A NECESSARY DIALOGUE: PINEDO AND SILVA MEINEL AT MEMORIA

To paint the forest beings is the Special Project of Pinta Miami 2024. Curated by Irene Gelfman and Giuliana Vidarte, it brings together paintings by Shipibo-konibo indigenous artists with representations of the flora, fauna and cosmovision of the Peruvian Amazon to rethink the past, present and future of the planet.

Pinta Miami brings together artists who explore the identity, memory and cultural diversity of Ibero-America. In this 2024 edition, several proposals seek to redefine the Latinx notion from unique and transformative perspectives.

Museo Casa de la Moneda, in Madrid, celebrates in an exhibition the career of Liliana Porter (Buenos Aires, Argentina, 1941) through several conceptual key points of it, designing a necessary route to cover, in a succinct but very representative way, one of the most relevant productions of the last decades of conceptual art.

The Reina Sofia Museum presents in the exhibition Opera to a Black Venus a necessary journey to the work of Grada Kilomba (Lisbon, Portugal, 1968), forming the most complete exhibition of her work to date in Spain. The Portuguese artist presents a complete discourse, mainly expressed through the different languages of movement, from the body to performance, but without leaving aside other narrative and artistic techniques with which she analytically presents a certain introspective look at the world of history.

The result of the selection proposed to represent Circuitos de Artes Plásticas 2024, one of the main emerging art projects of the Community of Madrid, has had in this edition a Latin American protagonist in the curatorial work of Isabella Lenzi (São Paulo, Brazil, 1986). The show, named Caja de resonancia (Resonance Box) for the occasion, reviews, through the ten winning works of this annual call, some of the recurring themes and matrixes in the under-35 generation of artists linked to Madrid.

The Gerhardt Braun gallery is showing the second solo exhibition of Martín Mas (Uruguay, 1974) at its Palma de Mallorca headquarters. The Matter Matters presents a new return of the artist with Balearic roots to wood, his main working medium. Although this comeback is not new but recurrent over the last few years, on each occasion a profound productive relationship is confirmed that leads to the creation of works of apparent simplicity, although with a complex base, in which geometric forms, clear lines and organic substrates predominate. 

Fundación Proa presents Los incas. Más allá de un imperio (The Incas: Beyond an Empire) in Buenos Aires, showcasing a unique selection of ceramics, textiles, stone objects, metals, and paintings that offer a fresh perspective on one of the most fascinating civilizations of pre-Hispanic America. This exhibition invites visitors to debunk myths and rediscover over four centuries of Andean culture.

The incipient collection of MARCO of Vigo -under construction, but with enough funds to delimit its influence and incidence-, makes its debut in the delimitation of its radius of action with the first exhibition built exclusively with its own funds. For the occasion, the outline that unites Una imagen de sí builds on the general idea that will guide the near future: that Galician art dialogues with the outside world, mainly Latin America, and draws a relational history.

Milan hosts an extraordinary exhibition marking the bicentenary of Peru’s independence, the 150th anniversary of Italy-Peru diplomatic ties, and the bicentenary of Antonio Raimondi, a Milanese explorer who greatly contributed to the country. Organized with the Consulate General of Peru, the display at MUDEC’s Agora highlights key moments in its liberation through museum artifacts.

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

The curatorial duo Carmen Lael Hines and Roberto Majano will be the new Head Curators at The RYDER Projects. This represents a new stage in the gallery that succeeds the period led by Rafa Barber, who has held this position heretofore.

In February, an unprecedented survey of contemporary Native American art curated by Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation) opens at the Zimmerli Art Museum at Rutgers University—New Brunswick.

Architectures and Ecologies of Amazonia will take place at the University of Pennsylvania—an international, interdisciplinary symposium and exhibition that highlights the agencies that have shaped and continue to be shaped by the great region.

To paint the forest beings is the Special Project of Pinta Miami 2024. Curated by Irene Gelfman and Giuliana Vidarte, it brings together paintings by Shipibo-konibo indigenous artists with representations of the flora, fauna and cosmovision of the Peruvian Amazon to rethink the past, present and future of the planet.

Pinta Miami brings together artists who explore the identity, memory and cultural diversity of Ibero-America. In this 2024 edition, several proposals seek to redefine the Latinx notion from unique and transformative perspectives.

Museo Casa de la Moneda, in Madrid, celebrates in an exhibition the career of Liliana Porter (Buenos Aires, Argentina, 1941) through several conceptual key points of it, designing a necessary route to cover, in a succinct but very representative way, one of the most relevant productions of the last decades of conceptual art.

The Reina Sofia Museum presents in the exhibition Opera to a Black Venus a necessary journey to the work of Grada Kilomba (Lisbon, Portugal, 1968), forming the most complete exhibition of her work to date in Spain. The Portuguese artist presents a complete discourse, mainly expressed through the different languages of movement, from the body to performance, but without leaving aside other narrative and artistic techniques with which she analytically presents a certain introspective look at the world of history.

The result of the selection proposed to represent Circuitos de Artes Plásticas 2024, one of the main emerging art projects of the Community of Madrid, has had in this edition a Latin American protagonist in the curatorial work of Isabella Lenzi (São Paulo, Brazil, 1986). The show, named Caja de resonancia (Resonance Box) for the occasion, reviews, through the ten winning works of this annual call, some of the recurring themes and matrixes in the under-35 generation of artists linked to Madrid.

The Gerhardt Braun gallery is showing the second solo exhibition of Martín Mas (Uruguay, 1974) at its Palma de Mallorca headquarters. The Matter Matters presents a new return of the artist with Balearic roots to wood, his main working medium. Although this comeback is not new but recurrent over the last few years, on each occasion a profound productive relationship is confirmed that leads to the creation of works of apparent simplicity, although with a complex base, in which geometric forms, clear lines and organic substrates predominate. 

Fundación Proa presents Los incas. Más allá de un imperio (The Incas: Beyond an Empire) in Buenos Aires, showcasing a unique selection of ceramics, textiles, stone objects, metals, and paintings that offer a fresh perspective on one of the most fascinating civilizations of pre-Hispanic America. This exhibition invites visitors to debunk myths and rediscover over four centuries of Andean culture.

The incipient collection of MARCO of Vigo -under construction, but with enough funds to delimit its influence and incidence-, makes its debut in the delimitation of its radius of action with the first exhibition built exclusively with its own funds. For the occasion, the outline that unites Una imagen de sí builds on the general idea that will guide the near future: that Galician art dialogues with the outside world, mainly Latin America, and draws a relational history.

Milan hosts an extraordinary exhibition marking the bicentenary of Peru’s independence, the 150th anniversary of Italy-Peru diplomatic ties, and the bicentenary of Antonio Raimondi, a Milanese explorer who greatly contributed to the country. Organized with the Consulate General of Peru, the display at MUDEC’s Agora highlights key moments in its liberation through museum artifacts.

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

The curatorial duo Carmen Lael Hines and Roberto Majano will be the new Head Curators at The RYDER Projects. This represents a new stage in the gallery that succeeds the period led by Rafa Barber, who has held this position heretofore.

In February, an unprecedented survey of contemporary Native American art curated by Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation) opens at the Zimmerli Art Museum at Rutgers University—New Brunswick.

Architectures and Ecologies of Amazonia will take place at the University of Pennsylvania—an international, interdisciplinary symposium and exhibition that highlights the agencies that have shaped and continue to be shaped by the great region.

Pinta Miami brings together artists who explore the identity, memory and cultural diversity of Ibero-America. In this 2024 edition, several proposals seek to redefine the Latinx notion from unique and transformative perspectives.

Museo Casa de la Moneda, in Madrid, celebrates in an exhibition the career of Liliana Porter (Buenos Aires, Argentina, 1941) through several conceptual key points of it, designing a necessary route to cover, in a succinct but very representative way, one of the most relevant productions of the last decades of conceptual art.

The Reina Sofia Museum presents in the exhibition Opera to a Black Venus a necessary journey to the work of Grada Kilomba (Lisbon, Portugal, 1968), forming the most complete exhibition of her work to date in Spain. The Portuguese artist presents a complete discourse, mainly expressed through the different languages of movement, from the body to performance, but without leaving aside other narrative and artistic techniques with which she analytically presents a certain introspective look at the world of history.

The result of the selection proposed to represent Circuitos de Artes Plásticas 2024, one of the main emerging art projects of the Community of Madrid, has had in this edition a Latin American protagonist in the curatorial work of Isabella Lenzi (São Paulo, Brazil, 1986). The show, named Caja de resonancia (Resonance Box) for the occasion, reviews, through the ten winning works of this annual call, some of the recurring themes and matrixes in the under-35 generation of artists linked to Madrid.

The Gerhardt Braun gallery is showing the second solo exhibition of Martín Mas (Uruguay, 1974) at its Palma de Mallorca headquarters. The Matter Matters presents a new return of the artist with Balearic roots to wood, his main working medium. Although this comeback is not new but recurrent over the last few years, on each occasion a profound productive relationship is confirmed that leads to the creation of works of apparent simplicity, although with a complex base, in which geometric forms, clear lines and organic substrates predominate. 

Fundación Proa presents Los incas. Más allá de un imperio (The Incas: Beyond an Empire) in Buenos Aires, showcasing a unique selection of ceramics, textiles, stone objects, metals, and paintings that offer a fresh perspective on one of the most fascinating civilizations of pre-Hispanic America. This exhibition invites visitors to debunk myths and rediscover over four centuries of Andean culture.

The incipient collection of MARCO of Vigo -under construction, but with enough funds to delimit its influence and incidence-, makes its debut in the delimitation of its radius of action with the first exhibition built exclusively with its own funds. For the occasion, the outline that unites Una imagen de sí builds on the general idea that will guide the near future: that Galician art dialogues with the outside world, mainly Latin America, and draws a relational history.

Milan hosts an extraordinary exhibition marking the bicentenary of Peru’s independence, the 150th anniversary of Italy-Peru diplomatic ties, and the bicentenary of Antonio Raimondi, a Milanese explorer who greatly contributed to the country. Organized with the Consulate General of Peru, the display at MUDEC’s Agora highlights key moments in its liberation through museum artifacts.

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

The curatorial duo Carmen Lael Hines and Roberto Majano will be the new Head Curators at The RYDER Projects. This represents a new stage in the gallery that succeeds the period led by Rafa Barber, who has held this position heretofore.

In February, an unprecedented survey of contemporary Native American art curated by Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation) opens at the Zimmerli Art Museum at Rutgers University—New Brunswick.

Architectures and Ecologies of Amazonia will take place at the University of Pennsylvania—an international, interdisciplinary symposium and exhibition that highlights the agencies that have shaped and continue to be shaped by the great region.

To paint the forest beings is the Special Project of Pinta Miami 2024. Curated by Irene Gelfman and Giuliana Vidarte, it brings together paintings by Shipibo-konibo indigenous artists with representations of the flora, fauna and cosmovision of the Peruvian Amazon to rethink the past, present and future of the planet.

Pinta Miami brings together artists who explore the identity, memory and cultural diversity of Ibero-America. In this 2024 edition, several proposals seek to redefine the Latinx notion from unique and transformative perspectives.

Museo Casa de la Moneda, in Madrid, celebrates in an exhibition the career of Liliana Porter (Buenos Aires, Argentina, 1941) through several conceptual key points of it, designing a necessary route to cover, in a succinct but very representative way, one of the most relevant productions of the last decades of conceptual art.

The Reina Sofia Museum presents in the exhibition Opera to a Black Venus a necessary journey to the work of Grada Kilomba (Lisbon, Portugal, 1968), forming the most complete exhibition of her work to date in Spain. The Portuguese artist presents a complete discourse, mainly expressed through the different languages of movement, from the body to performance, but without leaving aside other narrative and artistic techniques with which she analytically presents a certain introspective look at the world of history.

The result of the selection proposed to represent Circuitos de Artes Plásticas 2024, one of the main emerging art projects of the Community of Madrid, has had in this edition a Latin American protagonist in the curatorial work of Isabella Lenzi (São Paulo, Brazil, 1986). The show, named Caja de resonancia (Resonance Box) for the occasion, reviews, through the ten winning works of this annual call, some of the recurring themes and matrixes in the under-35 generation of artists linked to Madrid.

The Gerhardt Braun gallery is showing the second solo exhibition of Martín Mas (Uruguay, 1974) at its Palma de Mallorca headquarters. The Matter Matters presents a new return of the artist with Balearic roots to wood, his main working medium. Although this comeback is not new but recurrent over the last few years, on each occasion a profound productive relationship is confirmed that leads to the creation of works of apparent simplicity, although with a complex base, in which geometric forms, clear lines and organic substrates predominate. 

Fundación Proa presents Los incas. Más allá de un imperio (The Incas: Beyond an Empire) in Buenos Aires, showcasing a unique selection of ceramics, textiles, stone objects, metals, and paintings that offer a fresh perspective on one of the most fascinating civilizations of pre-Hispanic America. This exhibition invites visitors to debunk myths and rediscover over four centuries of Andean culture.

The incipient collection of MARCO of Vigo -under construction, but with enough funds to delimit its influence and incidence-, makes its debut in the delimitation of its radius of action with the first exhibition built exclusively with its own funds. For the occasion, the outline that unites Una imagen de sí builds on the general idea that will guide the near future: that Galician art dialogues with the outside world, mainly Latin America, and draws a relational history.

Milan hosts an extraordinary exhibition marking the bicentenary of Peru’s independence, the 150th anniversary of Italy-Peru diplomatic ties, and the bicentenary of Antonio Raimondi, a Milanese explorer who greatly contributed to the country. Organized with the Consulate General of Peru, the display at MUDEC’s Agora highlights key moments in its liberation through museum artifacts.

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

The curatorial duo Carmen Lael Hines and Roberto Majano will be the new Head Curators at The RYDER Projects. This represents a new stage in the gallery that succeeds the period led by Rafa Barber, who has held this position heretofore.

In February, an unprecedented survey of contemporary Native American art curated by Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation) opens at the Zimmerli Art Museum at Rutgers University—New Brunswick.

Architectures and Ecologies of Amazonia will take place at the University of Pennsylvania—an international, interdisciplinary symposium and exhibition that highlights the agencies that have shaped and continue to be shaped by the great region.

To paint the forest beings is the Special Project of Pinta Miami 2024. Curated by Irene Gelfman and Giuliana Vidarte, it brings together paintings by Shipibo-konibo indigenous artists with representations of the flora, fauna and cosmovision of the Peruvian Amazon to rethink the past, present and future of the planet.

Pinta Miami brings together artists who explore the identity, memory and cultural diversity of Ibero-America. In this 2024 edition, several proposals seek to redefine the Latinx notion from unique and transformative perspectives.

Museo Casa de la Moneda, in Madrid, celebrates in an exhibition the career of Liliana Porter (Buenos Aires, Argentina, 1941) through several conceptual key points of it, designing a necessary route to cover, in a succinct but very representative way, one of the most relevant productions of the last decades of conceptual art.

The Reina Sofia Museum presents in the exhibition Opera to a Black Venus a necessary journey to the work of Grada Kilomba (Lisbon, Portugal, 1968), forming the most complete exhibition of her work to date in Spain. The Portuguese artist presents a complete discourse, mainly expressed through the different languages of movement, from the body to performance, but without leaving aside other narrative and artistic techniques with which she analytically presents a certain introspective look at the world of history.

The result of the selection proposed to represent Circuitos de Artes Plásticas 2024, one of the main emerging art projects of the Community of Madrid, has had in this edition a Latin American protagonist in the curatorial work of Isabella Lenzi (São Paulo, Brazil, 1986). The show, named Caja de resonancia (Resonance Box) for the occasion, reviews, through the ten winning works of this annual call, some of the recurring themes and matrixes in the under-35 generation of artists linked to Madrid.

The Gerhardt Braun gallery is showing the second solo exhibition of Martín Mas (Uruguay, 1974) at its Palma de Mallorca headquarters. The Matter Matters presents a new return of the artist with Balearic roots to wood, his main working medium. Although this comeback is not new but recurrent over the last few years, on each occasion a profound productive relationship is confirmed that leads to the creation of works of apparent simplicity, although with a complex base, in which geometric forms, clear lines and organic substrates predominate. 

Fundación Proa presents Los incas. Más allá de un imperio (The Incas: Beyond an Empire) in Buenos Aires, showcasing a unique selection of ceramics, textiles, stone objects, metals, and paintings that offer a fresh perspective on one of the most fascinating civilizations of pre-Hispanic America. This exhibition invites visitors to debunk myths and rediscover over four centuries of Andean culture.

The incipient collection of MARCO of Vigo -under construction, but with enough funds to delimit its influence and incidence-, makes its debut in the delimitation of its radius of action with the first exhibition built exclusively with its own funds. For the occasion, the outline that unites Una imagen de sí builds on the general idea that will guide the near future: that Galician art dialogues with the outside world, mainly Latin America, and draws a relational history.

Milan hosts an extraordinary exhibition marking the bicentenary of Peru’s independence, the 150th anniversary of Italy-Peru diplomatic ties, and the bicentenary of Antonio Raimondi, a Milanese explorer who greatly contributed to the country. Organized with the Consulate General of Peru, the display at MUDEC’s Agora highlights key moments in its liberation through museum artifacts.

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

The curatorial duo Carmen Lael Hines and Roberto Majano will be the new Head Curators at The RYDER Projects. This represents a new stage in the gallery that succeeds the period led by Rafa Barber, who has held this position heretofore.

In February, an unprecedented survey of contemporary Native American art curated by Jaune Quick-to-See Smith (Citizen of the Confederated Salish and Kootenai Nation) opens at the Zimmerli Art Museum at Rutgers University—New Brunswick.

Architectures and Ecologies of Amazonia will take place at the University of Pennsylvania—an international, interdisciplinary symposium and exhibition that highlights the agencies that have shaped and continue to be shaped by the great region.