Reviews

With Fiorella Di Biase's curatorship, the exhibition The time we have left, by Hernán Soriano, takes place at the Lanzallamas gallery. Santiago López shares his thoughts.

In the framework of the 15th Lyon Biennial, curator Patricia Avena reflects on the artworks that are part of this new edition and the importance of landscape in contemporary art.

En el espacio de Fudnación El Mirador (San Telmo, Buenos Aires), el artista rosarino Francisco Vazquez Murillo exhibe Los movimientos alrededor del sol, una exposición que propone revitalizar la relación con la Tierra y habitar el mundo desde la contemplación y la conciencia.

Within the framework of the Young Art Biennial, the collective exhibition Espacio Entre is exhibited at the Recoleta Cultural Center (CCR). Under Tainá Azeredo's (Brazil, 1984) curatorship, twenty-five visual and plastic artists were selected to show their artworks in rooms 3, 4 and 5 of the CCR constituting a small sketch of the Argentine sub-32 art production.

The art historian and former curator of the National Museum of Colombia, Natalia Vega, reflects on Juan Manuel Echevarría's (Meddellín, 1947) artwork through Ríos y Silencios (Rivers and Silences) exhibition held at the Museum of Modern Art in Bogotá (MAMBO) between 2017 and 2018.

Anchoring the observation at Sonia Falcone: Fields of life exhibition held during 2017 at the Royal Palace in Lisbon, the editorial staff of Arte Al Día Internacional makes an approach to the artwork of the Bolivian artist Sonia Falcone (Santa Cruz de la Sierra, 1965).

Through the exhibition that the Cisneros Fontanals Foundation  held in 2017 for its fifteenth anniversary, Yunekis Villalonga makes a revaluation of the foundation scholarship and commission program.

Monument of the heroes, Bogotá.

En su proyecto curatorial desarrollado para Fuera de Foco -sección experimental de BAphoto-, Alfredo Aracil propone una reflexión respecto a lo ornamental, entendido como síntoma.

In BAphoto 2019, the Sasha D gallery presents thirty-five frames intervened by Carlos Alonso for an experimental film by Alejandro Mathe in 1960. The work, never before exhibited, is an exemplary piece that illustrates the avant-garde movements of the 60s and 70s in Argentina.

En plena Ciudad de Buenos Aires hay un pedazo de litoral. El susurro denso de los grillos del campo húmedo reproduce un eco exhaustivo. En la sala se proyectan los testimonios de dos señoras mayores. Leemos lo que dicen en subtítulos porque los videos están silenciados. Los bichos del humedal monopolizan el espacio: el sonido se vuelve casi material en la sala.

The art collection of Juan Carlos Maldonado, from Miami, is a treasure that runs through geometric abstraction and concretism with its social implications, mainly in South America and extended to the international scene.

In a dialogue between techniques, rituals, mythologies and stories, Argentine artists Constanza Chiappini, Gonzalo Maggi and Julia Rosetti establish a story that challenges the present in the exhibition The first sword was a gift.

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.

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.

Argentine artist Constanza Oxenford presents Dimensions of the same, her second solo show at OdA, Art Gallery

“I don’t paint to live, I live to paint.” — Nela Arias-Misson when asked about her refusal to sell her work.

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.

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.

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.

"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.

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.

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.

Leandro Erlich, the artist who questions the look. A profile made by Victoria Verlichak.

Margarita Sánchez Prieto illustrates the work and thought of the renowned Argentine artist, Dolores Cáceres.