MYSTICAL AND SACRED WATER: ANA GONZÁLEZ AT LA COMETA
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.
A series of paintings featuring native flora—painted and then partially erased—represent the life of the páramo, a space of purity and mysticism, almost untouched, yet inevitably affected by the river’s flow. In contrast, the exhibition introduces imagined landscapes created by layering photographic transfers onto canvases, resulting in unreal yet equally striking and symbolic compositions.
This interplay fosters a dialogue on human impact, the tension between the material and the spiritual, and the profound consequences of our interference with nature. Textile pieces and canvases frame these reflections, inviting us to reconsider our gestures and actions in the face of an ecosystem on the brink.
Llovizna is on view until April 25 at La Cometa, San Lorenzo 11, Madrid (Spain).
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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.
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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.
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The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.
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The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.
The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
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The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
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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.
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.
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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 Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.
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The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.
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The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
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The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
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.
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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.
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.
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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 Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.
THE SUBTLE EMBROIDERY OF PAIN BY MARISA CAICHIOLO AT LNM MUSEUM
The Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.
The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.
ARCO 2025: DIFFERENT VIEWS ON LATIN AMERICA
The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.
The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
THE LATIN AMERICAN GAZE IN ARCO’S “PROFILES” PROGRAM
The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
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.
TRADITION, IDENTITY AND CONTEMPORARY LANGUAGE IN ÉDGAR CALEL
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.
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.
PERCEPTION AND QUOTIDIANITY IN LEANDRO ERLICH
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 Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.
THE SUBTLE EMBROIDERY OF PAIN BY MARISA CAICHIOLO AT LNM MUSEUM
The Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.
The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.
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The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.
The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
THE LATIN AMERICAN GAZE IN ARCO’S “PROFILES” PROGRAM
The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
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.
TRADITION, IDENTITY AND CONTEMPORARY LANGUAGE IN ÉDGAR CALEL
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.
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.
PERCEPTION AND QUOTIDIANITY IN LEANDRO ERLICH
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 Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.
THE SUBTLE EMBROIDERY OF PAIN BY MARISA CAICHIOLO AT LNM MUSEUM
The Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.
The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.
ARCO 2025: DIFFERENT VIEWS ON LATIN AMERICA
The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.
The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
THE LATIN AMERICAN GAZE IN ARCO’S “PROFILES” PROGRAM
The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
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.
TRADITION, IDENTITY AND CONTEMPORARY LANGUAGE IN ÉDGAR CALEL
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.
