Galleries

Espacio El Dorado, in Bogotá, inaugurated its first exhibition of the year: Un supuesto fotográfico: The family of man en Bogotá (A Photographic Assumption: The Family of Man in Bogotá). Organized by Editorialesréplica, the show is part of one of the most important photography exhibitions of the 20th century, presented for the first time at the Museum of Modern Art in New York as a declaration of global solidarity in the aftermath of World War II.

The Colombian gallery presents VIDEOKINESIS curated by Carmen Gil Vrolijk. The exhibition delves into the exploration of transdisciplinary dialogues where the performing arts, installation, live video, generative image, sound and light materialize various plastic experiences that are traditionally ephemeral.

The +ARTE gallery exhibits uncanny, which highlights the works of artists María Fernanda Carlos and Pamela Corrales. Curated by Gabriela Moyano, the artists examine themes that come from their intimate sphere: holding and containing as female figures, the home, and healing rituals through the evaluation of ancestral, intergenerational, and personal knowledge. In this way, the exhibition generates an appreciation of the interrelationship between daily life and its territories.

La historia de la lona (The History of Canvas) is an international exhibition of canvases, textiles and paintings that narrate their stories and processes as well as those of the artists who intervene in them. The focus is then on the process, rather than the result.

The gallery, located in Bogotá, presents exhibitions of artists who, through explorations from the work and, more importantly, in the work, question the use of formal elements both in their proper sense and in contrast to other practices, both artistic and consumption-wise.

The New York-based gallery will present Quevedo's first solo exhibition with the Gallery in fall 2022.

Oscar Murillo has developed a multifaceted and inventive art practice, which constantly probes questions of collectivity and shared culture, while being fundamentally connected to the affective qualities of different materials.

“My work attempts to assemble a visual language that reconciles the process in which the history of this information is recorded, stored, and retrieved." Emerson Dorsch presents Alchemic Chants/ Reliquias Fragmentadas, Yanira Collado’s first solo exhibition with the gallery. A platform nearly covers the gallery floor, while objects and paintings punctuate the slim corridor around it. The platform echoes the footprint of a small house, one for living and for working.

UTA Artist Space and Unit London announce a new immersive environment by the celebrated Los Angeles-based artist Enrique Martínez Celaya. The Rose Garden ambitiously brings together new paintings, sculptures, installations, photographs, garments, and writing, inviting viewers to consider the self—both its promise and its threat—through the mystical divination of memory.

Casa Triângulo exhibits Argentinian artist Max Gómez Canle’s fourth solo exhibition at the gallery, curated and with texts by Natalia Malamute and Violeta Mollo. With text by Natalia Malamute, presented below, Fuera de lugar has the support of Projeto Fidalga Residência Paulo Reis.

Hilario Gallery presents its XV edition of online auctions with a selection of works of art, vintage photography, cartography, engravings, traditional textiles, silverware, old books and historical manuscripts.

Proyectos Ultravioleta presents Ríos de Gente (Rivers of People), the second solo show by Regina José Galindo at the gallery, dedicated to Bernardo Caal, defender of the water, the earth, and of the rights of indigenous peoples.

On Friday, January 21, at 6:30 p.m., the individual exhibition TRAMA, by Nela Ochoa, a Venezuelan/Spanish artist who has resided in Tenerife since 2017, will open at the Saro León gallery.

Gasworks presents Out of an instance of expiration comes a perennial showing, the first UK solo exhibition by Los Angeles-based artist Gala Porras-Kim.

O Bastardo’s first solo exhibition at the gallery points to the urgent need for a historical revisionism that will enable black people to increasingly believe they are what they have always wanted to be: free to enjoy life in all its fullness.

This is the first solo exhibition of the renowned Guatemalan photographer Andrés Asturias at the gallery. With intimate images of contemporary still lifes photographed in his home, Asturias lets us delve into the inner world of the photographer in his studio. Thus, La Galería Rebelde is transformed into a garden of strange and unique natures that in simple or highly elaborate arrangements surround us in a greenhouse of colors, sizes, stories, shadows and moods.

TREMOR collects and revisits the reflections on painting, cinematographic noema and experimental video that Sandra Rengifo started in 2016 with the work Los Lirios del Campo y las Aves del Cielo. It is a kind of "synthetic Neo-romanticism" that gathers the premises of existentialism, the process of the everyday, the revisiting of the past and thinking about the present: carrying bodies, diseased bodies, caring bodies, bodies suffering from inclement weather.

The thread is the element that stars in this exhibition, increasingly relevant in contemporary art. It is silent because of its "designation" as a material for women, reflected in techniques such as weaving, embroidery and sewing. The exhibition highlights these traditional activities and shows how artists from Nigeria, Argentina, Cuba, the United States and Colombia coincide in the use of thread and collage in their works. The exhibition is curated by Los Angeles-based design specialist Liliana Becerra and the MAP team (Ana Lucía Arbeláez, art historian, and Sandra Montenegro, director).

Dot Fiftyone presents the first solo show of the celebrated Mexican artist Pedro Friedeberg in the gallery. With a career spanning more than six decades, Friedeberg is considered an outstanding and emblematic cultural figure. Born in 1936, he was first recognized as a Surrealist artist alongside Leonora Carrington and Remedios Varo. He originally trained as an architect and rejected modernism, turning to art with his mentor and friend Mathias Goeritz. In the early 1960s he was part of the interdisciplinary group Los Hartos (The Fed-Ups), always opposing the canon as well as visual and conceptual trends. The irony and absurdity that has characterized his broader artistic practice is embodied in the Mano-Silla (Hand Chair), which has elevated him to the global sphere since 1962. He remains prolific and is significant for new generations.

The exhibition is the reflection of a series of paintings by Paz Bardi under a theme that is, at the same time, method. Taking time as a place, as a tool, and as a subject, the exhibition and its curatorship (by felisa) display a type of creation that can be summarized as: 1. Complicity 2. Fantastic architecture 3. Filtering and editing 4. Mediation

Geneva-based gallery Espace Muraille presents Eamon Ore-Giron: Auto-Tune, the first-ever show of the Los Angeles-based artist in continental Europe. Curated by Valentina Locatelli and developed in close collaboration with the artist, the exhibition gathers eighteen paintings from his ongoing series Infinite Regress, conceived especially for the exhibition in Geneva, and two loom-woven tapestries created in collaboration with the Taller Mexicano de Gobelinos in Guadalajara, Mexico

Galería Zielinsky presents Yamandú Canosa's exhibition "Entre ramas” (Between Branches) as an epilogue — a coda — to "El árbol de los frutos diferentes", the project that the artist presented in 2011 at the Fundació Suñol in Barcelona. “Entre ramas” is Yamandú Canosa's first solo exhibition for the Zielinsky Gallery, in which the artist revisits works from different periods that interweave different formal preferences and thematic subjects.

Presented by Hutchinson Modern & Contemporary, the exhibition features a selection of the artist’s work from the 1960s to the present. Over the course of a seventy-year-long career, New York-based Argentinian-American artist Raquel Rabinovich (b. 1929, Buenos Aires) has been concerned with the paradox of making the invisible visible. Her interest in mythology, existence, poetry, nature, and transcendence is reflected in her monochromatic paintings and drawings, as well as in her sculptural practice that encompasses large-scale glass environments and site-specific stone installations along the shores of the Hudson River.

The exhibition comprises fourteen key works from major collections, including most of Larraz’ notorious themes.