Reviews

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
Muu Blanco. NCT-M, from the series NCT x 13 Samples, 2015. Intervention on Paolo Gasparini’s book Retromundo [Retroworld], 1986

Muu Blanco’s strategy consists of selecting images by Gasparini and placing on them elements that make reference to Blanco’s daily life.

By Dennys Matos
Reviews

Muu Blanco: NCTx13 Sample, Photographs & Music. ArtMedia Gallery, Miami

By Dennys Matos
February 21, 2016
Wifredo Lam, La Jungla [The Jungle], 1943. The Museum of Modern Art, New York.

The exhibition displays the different stages of the long journey that was Lam’s life as well as the varying courses of his production.

By Claire Luna
Reviews

Wifredo Lam: O la modernidad transcontinental. Centre Georges Pompidou, París

By Claire Luna
February 21, 2016
Josefina Guilisasti, La Balsa de la Medusa, 2015

Josefina Guilisasti's work restores the anthropological, historic, and cultural value of objects that no longer have a voice.

By Helena Brum
Reviews

Josefina Guilisasti: A Matter of Perception. Cecilia Brunson Projects, Londres

By Helena Brum
February 21, 2016
Instant Happiness, Rosario Marquardt & Roberto Behar, R & R Studios 2015. Photo / Foto Manuel Ciarlott

The exhibition was not a happening but that happened: a project featuring the architecture of emotion rendered as a portable party thanks to the abracadabra that completed the sound decoration.

By Carolina Muzi
Reviews

Studio R & R: Ceci n'est pas happening. Monoambiente. Buenos Aires

By Carolina Muzi
February 21, 2016
View of the exhibition Mambo / Vista la exhibición Mambo.

The space directed by Eleonora Molina presents an exhibition that has the optical illusions as starting point.

By Marcela Costa Peuser
Reviews

Augusto Zanella & Luis Rodríguez: Mambo. Miranda Bosch, Buenos Aires

By Marcela Costa Peuser
February 21, 2016
View of the installation / Vista de la instalación Arena Parking. May/ Mayo 2015

Duville traslada al espacio tridimensional ese mapa mental de motivos que caracterizan su obra.

By Laura Casanovas
Reviews

Matias Duville: Arena Parking. Centro Cultural Recoleta, Buenos Aires

By Laura Casanovas
February 21, 2016
Iceberg. Photograph, 33.4 x 88.5 in. / Fotografía, 85 x 225 cm.

Carle Catafago’s vistas celebrate the extraordinary landscapes south of the South, and convey, at the same time, their disturbing fleetingness.

By Victoria Verlichak
Reviews

Christian Carle Catafago: Monumentos a la deriva. Praxis Arte Internacional. Buenos Aires

By Victoria Verlichak
February 21, 2016
View of the Exhibition / Vista de la exhibición Fuerzas Productivas. Mayo 2015

We could feel that the whole exhibition becomes a poem, that as soon as it anchors us to a meaning and an experience, it immediately produces a new estrangement to make way for another meaning and another experience.

By Laura Casanovas
Reviews

Martin Legón: Las fuerzas productivas. Barro Arte Contemporáneo, Buenos Aires

By Laura Casanovas
February 21, 2016
Azar / Miño.  Pieza #03 (detail / detalle), 2015.

Azar and Miño’s exhibition is not a literal commentary on “the remains of triumph;” its musicality opens up other horizons.

By Victoria Verlichak
Reviews

Amadeo Azar & Jorge Miño: Los restos del Triunfo. Fundación Klemm, Buenos Aires

By Victoria Verlichak
February 21, 2016
RES - La Dama / The Lady, 2005.  From the series / De la serie Conatus (RES + Constanza Piaggio).

Arte x Arte debuts its new stage as a foundation with an exceptional exhibition that investigates the intersections between painting and photography.

By Victoria Verlichak
Reviews

In fraganti. Fotografía y pintura. ArtexArte. Buenos Aires

By Victoria Verlichak
February 21, 2016
Parte#10. 2015. Fotografía extraida de redes sociales. Gelatina de plata sobre papel fibra / Photograph extracted from social networks. Gelatin silver print on fiber paper.

Medail presents an exhibition in where debate is the obsessions with perfection with roots in romantic thinking of a documentary photography that aspires to be ontology: to show the essence of things exactly as they are.

By Juan Cruz Pedroni
Reviews

Francisco Medail: Parte. Studio 488, Buenos Aires

By Juan Cruz Pedroni
February 21, 2016
Adriana Lestido. Hierve el agua /The Water Boils, Oaxaca, 2010.

The exhibitionfeaturing works by the photographer Adriana Lestido  at Rolf Art, displays two impressive and beautiful photographic essays, developed in Mexican territory in 2010.

By Victoria Verlichak
Reviews

Adriana Lestido: Mexico. Rolf Art, Buenos Aires

By Victoria Verlichak
February 21, 2016
Vic Muñiz, Buenos Aires. Photographic collage, 71 x 110 in. / Collage fotográfico, 180,3 x 279,4 cm

In the work of Vic Muniz, the materials have an economy, a social and political history, or a technology that begs to be included in the discourse.

By Juan Cruz Pedroni
Reviews

Vik Muñiz: Buenos Aires. Muntref

By Juan Cruz Pedroni
February 21, 2016
La casa de Los Rosales, sin fecha / The house at Los Rosales, undated.   Gelatin silver bromide print / Gelatinobromuro de plata.

Cotina was not a professional photographer but through the lens of his camera he captured the loneliness, the fog  and the beauty of the everyday in a way that had never been seen before.

By Beatriz Sogbe
Reviews

Alfredo Cortina: Photographer. Museo de Arte Contemporáneo del Zulia, Maracaibo

By Beatriz Sogbe
February 19, 2016
Gyula Kosice. Revolving Water, 1964.

Durban Segnini Gallery celebrates its twenty۔third anniversary at the local level and forty۔five years of existence, with an alluring collective exhibition.

By Janet Batet
Reviews

Abstraction and Constructivism: Continuity and Breakdown of Latin-American Modernity. Durban Segnini, Miami

By Janet Batet
February 19, 2016
Untitled (Circunstancial), 1971.  Installation view / vista de exhibición. National Young Artists Salon, Casa de la Cultura, Maracay, 1971

The exhibition underscores the work developed by the artist during the 1970s, when his proposal became an unequivocal turning۔point within the tradition of modern Venezuelan art.

By Janet Batt
Reviews

Eugenio Espinoza: Unruly Supports. PAMM, Miami

By Janet Batt
February 19, 2016
 Untitled (Rolled steel)/ Sin título (acero enrollado), 2015

There are no frontal or precise ideas in this show; what prevails at all times is a tangential, oblique discourse.

By Píter Ortega Núñez
Reviews

Mateo Tannatt: Horse. Gallery Diet, Miami

By Píter Ortega Núñez
February 19, 2016
Yoan Capote. Immanence, 2015. Vista de exhibición / exhibition view

Yoan Capote’s exhibition inhabits binary spaces. Two galleries of work explore two seemingly contradictory themes: physical and mental suppression, and human resilience.

By Claire Breukel
Reviews

Yoan Capote: Collective Unconscious. Jack Shainman, New York

By Claire Breukel
February 19, 2016
Vista de la exposición A Garden for Beatrix. Cecilia Brunson Projects. London. Foto: Patrick Dodds

Lucía Pizzani’s exhibition at Cecilia Brunson Projectsfeatures a series of four works revolving around the relationship between nature, gender and materiality.

By Alba Colomo
Reviews

Lucía Pizzani: A Garden for Beatriz. Cecilia Brunson Projects

By Alba Colomo
February 19, 2016
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