PEPE LÓPEZ EXPLORES HOW CULTURAL IDENTITY EVOLVES IN A GLOBALIZED WORLD

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 Pablo Goebel Fine Arts Gallery presents the work of master artist Francisco Toledo, a central figure in contemporary Mexican art. This exhibition celebrates the artistic legacy of the Oaxacan artist and revisits his exploration of the indigenous world, ancestral myths, and his unwavering commitment to his community. 

The Naming Natures: Natural History and Colonial Legacy art-science exhibition, supported by the Swiss National Science Foundation and the Federal Institute of Technology in Zurich, takes a critical look at natural history collections from colonial settings, combining scientific, historical, and museographic approaches.

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).

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.

As part of the temporary exhibition Contactos. Textiles coloniales de los Andes (Contacts: Colonial Textiles from the Andes), the Chilean Museum of Pre-Columbian Art presents a mediation room for visitors, designed to bring them closer to the richness of Andean textile production and expand reflections on contemporary connections. This space invites the audience to think of weaving as a language that links people, memories, and territories, enabling collective and sensory experiences.

The Eiteljorg Museum of American Indians and Western Art will host one of the largest exhibitions of contemporary Native bead art ever presented in North America: Radical Stitch features approximately 100 works of bead art highlighting Native techniques and designs that tell stories and address current issues.

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 Pablo Goebel Fine Arts Gallery presents the work of master artist Francisco Toledo, a central figure in contemporary Mexican art. This exhibition celebrates the artistic legacy of the Oaxacan artist and revisits his exploration of the indigenous world, ancestral myths, and his unwavering commitment to his community. 

The Naming Natures: Natural History and Colonial Legacy art-science exhibition, supported by the Swiss National Science Foundation and the Federal Institute of Technology in Zurich, takes a critical look at natural history collections from colonial settings, combining scientific, historical, and museographic approaches.

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).

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.

As part of the temporary exhibition Contactos. Textiles coloniales de los Andes (Contacts: Colonial Textiles from the Andes), the Chilean Museum of Pre-Columbian Art presents a mediation room for visitors, designed to bring them closer to the richness of Andean textile production and expand reflections on contemporary connections. This space invites the audience to think of weaving as a language that links people, memories, and territories, enabling collective and sensory experiences.

The Eiteljorg Museum of American Indians and Western Art will host one of the largest exhibitions of contemporary Native bead art ever presented in North America: Radical Stitch features approximately 100 works of bead art highlighting Native techniques and designs that tell stories and address current issues.

The Pablo Goebel Fine Arts Gallery presents the work of master artist Francisco Toledo, a central figure in contemporary Mexican art. This exhibition celebrates the artistic legacy of the Oaxacan artist and revisits his exploration of the indigenous world, ancestral myths, and his unwavering commitment to his community. 

The Naming Natures: Natural History and Colonial Legacy art-science exhibition, supported by the Swiss National Science Foundation and the Federal Institute of Technology in Zurich, takes a critical look at natural history collections from colonial settings, combining scientific, historical, and museographic approaches.

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).

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.

As part of the temporary exhibition Contactos. Textiles coloniales de los Andes (Contacts: Colonial Textiles from the Andes), the Chilean Museum of Pre-Columbian Art presents a mediation room for visitors, designed to bring them closer to the richness of Andean textile production and expand reflections on contemporary connections. This space invites the audience to think of weaving as a language that links people, memories, and territories, enabling collective and sensory experiences.

The Eiteljorg Museum of American Indians and Western Art will host one of the largest exhibitions of contemporary Native bead art ever presented in North America: Radical Stitch features approximately 100 works of bead art highlighting Native techniques and designs that tell stories and address current issues.

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 Pablo Goebel Fine Arts Gallery presents the work of master artist Francisco Toledo, a central figure in contemporary Mexican art. This exhibition celebrates the artistic legacy of the Oaxacan artist and revisits his exploration of the indigenous world, ancestral myths, and his unwavering commitment to his community. 

The Naming Natures: Natural History and Colonial Legacy art-science exhibition, supported by the Swiss National Science Foundation and the Federal Institute of Technology in Zurich, takes a critical look at natural history collections from colonial settings, combining scientific, historical, and museographic approaches.

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).

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.

As part of the temporary exhibition Contactos. Textiles coloniales de los Andes (Contacts: Colonial Textiles from the Andes), the Chilean Museum of Pre-Columbian Art presents a mediation room for visitors, designed to bring them closer to the richness of Andean textile production and expand reflections on contemporary connections. This space invites the audience to think of weaving as a language that links people, memories, and territories, enabling collective and sensory experiences.

The Eiteljorg Museum of American Indians and Western Art will host one of the largest exhibitions of contemporary Native bead art ever presented in North America: Radical Stitch features approximately 100 works of bead art highlighting Native techniques and designs that tell stories and address current issues.

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 Pablo Goebel Fine Arts Gallery presents the work of master artist Francisco Toledo, a central figure in contemporary Mexican art. This exhibition celebrates the artistic legacy of the Oaxacan artist and revisits his exploration of the indigenous world, ancestral myths, and his unwavering commitment to his community. 

The Naming Natures: Natural History and Colonial Legacy art-science exhibition, supported by the Swiss National Science Foundation and the Federal Institute of Technology in Zurich, takes a critical look at natural history collections from colonial settings, combining scientific, historical, and museographic approaches.

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).

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.

As part of the temporary exhibition Contactos. Textiles coloniales de los Andes (Contacts: Colonial Textiles from the Andes), the Chilean Museum of Pre-Columbian Art presents a mediation room for visitors, designed to bring them closer to the richness of Andean textile production and expand reflections on contemporary connections. This space invites the audience to think of weaving as a language that links people, memories, and territories, enabling collective and sensory experiences.

The Eiteljorg Museum of American Indians and Western Art will host one of the largest exhibitions of contemporary Native bead art ever presented in North America: Radical Stitch features approximately 100 works of bead art highlighting Native techniques and designs that tell stories and address current issues.