THE RYDER PROJECTS ANNOUNCED NEW CURATORS

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.

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. 

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.

The Spanish gallery presents a group exhibition exploring the act of weaving as a practice that connects stories, heritages, and generations. Soltaré cien conejos y usted verá cómo le hace para juntarlos todos (I will release a hundred rabbits and you will see how you manage to collect them all) reflects on the intersections between the artisanal and the contemporary, addressing themes such as cultural identity, territorial dispossession, and collective memory.

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).

Es Baluard organizes Eugenio Dittborn. Pinturas Aeropostales, the first solo show in Spain of Eugenio Dittborn (Santiago, Chile, 1943), one of the key names in the development of Latin American conceptual art in the 1970s and 1980s. The exhibition focuses on the production of his aeropostal paintings, an artistic instrument that materializes his research and reflection on materials, the physical limits that constrain painting and its distribution and circulation.

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.

Casa de América, in Madrid, hosts Convergences / Divergences. Two Aesthetics in Dialogue, a complete exhibition curated by Ariel Jimenez in which Ye'kwana craftsmanship, a community of the Venezuelan Amazon rainforest, and modern and contemporary geometric abstraction, represented by more than a hundred works from the Juan Carlos Maldonado Collection, are in dialogue. The exhibition delves into the relationship between the different aesthetics developed contemporarily by both groups and, above all, highlights the reference to modern art movements and their partial debt to the techniques and motifs of the peoples of the Amazon.

La Virreina presents the exhibition Destructuras de poder, featuring the work of Regina Silveira (Porto Alegre, 1939), a multimedia artist and a key figure in Latin American and international conceptual art. This exhibition encompasses a significant part of the Brazilian artist’s research and artistic production.

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.

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. 

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.

The Spanish gallery presents a group exhibition exploring the act of weaving as a practice that connects stories, heritages, and generations. Soltaré cien conejos y usted verá cómo le hace para juntarlos todos (I will release a hundred rabbits and you will see how you manage to collect them all) reflects on the intersections between the artisanal and the contemporary, addressing themes such as cultural identity, territorial dispossession, and collective memory.

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).

Es Baluard organizes Eugenio Dittborn. Pinturas Aeropostales, the first solo show in Spain of Eugenio Dittborn (Santiago, Chile, 1943), one of the key names in the development of Latin American conceptual art in the 1970s and 1980s. The exhibition focuses on the production of his aeropostal paintings, an artistic instrument that materializes his research and reflection on materials, the physical limits that constrain painting and its distribution and circulation.

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.

Casa de América, in Madrid, hosts Convergences / Divergences. Two Aesthetics in Dialogue, a complete exhibition curated by Ariel Jimenez in which Ye'kwana craftsmanship, a community of the Venezuelan Amazon rainforest, and modern and contemporary geometric abstraction, represented by more than a hundred works from the Juan Carlos Maldonado Collection, are in dialogue. The exhibition delves into the relationship between the different aesthetics developed contemporarily by both groups and, above all, highlights the reference to modern art movements and their partial debt to the techniques and motifs of the peoples of the Amazon.

La Virreina presents the exhibition Destructuras de poder, featuring the work of Regina Silveira (Porto Alegre, 1939), a multimedia artist and a key figure in Latin American and international conceptual art. This exhibition encompasses a significant part of the Brazilian artist’s research and artistic production.

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. 

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.

The Spanish gallery presents a group exhibition exploring the act of weaving as a practice that connects stories, heritages, and generations. Soltaré cien conejos y usted verá cómo le hace para juntarlos todos (I will release a hundred rabbits and you will see how you manage to collect them all) reflects on the intersections between the artisanal and the contemporary, addressing themes such as cultural identity, territorial dispossession, and collective memory.

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).

Es Baluard organizes Eugenio Dittborn. Pinturas Aeropostales, the first solo show in Spain of Eugenio Dittborn (Santiago, Chile, 1943), one of the key names in the development of Latin American conceptual art in the 1970s and 1980s. The exhibition focuses on the production of his aeropostal paintings, an artistic instrument that materializes his research and reflection on materials, the physical limits that constrain painting and its distribution and circulation.

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.

Casa de América, in Madrid, hosts Convergences / Divergences. Two Aesthetics in Dialogue, a complete exhibition curated by Ariel Jimenez in which Ye'kwana craftsmanship, a community of the Venezuelan Amazon rainforest, and modern and contemporary geometric abstraction, represented by more than a hundred works from the Juan Carlos Maldonado Collection, are in dialogue. The exhibition delves into the relationship between the different aesthetics developed contemporarily by both groups and, above all, highlights the reference to modern art movements and their partial debt to the techniques and motifs of the peoples of the Amazon.

La Virreina presents the exhibition Destructuras de poder, featuring the work of Regina Silveira (Porto Alegre, 1939), a multimedia artist and a key figure in Latin American and international conceptual art. This exhibition encompasses a significant part of the Brazilian artist’s research and artistic production.

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.

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. 

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.

The Spanish gallery presents a group exhibition exploring the act of weaving as a practice that connects stories, heritages, and generations. Soltaré cien conejos y usted verá cómo le hace para juntarlos todos (I will release a hundred rabbits and you will see how you manage to collect them all) reflects on the intersections between the artisanal and the contemporary, addressing themes such as cultural identity, territorial dispossession, and collective memory.

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).

Es Baluard organizes Eugenio Dittborn. Pinturas Aeropostales, the first solo show in Spain of Eugenio Dittborn (Santiago, Chile, 1943), one of the key names in the development of Latin American conceptual art in the 1970s and 1980s. The exhibition focuses on the production of his aeropostal paintings, an artistic instrument that materializes his research and reflection on materials, the physical limits that constrain painting and its distribution and circulation.

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.

Casa de América, in Madrid, hosts Convergences / Divergences. Two Aesthetics in Dialogue, a complete exhibition curated by Ariel Jimenez in which Ye'kwana craftsmanship, a community of the Venezuelan Amazon rainforest, and modern and contemporary geometric abstraction, represented by more than a hundred works from the Juan Carlos Maldonado Collection, are in dialogue. The exhibition delves into the relationship between the different aesthetics developed contemporarily by both groups and, above all, highlights the reference to modern art movements and their partial debt to the techniques and motifs of the peoples of the Amazon.

La Virreina presents the exhibition Destructuras de poder, featuring the work of Regina Silveira (Porto Alegre, 1939), a multimedia artist and a key figure in Latin American and international conceptual art. This exhibition encompasses a significant part of the Brazilian artist’s research and artistic production.

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.

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. 

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.

The Spanish gallery presents a group exhibition exploring the act of weaving as a practice that connects stories, heritages, and generations. Soltaré cien conejos y usted verá cómo le hace para juntarlos todos (I will release a hundred rabbits and you will see how you manage to collect them all) reflects on the intersections between the artisanal and the contemporary, addressing themes such as cultural identity, territorial dispossession, and collective memory.

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).

Es Baluard organizes Eugenio Dittborn. Pinturas Aeropostales, the first solo show in Spain of Eugenio Dittborn (Santiago, Chile, 1943), one of the key names in the development of Latin American conceptual art in the 1970s and 1980s. The exhibition focuses on the production of his aeropostal paintings, an artistic instrument that materializes his research and reflection on materials, the physical limits that constrain painting and its distribution and circulation.

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.

Casa de América, in Madrid, hosts Convergences / Divergences. Two Aesthetics in Dialogue, a complete exhibition curated by Ariel Jimenez in which Ye'kwana craftsmanship, a community of the Venezuelan Amazon rainforest, and modern and contemporary geometric abstraction, represented by more than a hundred works from the Juan Carlos Maldonado Collection, are in dialogue. The exhibition delves into the relationship between the different aesthetics developed contemporarily by both groups and, above all, highlights the reference to modern art movements and their partial debt to the techniques and motifs of the peoples of the Amazon.

La Virreina presents the exhibition Destructuras de poder, featuring the work of Regina Silveira (Porto Alegre, 1939), a multimedia artist and a key figure in Latin American and international conceptual art. This exhibition encompasses a significant part of the Brazilian artist’s research and artistic production.