Reviews

Untitled (Circunstancial), 1971.  Installation view / vista de exhibición. National Young Artists Salon, Casa de la Cultura, Maracay, 1971

The exhibition underscores the work developed by the artist during the 1970s, when his proposal became an unequivocal turning۔point within the tradition of modern Venezuelan art.

By Janet Batt
Reviews

Eugenio Espinoza: Unruly Supports. PAMM, Miami

By Janet Batt

The exhibition underscores the work developed by the artist during the 1970s, when his proposal became an unequivocal turning۔point within the tradition of modern Venezuelan art.

February 19, 2016
 Untitled (Rolled steel)/ Sin título (acero enrollado), 2015

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

By Píter Ortega Núñez
Reviews

Mateo Tannatt: Horse. Gallery Diet, Miami

By Píter Ortega Núñez

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

February 19, 2016
Yoan Capote. Immanence, 2015. Vista de exhibición / exhibition view

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

By Claire Breukel
Reviews

Yoan Capote: Collective Unconscious. Jack Shainman, New York

By Claire Breukel

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

February 19, 2016
Vista de la exposición A Garden for Beatrix. Cecilia Brunson Projects. London. Foto: Patrick Dodds

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

By Alba Colomo
Reviews

Lucía Pizzani: A Garden for Beatriz. Cecilia Brunson Projects

By Alba Colomo

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

February 19, 2016
Amadeo Azar & Jorge Miño

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

By Victoria Verlichak
Reviews

Amadeo Azar & Jorge Miño

By Victoria Verlichak

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

January 25, 2016
Eugenio Espinoza

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,

By Janet Batet
Reviews

Eugenio Espinoza

By Janet Batet

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,

January 25, 2016
Yoan Capote

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

By Claire Breukel
Reviews

Yoan Capote

By Claire Breukel

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

January 25, 2016
Matias Duville

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.

By Laura Casanovas
Reviews

Matias Duville

By Laura Casanovas

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.

October 13, 2015
Adriana Lestido

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.

By Victoria Verlichak
Reviews

Adriana Lestido

By Victoria Verlichak

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.

October 13, 2015
Lucía Pizzani

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.

By Alba Colomo
Reviews

Lucía Pizzani

By Alba Colomo

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.

October 13, 2015
Roberto Huarcaya

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.

By Jorge Villacorta Chávez
Reviews

Roberto Huarcaya

By Jorge Villacorta Chávez

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.

May 29, 2015
Expanding Time

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.

Reviews

Expanding Time

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.

May 29, 2015
Joaquín Torres-García

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.

By Jürgen Misch
Reviews

Joaquín Torres-García

By Jürgen Misch

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.

May 29, 2015
Alejandro Kuropatwa

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.

By Victoria Verlichak
Reviews

Alejandro Kuropatwa

By Victoria Verlichak

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.

May 29, 2015
Allora & Calzadilla

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

By Claire Breukel
Reviews

Allora & Calzadilla

By Claire Breukel

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

May 29, 2015
Marcos Castro: The Influence of the Sublime.

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.

By Janet Batet Miami
Reviews

Marcos Castro: The Influence of the Sublime.

By Janet Batet Miami

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.

February 05, 2015
Carlos Cruz Diez

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.

By Beatriz Sogbe
Reviews

Carlos Cruz Diez

By Beatriz Sogbe

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.

January 28, 2015
Ricardo Rendón

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.

By Paula Braga.
Reviews

Ricardo Rendón

By Paula Braga.

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.

January 08, 2015
Flavia Da Rin

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.

By Victoria Verlichak
Reviews

Flavia Da Rin

By Victoria Verlichak

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.

January 08, 2015
Elías Crespín

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.

By Patricia Avena Navarro
Reviews

Elías Crespín

By Patricia Avena Navarro

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.

November 19, 2014
Alex Flemming and his chaos

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.

By Carlos Jiménez Vázquez
Reviews

Alex Flemming and his chaos

By Carlos Jiménez Vázquez

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.

August 15, 2014
Daniel Otero Torres

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

By Claire Luna
Reviews

Daniel Otero Torres

By Claire Luna

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

August 04, 2014
Eugenio Zanetti

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.

By Pancho Marchiaro
Reviews

Eugenio Zanetti

By Pancho Marchiaro

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.

July 18, 2014
Doris Salcedo

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.

By Camilo Chico Triana
Reviews

Doris Salcedo

By Camilo Chico Triana

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.

May 29, 2014
_The Silent Shout: Voices in Cuban Abstraction 1950-2013_

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, ...

By Adriana Herrera
Reviews

_The Silent Shout: Voices in Cuban Abstraction 1950-2013_

By Adriana Herrera

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, ...

May 29, 2014
Adrián Villar Rojas

Adding color and moving away from monumental sculpture cast in unfired clay, Villar Rojas’ latest in-situ exhibition, Los Teatros de Saturno, at Kurimanzutto gallery does indeed represent a departure from his previous work, though brought to life with the central threads of his creative career, the ephemeral quest for life that often emerges from decay and his theatrical approach to artistic production, well intact.

By James R. Young
Reviews

Adrián Villar Rojas

By James R. Young

Adding color and moving away from monumental sculpture cast in unfired clay, Villar Rojas’ latest in-situ exhibition, Los Teatros de Saturno, at Kurimanzutto gallery does indeed represent a departure from his previous work, though brought to life with the central threads of his creative career, the ephemeral quest for life that often emerges from decay and his theatrical approach to artistic production, well intact.

May 29, 2014
Enrique Minjares

Enrique Minjares is angry and laughing. The 36-year-old artist draws a thin line between the two in his latest exhibition – derived largely out of faithful respect for formal artwork construction and an earnest sense of humor in what we all must now see as a casually cruel environment for art production in the Americas.

By James R. Young Jr.
Reviews

Enrique Minjares

By James R. Young Jr.

Enrique Minjares is angry and laughing. The 36-year-old artist draws a thin line between the two in his latest exhibition – derived largely out of faithful respect for formal artwork construction and an earnest sense of humor in what we all must now see as a casually cruel environment for art production in the Americas.

May 15, 2014
Emilio Pérez

Emilio Pérez’s third solo exhibition at Galerie Lelong, New York, includes recent paintings on wood panels, as well as a triptych executed during his residency at the Lux Art Institute in California in 2011, on view for the first time in the city.

By Lisset Martínez Herryman
Reviews

Emilio Pérez

By Lisset Martínez Herryman

Emilio Pérez’s third solo exhibition at Galerie Lelong, New York, includes recent paintings on wood panels, as well as a triptych executed during his residency at the Lux Art Institute in California in 2011, on view for the first time in the city.

May 15, 2014
Pat Andrea

“How do you know I’m mad? said Alice. `You must be,' said the Cat, `or you wouldn't have come here.'

By Pancho Marchiaro
Reviews

Pat Andrea

By Pancho Marchiaro

“How do you know I’m mad? said Alice. `You must be,' said the Cat, `or you wouldn't have come here.'

April 30, 2014
Cristina García Rodero

The photographic record of mystical feeling has been commonly addressed by the great religions of our contemporary world.

By Willy Castellanos
Reviews

Cristina García Rodero

By Willy Castellanos

The photographic record of mystical feeling has been commonly addressed by the great religions of our contemporary world.

April 30, 2014
Andrés Serrano

Previously heralded as the world’s most infamous contemporary artist – his highly contentious photographic work Piss Christ, 1987 pictured a crucifix bathed in his urine –a mature Andrés Serrano now proffers social consciousness.

By Claire Breukel
Reviews

Andrés Serrano

By Claire Breukel

Previously heralded as the world’s most infamous contemporary artist – his highly contentious photographic work Piss Christ, 1987 pictured a crucifix bathed in his urine –a mature Andrés Serrano now proffers social consciousness.

April 30, 2014
« Previous 1 ... 6 7 8 9 10 11 12 ... 25 Next »