MACAPARANA REJOINS WITH PRIMITIVISM IN CASADO SANTAPAU
Macaparana (b. José Souza Oliveira Filho, Pernambuco, Brazil, 1952) can find in his work a clear link with primitivism and African art or, at least, in the development and influence in the aesthetic and structural aspects of the same. It might seem something totally alien, given that the basic theoretical principles of the languages of concrete art that emerge without regard in his proposal seem to delve more into the aseptic of geometric forms than in the anthropological and sacred of ethnic art, but the relationship exists precisely because of a heritage raised from the geometric as an identity.

Of course, from the principle of thought and theory to their materialization in reality may be quite distant. However, the work proposed by Casado Santapau in Macaparana: opus.2 to strengthen that encounter retakes that link between the artist and his references in primitive art, and does so with the collaboration of the African art gallery Angel Martin, a reference in the Spanish market for the promotion and dissemination of primitive art. This meeting is not at all forced either. Nevertheless, Macaparana is an avid collector of both African and South American ethnic art, so the invisible guide in this exhibition seems to have been drawn beforehand.
Thus, works of a formal and paradigmatic character by the Brazilian are arranged in confrontation (or, rather, complemented) with original pieces of enormous aesthetic and anthropological value of African art, from masks to utensils and engravings, in which the viewer can trace, with astonishing ease, the origin of the proposals on display. The dialogue to which the works are subjected translates into a point to the importance of balance or tension, of an almost sacred birth of the style and language that was most undertaken since neo-concretism.
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Imagen de la exposición Macaparana: opus.2 en Casado Santapau Gallery
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Imagen de la exposición Macaparana: opus.2 en Casado Santapau Gallery
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Imagen de la exposición de Macaparana: opus.2 en la Galería Casado Santapau
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Imagen de la exposición de Macaparana: opus.2 en la Galería Casado Santapau
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Imagen de la exposición de Macaparana: opus.2 en la Galería Casado Santapau
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Imagen de la exposición de Macaparana: opus.2 en la Galería Casado Santapau
For this reason, Macaparana always alludes to geometry, and even endows it with volume to address the non-object of neo-concretism and to establish the relationship between a tremendously universalist movement historiographically derived from an example of Brazilian modernity with a centuries-old tradition that converge in the treatment of space and matter, as well as the enormous instrumental possibilities of a set that also addresses the aesthetic, the functional and the sacred.
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Imagen de la exposición de Macaparana: opus.2 en la Galería Casado Santapau
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Imagen de la exposición de Macaparana: opus.2 en la Galería Casado Santapau
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Imagen de la exposición de Macaparana: opus.2 en la Galería Casado Santapau
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Imagen de la exposición de Macaparana: opus.2 en la Galería Casado Santapau
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Imagen de la exposición de Macaparana: opus.2 en la Galería Casado Santapau
Macaparana: opus.2 can be seen until February 15 at Casado Santapau, Piamonte, 10, Madrid (Spain).
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In its exhibition Páro Ques̈há, the Madrid-based MEMORIA presents a dialogue between Roldán Pinedo (Yarinacocha, Peru, 1971) and Javier Silva Meinel (Lima, Peru, 1949), works by both artists that present elements from the heart of the Peruvian Amazon and the Shipibo-Conibo cosmogony. In the imaginary of this Amazonian culture, the drawings receive spirit and life when they are embodied and connected to a further cosmic language. Thus, paintings, ceramics, textiles or instruments of various kinds are considered sacred and become receptacles of spirits whose task is to watch over those who possess them.

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Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.
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ANNA COSTA E SILVA AT THE DELFINA FOUNDATION
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VETA by Fer Francés presents the first solo exhibition of Larry Madrigal (Los Angeles, USA, 1986), one of the latest artists to join the list of those represented by the Madrid gallery. Too Good to be True presents about twenty portraits that revolve around the background of human relationships, interpersonal connection and intimacy, themes that the Mexican-American artist is considering after becoming a father and radically changing his interest in political art.

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The Museum of Modern Art of Bogota (MAMBO) presents ReparaRenacer (RepairReborn), the first institutional exhibition in Colombia by Franco-Algerian artist Kader Attia. This exhibition highlights Attia’s work around the concept of repair, a central theme in his art that explores both physical and mental repair through various artistic techniques.
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Gabriel O'Shea (Metepec, Mexico, 1998) manages to delve into that huge and apparent dichotomy between the technological and the human (or the future and the real) in his most recent proposal at Hilario Galguera's Madrid headquarters, a series of paintings of high conceptual content that critically debate on several technical and thinking aspects.
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Gabriel O'Shea (Metepec, Mexico, 1998) manages to delve into that huge and apparent dichotomy between the technological and the human (or the future and the real) in his most recent proposal at Hilario Galguera's Madrid headquarters, a series of paintings of high conceptual content that critically debate on several technical and thinking aspects.

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.
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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.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.
The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.
Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).
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Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.
The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.
Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).

About to turn 92, Anna Bella Geiger, from Rio de Janeiro, never ceases to attest to her robust experimental side with each new exhibition featuring snippets of her shifting production. Both in Brazil and abroad, in solo and group shows, her body of work remains indomitable, uncompromising and full of meaning.
GEOGRAPHY OF SUBVERSION - ANNA BELLA GEIGER
About to turn 92, Anna Bella Geiger, from Rio de Janeiro, never ceases to attest to her robust experimental side with each new exhibition featuring snippets of her shifting production. Both in Brazil and abroad, in solo and group shows, her body of work remains indomitable, uncompromising and full of meaning.

Brazilian artist Anna Costa e Silva (1988) is one of the selected artists for the Delfina Foundation’s Residency Program. Her production is focused on producing environments that encourage vulnerability, dialogue, and exchange.
ANNA COSTA E SILVA AT THE DELFINA FOUNDATION
Brazilian artist Anna Costa e Silva (1988) is one of the selected artists for the Delfina Foundation’s Residency Program. Her production is focused on producing environments that encourage vulnerability, dialogue, and exchange.

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.
EMPTINESS AND COLOR IN LÓPEZ-CHÁVEZ
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.

VETA by Fer Francés presents the first solo exhibition of Larry Madrigal (Los Angeles, USA, 1986), one of the latest artists to join the list of those represented by the Madrid gallery. Too Good to be True presents about twenty portraits that revolve around the background of human relationships, interpersonal connection and intimacy, themes that the Mexican-American artist is considering after becoming a father and radically changing his interest in political art.

In its exhibition Páro Ques̈há, the Madrid-based MEMORIA presents a dialogue between Roldán Pinedo (Yarinacocha, Peru, 1971) and Javier Silva Meinel (Lima, Peru, 1949), works by both artists that present elements from the heart of the Peruvian Amazon and the Shipibo-Conibo cosmogony. In the imaginary of this Amazonian culture, the drawings receive spirit and life when they are embodied and connected to a further cosmic language. Thus, paintings, ceramics, textiles or instruments of various kinds are considered sacred and become receptacles of spirits whose task is to watch over those who possess them.

The Museum of Modern Art of Bogota (MAMBO) presents ReparaRenacer (RepairReborn), the first institutional exhibition in Colombia by Franco-Algerian artist Kader Attia. This exhibition highlights Attia’s work around the concept of repair, a central theme in his art that explores both physical and mental repair through various artistic techniques.
KADER ATTIA AT THE MAMBO
The Museum of Modern Art of Bogota (MAMBO) presents ReparaRenacer (RepairReborn), the first institutional exhibition in Colombia by Franco-Algerian artist Kader Attia. This exhibition highlights Attia’s work around the concept of repair, a central theme in his art that explores both physical and mental repair through various artistic techniques.

Gabriel O'Shea (Metepec, Mexico, 1998) manages to delve into that huge and apparent dichotomy between the technological and the human (or the future and the real) in his most recent proposal at Hilario Galguera's Madrid headquarters, a series of paintings of high conceptual content that critically debate on several technical and thinking aspects.
GABRIEL O'SHEA'S HUMAN AND REALISTIC TECHNOLOGICAL FUTURE
Gabriel O'Shea (Metepec, Mexico, 1998) manages to delve into that huge and apparent dichotomy between the technological and the human (or the future and the real) in his most recent proposal at Hilario Galguera's Madrid headquarters, a series of paintings of high conceptual content that critically debate on several technical and thinking aspects.

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.
THE RYDER PROJECTS ANNOUNCED NEW CURATORS
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.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.
The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.
Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).
RENEWED LATIN AMERICAN PRESENCE IN THE THYSSEN PERFORMANCE SERIES “VISIÓN Y PRESENCIA 2025”
Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.
The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.
Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).

About to turn 92, Anna Bella Geiger, from Rio de Janeiro, never ceases to attest to her robust experimental side with each new exhibition featuring snippets of her shifting production. Both in Brazil and abroad, in solo and group shows, her body of work remains indomitable, uncompromising and full of meaning.
GEOGRAPHY OF SUBVERSION - ANNA BELLA GEIGER
About to turn 92, Anna Bella Geiger, from Rio de Janeiro, never ceases to attest to her robust experimental side with each new exhibition featuring snippets of her shifting production. Both in Brazil and abroad, in solo and group shows, her body of work remains indomitable, uncompromising and full of meaning.

Brazilian artist Anna Costa e Silva (1988) is one of the selected artists for the Delfina Foundation’s Residency Program. Her production is focused on producing environments that encourage vulnerability, dialogue, and exchange.
ANNA COSTA E SILVA AT THE DELFINA FOUNDATION
Brazilian artist Anna Costa e Silva (1988) is one of the selected artists for the Delfina Foundation’s Residency Program. Her production is focused on producing environments that encourage vulnerability, dialogue, and exchange.

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.
EMPTINESS AND COLOR IN LÓPEZ-CHÁVEZ
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.

VETA by Fer Francés presents the first solo exhibition of Larry Madrigal (Los Angeles, USA, 1986), one of the latest artists to join the list of those represented by the Madrid gallery. Too Good to be True presents about twenty portraits that revolve around the background of human relationships, interpersonal connection and intimacy, themes that the Mexican-American artist is considering after becoming a father and radically changing his interest in political art.

In its exhibition Páro Ques̈há, the Madrid-based MEMORIA presents a dialogue between Roldán Pinedo (Yarinacocha, Peru, 1971) and Javier Silva Meinel (Lima, Peru, 1949), works by both artists that present elements from the heart of the Peruvian Amazon and the Shipibo-Conibo cosmogony. In the imaginary of this Amazonian culture, the drawings receive spirit and life when they are embodied and connected to a further cosmic language. Thus, paintings, ceramics, textiles or instruments of various kinds are considered sacred and become receptacles of spirits whose task is to watch over those who possess them.

The Museum of Modern Art of Bogota (MAMBO) presents ReparaRenacer (RepairReborn), the first institutional exhibition in Colombia by Franco-Algerian artist Kader Attia. This exhibition highlights Attia’s work around the concept of repair, a central theme in his art that explores both physical and mental repair through various artistic techniques.
KADER ATTIA AT THE MAMBO
The Museum of Modern Art of Bogota (MAMBO) presents ReparaRenacer (RepairReborn), the first institutional exhibition in Colombia by Franco-Algerian artist Kader Attia. This exhibition highlights Attia’s work around the concept of repair, a central theme in his art that explores both physical and mental repair through various artistic techniques.

Gabriel O'Shea (Metepec, Mexico, 1998) manages to delve into that huge and apparent dichotomy between the technological and the human (or the future and the real) in his most recent proposal at Hilario Galguera's Madrid headquarters, a series of paintings of high conceptual content that critically debate on several technical and thinking aspects.
GABRIEL O'SHEA'S HUMAN AND REALISTIC TECHNOLOGICAL FUTURE
Gabriel O'Shea (Metepec, Mexico, 1998) manages to delve into that huge and apparent dichotomy between the technological and the human (or the future and the real) in his most recent proposal at Hilario Galguera's Madrid headquarters, a series of paintings of high conceptual content that critically debate on several technical and thinking aspects.

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.
THE RYDER PROJECTS ANNOUNCED NEW CURATORS
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.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.
The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.
Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).
RENEWED LATIN AMERICAN PRESENCE IN THE THYSSEN PERFORMANCE SERIES “VISIÓN Y PRESENCIA 2025”
Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.
The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.
Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).

About to turn 92, Anna Bella Geiger, from Rio de Janeiro, never ceases to attest to her robust experimental side with each new exhibition featuring snippets of her shifting production. Both in Brazil and abroad, in solo and group shows, her body of work remains indomitable, uncompromising and full of meaning.
GEOGRAPHY OF SUBVERSION - ANNA BELLA GEIGER
About to turn 92, Anna Bella Geiger, from Rio de Janeiro, never ceases to attest to her robust experimental side with each new exhibition featuring snippets of her shifting production. Both in Brazil and abroad, in solo and group shows, her body of work remains indomitable, uncompromising and full of meaning.

Brazilian artist Anna Costa e Silva (1988) is one of the selected artists for the Delfina Foundation’s Residency Program. Her production is focused on producing environments that encourage vulnerability, dialogue, and exchange.
ANNA COSTA E SILVA AT THE DELFINA FOUNDATION
Brazilian artist Anna Costa e Silva (1988) is one of the selected artists for the Delfina Foundation’s Residency Program. Her production is focused on producing environments that encourage vulnerability, dialogue, and exchange.

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.
EMPTINESS AND COLOR IN LÓPEZ-CHÁVEZ
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.

VETA by Fer Francés presents the first solo exhibition of Larry Madrigal (Los Angeles, USA, 1986), one of the latest artists to join the list of those represented by the Madrid gallery. Too Good to be True presents about twenty portraits that revolve around the background of human relationships, interpersonal connection and intimacy, themes that the Mexican-American artist is considering after becoming a father and radically changing his interest in political art.

In its exhibition Páro Ques̈há, the Madrid-based MEMORIA presents a dialogue between Roldán Pinedo (Yarinacocha, Peru, 1971) and Javier Silva Meinel (Lima, Peru, 1949), works by both artists that present elements from the heart of the Peruvian Amazon and the Shipibo-Conibo cosmogony. In the imaginary of this Amazonian culture, the drawings receive spirit and life when they are embodied and connected to a further cosmic language. Thus, paintings, ceramics, textiles or instruments of various kinds are considered sacred and become receptacles of spirits whose task is to watch over those who possess them.

The Museum of Modern Art of Bogota (MAMBO) presents ReparaRenacer (RepairReborn), the first institutional exhibition in Colombia by Franco-Algerian artist Kader Attia. This exhibition highlights Attia’s work around the concept of repair, a central theme in his art that explores both physical and mental repair through various artistic techniques.
KADER ATTIA AT THE MAMBO
The Museum of Modern Art of Bogota (MAMBO) presents ReparaRenacer (RepairReborn), the first institutional exhibition in Colombia by Franco-Algerian artist Kader Attia. This exhibition highlights Attia’s work around the concept of repair, a central theme in his art that explores both physical and mental repair through various artistic techniques.

Gabriel O'Shea (Metepec, Mexico, 1998) manages to delve into that huge and apparent dichotomy between the technological and the human (or the future and the real) in his most recent proposal at Hilario Galguera's Madrid headquarters, a series of paintings of high conceptual content that critically debate on several technical and thinking aspects.
GABRIEL O'SHEA'S HUMAN AND REALISTIC TECHNOLOGICAL FUTURE
Gabriel O'Shea (Metepec, Mexico, 1998) manages to delve into that huge and apparent dichotomy between the technological and the human (or the future and the real) in his most recent proposal at Hilario Galguera's Madrid headquarters, a series of paintings of high conceptual content that critically debate on several technical and thinking aspects.

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.
THE RYDER PROJECTS ANNOUNCED NEW CURATORS
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.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.
The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.
Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).
RENEWED LATIN AMERICAN PRESENCE IN THE THYSSEN PERFORMANCE SERIES “VISIÓN Y PRESENCIA 2025”
Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.
Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.
The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.
Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).

About to turn 92, Anna Bella Geiger, from Rio de Janeiro, never ceases to attest to her robust experimental side with each new exhibition featuring snippets of her shifting production. Both in Brazil and abroad, in solo and group shows, her body of work remains indomitable, uncompromising and full of meaning.
GEOGRAPHY OF SUBVERSION - ANNA BELLA GEIGER
About to turn 92, Anna Bella Geiger, from Rio de Janeiro, never ceases to attest to her robust experimental side with each new exhibition featuring snippets of her shifting production. Both in Brazil and abroad, in solo and group shows, her body of work remains indomitable, uncompromising and full of meaning.