Reviews

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

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

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

Amadeo Azar’s (Argentina, 1972) watercolors and Jorge Miño’s (Argentina, 1973) digital photographs converge in the utilization of a geometric language in Los Restos del Triunfo, a show featured at Fundación Jorge F. Klemm

Eugenio Espinoza: Unruly Supports (1970-1980) constitutes a rigorous exhibition that embarks the viewer on an exploration of Eugenio Espinoza’s (San Juan de los Morros, 1950) radical proposal. Curated by Jesús Fuenmayor, the exhibition is composed for more than fifty works that include paintings, photographs, sculptures, postcards and documentations of performances and interventions,

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

An impressive topography of tamped down asphalt showing reliefs and planar areas extends throughout the main exhibition room of the Recoleta Cultural Center. Argentine artist Matías Duville’s (Buenos Aires, 1974) enigmatic and attractive installation lends its name to the exhibition: Arena Parking.

The exhibition México, featuring works by the notable photographer Adriana Lestido (Argentina, 1955) at Rolf Art, displays two impressive and beautiful photographic essays, developed in Mexican territory in 2010. The interview México – which lends its title to the exhibition – is the product of an invitation from the Mexican photographer and curator Patricia Mendoza, to capture photographs of forest areas on the occasion of the International Year of Forests.

Beatrix Potter was an English scientist and illustrator who investigated the reproduction and taxonomy of fungi. In spite of her having developed important biological-reproductive theories, her scientific work could never be carried out professionally for reasons of gender.

Since his emergence in the visual arts scene, the photographer Roberto Huarcaya (Lima, 1959) has distinguished himself by the ambition of his projects, in which photography has often been associated with other creative mediums in very solid combinations that have elicited intense responses from different audiences.

The same day that I began writing this text, I saw on a video featured by an online Argentine newspaper, a TransAsia Airways plane cross a Taipei highway with a wing pointed towards the ground and another towards the sky, destroy the front of a taxi and crash on a river.

As a celebration of its 25 years of existence, the Instituto Valenciano de Arte Moderno (IVAM) explores a part of the creation of Latin America through 127 works of its collection, under the special influence of Uruguayan artist Joaquín Torres-García.

The images of Fuera de foco, works by Alejandro Kuropatwa (Buenos Aires, 1956-2003), presented at Vasari gallery, were shot and produced in New York, where the artist lived for around six years.

“Talking to you makes me think that Man’s descent from the apes hasn’t even started yet.”

The passion caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror.

In 1980, the exhibition Didáctica y dialéctica del color, by master of color Carlos Cruz-Diez (Venezuela, 1923), was held at the Universidad Simón Bolívar (USB), Caracas.

At the core of Ricardo Rendón's artistic process is the notion that there are endless possibilities of creation starting from an already given set of elements.

Flavia Da Rin’s (Buenos Aires, 1978) alluring images usually distil fantasy, humor, and a dissimulated melancholy; they are structured around the artist’s appearance in constant and infinite transformation.

Hijo de matemáticos y nieto de artistas, Elías Crespín- Caracas, Venezuela, en 1965- asistió cotidianamente, desde que nació al fecundo diálogo entre la matemática y el arte.

For some time, we had been hoping to see in Sao Paulo one of its great artists, who has been living in Berlin for over 20 years.

At first glance, the pencil drawings by Daniel Otero Torres (Bogotá, 1985) elicit joy and fill the viewer with wonder.

There was a time when the relatively small city of Córdoba was a great capital of American art and culture. The 1960s shook the planet, and in the central region of Argentina, this could be perceived in the streets.

After being exhibited at the Calouste Gulbenkian Foundation (Portugal), the Museum of Modern Art in Malmö (Sweden), the National Museum of the 21st Century Arts - MAXXI (Italy), the Pinacoteca of the State of São Paulo (Brazil) and the University Museum of Contemporary Art of the National Autonomous University of Mexico UNAM (Mexico), a part of the installation Plegaria muda arrived at the Flora Foundation in Bogotá.

The Silent Shout… shows the continuity of abstraction in Cuba from the mid-twentieth century to the present, contributing to complete the map of that vast current that spanned the continent, including the Caribbean, ...