RESISTANCE AND VIOLENCE IN MAYA GODED, IN MEMORIA GALLERY

Zielinsky presented Vera Chaves Barcellos' second solo exhibition at the gallery, entitled Objects 1969-1970.

Madrid's Galería Freijo presents a photographic exhibition that materializes two singular views of Mexico in the mid-20th century: that of Armando Salas Portugal (Monterrey, Mexico, 1916 - Mexico City, Mexico, 1995) and his photographic work on the buildings of architect Félix Candela (Madrid, Spain, 1910 - Durham, USA, 1997), and that of architect Roberto Fernández Balbuena (Madrid, Spain, 1890 - Mexico City, Mexico, 1966), and his almost botanical devotion to documenting the ahuehuetes.

The International Association of Art Critics in Paraguay (AICA-Py) awarded the AICA 2023 Prize to the exhibition Cuadernos de campo (Field Notebooks) by Fidel Fernández, curated by Adriana Almada and exhibited during Pinta Sud 2023 at the Arte Actual gallery in Asuncion.

The Green Havana project is a captured sample of a time and an attitude, the same one that transits between evasion and hedonism and the social reality of the Cuban capital, a unique and referential site of that almost isolated Cuba and of a popular culture grown in the shadow of political influences.

Delcy Morelos (Tierralta, Colombia, 1967) lands at the Centro Andaluz de Arte Contemporáneo (CAAC) in Seville with Profundis, an exhibition that gathers the spectacular intervention she has made ex profeso in the monumental areas of the Sevillian institution and that focuses on revitalizing the ancestral link of man with the earth, as well as capturing, through botany, the symbolism of the relations between Europe and America.

Standing before the expressive forcefulness of Mexican-American Robert Nava (East Chicago, USA, 1985) can be risky. At first glance, the primitivism in the technique used in his canvases is shocking in the conversion of the strength of the stroke and the basics of the gesture into a language that agglutinates a brute force. Perhaps for that reason, the usual tendency of those who face his work is to quickly pigeonhole it out of the academic, out of that refinement that is presupposed -although less and less- to those who fill the room of a museum, to let themselves be carried away by the urgency of expression in front of that pretended good taste.

Freedom First is the first solo exhibition that Fernando Bryce (Lima, Peru, 1965) presents at 1 Mira Madrid and is practically a declaration of intentions.

"If you hear a voice within you say, "you cannot paint," then by all means paint, and that voice will be silenced".Vincent Van Gogh

Carolina Caycedo’s (London, UK, 1978) Tierra de los amigos (Land of Friends) arrives at the IVAM in Valencia after its run at the Artium museum in Vitoria.

There is something structural in the Museo La Neomudéjar that allows plastic initiatives such as those of Heriberto Nieves (Vega Alta, Puerto Rico, 1957) to acquire greater meaning thanks to the dialogue with the space offered by this Madrid institution.

Zielinsky presented Vera Chaves Barcellos' second solo exhibition at the gallery, entitled Objects 1969-1970.

Madrid's Galería Freijo presents a photographic exhibition that materializes two singular views of Mexico in the mid-20th century: that of Armando Salas Portugal (Monterrey, Mexico, 1916 - Mexico City, Mexico, 1995) and his photographic work on the buildings of architect Félix Candela (Madrid, Spain, 1910 - Durham, USA, 1997), and that of architect Roberto Fernández Balbuena (Madrid, Spain, 1890 - Mexico City, Mexico, 1966), and his almost botanical devotion to documenting the ahuehuetes.

The International Association of Art Critics in Paraguay (AICA-Py) awarded the AICA 2023 Prize to the exhibition Cuadernos de campo (Field Notebooks) by Fidel Fernández, curated by Adriana Almada and exhibited during Pinta Sud 2023 at the Arte Actual gallery in Asuncion.

The Green Havana project is a captured sample of a time and an attitude, the same one that transits between evasion and hedonism and the social reality of the Cuban capital, a unique and referential site of that almost isolated Cuba and of a popular culture grown in the shadow of political influences.

Delcy Morelos (Tierralta, Colombia, 1967) lands at the Centro Andaluz de Arte Contemporáneo (CAAC) in Seville with Profundis, an exhibition that gathers the spectacular intervention she has made ex profeso in the monumental areas of the Sevillian institution and that focuses on revitalizing the ancestral link of man with the earth, as well as capturing, through botany, the symbolism of the relations between Europe and America.

Standing before the expressive forcefulness of Mexican-American Robert Nava (East Chicago, USA, 1985) can be risky. At first glance, the primitivism in the technique used in his canvases is shocking in the conversion of the strength of the stroke and the basics of the gesture into a language that agglutinates a brute force. Perhaps for that reason, the usual tendency of those who face his work is to quickly pigeonhole it out of the academic, out of that refinement that is presupposed -although less and less- to those who fill the room of a museum, to let themselves be carried away by the urgency of expression in front of that pretended good taste.

Freedom First is the first solo exhibition that Fernando Bryce (Lima, Peru, 1965) presents at 1 Mira Madrid and is practically a declaration of intentions.

"If you hear a voice within you say, "you cannot paint," then by all means paint, and that voice will be silenced".Vincent Van Gogh

Carolina Caycedo’s (London, UK, 1978) Tierra de los amigos (Land of Friends) arrives at the IVAM in Valencia after its run at the Artium museum in Vitoria.

There is something structural in the Museo La Neomudéjar that allows plastic initiatives such as those of Heriberto Nieves (Vega Alta, Puerto Rico, 1957) to acquire greater meaning thanks to the dialogue with the space offered by this Madrid institution.

Madrid's Galería Freijo presents a photographic exhibition that materializes two singular views of Mexico in the mid-20th century: that of Armando Salas Portugal (Monterrey, Mexico, 1916 - Mexico City, Mexico, 1995) and his photographic work on the buildings of architect Félix Candela (Madrid, Spain, 1910 - Durham, USA, 1997), and that of architect Roberto Fernández Balbuena (Madrid, Spain, 1890 - Mexico City, Mexico, 1966), and his almost botanical devotion to documenting the ahuehuetes.

The International Association of Art Critics in Paraguay (AICA-Py) awarded the AICA 2023 Prize to the exhibition Cuadernos de campo (Field Notebooks) by Fidel Fernández, curated by Adriana Almada and exhibited during Pinta Sud 2023 at the Arte Actual gallery in Asuncion.

The Green Havana project is a captured sample of a time and an attitude, the same one that transits between evasion and hedonism and the social reality of the Cuban capital, a unique and referential site of that almost isolated Cuba and of a popular culture grown in the shadow of political influences.

Delcy Morelos (Tierralta, Colombia, 1967) lands at the Centro Andaluz de Arte Contemporáneo (CAAC) in Seville with Profundis, an exhibition that gathers the spectacular intervention she has made ex profeso in the monumental areas of the Sevillian institution and that focuses on revitalizing the ancestral link of man with the earth, as well as capturing, through botany, the symbolism of the relations between Europe and America.

Standing before the expressive forcefulness of Mexican-American Robert Nava (East Chicago, USA, 1985) can be risky. At first glance, the primitivism in the technique used in his canvases is shocking in the conversion of the strength of the stroke and the basics of the gesture into a language that agglutinates a brute force. Perhaps for that reason, the usual tendency of those who face his work is to quickly pigeonhole it out of the academic, out of that refinement that is presupposed -although less and less- to those who fill the room of a museum, to let themselves be carried away by the urgency of expression in front of that pretended good taste.

Freedom First is the first solo exhibition that Fernando Bryce (Lima, Peru, 1965) presents at 1 Mira Madrid and is practically a declaration of intentions.

"If you hear a voice within you say, "you cannot paint," then by all means paint, and that voice will be silenced".Vincent Van Gogh

Carolina Caycedo’s (London, UK, 1978) Tierra de los amigos (Land of Friends) arrives at the IVAM in Valencia after its run at the Artium museum in Vitoria.

There is something structural in the Museo La Neomudéjar that allows plastic initiatives such as those of Heriberto Nieves (Vega Alta, Puerto Rico, 1957) to acquire greater meaning thanks to the dialogue with the space offered by this Madrid institution.

Zielinsky presented Vera Chaves Barcellos' second solo exhibition at the gallery, entitled Objects 1969-1970.

Madrid's Galería Freijo presents a photographic exhibition that materializes two singular views of Mexico in the mid-20th century: that of Armando Salas Portugal (Monterrey, Mexico, 1916 - Mexico City, Mexico, 1995) and his photographic work on the buildings of architect Félix Candela (Madrid, Spain, 1910 - Durham, USA, 1997), and that of architect Roberto Fernández Balbuena (Madrid, Spain, 1890 - Mexico City, Mexico, 1966), and his almost botanical devotion to documenting the ahuehuetes.

The International Association of Art Critics in Paraguay (AICA-Py) awarded the AICA 2023 Prize to the exhibition Cuadernos de campo (Field Notebooks) by Fidel Fernández, curated by Adriana Almada and exhibited during Pinta Sud 2023 at the Arte Actual gallery in Asuncion.

The Green Havana project is a captured sample of a time and an attitude, the same one that transits between evasion and hedonism and the social reality of the Cuban capital, a unique and referential site of that almost isolated Cuba and of a popular culture grown in the shadow of political influences.

Delcy Morelos (Tierralta, Colombia, 1967) lands at the Centro Andaluz de Arte Contemporáneo (CAAC) in Seville with Profundis, an exhibition that gathers the spectacular intervention she has made ex profeso in the monumental areas of the Sevillian institution and that focuses on revitalizing the ancestral link of man with the earth, as well as capturing, through botany, the symbolism of the relations between Europe and America.

Standing before the expressive forcefulness of Mexican-American Robert Nava (East Chicago, USA, 1985) can be risky. At first glance, the primitivism in the technique used in his canvases is shocking in the conversion of the strength of the stroke and the basics of the gesture into a language that agglutinates a brute force. Perhaps for that reason, the usual tendency of those who face his work is to quickly pigeonhole it out of the academic, out of that refinement that is presupposed -although less and less- to those who fill the room of a museum, to let themselves be carried away by the urgency of expression in front of that pretended good taste.

Freedom First is the first solo exhibition that Fernando Bryce (Lima, Peru, 1965) presents at 1 Mira Madrid and is practically a declaration of intentions.

"If you hear a voice within you say, "you cannot paint," then by all means paint, and that voice will be silenced".Vincent Van Gogh

Carolina Caycedo’s (London, UK, 1978) Tierra de los amigos (Land of Friends) arrives at the IVAM in Valencia after its run at the Artium museum in Vitoria.

There is something structural in the Museo La Neomudéjar that allows plastic initiatives such as those of Heriberto Nieves (Vega Alta, Puerto Rico, 1957) to acquire greater meaning thanks to the dialogue with the space offered by this Madrid institution.

Zielinsky presented Vera Chaves Barcellos' second solo exhibition at the gallery, entitled Objects 1969-1970.

Madrid's Galería Freijo presents a photographic exhibition that materializes two singular views of Mexico in the mid-20th century: that of Armando Salas Portugal (Monterrey, Mexico, 1916 - Mexico City, Mexico, 1995) and his photographic work on the buildings of architect Félix Candela (Madrid, Spain, 1910 - Durham, USA, 1997), and that of architect Roberto Fernández Balbuena (Madrid, Spain, 1890 - Mexico City, Mexico, 1966), and his almost botanical devotion to documenting the ahuehuetes.

The International Association of Art Critics in Paraguay (AICA-Py) awarded the AICA 2023 Prize to the exhibition Cuadernos de campo (Field Notebooks) by Fidel Fernández, curated by Adriana Almada and exhibited during Pinta Sud 2023 at the Arte Actual gallery in Asuncion.

The Green Havana project is a captured sample of a time and an attitude, the same one that transits between evasion and hedonism and the social reality of the Cuban capital, a unique and referential site of that almost isolated Cuba and of a popular culture grown in the shadow of political influences.

Delcy Morelos (Tierralta, Colombia, 1967) lands at the Centro Andaluz de Arte Contemporáneo (CAAC) in Seville with Profundis, an exhibition that gathers the spectacular intervention she has made ex profeso in the monumental areas of the Sevillian institution and that focuses on revitalizing the ancestral link of man with the earth, as well as capturing, through botany, the symbolism of the relations between Europe and America.

Standing before the expressive forcefulness of Mexican-American Robert Nava (East Chicago, USA, 1985) can be risky. At first glance, the primitivism in the technique used in his canvases is shocking in the conversion of the strength of the stroke and the basics of the gesture into a language that agglutinates a brute force. Perhaps for that reason, the usual tendency of those who face his work is to quickly pigeonhole it out of the academic, out of that refinement that is presupposed -although less and less- to those who fill the room of a museum, to let themselves be carried away by the urgency of expression in front of that pretended good taste.

Freedom First is the first solo exhibition that Fernando Bryce (Lima, Peru, 1965) presents at 1 Mira Madrid and is practically a declaration of intentions.

"If you hear a voice within you say, "you cannot paint," then by all means paint, and that voice will be silenced".Vincent Van Gogh

Carolina Caycedo’s (London, UK, 1978) Tierra de los amigos (Land of Friends) arrives at the IVAM in Valencia after its run at the Artium museum in Vitoria.

There is something structural in the Museo La Neomudéjar that allows plastic initiatives such as those of Heriberto Nieves (Vega Alta, Puerto Rico, 1957) to acquire greater meaning thanks to the dialogue with the space offered by this Madrid institution.