Reviews
![Doris Salcedo: Unland. Perez Art Museum Miami Doris Salcedo: Unland. Perez Art Museum Miami](/var/artealdia_com/storage/images/resenas/doris-salcedo-unland.-perez-art-museum-miami/570957-1-esl-AR/Doris-Salcedo-Unland.-Perez-Art-Museum-Miami_home_ppal.jpg)
Doris Salcedo: Unland. Perez Art Museum Miami
Born in Colombia, Salcedo has sculpted or created installations as rituals that are both memory and eulogy, ways of rummaging into mute stones to find and to transcribe the voices buried within them.
![Relatos de la desolación en México. ArtexArte Relatos de la desolación en México. ArtexArte](/var/artealdia_com/storage/images/resenas/relatos-de-la-desolacion-en-mexico.-artexarte/570807-1-esl-AR/Relatos-de-la-desolacion-en-Mexico.-ArtexArte_grid_horizontal.jpg)
Relatos de la desolación en México. ArtexArte
ArtexArte - Fundación Alfonso y Luz Castillo presents a group exhibition with works by José Luis Cuevas, YaelMartínez, and Rodrigo Sánchez.
![Jorge Gamarra Retrospectiva: materia/forma/símbolo Jorge Gamarra Retrospectiva: materia/forma/símbolo](/var/artealdia_com/storage/images/resenas/jorge-gamarra-retrospectiva-materia-forma-simbolo/570723-1-esl-AR/Jorge-Gamarra-Retrospectiva-materia-forma-simbolo_grid_horizontal.jpg)
Jorge Gamarra Retrospectiva: materia/forma/símbolo
The exhibition is moving due to the patient and painstaking treatment of wood, granite, and acrylic, due to the result of that work—pieces with striking presence and meaning— and due to fifty-one years of coherent production in sculpture that addresses the questions of material, form, and symbol.
![Voluspa Jarpa: En nuestra pequeña región de por acá Voluspa Jarpa: En nuestra pequeña región de por acá](/var/artealdia_com/storage/images/resenas/voluspa-jarpa-en-nuestra-pequena-region-de-por-aca/570530-1-esl-AR/Voluspa-Jarpa-En-nuestra-pequena-region-de-por-aca_grid_horizontal.png)
Voluspa Jarpa: En nuestra pequeña región de por acá
Voluspa Jarpa on exhibit at the Museo de Arte Latinoamericano de Buenos Aires is based on declassified CIA documents about fourteen Latin American countries
![Rogelio Polesello: Advertencia óptica Rogelio Polesello: Advertencia óptica](/var/artealdia_com/storage/images/resenas/rogelio-polesello-advertencia-optica/570470-1-esl-AR/Rogelio-Polesello-Advertencia-optica_grid_horizontal.jpg)
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.
![Ulises Carrión: "Querido lector. No lea" at MNCARS, Madrid Ulises Carrión: "Querido lector. No lea" at MNCARS, Madrid](/var/artealdia_com/storage/images/resenas/ulises-carrion-querido-lector.-no-lea.-mncars-madrid/570181-1-esl-AR/Ulises-Carrion-Querido-lector.-No-lea.-MNCARS-Madrid_grid_horizontal.jpg)
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.
![Karina Peisajovich, Installation View / vista de instalación: Photo by Oriol Tarridas Karina Peisajovich, Installation View / vista de instalación: Photo by Oriol Tarridas](/var/artealdia_com/storage/images/resenas/karina-peisajovich-background.-alejandra-von-hartz-gallery-miami/570055-1-esl-AR/Karina-Peisajovich-Background.-Alejandra-Von-Hartz-Gallery-Miami_grid_horizontal.jpg)
Karina Peisajovich: Background. Alejandra Von Hartz Gallery, Miami
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.
![Shutdown, Exhibition view. Barro Gallery Shutdown, Exhibition view. Barro Gallery](/var/artealdia_com/storage/images/resenas/diego-bianchi-shutdown.-barro-galeria.-buenos-aires/569916-1-esl-AR/Diego-Bianchi-Shutdown.-Barro-Galeria.-Buenos-Aires_grid_horizontal.jpg)
Diego Bianchi: Shutdown. Barro Gallery. Buenos Aires
In his new exhibition, Diego Bianchi elevates trash to the plane of what is called art.
![Avant-Garde. Trojan Horse. The Americas Avant-Garde. Trojan Horse. The Americas](/var/artealdia_com/storage/images/resenas/vanguardia.-caballo-de-troya.-america/569809-1-esl-AR/Vanguardia.-Caballo-de-Troya.-America_grid_horizontal.jpg)
Avant-Garde. Trojan Horse. The Americas
Magdalena Jitrik & Leila Tschopp. MACBA. Buenos Aires
![El Dorado: Art new space. Bogotá, Colombia El Dorado: Art new space. Bogotá, Colombia](/var/artealdia_com/storage/images/resenas/el-dorado-nuevo-espacio-de-arte.-bogota-colombia/569791-1-esl-AR/El-Dorado-Nuevo-espacio-de-arte.-Bogota-Colombia_grid_horizontal.jpg)
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.
![Mario Cravo Neto: A Serene Expectation of Light Mario Cravo Neto: A Serene Expectation of Light](/var/artealdia_com/storage/images/resenas/mario-cravo-neto-a-serene-expectation-of-light/569773-1-esl-AR/Mario-Cravo-Neto-A-Serene-Expectation-of-Light_grid_horizontal.jpg)
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
![Julio Le Parc, Cercle en contorsion sur trame rouge, 1969. Métal, inox, sérigraphie, moteur. 60x60x17 cm. Photo: Daniel Avena Julio Le Parc, Cercle en contorsion sur trame rouge, 1969. Métal, inox, sérigraphie, moteur. 60x60x17 cm. Photo: Daniel Avena](/var/artealdia_com/storage/images/resenas/sculpture-en-partage.-fundacion-villa-datris/569660-1-esl-AR/Sculpture-en-Partage.-Fundacion-Villa-Datris_grid_horizontal.jpg)
Sculpture en Partage. Villa Datris Fondation
Sculpture en Partage, brings together some one hundred works from the foundation’s holdings, ten of them from Danièle Kapel-Marcovici’s private collection.
![Eliptico by Andrés Michelena at Sala Mendoza, Caracas Eliptico by Andrés Michelena at Sala Mendoza, Caracas](/var/artealdia_com/storage/images/resenas/andres-michelena-eliptico.-sala-mendoza-caracas/569332-1-esl-AR/Andres-Michelena-Eliptico.-Sala-Mendoza-Caracas_grid_horizontal.jpg)
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.
![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 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](/var/artealdia_com/storage/images/resenas/damian-ortega-el-cohete-y-el-abismo-museo-nacional-centro-de-arte-reina-sofia-madrid/569250-1-esl-AR/Damian-Ortega-El-cohete-y-el-abismo-Museo-Nacional-Centro-de-Arte-Reina-Sofia-Madrid_grid_horizontal.jpg)
Damián Ortega: El cohete y el abismo Museo Nacional Centro de Arte Reina Sofía, Madrid
Ortega makes use of three elements steeped in symbolism due to their nature as objects and to the temporality that they represent.
![Juan Tessi: Cameo. MALBA, Buenos Aires Juan Tessi: Cameo. MALBA, Buenos Aires](/var/artealdia_com/storage/images/resenas/juan-tessi-cameo.-malba-buenos-aires/569163-1-esl-AR/Juan-Tessi-Cameo.-MALBA-Buenos-Aires_grid_horizontal.png)
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.
![Macaparana, No title, 2016. Pigment and acrylic paint on hardboard. 92 x 92 cm. Macaparana, No title, 2016. Pigment and acrylic paint on hardboard. 92 x 92 cm.](/var/artealdia_com/storage/images/resenas/macaparana.-denise-rene-rive-gauche.-paris/569091-1-esl-AR/Macaparana.-Denise-Rene-Rive-Gauche.-Paris_grid_horizontal.png)
Macaparana. Denise René – Rive Gauche. Paris
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.
![Abraham Cruzvillegas, Empty Lot, 2015. Madera, técnica mixta. Dimensiones variables Photo credit: Andrew Dunkley. Abraham Cruzvillegas, Empty Lot, 2015. Madera, técnica mixta. Dimensiones variables Photo credit: Andrew Dunkley.](/var/artealdia_com/storage/images/resenas/abraham-cruzvillegas-empty-lot.-tate-modern-londres/568792-2-esl-AR/Abraham-Cruzvillegas-Empty-Lot.-Tate-Modern-Londres_grid_horizontal.jpg)
Abraham Cruzvillegas: Empty Lot. Tate Modern, Londres
Cruzvillegas turns this exercise at Turbine Hall into a unique opportunity to bring a number of his interests together in a single action.
![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, Arqueología n° 20, de la serie Arqueología III. Patrimonio a la deriva. Impresión fotográfica "Giclée" sobre papel, dibujo a lápiz y guache. 2016](/var/artealdia_com/storage/images/resenas/atelier-morales-arqueologia-iii.-galerie-nathalie-obadia-paris/567586-1-esl-AR/Atelier-Morales-Arqueologia-III.-Galerie-Nathalie-Obadia-Paris_grid_horizontal.jpg)
Atelier Morales: Arqueología III. Galerie Nathalie Obadia, Paris
Atelier Morales ventures a new beauty that, albeit with tension and ambiguity, appeals to the viewer’s senses and feelings.
![Miguel Rothschild in his exhibition /Miguel Rothschild en su exhibición Miguel Rothschild in his exhibition /Miguel Rothschild en su exhibición](/var/artealdia_com/storage/images/resenas/miguel-rothschild-cuarenta-dias-y-cuarenta-noches.-ruth-benzacar/567550-1-esl-AR/Miguel-Rothschild-Cuarenta-dias-y-cuarenta-noches.-Ruth-Benzacar_grid_horizontal.jpg)
Miguel Rothschild: Cuarenta días y cuarenta noches. Ruth Benzacar
Review of Miguel Rothschild´s exhibition at Ruth Benzacar Gallery.
![Claudio Tozzi, New Figuration and the Rise of Pop Art 1967–1971. Installation view / vista de exhibición. Cecilia Brunson Projects. Claudio Tozzi, New Figuration and the Rise of Pop Art 1967–1971. Installation view / vista de exhibición. Cecilia Brunson Projects.](/var/artealdia_com/storage/images/resenas/claudio-tozzi-new-figuration-and-the-rise-of-pop-art-1967-1971.cecilia-brunson-projects-london/567230-1-esl-AR/Claudio-Tozzi-New-Figuration-and-the-Rise-of-Pop-Art-1967-1971.Cecilia-Brunson-Projects-London_grid_horizontal.jpg)
Claudio Tozzi: New Figuration and the Rise of Pop Art 1967-1971.Cecilia Brunson Projects, London
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.
![Graciela Hasper, Untitled . Acrylic on canvas / Sin título. Acrílico sobre tela. 280x450 cm. Graciela Hasper, Untitled . Acrylic on canvas / Sin título. Acrílico sobre tela. 280x450 cm.](/var/artealdia_com/storage/images/resenas/coleccion-tedesco-diagonal-sur-arte-argentino-hoy.-centro-cultural-borges.-buenos-aires/567158-1-esl-AR/Coleccion-Tedesco-Diagonal-Sur-Arte-argentino-hoy.-Centro-Cultural-Borges.-Buenos-Aires_grid_horizontal.jpg)
Colección Tedesco: Diagonal Sur - Arte argentino hoy. Centro Cultural Borges. Buenos Aires
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.
![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. 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.](/var/artealdia_com/storage/images/resenas/carlos-motta-deseos.-galerie-mor-charpentier-paris/567140-1-esl-AR/Carlos-Motta-Deseos.-Galerie-Mor-Charpentier-Paris_grid_horizontal.jpg)
Carlos Motta: Deseos. Galerie Mor Charpentier, Paris.
This first solo exhibition of the Colombian artist explores the historical representations of what is considered unconventional sexual desire.
![Juan Andrés Videla. Matorral. Óleo sobre tela 140x180cm Juan Andrés Videla. Matorral. Óleo sobre tela 140x180cm](/var/artealdia_com/storage/images/resenas/juan-andres-videla-nada-esta-quieto.-centro-cultural-recoleta.-buenos-aires/567122-1-esl-AR/Juan-Andres-Videla-Nada-esta-quieto.-Centro-cultural-Recoleta.-Buenos-Aires_grid_horizontal.jpg)
Juan Andrés Videla: Nada está quieto. Centro cultural Recoleta. Buenos Aires
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.
![Hernan Bas, The Unlikely Winner 2015. Acrylic on linen. 182.9 x 152.4 cm. Hernan Bas, The Unlikely Winner 2015. Acrylic on linen. 182.9 x 152.4 cm.](/var/artealdia_com/storage/images/resenas/hernan-bas-fruits-and-flowers.-galerie-perrotin-paris/567104-1-esl-AR/Hernan-Bas-Fruits-and-flowers.-Galerie-Perrotin-Paris_grid_horizontal.jpg)
Hernán Bas: Fruits and flowers. Galerie Perrotin, Paris
Bas’s iconography has been inspired by late 19th-century decadent and symbolist aesthetics in both literature and the visual arts.
![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 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](/var/artealdia_com/storage/images/resenas/jesus-soto-estatico-dinamico.-galeria-ascaso.-caracas/567086-1-esl-AR/Jesus-Soto-Estatico-Dinamico.-Galeria-Ascaso.-Caracas_grid_horizontal.jpg)
Jesús Soto: Estático/Dinámico. Galería Ascaso. Caracas
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.
![Guadalupe Valdés, Habitar lo nuestro [Inhabiting What’s Ours]. Mixed media on canvas, 55 x 69 cm. 2015 Guadalupe Valdés, Habitar lo nuestro [Inhabiting What’s Ours]. Mixed media on canvas, 55 x 69 cm. 2015](/var/artealdia_com/storage/images/resenas/guadalupe-valdes-vencer-el-olvido.-galeria-isabel-aninat-chile/567068-1-esl-AR/Guadalupe-Valdes-Vencer-el-olvido.-Galeria-Isabel-Aninat-Chile_grid_horizontal.jpg)
Guadalupe Valdés: Vencer el olvido. Galería Isabel Aninat, Chile
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.
![El desmoronamiento de la corteza terrestre. View of the exhibition (vista de exhibicion). Centro Cultural Recoleta El desmoronamiento de la corteza terrestre. View of the exhibition (vista de exhibicion). Centro Cultural Recoleta](/var/artealdia_com/storage/images/resenas/federico-colletta-el-desmoronamiento-de-la-corteza-terrestre.-centro-cultural-recoleta.-buenos-aires/567050-1-esl-AR/Federico-Colletta-El-desmoronamiento-de-la-corteza-terrestre.-Centro-Cultural-Recoleta.-Buenos-Aires_grid_horizontal.jpg)
Federico Colletta: El desmoronamiento de la corteza terrestre. Centro Cultural Recoleta. Buenos Aires
The apparent working of nature’s chance in Federico Colletta’s process is actually a strategy, a partial loosening.
![Luis Romero. Tu y Yo [You and I], 2015, prints on paper and glass, Alejandra Von Hartz Gallery (photo by O. Torridas) Luis Romero. Tu y Yo [You and I], 2015, prints on paper and glass, Alejandra Von Hartz Gallery (photo by O. Torridas)](/var/artealdia_com/storage/images/resenas/luis-romero-borderline.-alejandra-von-hartz-gallery-miami/567032-1-esl-AR/Luis-Romero-Borderline.-Alejandra-Von-Hartz-Gallery-Miami_grid_horizontal.jpg)
Luis Romero: Borderline. Alejandra Von Hartz Gallery, Miami
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.
![Ken Matsubara, Potsdamer. Tecnica mixta / Mixed media. 24 x 30 cm Ken Matsubara, Potsdamer. Tecnica mixta / Mixed media. 24 x 30 cm](/var/artealdia_com/storage/images/resenas/ken-matsubara-repeticiones.-galeria-del-paseo.-punta-del-este/567014-1-esl-AR/Ken-Matsubara-Repeticiones.-Galeria-del-Paseo.-Punta-del-Este_grid_horizontal.png)
Ken Matsubara: Repeticiones. Del Paseo Gallery, Punta del Este
This show brought together three videos and an installation—a series of open books, as tenuous as memories, displayed on music stands.
![PACIFICO [PACIFIC], 1994. Pacifico series, 120x104 cm. Vintage print. Photograph: Daniel Avena PACIFICO [PACIFIC], 1994. Pacifico series, 120x104 cm. Vintage print. Photograph: Daniel Avena](/var/artealdia_com/storage/images/resenas/fernell-franco-cali-clair-obscur.-fondation-cartier-paris/566942-1-esl-AR/Fernell-Franco-Cali-Clair-Obscur.-Fondation-Cartier-Paris_grid_horizontal.jpg)
Fernell Franco: Cali Clair Obscur. Fondation Cartier, Paris
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.
![Gerardo Goldwasser, Medidas rígidas [Rigid Measures], 2015. Wood and varnish, 100 cm. long / Madera y barniz, 100 cm, largo. Gerardo Goldwasser, Medidas rígidas [Rigid Measures], 2015. Wood and varnish, 100 cm. long / Madera y barniz, 100 cm, largo.](/var/artealdia_com/storage/images/resenas/goldwasser-uribe-el-sistema-de-los-otros.-galeria-del-paseo-punta-del-este/566897-1-esl-AR/Goldwasser-Uribe-El-sistema-de-los-otros.-Galeria-del-Paseo-Punta-del-Este_grid_horizontal.png)
Goldwasser - Uribe: El sistema de los otros. Galería del Paseo, Punta del Este
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.