

Cameo ambitiously takes the shape of a multiple device that, in two different phases, provides an expanded experience of Tessi’s work. 

By Renato Mauricio Fumero
Reviews

Juan Tessi: Cameo. MALBA, Buenos Aires

By Renato Mauricio Fumero
June 17, 2016
Macaparana, No title, 2016. Pigment and acrylic paint on hardboard. 92 x 92 cm.

In Macaparana’s work, colors vibrate in linear structures held in careful balance by parallel, concentric, and slanting lines that follow an abstract and geometric calligraphy that dances over the surface.

By Patricia Avena Navarro
Reviews

Macaparana. Denise René – Rive Gauche. Paris

By Patricia Avena Navarro
June 13, 2016
Abraham Cruzvillegas, Empty Lot, 2015. Madera, técnica mixta. Dimensiones variables Photo credit: Andrew Dunkley.

Cruzvillegas turns this exercise at Turbine Hall into a unique opportunity to bring a number of his interests together in a single action.

By Álvaro de Benito Fernández
Reviews

Abraham Cruzvillegas: Empty Lot. Tate Modern, Londres

By Álvaro de Benito Fernández
June 01, 2016
Atelier Morales,  Arqueología n° 20, de la serie  Arqueología III. Patrimonio a la deriva.  Impresión fotográfica "Giclée" sobre papel, dibujo a lápiz y guache. 2016

Atelier Morales ventures a new beauty that, albeit with tension and ambiguity, appeals to the viewer’s senses and feelings. 

By Patricia Avena Navarro
Reviews

Atelier Morales: Arqueología III. Galerie Nathalie Obadia, Paris

By Patricia Avena Navarro
April 28, 2016
Miguel Rothschild in his exhibition /Miguel Rothschild en su exhibición

Review of Miguel Rothschild´s exhibition at Ruth Benzacar Gallery.

By Laura Casanovas
Reviews

Miguel Rothschild: Cuarenta días y cuarenta noches. Ruth Benzacar

By Laura Casanovas
April 21, 2016
Claudio Tozzi, New Figuration and the Rise of Pop Art 1967–1971. Installation view / vista de exhibición. Cecilia Brunson Projects.

The exhibition concentrates on one of the most difficult periods in Brazilian political history, a period that began with the imposition of a military dictatorship in 1964.

By Jacqueline Rosenbach
Reviews

Claudio Tozzi: New Figuration and the Rise of Pop Art 1967-1971.Cecilia Brunson Projects, London

By Jacqueline Rosenbach
March 30, 2016
Graciela Hasper, Untitled . Acrylic on canvas / Sin título. Acrílico sobre tela. 280x450 cm.

With almost four hundred works from the Esteban Tedesco collection, Diagonal Sur - Arte Argentino Hoy occupies all the galleries of the Centro Cultural Borges. A milestone in the history of contemporary art collecting, the show makes visible art produced over the course of the last thirty years.

By Ana Martínez Quijano
Reviews

Colección Tedesco: Diagonal Sur - Arte argentino hoy. Centro Cultural Borges. Buenos Aires

By Ana Martínez Quijano
March 27, 2016
Carlos Motta, La puissance et la jouissance, 2015. Installation of twenty letterpress printed drawings (2.5 x 3.8 cm. each) with magnifying glasses and fluorescent light bulbs.

This first solo exhibition of the Colombian artist explores the historical representations of what is considered unconventional sexual desire.

By Claire Luna
Reviews

Carlos Motta: Deseos. Galerie Mor Charpentier, Paris.

By Claire Luna
March 27, 2016
Juan Andrés Videla. Matorral. Óleo sobre tela 140x180cm

The over seventy paintings and drawings in this anthological exhibition offer us a remarkable opportunity to interrogate the artistic universe Videla has developed over the last twelve years.

By Laura Casanovas
Reviews

Juan Andrés Videla: Nada está quieto. Centro cultural Recoleta. Buenos Aires

By Laura Casanovas
March 27, 2016
Hernan Bas, The Unlikely Winner 2015. Acrylic on linen. 182.9 x 152.4 cm.

Bas’s iconography has been inspired by late 19th-century decadent and symbolist aesthetics in both literature and the visual arts.

By Claire Luna
Reviews

Hernán Bas: Fruits and flowers. Galerie Perrotin, Paris

By Claire Luna
March 27, 2016
Jesús Soto, Kinetic structure of geometric elements. 1956. One of the first pieces made in Plexiglas. / Estructura cinética de elementos geométricos. 1956. De las primeras piezas desarrolladas en plexiglás

It is truly remarkable that an artist without a high school education was able to produce such a deep body of work, one steeped in the concerns of art, mathematics, and musical harmony.

By Beatriz Sogbe
Reviews

Jesús Soto: Estático/Dinámico. Galería Ascaso. Caracas

By Beatriz Sogbe
March 27, 2016
Guadalupe Valdés, Habitar lo nuestro [Inhabiting What’s Ours]. Mixed media on canvas, 55 x 69 cm. 2015

The artist’s reminiscences are alliances she puts together on the basis of other artists’ signatures that, when joined, turn into a vision of art that surprises and captivates us, engaging collage in a creative game with reality.

By Ernesto Muñoz
Reviews

Guadalupe Valdés: Vencer el olvido. Galería Isabel Aninat, Chile

By Ernesto Muñoz
March 27, 2016
El desmoronamiento de la corteza terrestre. View of the exhibition (vista de exhibicion). Centro Cultural Recoleta

The apparent working of nature’s chance in Federico Colletta’s process is actually a strategy, a partial loosening.

By Ana María Battistozzi
Reviews

Federico Colletta: El desmoronamiento de la corteza terrestre. Centro Cultural Recoleta. Buenos Aires

By Ana María Battistozzi
March 27, 2016
Luis Romero. Tu y Yo [You and I], 2015, prints on paper and glass, Alejandra Von Hartz Gallery (photo by O. Torridas)

Luis Romero is interested in putting together a sort of inventory of the constructive resources of geometric abstraction in order to discover new discursive possibilities.

By José Antonio Navarrete
Reviews

Luis Romero: Borderline. Alejandra Von Hartz Gallery, Miami

By José Antonio Navarrete
March 27, 2016
Ken Matsubara,  Potsdamer. Tecnica mixta / Mixed media. 24 x 30 cm

This show brought together three videos and an installation—a series of open books, as tenuous as memories, displayed on music stands.

By Victoria Verlichak
Reviews

Ken Matsubara: Repeticiones. Del Paseo Gallery, Punta del Este

By Victoria Verlichak
March 21, 2016
PACIFICO [PACIFIC], 1994. Pacifico series, 120x104 cm. Vintage print. Photograph: Daniel Avena

On exhibition at the Fondation Cartier pour l'Art Contemporain is the first retrospective of Fernell Franco (1942-2006), an important, though still little-known, figure in Latin American photography.

By Patricia Avena Navarro
Reviews

Fernell Franco: Cali Clair Obscur. Fondation Cartier, Paris

By Patricia Avena Navarro
March 17, 2016
Gerardo Goldwasser, Medidas rígidas [Rigid Measures], 2015. Wood and varnish, 100 cm. long / Madera y barniz, 100 cm, largo.

The exhibitions by experienced artists Gerardo Goldwasser and Pablo Uribe held at Galería del Paseo evidence a shared sensibility and a similar placid atmosphere. By different means, the two shows by artists of the same generation look to ancestral traces and give rise to a multiplicity of meanings.

By Victoria Verlichak
Reviews

Goldwasser - Uribe: El sistema de los otros. Galería del Paseo, Punta del Este

By Victoria Verlichak
March 15, 2016
Sintomas. Vista de exhibición/view of exhibition

Hugo Aveta lives by his work in that infinite universe of halftimes that avoid and survive finiteness.

By Adriana Carrizo
Reviews

Hugo Aveta: Sintomas, la imagen sin nombre. El Gran Vidrio. Argentina

By Adriana Carrizo
February 23, 2016
La democracia del símbolo. Vista de la exhibición / View of the installation. Photo: Javier Agustín Rojas. MALBA diptych

The removal of a section of the obelisk, as well as the fiction of transporting it and the choice of the new setting, not only formulates the artist’s political and conceptual agenda but also activates the senses.

By Juan Cruz Pedroni
Reviews

Leandro Erlich: La democracia del Símbolo. MALBA. Buenos Aires

By Juan Cruz Pedroni
February 21, 2016
Jorge Macchi. Lampo. Vista de exhibición / View of the exhibition. Photo: Oscar Monsalve

Lampo is a pause and change in pace in the programming of NC-arte, as well as the first major show by Macchi in Bogotá.

By Santiago Rueda
Reviews

Jorge Macchi: Lampo. NC – arte. Colombia

By Santiago Rueda
February 21, 2016
Rey América [King America]. Oleo sobre lienzo / Oil on canvas, 146x89 cm. 1991. Museo Nacional de Bellas Artes (MNBA) Collection.

The design of this exhibition prioritizes his almost fifty-year search for the specificity of the Americas.

By Laura Casanovas
Reviews

Pérez Celis: Testimonio americano. Museo Nacional de Bellas Artes. Buenos Aires

By Laura Casanovas
February 21, 2016