Reviews

LOS CARPINTEROS, EL FINAL DE UNA ETAPA

Después de casi tres décadas de trayectoria y reconocimiento internacional, el colectivo más importante de la escena Cubana se disuelve. Los Carpinteros, el duo integrado por Marco Antonio Castillo y Dagoberto Rodríguez anunció su separación.

Reviews

LOS CARPINTEROS, EL FINAL DE UNA ETAPA

Después de casi tres décadas de trayectoria y reconocimiento internacional, el colectivo más importante de la escena Cubana se disuelve. Los Carpinteros, el duo integrado por Marco Antonio Castillo y Dagoberto Rodríguez anunció su separación.

August 10, 2018
Fig.1, Freddy Alborta. Exhibición del cadáver de Ernesto Che Guevara, 1967.

The noted art historian John Berger was the first to notice, in the same year of Che's death, in 1967, when the terrible image of the Bolivian photographer Freddy Alborta was published for the first time, its overwhelming similarity with the dead Christ (1480 -90) of Mantegna and with the lesson of anatomy (1632) of Rembrandt. According to Eduardo Grüner, with "the disappearance of the living body" and with the possibility of imagining Che "beyond death," his image was installed in the collective imagination as a very powerful embodiment of the myth of the revolutionary, full of Affective resonances related to the figure of Christ.

By Dina Comisarenco Mirkin
Reviews

THE RESURRECTION OF THE HERO: THE LAST FACE OF CHE GUEVARA IN FREDDY ALBORTA AND LEANDRO KATZ WORKS

By Dina Comisarenco Mirkin

The noted art historian John Berger was the first to notice, in the same year of Che's death, in 1967, when the terrible image of the Bolivian photographer Freddy Alborta was published for the first time, its overwhelming similarity with the dead Christ (1480 -90) of Mantegna and with the lesson of anatomy (1632) of Rembrandt. According to Eduardo Grüner, with "the disappearance of the living body" and with the possibility of imagining Che "beyond death," his image was installed in the collective imagination as a very powerful embodiment of the myth of the revolutionary, full of Affective resonances related to the figure of Christ.

August 08, 2018
WHAT´S COOKING IN BOGOTÁ? - MEET FLORA´S 2018 RESIDENTS

(PART 3)

In the heart of San Felipe, a northern Bogotá neighbourhood in process of gentrification, there is a building where more than 20 artists from all over the world work, talk and coexist. Each one has their own workshop and does part in the activities of the curricular program, which includes encounters with curators, theorists, leaders of indigenous communities, among others.

Founded by curator José Roca in 2016 The Flora School residence turned Bogotá into a meeting point for a diverse group of people interested in art. The reasons why artists choose this residence are diverse, although everyone agrees that the experience in Bogota represents an important moment in their career.

Here are some of the residents featured in this first review.

By Valentina Gutiérrez Turbay
Reviews

WHAT´S COOKING IN BOGOTÁ? - MEET FLORA´S 2018 RESIDENTS

By Valentina Gutiérrez Turbay

(PART 3)

In the heart of San Felipe, a northern Bogotá neighbourhood in process of gentrification, there is a building where more than 20 artists from all over the world work, talk and coexist. Each one has their own workshop and does part in the activities of the curricular program, which includes encounters with curators, theorists, leaders of indigenous communities, among others.

Founded by curator José Roca in 2016 The Flora School residence turned Bogotá into a meeting point for a diverse group of people interested in art. The reasons why artists choose this residence are diverse, although everyone agrees that the experience in Bogota represents an important moment in their career.

Here are some of the residents featured in this first review.

July 18, 2018
Des-patriados. Jesús Briceño, 2018. MACZUL.

The second half of the year has arrived and the distances between what was and what is, is usually reduced to moments of constant revision that allow us to sketch what will be, or at least form an expectation of it. For Venezuelan art, half of the year has meant the possibility of witnessing the dialogue between complexity and typical contradiction of a convulsed country, in which past and future are interrelated to speak in the present tense.

By Manuel Vásquez-Ortega
Reviews

STOP AND REVIEW: WHAT IS OF THE VENEZUELAN ART SCENE?

By Manuel Vásquez-Ortega

The second half of the year has arrived and the distances between what was and what is, is usually reduced to moments of constant revision that allow us to sketch what will be, or at least form an expectation of it. For Venezuelan art, half of the year has meant the possibility of witnessing the dialogue between complexity and typical contradiction of a convulsed country, in which past and future are interrelated to speak in the present tense.

July 17, 2018
WHAT´S COOKING IN BOGOTÁ? - MEET FLORA´S 2018 RESIDENTS

By Valentina Gutiérrez Turbay.

(PART 1)

In the heart of San Felipe, a northern Bogotá neighbourhood in process of gentrification, there is a building where more than 20 artists from all over the world work, talk and coexist. Each one has his own workshop and does part of the activities of the curricular program, which includes encounters with curators, theorists, and leaders of indigenous communities among others. Founded by curator José Roca in 2016 The Flora School residence turned Bogotá into a meeting point for a diverse group of people interested in art. The reasons why artists choose this residence are many, although everyone agrees that the experience in Bogota represents an important moment in their career. Here are some of the 2018 residents:

Reviews

WHAT´S COOKING IN BOGOTÁ? - MEET FLORA´S 2018 RESIDENTS

By Valentina Gutiérrez Turbay.

(PART 1)

In the heart of San Felipe, a northern Bogotá neighbourhood in process of gentrification, there is a building where more than 20 artists from all over the world work, talk and coexist. Each one has his own workshop and does part of the activities of the curricular program, which includes encounters with curators, theorists, and leaders of indigenous communities among others. Founded by curator José Roca in 2016 The Flora School residence turned Bogotá into a meeting point for a diverse group of people interested in art. The reasons why artists choose this residence are many, although everyone agrees that the experience in Bogota represents an important moment in their career. Here are some of the 2018 residents:

July 04, 2018
Canto XXIX, verse III.

In the Dresden Series created for this exhibition at the Lowe Art Museum, Sebastian Spreng moves away from the lyrical paintings of the past that were inspired by the ethereal beauty of nature to a subject of serious historical import.  The Allied bombing of one of Europe’s most culturally significant and beautiful Baroque cities in February 1945 is a dark chapter in the story of war, and one that would be repeated in many horrific ways to this day.  To capture the essence of its tragedies, Spreng explores new media and new technologies to produce 60 digital prints created on his IPAD directly on aluminum.  Using photographs and computer manipulation of line and color that appear like ghostly shadows to scar painterly surfaces, Spreng turns to his lifelong love of music and poetry to inspire the many moods of war – from dark destruction to rays of light.  Each work is named a Canto, a reference to divisions in poetry and music derived from the Latin for song, and for him inspired by Dante’s Divine Comedy and his cantos about purgatory.  It is a perfect way for the artist to present the works as verses, approaching the series through mood.  They are also odes to remembrance and hope for the future.

Reviews

SEBASTIAN SPRENG: DRESDEN

In the Dresden Series created for this exhibition at the Lowe Art Museum, Sebastian Spreng moves away from the lyrical paintings of the past that were inspired by the ethereal beauty of nature to a subject of serious historical import.  The Allied bombing of one of Europe’s most culturally significant and beautiful Baroque cities in February 1945 is a dark chapter in the story of war, and one that would be repeated in many horrific ways to this day.  To capture the essence of its tragedies, Spreng explores new media and new technologies to produce 60 digital prints created on his IPAD directly on aluminum.  Using photographs and computer manipulation of line and color that appear like ghostly shadows to scar painterly surfaces, Spreng turns to his lifelong love of music and poetry to inspire the many moods of war – from dark destruction to rays of light.  Each work is named a Canto, a reference to divisions in poetry and music derived from the Latin for song, and for him inspired by Dante’s Divine Comedy and his cantos about purgatory.  It is a perfect way for the artist to present the works as verses, approaching the series through mood.  They are also odes to remembrance and hope for the future.

June 29, 2018
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

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.

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

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.

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

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).

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

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

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

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.

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

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. 

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

"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.

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

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. 

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

"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.

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

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.

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

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.

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

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.

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

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.

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

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. 

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

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.

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

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).

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

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.

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

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.

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

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.

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

 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. 

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

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

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

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

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

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.

November 29, 2016
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