REAFFIRMATION OF THE EGO IN MANUEL SOLANO, AT TRAVESÍA CUATRO

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

The Madrid branch of Travesía Cuatro gallery presents an exhibition dedicated to Miriam Inez da Silva (Trinidad, Brazil, 1939 – Rio de Janeiro, Brazil, 1996). Curated by Cristiano Raimondi, the show delves into the work of one of the artists who most vividly captured Brazil’s modernization throughout the 20th century. Her small-format paintings on white backgrounds depict everyday life and the traditions shaping human relationships and their role in social structures.

The terraces of the Nouvel Building at the Reina Sofía Museum are being transformed into a new exhibition space. Under the title A Different Order: Utopian Geometry and Kinetic Art, the space will showcase two sculptural works by Jesús Rafael Soto and Edgar Negret, along with a third piece by Martín Chirino.

Elba Benítez Gallery in Madrid, in collaboration with Clarissa Bronfman, presents a must-see exhibition by Jorge Pardo (Havana, Cuba, 1963), featuring a selection of works designed and created specifically for the gallery space. Emphasizing the importance of space, the Cuban artist employs his signature multidisciplinary approach to explore how color and texture influence perception. To this end, the exhibition is arranged in areas that serve a dual purpose.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.

The Cervantes Institute in Madrid presents Roberto Fabelo. Grafomanía, an exhibition featuring 50 works by Roberto Fabelo (Guáimaro, Cuba, 1951), most of them related to literary worlds and dialogues with other artists. The exhibition includes references to Gabriel García Márquez, Miguel de Cervantes, Goya, and Hieronymus Bosch—figures of great influence on the Cuban artist’s work.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

The Madrid branch of Travesía Cuatro gallery presents an exhibition dedicated to Miriam Inez da Silva (Trinidad, Brazil, 1939 – Rio de Janeiro, Brazil, 1996). Curated by Cristiano Raimondi, the show delves into the work of one of the artists who most vividly captured Brazil’s modernization throughout the 20th century. Her small-format paintings on white backgrounds depict everyday life and the traditions shaping human relationships and their role in social structures.

The terraces of the Nouvel Building at the Reina Sofía Museum are being transformed into a new exhibition space. Under the title A Different Order: Utopian Geometry and Kinetic Art, the space will showcase two sculptural works by Jesús Rafael Soto and Edgar Negret, along with a third piece by Martín Chirino.

Elba Benítez Gallery in Madrid, in collaboration with Clarissa Bronfman, presents a must-see exhibition by Jorge Pardo (Havana, Cuba, 1963), featuring a selection of works designed and created specifically for the gallery space. Emphasizing the importance of space, the Cuban artist employs his signature multidisciplinary approach to explore how color and texture influence perception. To this end, the exhibition is arranged in areas that serve a dual purpose.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.

The Cervantes Institute in Madrid presents Roberto Fabelo. Grafomanía, an exhibition featuring 50 works by Roberto Fabelo (Guáimaro, Cuba, 1951), most of them related to literary worlds and dialogues with other artists. The exhibition includes references to Gabriel García Márquez, Miguel de Cervantes, Goya, and Hieronymus Bosch—figures of great influence on the Cuban artist’s work.

The Madrid branch of Travesía Cuatro gallery presents an exhibition dedicated to Miriam Inez da Silva (Trinidad, Brazil, 1939 – Rio de Janeiro, Brazil, 1996). Curated by Cristiano Raimondi, the show delves into the work of one of the artists who most vividly captured Brazil’s modernization throughout the 20th century. Her small-format paintings on white backgrounds depict everyday life and the traditions shaping human relationships and their role in social structures.

The terraces of the Nouvel Building at the Reina Sofía Museum are being transformed into a new exhibition space. Under the title A Different Order: Utopian Geometry and Kinetic Art, the space will showcase two sculptural works by Jesús Rafael Soto and Edgar Negret, along with a third piece by Martín Chirino.

Elba Benítez Gallery in Madrid, in collaboration with Clarissa Bronfman, presents a must-see exhibition by Jorge Pardo (Havana, Cuba, 1963), featuring a selection of works designed and created specifically for the gallery space. Emphasizing the importance of space, the Cuban artist employs his signature multidisciplinary approach to explore how color and texture influence perception. To this end, the exhibition is arranged in areas that serve a dual purpose.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.

The Cervantes Institute in Madrid presents Roberto Fabelo. Grafomanía, an exhibition featuring 50 works by Roberto Fabelo (Guáimaro, Cuba, 1951), most of them related to literary worlds and dialogues with other artists. The exhibition includes references to Gabriel García Márquez, Miguel de Cervantes, Goya, and Hieronymus Bosch—figures of great influence on the Cuban artist’s work.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

The Madrid branch of Travesía Cuatro gallery presents an exhibition dedicated to Miriam Inez da Silva (Trinidad, Brazil, 1939 – Rio de Janeiro, Brazil, 1996). Curated by Cristiano Raimondi, the show delves into the work of one of the artists who most vividly captured Brazil’s modernization throughout the 20th century. Her small-format paintings on white backgrounds depict everyday life and the traditions shaping human relationships and their role in social structures.

The terraces of the Nouvel Building at the Reina Sofía Museum are being transformed into a new exhibition space. Under the title A Different Order: Utopian Geometry and Kinetic Art, the space will showcase two sculptural works by Jesús Rafael Soto and Edgar Negret, along with a third piece by Martín Chirino.

Elba Benítez Gallery in Madrid, in collaboration with Clarissa Bronfman, presents a must-see exhibition by Jorge Pardo (Havana, Cuba, 1963), featuring a selection of works designed and created specifically for the gallery space. Emphasizing the importance of space, the Cuban artist employs his signature multidisciplinary approach to explore how color and texture influence perception. To this end, the exhibition is arranged in areas that serve a dual purpose.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.

The Cervantes Institute in Madrid presents Roberto Fabelo. Grafomanía, an exhibition featuring 50 works by Roberto Fabelo (Guáimaro, Cuba, 1951), most of them related to literary worlds and dialogues with other artists. The exhibition includes references to Gabriel García Márquez, Miguel de Cervantes, Goya, and Hieronymus Bosch—figures of great influence on the Cuban artist’s work.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

The Madrid branch of Travesía Cuatro gallery presents an exhibition dedicated to Miriam Inez da Silva (Trinidad, Brazil, 1939 – Rio de Janeiro, Brazil, 1996). Curated by Cristiano Raimondi, the show delves into the work of one of the artists who most vividly captured Brazil’s modernization throughout the 20th century. Her small-format paintings on white backgrounds depict everyday life and the traditions shaping human relationships and their role in social structures.

The terraces of the Nouvel Building at the Reina Sofía Museum are being transformed into a new exhibition space. Under the title A Different Order: Utopian Geometry and Kinetic Art, the space will showcase two sculptural works by Jesús Rafael Soto and Edgar Negret, along with a third piece by Martín Chirino.

Elba Benítez Gallery in Madrid, in collaboration with Clarissa Bronfman, presents a must-see exhibition by Jorge Pardo (Havana, Cuba, 1963), featuring a selection of works designed and created specifically for the gallery space. Emphasizing the importance of space, the Cuban artist employs his signature multidisciplinary approach to explore how color and texture influence perception. To this end, the exhibition is arranged in areas that serve a dual purpose.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

Antonio Pichillá (San Pedro de La Laguna, Guatemala) proposes a broad return to the atavistic and ancestral in his recent work, exhibited in the two venues of the Memoria gallery in Madrid under the title Abuela materna (Maternal Grandmother). This return should be understood beyond the mere construction or defense of an original identity, in order to encompass the full meaning the artist conveys through his work.

The Cervantes Institute in Madrid presents Roberto Fabelo. Grafomanía, an exhibition featuring 50 works by Roberto Fabelo (Guáimaro, Cuba, 1951), most of them related to literary worlds and dialogues with other artists. The exhibition includes references to Gabriel García Márquez, Miguel de Cervantes, Goya, and Hieronymus Bosch—figures of great influence on the Cuban artist’s work.