A CONTEMPORARY QUIPU TRAVERSES CASTELLO DI RIVOLI
The Chilean artist Cecilia Vicuña unfolds an intervention connecting ancestral practices, ecology, and shared memory.
FINAL DAYS TO APPLY: LONDON RESIDENCIES FOR LATIN AMERICAN AND CARIBBEAN ARTISTS
Open call for residencies in London that promote exchange, research, and international outreach. Application deadline: April 6.
SOI NIWE: THE SHIPIBO-KONIBO CULTURAL COLLECTIVE AT CASA FUGAZ
This exhibition brings together prominent artists from various Shipibo-Konibo communities, who now reside in the Cantagallo community, in Perú. Through their works, the collective shares artistic practices that are part of a living culture.
SARAH GRILO IS NO LONGER A SECRET NEARLY TWO DECADES AFTER HER DEATH
Today, those who walk through the galleries of the Museum of Modern Art or the Metropolitan Museum of Art in New York encounter a welcome surprise: canvases of undeniable visual strength hanging alongside figures such as Rothko or Tàpies. These are works by Sarah Grilo, recently acquired by these institutions. Nearly two decades after her passing, the artist has finally assumed the place of honor her career deserved.
BRICKS AND RATIONAL SPIRIT, THE CHURCH CRISTO OBRERO IS “SILENTLY REVOLUTIONARY”
Mathematical design, red brick, and calibrated light take center stage in a work that rejects the traditional hierarchy of the church.
MIGUEL ESCOBAR INAUGURAL RECIPIENT OF THE IAN ROSENFELD FUND
Global selection underscores the Colombian singular pictorial language shaped by tension, staging, and introspective inquiry.
MASP: CONTESTED NARRATIVES BETWEEN REPLICA AND WEAVING
Two parallel exhibitions revisit dominant narratives through practices that interrogate archive, materiality, and community in Latin America.
“CEDICIÓN” BY ALFREDO COLOMA: AN EPISTEMOLOGICAL INTERVENTION IN PLURINATIONAL BOLIVIA
“From a distance (while living in Europe), I saw another Bolivia through the ways it was (self-)represented on social media and in the press, and I consumed images produced in the country that did not fall within the sphere of ‘culture,’ yet in my view revealed a much richer complexity. The Cedición projects emerged from these collections of images, or from texts and representations that were not official, so to speak.” (Coloma, 2025).
AT THE INTERSECTION OF SCIENCE AND POETICS: LUCÍA PIZZANI IN THE UNITED KINGDOM
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