Reviews

La democracia del símbolo. Vista de la exhibición / View of the installation. Photo: Javier Agustín Rojas. MALBA diptych

The removal of a section of the obelisk, as well as the fiction of transporting it and the choice of the new setting, not only formulates the artist’s political and conceptual agenda but also activates the senses.

By Juan Cruz Pedroni
Reviews

Leandro Erlich: La democracia del Símbolo. MALBA. Buenos Aires

By Juan Cruz Pedroni

The removal of a section of the obelisk, as well as the fiction of transporting it and the choice of the new setting, not only formulates the artist’s political and conceptual agenda but also activates the senses.

February 21, 2016
Jorge Macchi. Lampo. Vista de exhibición / View of the exhibition. Photo: Oscar Monsalve

Lampo is a pause and change in pace in the programming of NC-arte, as well as the first major show by Macchi in Bogotá.

By Santiago Rueda
Reviews

Jorge Macchi: Lampo. NC – arte. Colombia

By Santiago Rueda

Lampo is a pause and change in pace in the programming of NC-arte, as well as the first major show by Macchi in Bogotá.

February 21, 2016
Rey América [King America]. Oleo sobre lienzo / Oil on canvas, 146x89 cm. 1991. Museo Nacional de Bellas Artes (MNBA) Collection.

The design of this exhibition prioritizes his almost fifty-year search for the specificity of the Americas.

By Laura Casanovas
Reviews

Pérez Celis: Testimonio americano. Museo Nacional de Bellas Artes. Buenos Aires

By Laura Casanovas

The design of this exhibition prioritizes his almost fifty-year search for the specificity of the Americas.

February 21, 2016
Muu Blanco. NCT-M, from the series NCT x 13 Samples, 2015. Intervention on Paolo Gasparini’s book Retromundo [Retroworld], 1986

Muu Blanco’s strategy consists of selecting images by Gasparini and placing on them elements that make reference to Blanco’s daily life.

By Dennys Matos
Reviews

Muu Blanco: NCTx13 Sample, Photographs & Music. ArtMedia Gallery, Miami

By Dennys Matos

Muu Blanco’s strategy consists of selecting images by Gasparini and placing on them elements that make reference to Blanco’s daily life.

February 21, 2016
Wifredo Lam, La Jungla [The Jungle], 1943. The Museum of Modern Art, New York.

The exhibition displays the different stages of the long journey that was Lam’s life as well as the varying courses of his production.

By Claire Luna
Reviews

Wifredo Lam: O la modernidad transcontinental. Centre Georges Pompidou, París

By Claire Luna

The exhibition displays the different stages of the long journey that was Lam’s life as well as the varying courses of his production.

February 21, 2016
Josefina Guilisasti, La Balsa de la Medusa, 2015

Josefina Guilisasti's work restores the anthropological, historic, and cultural value of objects that no longer have a voice.

By Helena Brum
Reviews

Josefina Guilisasti: A Matter of Perception. Cecilia Brunson Projects, Londres

By Helena Brum

Josefina Guilisasti's work restores the anthropological, historic, and cultural value of objects that no longer have a voice.

February 21, 2016
Instant Happiness, Rosario Marquardt & Roberto Behar, R & R Studios 2015. Photo / Foto Manuel Ciarlott

The exhibition was not a happening but that happened: a project featuring the architecture of emotion rendered as a portable party thanks to the abracadabra that completed the sound decoration.

By Carolina Muzi
Reviews

Studio R & R: Ceci n'est pas happening. Monoambiente. Buenos Aires

By Carolina Muzi

The exhibition was not a happening but that happened: a project featuring the architecture of emotion rendered as a portable party thanks to the abracadabra that completed the sound decoration.

February 21, 2016
View of the exhibition Mambo / Vista la exhibición Mambo.

The space directed by Eleonora Molina presents an exhibition that has the optical illusions as starting point.

By Marcela Costa Peuser
Reviews

Augusto Zanella & Luis Rodríguez: Mambo. Miranda Bosch, Buenos Aires

By Marcela Costa Peuser

The space directed by Eleonora Molina presents an exhibition that has the optical illusions as starting point.

February 21, 2016
View of the installation / Vista de la instalación Arena Parking. May/ Mayo 2015

Duville traslada al espacio tridimensional ese mapa mental de motivos que caracterizan su obra.

By Laura Casanovas
Reviews

Matias Duville: Arena Parking. Centro Cultural Recoleta, Buenos Aires

By Laura Casanovas

Duville traslada al espacio tridimensional ese mapa mental de motivos que caracterizan su obra.

February 21, 2016
Iceberg. Photograph, 33.4 x 88.5 in. / Fotografía, 85 x 225 cm.

Carle Catafago’s vistas celebrate the extraordinary landscapes south of the South, and convey, at the same time, their disturbing fleetingness.

By Victoria Verlichak
Reviews

Christian Carle Catafago: Monumentos a la deriva. Praxis Arte Internacional. Buenos Aires

By Victoria Verlichak

Carle Catafago’s vistas celebrate the extraordinary landscapes south of the South, and convey, at the same time, their disturbing fleetingness.

February 21, 2016
View of the Exhibition / Vista de la exhibición Fuerzas Productivas. Mayo 2015

We could feel that the whole exhibition becomes a poem, that as soon as it anchors us to a meaning and an experience, it immediately produces a new estrangement to make way for another meaning and another experience.

By Laura Casanovas
Reviews

Martin Legón: Las fuerzas productivas. Barro Arte Contemporáneo, Buenos Aires

By Laura Casanovas

We could feel that the whole exhibition becomes a poem, that as soon as it anchors us to a meaning and an experience, it immediately produces a new estrangement to make way for another meaning and another experience.

February 21, 2016
Azar / Miño.  Pieza #03 (detail / detalle), 2015.

Azar and Miño’s exhibition is not a literal commentary on “the remains of triumph;” its musicality opens up other horizons.

By Victoria Verlichak
Reviews

Amadeo Azar & Jorge Miño: Los restos del Triunfo. Fundación Klemm, Buenos Aires

By Victoria Verlichak

Azar and Miño’s exhibition is not a literal commentary on “the remains of triumph;” its musicality opens up other horizons.

February 21, 2016
RES - La Dama / The Lady, 2005.  From the series / De la serie Conatus (RES + Constanza Piaggio).

Arte x Arte debuts its new stage as a foundation with an exceptional exhibition that investigates the intersections between painting and photography.

By Victoria Verlichak
Reviews

In fraganti. Fotografía y pintura. ArtexArte. Buenos Aires

By Victoria Verlichak

Arte x Arte debuts its new stage as a foundation with an exceptional exhibition that investigates the intersections between painting and photography.

February 21, 2016
Parte#10. 2015. Fotografía extraida de redes sociales. Gelatina de plata sobre papel fibra / Photograph extracted from social networks. Gelatin silver print on fiber paper.

Medail presents an exhibition in where debate is the obsessions with perfection with roots in romantic thinking of a documentary photography that aspires to be ontology: to show the essence of things exactly as they are.

By Juan Cruz Pedroni
Reviews

Francisco Medail: Parte. Studio 488, Buenos Aires

By Juan Cruz Pedroni

Medail presents an exhibition in where debate is the obsessions with perfection with roots in romantic thinking of a documentary photography that aspires to be ontology: to show the essence of things exactly as they are.

February 21, 2016
Adriana Lestido. Hierve el agua /The Water Boils, Oaxaca, 2010.

The exhibitionfeaturing works by the photographer Adriana Lestido  at Rolf Art, displays two impressive and beautiful photographic essays, developed in Mexican territory in 2010.

By Victoria Verlichak
Reviews

Adriana Lestido: Mexico. Rolf Art, Buenos Aires

By Victoria Verlichak

The exhibitionfeaturing works by the photographer Adriana Lestido  at Rolf Art, displays two impressive and beautiful photographic essays, developed in Mexican territory in 2010.

February 21, 2016
Vic Muñiz, Buenos Aires. Photographic collage, 71 x 110 in. / Collage fotográfico, 180,3 x 279,4 cm

In the work of Vic Muniz, the materials have an economy, a social and political history, or a technology that begs to be included in the discourse.

By Juan Cruz Pedroni
Reviews

Vik Muñiz: Buenos Aires. Muntref

By Juan Cruz Pedroni

In the work of Vic Muniz, the materials have an economy, a social and political history, or a technology that begs to be included in the discourse.

February 21, 2016
La casa de Los Rosales, sin fecha / The house at Los Rosales, undated.   Gelatin silver bromide print / Gelatinobromuro de plata.

Cotina was not a professional photographer but through the lens of his camera he captured the loneliness, the fog  and the beauty of the everyday in a way that had never been seen before.

By Beatriz Sogbe
Reviews

Alfredo Cortina: Photographer. Museo de Arte Contemporáneo del Zulia, Maracaibo

By Beatriz Sogbe

Cotina was not a professional photographer but through the lens of his camera he captured the loneliness, the fog  and the beauty of the everyday in a way that had never been seen before.

February 19, 2016
Gyula Kosice. Revolving Water, 1964.

Durban Segnini Gallery celebrates its twenty۔third anniversary at the local level and forty۔five years of existence, with an alluring collective exhibition.

By Janet Batet
Reviews

Abstraction and Constructivism: Continuity and Breakdown of Latin-American Modernity. Durban Segnini, Miami

By Janet Batet

Durban Segnini Gallery celebrates its twenty۔third anniversary at the local level and forty۔five years of existence, with an alluring collective exhibition.

February 19, 2016
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
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