Reviews
Reviews of Latin American and international art exhibitions. Critical writing on shows at museums, galleries, and contemporary art spaces.
YOSHI'S ALTERED SURFACES
In the spaces of Cerquone Projects, Caracas, more than twenty works in medium and large format made by the Venezuelan artist Yoshi during the last seven years make up the exhibition Superficies Alteradas (Altered Surfaces), under the curatorship of Lorena González Inneco and the museography of Jean Nouel.
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.
WHAT WE INHABIT AND INHABIT US - DO HO SUH AT LEHMANN MAUPIN
20 years after Do Ho Suh's first exhibition in the United States, Lehmann Maupin Gallery, which accompanied him then and to this day, presents a digital exhibition as a complement to the physical one in London.
GUSTAVO PRADO’S INSTALLATION “THE UNDERCURRENT” AT MIAMI BEACH BOTANICAL GARDEN
Presented together with The55Project, The Undercurrent revisits Prado’s ongoing series “Measure of Dispersion,” last exhibited at the Jardim Botânico do Rio de Janeiro, Brazil in 2017.
LAST DAYS OF “TRANSVERSAL” AT CASA HOFFMANN BOGOTÁ
Open until Friday 27, the TRANSVERSAL exhibition is an intersection between art, science and technology, a meeting between the perceptual and the philosophical, beyond the purely technical.
" QUE NOS ROBAN LA MEMORIA " CONCHA JEREZ AT THE REINA SOFÍA MUSEUM
On July 28, a retrospective exhibition of the Canarian artist Concha Jerez (Las Palmas de Gran Canaria, 1941) was inaugurated at the Museo Nacional Centro de Arte Reina Sofía. Mounted in the Vault Room, the Protocol Room, the stone stairs and the third floor of the Sabatini Building, the project takes museum visitors on an extensive journey that goes from the 70s - the artist's formative years - to the present. Que nos roban la memoria (They steal our memory), curated by Joao Fernandes is, beyond its regressive nature, a reflection on the mechanisms of censorship and repression in the face of memory mechanisms. Ultimately, a historical review from collective memory and personal memory.
BEHIND THE IMAGE OF THE INDIGENOUS IN THE VISUAL ARTS OF EL SALVADOR. AFTER A CONSTRUCTION FROM CONTRADICTION
Article commissioned by Y.ES Contemporary, part of the 2019 Y.ES Artist Academy focused on arts writing, program led by Gabriela Poma. An iniciative of the Robert S. Wennett and Mario Cader-Frech Foundation, Y.ES Contemporary creates opportunities for outstanding Salvadoran contemporary artists to advance their artistic practice and engage with artists, curators, collectors, gallerists and the media within and outside El Salvador.
AESTHETIC RESISTANCE AS AN APPROACH TO THE AESTHETIC REGIME OF THE SALVADORAN ARTISTIC ENVIRONMENT
Article commissioned by Y.ES Contemporary as part of the 2019 Y.ES Artist Academy focused on arts writing, program led by Gabriela Poma. An iniciative of the Robert S. Wennett and Mario Cader-Frech Foundation, Y.ES Contemporary creates opportunities for outstanding Salvadoran contemporary artists to advance their artistic practice and engage with artists, curators, collectors, gallerists and the media within and outside El Salvador.
JUAN IRIBARREN: SCALAMANDRE-PFIZER - PHOTOGRAPHS, PAINTINGS AND PRINTED IMAGES
The last exhibition by Juan Iribarren Scalamandre-Pfizer, which took place at the Carmen Araujo Arte Gallery in Caracas, was a "visual essay", a work that brought together different "means" and "ways" of image production, and took the form of an exercise (and also a game) of connections: coming and going, confluences and dispersions. A “visual essay” that, on the one hand, manages to synthesize in an “event” a large part of the artist's pictorial interests, and on the other, narrates a transit, a move.
ART IN THE MARSH: AN EMERGING SCENE IN BUENOS AIRES
The cultural proposal of the collective PANTANOSUMPF and its exhibition Anábasis, in Buenos Aires. Young artists from the River Plate, between the weight of the past and the resignification of the present.
CLAUDIA ANDUJAR: LA LUTTE YANOMAMI - FONDATION CARTIER POUR L’ART CONTEMPORAIN
The Cartier Foundation presents the largest exhibition dedicated to the work of Brazilian photographer Claudia Andujar who, since the 1970s, has dedicated her life to the photography and defense of the Yanomami, one of the most important indigenous communities of the Brazilian Amazon.
ARCOmadrid 2020: ALFREDO JAAR, A LESSON
The famous German gallery Thomas Schulte presents an individual booth dedicated to the artwork of Alfredo Jaar. The four selected projects of high political content were selected by the artist himself.
ARCOmadrid 2020: PROYECTOS ULTRAVIOLETA, HIGHLIGHTED STAND OF THE DIALOGUES SECTION
Within the framework of the Dialogues section, ARCOmadrid presented the First Iberia Prize to the Guatemalan platform Proyectos UltraVioleta for the work of Hellen Ascoli and Naufus Ramírez-Figueroa.
ARCOMadrid - LATIN AMERICAN ART AND A MACRO EXHIBITION OF VOLUSPA JARPA
As an extension of the “Alternative Views” project presented in Chile’s Pavilion in the Venice Biennale, the stand of the French gallery Mor Charpentier presents in ARCOmadrid 2020 a series of works by Voluspa Jarpa (Chile, 1971) never displayed before.
CLAUDIA AMMIRATA: ON THE PAIN OF YOUR OWN
Fix Me (Arréglame), an exhibition by Venezuelan artist Claudia Ammirata in Artmedia Gallery, is a photography and documentary video project exposing with as much ontological truth as formal sensibility, what is most vulnerable in one’s life to the look of the others.
REPENSAR LA HISTORIA DESDE EL LENGUAJE, ENTREVISTA CON ELIÁN STOLARSKY
En 2018, con tan solo 28 años, el Museo Nacional de Artes Visuales de Montevideo (MNAV) la convocó para exhibir Y todos los otros, una exposición individual que, mediante el grabado, el arte textil y la animación reconstruye el pasado judío de su familia, la construcción de la identidad polaca emigrada por la Segunda Guerra Mundial y, en definitiva, la creación de un archivo histórico generacional. Desde 2015 vive en Europa: primero vivió en Bélgica, donde participó en la residencia Frans Masereel Centrum, y ahora en España, adonde llegó para formar parte de la residencia Casa Velázquez y quedarse.
THE BODY’S MEMORY - MAX ESTRELLA GALLERY, MADRID
From January 30 to April 4, the Max Estrella Gallery exhibits La Magdalena de Proust: Antropocentrismo cotidiano (“Proust’s Magdalene: Everyday Anthropocentrism”). The exhibition brings together the work of six international artists around the experience of the body (that is, the memory of the body), based on the famous novel by Marcel Proust.
RE-COLLECTOR: AN EXHIBITION BY ANDRÉS MICHELENA IN VENEZUELA
Venezuelan artist Andrés Michelena presents Re-collector at the Carmen Araujo Art gallery in Caracas, starting December 11th. Check out the review.
THE TIME WE HAVE LEFT: AN EXHIBITION BY HERNÁN SORIANO AT LANZALLAMAS
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.
XXL CROSSED LANDSCAPES: 15TH LYON BIENNALE
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.
UN MODELO PARA HABITAR DESDE LA CONCIENCIA
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.
SPACE BETWEEN: A SKETCH OF THE NEW ARGENTINE GENERATION
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.
JUAN MANUEL ECHAVARRÍA: RIVERS AND SILENCES
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.
SONIA FALCONE: LIFE FIELDS
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).
RETHINKING LATIN AMERICA: CIFO'S GRANTS AND COMMISSIONS PROGRAM
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.
FUERA DE FOCO: UNA REINTERPRETACIÓN DE LO ORNAMENTAL
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.
CARLOS ALONSO AND AN UNUSUAL APPEARANCE IN THE EXPERIMENTAL CINEMA OF THE 60
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.
EL PEZ REY: EL POTENCIAL DEL ARCHIVO Y LA LEGITIMACIÓN DEL RELATO
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 UNBOUNDED LINE: A SELECTION FROM THE JUAN CARLOS MALDONADO ART COLLECTION
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.
THE FIRST SWORD WAS A GIFT
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.
RADICAL WOMEN
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.
