Reviews

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
Luis Terán

We can imagine Luis Terán’s studio as a great building work, full of materials scattered all over the floor and with construction workers wearing hard hats swarming about.

By Sofía Dourron
Reviews

Luis Terán

By Sofía Dourron

We can imagine Luis Terán’s studio as a great building work, full of materials scattered all over the floor and with construction workers wearing hard hats swarming about.

April 17, 2014
Angela Valella

What are the applications for such a title? It could be a pulled from a manual of any sort, instructing us how to put up wallpaper, bandage a wound, or any type of industrial assemblage.

By Hunter Braithwaite
Reviews

Angela Valella

By Hunter Braithwaite

What are the applications for such a title? It could be a pulled from a manual of any sort, instructing us how to put up wallpaper, bandage a wound, or any type of industrial assemblage.

April 17, 2014
_A Language beyond Form_

Taking the temporal and spatial axes as conducting thread, the exhibition A Language beyond Form (Un lenguaje más allá de la forma) constitutes a poetic incursion into our existential labyrinths, using the refined plastic forms of abstract and/or conceptual nature of ten Latin American leading artists as vital trigger.

By Janet Batet
Reviews

_A Language beyond Form_

By Janet Batet

Taking the temporal and spatial axes as conducting thread, the exhibition A Language beyond Form (Un lenguaje más allá de la forma) constitutes a poetic incursion into our existential labyrinths, using the refined plastic forms of abstract and/or conceptual nature of ten Latin American leading artists as vital trigger.

April 17, 2014
José Hidalgo-Anastacio

For someone interested in Latin American contemporary art it is always pleasant to fill in some of those gaps that the mental geography seems to have. Let’s be realistic: for some years ̶ too many ̶ and to date, it has been difficult to find that piece of the puzzle which, positioned on Bolivia and Ecuador, would complete the map.

By Álvaro de Benito Fernández
Reviews

José Hidalgo-Anastacio

By Álvaro de Benito Fernández

For someone interested in Latin American contemporary art it is always pleasant to fill in some of those gaps that the mental geography seems to have. Let’s be realistic: for some years ̶ too many ̶ and to date, it has been difficult to find that piece of the puzzle which, positioned on Bolivia and Ecuador, would complete the map.

April 03, 2014
Esteban Lisa

A new gold standard has been set with the opening of Esteban Lisa: Retornos, Toledo, 1895 / Buenos Aries, 1983 at the Biblioteca Nacional de España. The retrospective featured 149 works of art beginning with the artist's early abstract experiments in oil on cardboard rendered in a cubist-inspired style from 1930 to 1940.

By Julia P. Herzberg, Ph.D.
Reviews

Esteban Lisa

By Julia P. Herzberg, Ph.D.

A new gold standard has been set with the opening of Esteban Lisa: Retornos, Toledo, 1895 / Buenos Aries, 1983 at the Biblioteca Nacional de España. The retrospective featured 149 works of art beginning with the artist's early abstract experiments in oil on cardboard rendered in a cubist-inspired style from 1930 to 1940.

April 03, 2014
Claudio Girola and Poetry, the Owner of His History

A member of a family of sculptors, Claudio Girola was part of the concrete art groups in the Río de la Plata region. Like all avant-garde artists, concrete artists made use of an arsenal of pamphlets and manifestos, the first of which was the Manifiesto de cuatro jóvenes, signed precisely by Girola, jointly with Tomás Maldonado, Alfredo Hlito and Jorge Brito in 1942.

By Cristina Rossi
Reviews

Claudio Girola and Poetry, the Owner of His History

By Cristina Rossi

A member of a family of sculptors, Claudio Girola was part of the concrete art groups in the Río de la Plata region. Like all avant-garde artists, concrete artists made use of an arsenal of pamphlets and manifestos, the first of which was the Manifiesto de cuatro jóvenes, signed precisely by Girola, jointly with Tomás Maldonado, Alfredo Hlito and Jorge Brito in 1942.

April 03, 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 ...

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 ...

March 13, 2014
_Gestonas Urbanos | Urban Gestures_

After a sell-out booth at last year’s ArtBo art fair in Bogota, Johannes Voigt, owner of Johannes Voigt Gallery in New York, has a good reason to be fond of Colombia.

By Claire Breukel
Reviews

_Gestonas Urbanos | Urban Gestures_

By Claire Breukel

After a sell-out booth at last year’s ArtBo art fair in Bogota, Johannes Voigt, owner of Johannes Voigt Gallery in New York, has a good reason to be fond of Colombia.

March 13, 2014
Teresa Margolles

Reality as the unalterable context where actions take place and the way in which those same activities have an incidence on everyday life are the point of departure for the investigations that Teresa Margolles (Culiacán, Mexico, 1963) has been carrying out for years.

By Álvaro de Benito Fernández
Reviews

Teresa Margolles

By Álvaro de Benito Fernández

Reality as the unalterable context where actions take place and the way in which those same activities have an incidence on everyday life are the point of departure for the investigations that Teresa Margolles (Culiacán, Mexico, 1963) has been carrying out for years.

March 13, 2014
Antonia Eiriz

There are artists who have had such a colossal impact at a given stage in the history of their countries’ art and such a marked influence on the successive generations that no tributes will ever suffice.

By Jesús Rosado
Reviews

Antonia Eiriz

By Jesús Rosado

There are artists who have had such a colossal impact at a given stage in the history of their countries’ art and such a marked influence on the successive generations that no tributes will ever suffice.

February 11, 2014
Zilia Zánchez: an Approach to the Topographies of Desire

Beyond the vernacular-artistic manifestations that strive to understand what is produced in and from the Caribbean as an eclectic amalgamation of ancestral and cultural links, the work of artist Zilia Sánchez (1926) has developed amidst notions of rupture, which have a long tradition in the modern and contemporary art production of Latin America.

By Octavio Zaya
Reviews

Zilia Zánchez: an Approach to the Topographies of Desire

By Octavio Zaya

Beyond the vernacular-artistic manifestations that strive to understand what is produced in and from the Caribbean as an eclectic amalgamation of ancestral and cultural links, the work of artist Zilia Sánchez (1926) has developed amidst notions of rupture, which have a long tradition in the modern and contemporary art production of Latin America.

February 11, 2014
_Migrating Identities_

This exhibition displays works that have the power of revealing many layers of the ever-changing experience of immigration.

By Carlos Garcia Montero
Reviews

_Migrating Identities_

By Carlos Garcia Montero

This exhibition displays works that have the power of revealing many layers of the ever-changing experience of immigration.

January 30, 2014
Fernando Carabajal

Fernando Carabajal is one of those cultural producers who masters different expressive platforms with equal ease.

By Santiago Espinosa de los Monteros
Reviews

Fernando Carabajal

By Santiago Espinosa de los Monteros

Fernando Carabajal is one of those cultural producers who masters different expressive platforms with equal ease.

January 30, 2014
The Di Tella Case. 1958-1969

The necessary exhibition Documentación en galería: El caso Di Tella. 1958-1969 (Documentation in gallery: The Di Tella Case. 1958-1969), curated by the gallery directors Claudio Golonbek and Ricardo Ocampo, is an invitation to delve into the research work carried out by the Center for the Visual Arts (CAV) of the Di Tella Institute.

By Victoria Verlichak
Reviews

The Di Tella Case. 1958-1969

By Victoria Verlichak

The necessary exhibition Documentación en galería: El caso Di Tella. 1958-1969 (Documentation in gallery: The Di Tella Case. 1958-1969), curated by the gallery directors Claudio Golonbek and Ricardo Ocampo, is an invitation to delve into the research work carried out by the Center for the Visual Arts (CAV) of the Di Tella Institute.

January 30, 2014
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