GONZALO FUENMAYOR: DECOLORIZING THE CLICHÉ AT FERNANDO PRADILLA

The Albarrán Bourdais gallery, at its Madrid venue, is hosting the exhibition En movimiento, by Julio Le Parc (Mendoza, Argentina, 1928). With a celebratory tone, as this is the first solo exhibition dedicated to the Argentine artist in Spain in 30 years, the show explores a fundamental part of the work of this master of kinetic and op-art and does so with a selection of several pieces that illustrate key periods. Without being a retrospective, there is something of that essence in the way the tour is presented, which proposes, through connected groups, an analysis of the connection between the past and the present.

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

Ana González (Bogotá, Colombia, 1974) explores the significance of water as a medium, an environment, and a sacred entity in Llovizna, her solo exhibition at La Cometa’s Madrid venue. Rooted in the Muisca culture’s reverence for water as an integral part of sacred land, this element becomes the symbolic core of her exhibition. Through it, the artist reflects on its spiritual value while also exposing the harsh reality of the Bogotá River, using symbolism to prompt a deeper awareness of environmental degradation.

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

The Cultural Institute of Mexico in Spain hosts the exhibition Estrategias de recuperación (Recovery Strategies), featuring three recent projects by the photographer. Including the series Las flores mueren dos veces (Flowers Die Twice, 2021–2024), Palimpsesto (2024–2025), and Maíz (Corn) (2023–present), the Mexican photographer explores the elements and causes that create distortion and fragmentation in memory.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Frye Art Museum announced the appointment of Rafael Soldi and Stephanie DeVaan to the Board of Trustees; their official term began February 10, 2025. Their addition expands the board to eleven members. DeVaan brings extensive nonprofit board experience as well as connections to both the tech and film communities, and Soldi is the first working artist to join the museum's board.

The Albarrán Bourdais gallery, at its Madrid venue, is hosting the exhibition En movimiento, by Julio Le Parc (Mendoza, Argentina, 1928). With a celebratory tone, as this is the first solo exhibition dedicated to the Argentine artist in Spain in 30 years, the show explores a fundamental part of the work of this master of kinetic and op-art and does so with a selection of several pieces that illustrate key periods. Without being a retrospective, there is something of that essence in the way the tour is presented, which proposes, through connected groups, an analysis of the connection between the past and the present.

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

Ana González (Bogotá, Colombia, 1974) explores the significance of water as a medium, an environment, and a sacred entity in Llovizna, her solo exhibition at La Cometa’s Madrid venue. Rooted in the Muisca culture’s reverence for water as an integral part of sacred land, this element becomes the symbolic core of her exhibition. Through it, the artist reflects on its spiritual value while also exposing the harsh reality of the Bogotá River, using symbolism to prompt a deeper awareness of environmental degradation.

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

The Cultural Institute of Mexico in Spain hosts the exhibition Estrategias de recuperación (Recovery Strategies), featuring three recent projects by the photographer. Including the series Las flores mueren dos veces (Flowers Die Twice, 2021–2024), Palimpsesto (2024–2025), and Maíz (Corn) (2023–present), the Mexican photographer explores the elements and causes that create distortion and fragmentation in memory.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Frye Art Museum announced the appointment of Rafael Soldi and Stephanie DeVaan to the Board of Trustees; their official term began February 10, 2025. Their addition expands the board to eleven members. DeVaan brings extensive nonprofit board experience as well as connections to both the tech and film communities, and Soldi is the first working artist to join the museum's board.

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

Ana González (Bogotá, Colombia, 1974) explores the significance of water as a medium, an environment, and a sacred entity in Llovizna, her solo exhibition at La Cometa’s Madrid venue. Rooted in the Muisca culture’s reverence for water as an integral part of sacred land, this element becomes the symbolic core of her exhibition. Through it, the artist reflects on its spiritual value while also exposing the harsh reality of the Bogotá River, using symbolism to prompt a deeper awareness of environmental degradation.

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

The Cultural Institute of Mexico in Spain hosts the exhibition Estrategias de recuperación (Recovery Strategies), featuring three recent projects by the photographer. Including the series Las flores mueren dos veces (Flowers Die Twice, 2021–2024), Palimpsesto (2024–2025), and Maíz (Corn) (2023–present), the Mexican photographer explores the elements and causes that create distortion and fragmentation in memory.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Frye Art Museum announced the appointment of Rafael Soldi and Stephanie DeVaan to the Board of Trustees; their official term began February 10, 2025. Their addition expands the board to eleven members. DeVaan brings extensive nonprofit board experience as well as connections to both the tech and film communities, and Soldi is the first working artist to join the museum's board.

The Albarrán Bourdais gallery, at its Madrid venue, is hosting the exhibition En movimiento, by Julio Le Parc (Mendoza, Argentina, 1928). With a celebratory tone, as this is the first solo exhibition dedicated to the Argentine artist in Spain in 30 years, the show explores a fundamental part of the work of this master of kinetic and op-art and does so with a selection of several pieces that illustrate key periods. Without being a retrospective, there is something of that essence in the way the tour is presented, which proposes, through connected groups, an analysis of the connection between the past and the present.

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

Ana González (Bogotá, Colombia, 1974) explores the significance of water as a medium, an environment, and a sacred entity in Llovizna, her solo exhibition at La Cometa’s Madrid venue. Rooted in the Muisca culture’s reverence for water as an integral part of sacred land, this element becomes the symbolic core of her exhibition. Through it, the artist reflects on its spiritual value while also exposing the harsh reality of the Bogotá River, using symbolism to prompt a deeper awareness of environmental degradation.

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

The Cultural Institute of Mexico in Spain hosts the exhibition Estrategias de recuperación (Recovery Strategies), featuring three recent projects by the photographer. Including the series Las flores mueren dos veces (Flowers Die Twice, 2021–2024), Palimpsesto (2024–2025), and Maíz (Corn) (2023–present), the Mexican photographer explores the elements and causes that create distortion and fragmentation in memory.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Frye Art Museum announced the appointment of Rafael Soldi and Stephanie DeVaan to the Board of Trustees; their official term began February 10, 2025. Their addition expands the board to eleven members. DeVaan brings extensive nonprofit board experience as well as connections to both the tech and film communities, and Soldi is the first working artist to join the museum's board.

The Albarrán Bourdais gallery, at its Madrid venue, is hosting the exhibition En movimiento, by Julio Le Parc (Mendoza, Argentina, 1928). With a celebratory tone, as this is the first solo exhibition dedicated to the Argentine artist in Spain in 30 years, the show explores a fundamental part of the work of this master of kinetic and op-art and does so with a selection of several pieces that illustrate key periods. Without being a retrospective, there is something of that essence in the way the tour is presented, which proposes, through connected groups, an analysis of the connection between the past and the present.

The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.

Ana González (Bogotá, Colombia, 1974) explores the significance of water as a medium, an environment, and a sacred entity in Llovizna, her solo exhibition at La Cometa’s Madrid venue. Rooted in the Muisca culture’s reverence for water as an integral part of sacred land, this element becomes the symbolic core of her exhibition. Through it, the artist reflects on its spiritual value while also exposing the harsh reality of the Bogotá River, using symbolism to prompt a deeper awareness of environmental degradation.

La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.

The Cultural Institute of Mexico in Spain hosts the exhibition Estrategias de recuperación (Recovery Strategies), featuring three recent projects by the photographer. Including the series Las flores mueren dos veces (Flowers Die Twice, 2021–2024), Palimpsesto (2024–2025), and Maíz (Corn) (2023–present), the Mexican photographer explores the elements and causes that create distortion and fragmentation in memory.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Frye Art Museum announced the appointment of Rafael Soldi and Stephanie DeVaan to the Board of Trustees; their official term began February 10, 2025. Their addition expands the board to eleven members. DeVaan brings extensive nonprofit board experience as well as connections to both the tech and film communities, and Soldi is the first working artist to join the museum's board.