Reviews

Divulgacao-30. Rijanviera. Edouard Fraipont. Courtesy/Cortesía Fundación Itaú Cultural. São Paulo.

Hélio Oiticica: Museu É o Mundo (Museum is the World) opened on Saturday, March 20.

By Alice Heeren
Reviews

Hélio Oiticica

By Alice Heeren

Hélio Oiticica: Museu É o Mundo (Museum is the World) opened on Saturday, March 20.

July 24, 2010
Red comprimida # 3, 2009 - 2010. Ink on paper, 19.6 x 39.4 in. Tinta sobre papel, 50 x 100 cm. Courtesy/Cortesía Casas Riegner Gallery. Photo/Foto: Oscar Monsalve.

It would be tautological to say that Johanna Calle is one of the Colombian contemporary artists with the greatest projection.

By Halim Badawi
Reviews

Johanna Calle

By Halim Badawi

It would be tautological to say that Johanna Calle is one of the Colombian contemporary artists with the greatest projection.

July 24, 2010
G + S Collection, Northern Gallery, Museum of Modern Art, Medellín, Cdad. del Río venue. Colección G + S. Sala Norte del Museo de Arte Moderno de Medellín, sede Ciudad del Río. Photo/Foto de Alfonso Posada.

Traditionally, art collecting has been one of the marginal themes in the history of Colombian art.

By Halim Badawi
Reviews

Juan Gallo’s Collection

By Halim Badawi

Traditionally, art collecting has been one of the marginal themes in the history of Colombian art.

July 24, 2010
Halim Badawi

For many years, Colombian artist José Alejandro Restrepo has developed a research focused on the relationships between art, body, religion and violence.

Reviews

José Alejandro Restrepo

For many years, Colombian artist José Alejandro Restrepo has developed a research focused on the relationships between art, body, religion and violence.

July 24, 2010
Infinite, 2008. Acrylic on Fabriano paper, 5.3 x 11.4 in. Photography: Beatriz Sogbe. Infinito, 2008. Acrílico sobre papel Fabriano, 13,5 x 29 cm. Fotografía: Beatriz Sogbe.

With the persistence of the theme of anguish in contemporary man, Alirio Rodríguez (Venezuela, 1934) presents his latest exhibition, which relates to the 1976 series “In front of the abyss".

By Beatriz Sogbe
Reviews

Alirio Rodríguez

By Beatriz Sogbe

With the persistence of the theme of anguish in contemporary man, Alirio Rodríguez (Venezuela, 1934) presents his latest exhibition, which relates to the 1976 series “In front of the abyss".

July 24, 2010
Soft geometries, 2009. Various materials, 15.7 x 15.7 in. (each) Photography: Carlos Germán Rojas. Geometrías blandas, 2009. Materiales diversos, 40 x 40 cm (cada uno) Fotografía: Carlos Germán Rojas

The work that is being currently exhibited by José Luis López Reus (Caracas, 1966) at Fernando Zubillaga Gallery has a rela- tion with his final stage as a textile designer.

By Beatriz Sogbe
Reviews

José Luis López Reus

By Beatriz Sogbe

The work that is being currently exhibited by José Luis López Reus (Caracas, 1966) at Fernando Zubillaga Gallery has a rela- tion with his final stage as a textile designer.

July 24, 2010
Cut out. Photography Courtesy: Beatriz Sogbe. Recortado. Fotografía Cortesía: Beatriz Sogbe

José Gabriel Fernández (Caracas, 1957) had in the past developed some installations using bull fighters ́cloaks.

By Beatriz Sogbe
Reviews

José Gabriel Fernández

By Beatriz Sogbe

José Gabriel Fernández (Caracas, 1957) had in the past developed some installations using bull fighters ́cloaks.

July 24, 2010
Expulsión TRIODO, 2010. Digital print. Ed. of 7 + 2 AP, 31,5 x 47 in. Photo: Courtesy of Kunsthaus Santa Fe Gallery. Impresión digital, Ed. de 7 + 2 PA, 80 x 120 cm. Foto: Cortesía de Galería Kunsthaus Santa Fe

Iván Puig was born in 1977 in Guadalajara, the same city where the seminal Mexican master, Dr Atl, had come into this world 102 years earlier, and he abides by artistic concepts that tend to revolutionize creative visual praxis in the 21st century, just like Mr. Gerardo Murillo did in Mexican visual arts at the beginning of the 20th century.

By Rafael López-Ramos
Reviews

Iván Puig

By Rafael López-Ramos

Iván Puig was born in 1977 in Guadalajara, the same city where the seminal Mexican master, Dr Atl, had come into this world 102 years earlier, and he abides by artistic concepts that tend to revolutionize creative visual praxis in the 21st century, just like Mr. Gerardo Murillo did in Mexican visual arts at the beginning of the 20th century.

July 24, 2010
Decoy, 2010. Installation View / Vista de la instalación Courtesy/Cortesía Farside Gallery.

Decoy, the exhibition of works by Gean Moreno and Ernesto Oroza, gathers together objectual constructions whose conformation and referential potential are the result, in each case, of interactions of varying degree and nature between different disciplines, models and systems of cultural production.

By José Antonio Navarrete
Reviews

Gean Moreno / Ernesto Oroza

By José Antonio Navarrete

Decoy, the exhibition of works by Gean Moreno and Ernesto Oroza, gathers together objectual constructions whose conformation and referential potential are the result, in each case, of interactions of varying degree and nature between different disciplines, models and systems of cultural production.

July 24, 2010
José Antonio Hernández Diez. 1500. 2009. C-print, 60 x 70 inches. Ed. 1/2. 1994. Fotografía color, 152,4 x 177,8 cm. Courtesy/Cortesía Kabe Contemporary

The most recent solo show of the renowned Venezuelan artist José Antonio Hernández-Diez (Caracas, 1964) is the point of departure for a work in progress he has titled Petare 2009.

By José Antonio Navarrete
Reviews

José Antonio Hernández-Diez

By José Antonio Navarrete

The most recent solo show of the renowned Venezuelan artist José Antonio Hernández-Diez (Caracas, 1964) is the point of departure for a work in progress he has titled Petare 2009.

July 24, 2010
Rosario Bond. Beautiful trash (Eve). 2009. Mixed Media H.66 O verall 56 in. Técnica mixta, altura total 142 cm.

Curator’s Voice Art Project is a cultural management project led by Miami-based Venezuelan art critic and curator, Milagros Bello.

By Janet Batet
Reviews

Rosario Bond / Alicia Meza

By Janet Batet

Curator’s Voice Art Project is a cultural management project led by Miami-based Venezuelan art critic and curator, Milagros Bello.

July 20, 2010
Una cosa es una cosa, 1990. Video stills of the performance. Fotograma de la performance. Courtesy/Cortesía Galería El Cuadrado

Francine Birbragher’s curatorial work for the exhibition In body and Soul: The Performance Art of María Teresa Hincapié, featured at the Frost Art Museum, proves to what extent the work of this Colombian artist who had a short life opened an indelible path for performance in the continent: a complete fusion between the artwork and everyday life.

By Adriana Herrera Téllez
Reviews

María Teresa Hincapié

By Adriana Herrera Téllez

Francine Birbragher’s curatorial work for the exhibition In body and Soul: The Performance Art of María Teresa Hincapié, featured at the Frost Art Museum, proves to what extent the work of this Colombian artist who had a short life opened an indelible path for performance in the continent: a complete fusion between the artwork and everyday life.

July 20, 2010
Gego. Gegofón, 1959. 27 in. high. Courtesy/Cortesía Henrique Faría Fine Art, New York, NY.

The Newark Museum is a small gem that has unjustifiably been kept outside of the radar of the New York area museums spotlight. Fortunately for us, upon its one hundredth anniversary, this small museum is finally getting some attention with Constructive Spirit: Abstract Art in South and North America.

By Maria-Laura Steverlynck
Reviews

Constructive Spirit

By Maria-Laura Steverlynck

The Newark Museum is a small gem that has unjustifiably been kept outside of the radar of the New York area museums spotlight. Fortunately for us, upon its one hundredth anniversary, this small museum is finally getting some attention with Constructive Spirit: Abstract Art in South and North America.

July 20, 2010
MINUCODEs. View of the exhibition at the Ameritas Society, 2010. Black and white photographs and color prints of Minucode, 1968. Vista de la Exposición en la Americas Society, 2010. Fotografías en blanco y negro y en color de Minucode, 1968.

When the then Center for Inter American Relations in New York commissioned Argentine artist Marta Minujín to develop the project that could recently be seen at the Americas Society which later absorbed the mentioned center, Minujín was well known in the art scene, and not only in the underground one.

By Laura F. Gibellini
Reviews

Marta Minujín

By Laura F. Gibellini

When the then Center for Inter American Relations in New York commissioned Argentine artist Marta Minujín to develop the project that could recently be seen at the Americas Society which later absorbed the mentioned center, Minujín was well known in the art scene, and not only in the underground one.

July 20, 2010
Diagonal Falls / Caída Diagonal, 1976. Nine silver gelatin prints, 32 x 40 in (overall, unframed). Courtesy Henrique Faría Fine Art/ Nueve impresiones en gelatina de plata, 81,3 x 101,6 cm. (en total, sin marco). Cortesía Henrique Faría Fine Art.

A small, exquisite exhibition of vintage photographs from the 1970s by Leandro Katz affords us a view of this little known body of work.

By Julia P. Herzberg
Reviews

Leandro Katz

By Julia P. Herzberg

A small, exquisite exhibition of vintage photographs from the 1970s by Leandro Katz affords us a view of this little known body of work.

July 20, 2010
Memorial (detail), 1999. Pigment print, 195 pieces, 11.7 x 9.4 in. each. Memorial (detalle), 1999. Impresión de tinta, 195 piezas de 29,8 x 24 cm. c/u

In this second solo show that the Uruguayan artist presented at the New York gallery, Alexander Gray, Luis Camnitzer (Lübeck, 1937) considered a leading figure in the realm of Latin American conceptual art posed once again, a reflection on the dictatorial regime that ruled Uruguay between 1973 and 1985.

By Laura F. Gibellini
Reviews

Luis Camnitzer

By Laura F. Gibellini

In this second solo show that the Uruguayan artist presented at the New York gallery, Alexander Gray, Luis Camnitzer (Lübeck, 1937) considered a leading figure in the realm of Latin American conceptual art posed once again, a reflection on the dictatorial regime that ruled Uruguay between 1973 and 1985.

July 20, 2010
Elastic Time, 2010. Lacquered aluminum. 20.5 x 2 x 10.2 in. Alumino laqueado, 52 x 5 x 26 cm.

From April 15 through May 23, the first solo show of Cuban artist Alexandre Arrechea will be held at Magnan Metz Gallery, New York, in this new space which until 2009 was known as Magnan Projects.

By Laura F. Gibellini
Reviews

Alexandre Arrechea

By Laura F. Gibellini

From April 15 through May 23, the first solo show of Cuban artist Alexandre Arrechea will be held at Magnan Metz Gallery, New York, in this new space which until 2009 was known as Magnan Projects.

July 20, 2010
Milagros III, 2010. 20 pieces in different sizes, 24.4 x 53 in., 1.5 in. Between rows of works. Oil on cotton paper and clips. 20 piezas de diferentes tamaños. 62 x 135 cm. Separación de 4 cm entre filas de obras. Óleo s/papel de algodón y recortes.

It might be said that the new proposal that Sandra Gamarra (Lima, Peru, 1972) presented in the Madrid gallery Juana de Aizpuru was comprised of two projects which, although grouped under the same title − In Order of Appearance − were clearly differentiated from a formal point of view.

By Álvaro de Benito Fernández
Reviews

Sandra Gamarra

By Álvaro de Benito Fernández

It might be said that the new proposal that Sandra Gamarra (Lima, Peru, 1972) presented in the Madrid gallery Juana de Aizpuru was comprised of two projects which, although grouped under the same title − In Order of Appearance − were clearly differentiated from a formal point of view.

July 13, 2010
Share-E Nau Wondering/A film treatment, 2006. Installation/Instalación.

Mario García Torres (Monclava, México, 1975) disembarks in the MNCARS with two installations staged in what used to be the old Sabatini Building coal vaults.

By Álvaro de Benito Fernández
Reviews

Mario García Torres

By Álvaro de Benito Fernández

Mario García Torres (Monclava, México, 1975) disembarks in the MNCARS with two installations staged in what used to be the old Sabatini Building coal vaults.

July 13, 2010
Betsabeé Romero. Carro ayate, 1997. 1955 Ford Victoria, ayate, oil and dry roses. Approx. 59.8 x 192 x 72 in. Ford Victoria de 1955, ayate, óleo y rosas secas. Aprox. 152x488x183cm.

We are not going to discover at this stage the effort and hard work invested by the Daros Latinamerica Collection into putting together holdings that cover the best of Latin American art.

By Álvaro de Benito Fernández
Reviews

Al Calor del Pensamiento

By Álvaro de Benito Fernández

We are not going to discover at this stage the effort and hard work invested by the Daros Latinamerica Collection into putting together holdings that cover the best of Latin American art.

July 13, 2010
Installation/Instalación. Museo de Arte Contemporáneo de la Prefectura de Niterói-RJ-Brasil. Photo/Foto Michel Moch.

Needless to recall the great debt that Brazilian contemporary art owes to its indigenous roots, to its indigenous peoples, and to the process of colonization, which have made it possible to develop, during the present and the past century, some of the most interesting and acclaimed proposals in the international art scene.

By Álvaro de Benito Fernández
Reviews

María Nepomuceno

By Álvaro de Benito Fernández

Needless to recall the great debt that Brazilian contemporary art owes to its indigenous roots, to its indigenous peoples, and to the process of colonization, which have made it possible to develop, during the present and the past century, some of the most interesting and acclaimed proposals in the international art scene.

July 13, 2010
Vivacidad, 2009. Mixed media on vinyl mounted on linen, 47.2 x 82.6 in. Mixta sobre vinilo montado en lino, 120 x 210 cm.

In the recent pictorial production of Aquiles Azar Billini (1965), his infinite combinations of fire, water, earth and air imply the notions and processes of light, life, trace, dissolution, transformation, transmutation, reaction and fertilizing friction.

By Amable López Meléndez
Reviews

Aquiles Azar Billini

By Amable López Meléndez

In the recent pictorial production of Aquiles Azar Billini (1965), his infinite combinations of fire, water, earth and air imply the notions and processes of light, life, trace, dissolution, transformation, transmutation, reaction and fertilizing friction.

July 01, 2010
Tetralineados Orange, 2010. Courtesy/Cortesía María Carlota Pérez

After years of investigation around bringing to life the forms he creates in a virtual world, Elias Crespin (Caracas, 1965) plays not only with the spatial but also formal and temporal categories of perception.

By María Carlota Pérez
Reviews

Elías Crespín

By María Carlota Pérez

After years of investigation around bringing to life the forms he creates in a virtual world, Elias Crespin (Caracas, 1965) plays not only with the spatial but also formal and temporal categories of perception.

July 01, 2010
Le Discours qui ne plaît pas, 2009. Gesso, rabbit skin, plastic, 2.3 x 2.9 x 1.2 in. Courtesy 13 Jeannette Mariano Gallery. Yeso, piel de conejo, plástico. 6 x 7,5 x 3 cm. Gentileza Galerie 13 Jeannette Mariani.

Un diminuto hombre que limpia una oreja, una mano que sostie- ne un saquito de té, personajes extraños de siluetas casi abstractas.

By Patricia Avena-Navarro
Reviews

Sabrina Montiel-Soto

By Patricia Avena-Navarro

Un diminuto hombre que limpia una oreja, una mano que sostie- ne un saquito de té, personajes extraños de siluetas casi abstractas.

July 01, 2010
Hoja elegante, 1998. Silver print, 19.7 x 15.7 in. Courtesy Thessa Herold Gallery. Impresión en lámina de plata, 50 x 40 cm. Cortesía galería Thessa Herold.

Photography should not be shown merely as a physical representation of a being or a thing.

By Patricia Avena-Navarro
Reviews

Flor Garduño

By Patricia Avena-Navarro

Photography should not be shown merely as a physical representation of a being or a thing.

June 30, 2010
Untitled / Sin título. From The Thite Series (Long Durational performance), 2008. Galería Alcuadrado. Courtesy of The artist and/ Cortesía del artista Galería Alcuadrado. Photo by/Foto: Beatriz Vargas

André Leroi-Gourhan, a specialist in Paleolithic Art, pointed out that “the human act par excellence is perhaps not so much the creation of tools as the domestication of time and space, or, to put it differently, the creation of a human time and space”1.

By Adriana Herrera Téllez
Reviews

María José Arjona

By Adriana Herrera Téllez

André Leroi-Gourhan, a specialist in Paleolithic Art, pointed out that “the human act par excellence is perhaps not so much the creation of tools as the domestication of time and space, or, to put it differently, the creation of a human time and space”1.

June 21, 2010
Você pode conhecer toda a verdade sobre a guerra mundial, 1976. Envelope/collage, 4.3 x 9 in. Sobre/collage, 11 x 23 cm.

Paulo Bruscky was jailed and interrogated several times during the military regime that dominated Brazil as of 1964.

By Jacopo Crivelli Visconti
Reviews

Paulo Bruscky

By Jacopo Crivelli Visconti

Paulo Bruscky was jailed and interrogated several times during the military regime that dominated Brazil as of 1964.

June 21, 2010
Drums, 2009. Neon, plywood, metal, one-way mirrors, mirrors, and electrical energy, 48 x 72 x 72 in. Photo: Rodrigo Pereda. Courtesy Galería Distrito Cuatro, Madrid. batería, 2009. Neón, madera prensada, metal, vidrios polarizados, espejos y energía eléctrica, 121,9 x 182,8 x 182,8 cm. Foto: Rodrigo Pereda. Cortesía Galería Distrito Cuatro, Madrid.

Iván Navarro (b. Santiago de Chile, 1972, based in New York) belongs to the generation of Latin American artists who, as of the 1990s, have reelaborated the relationships between modernism and contemporaneity.

By Antonio Arévalo
Reviews

Iván Navarro

By Antonio Arévalo

Iván Navarro (b. Santiago de Chile, 1972, based in New York) belongs to the generation of Latin American artists who, as of the 1990s, have reelaborated the relationships between modernism and contemporaneity.

June 07, 2010
Structure. (Estructura), 1966. Wood and paint on canvas. 46.8 x 75.6 x 78 in. Madera y pintura sobre tela. 120 x 194 x 200 cm Courtesy / Cortesía: Galería Ruth Benzacar

For several years now, the work of Argentinean artist Alejandro Puente (Buenos Aires, 1933) has been strongly revalued by different sectors within the field of the visual arts.

By Pablo Accinelli
Reviews

Alejandro Puente

By Pablo Accinelli

For several years now, the work of Argentinean artist Alejandro Puente (Buenos Aires, 1933) has been strongly revalued by different sectors within the field of the visual arts.

May 24, 2010
Spare the rod and spoil the child, 2008. Fluorescent light bulbs, bowling balls. Tubos de neón, bolas de boliche. Courtesy/Cortesía: Magnan Projects, New York

In the 1960s sci-fi writer Philip K. Dick coined the term “kipple” to explain the astonishing ability of household objects to accumulate in piles of unwanted clutter.

By Eva Díaz
Reviews

Alejandro Almanza Pereda

By Eva Díaz

In the 1960s sci-fi writer Philip K. Dick coined the term “kipple” to explain the astonishing ability of household objects to accumulate in piles of unwanted clutter.

May 21, 2010
Primitive wild, 2007. Acrylic on chipboard. 95.16 x 190.32 in. Primitivo agreste, 2007 Acrílico sobre aglomerado. 244 x 488 cm. Courtesy/Cortesía: Galeria Alberto Sendrós.

The name Matías Duville (Buenos Aires, 1974) started to appear shyly in the Argentine circuit at the beginning of the present decade.

By Eva Grinstein
Reviews

Matías Duville

By Eva Grinstein

The name Matías Duville (Buenos Aires, 1974) started to appear shyly in the Argentine circuit at the beginning of the present decade.

May 21, 2010