YOUNG ARTISTS FROM THE CARIBBEAN ART SCENE AT VENICE

The section dedicated to abstraction in the Strangers Everywhere / Stranieri Ouvunque exhibition at the Venice Biennale 2024 explores how artists from the Global South -particularly those from Latin America- pursued less rigorous forms, undulating lines and a vibrant color palette stemming from references of their own.

The Argentine artist Guillermo Kuitca was commissioned to create a site-specific work in the chapel of the Hôtel Salé, home of the Musée national Picasso-Paris. The final commission, whose canvas is the walls of the chapel, can now be visited.

The 2024 Venice Biennale has taken a profound interest on cyclical themes, with water emerging as a dominant motif across exhibitions. In resonance to Pedrosa’s title for this year ‘Stranieri Ovunque’, we see water as a dominant locus for the subjects of travel, shared heritage and fluctuation. On itself, water is seen (as both a vital resource and a destructive force) at the heart of the pavilions representing Greece, France, and in Otero Torres’ Arsenale installation, Aguacero. These exhibitions delve into water’s duality: as a life-giver and a potential destroyer, as a symbol of both division and connection.

Crisis Galería announced the recent acquisition of the painting Cosmovisión Huitoto (2022) by the outstanding indigenous artist Santiago Yahuarcani by the Museum of Modern Art of New York (MoMA). This extraordinary large format work, made with natural dyes and acrylic paint on llanchama, is one of the largest produced by the artist with more than two meters high and four meters wide.

The Venice Biennale 2024 offers an exceptional platform for examining the challenges and opportunities facing the future. The pavilions of Japan, Germany, Switzerland and Hungary trace different forms of looking at and thinking about the world to come, projecting visions of the environment, equilibrium, adaptation, world order and, of course, collective memory.

Last Thursday, September 26, a ceremony was held at the French Embassy in Paraguay, where Ambassador Pierre-Christian Soccoja awarded art critic Adriana Almada and visual artist Félix Toranzos with the Order of Arts and Letters. Both were part of the third edition of Pinta Sud | ASU.

The 2024 edition of the Venice Biennale is coming to an end. Stranieri Ovunque - Foreigners Everywhere, curated by Brazilian Adriano Pedrosa, offered a reflection through art about migration and borders, recurring themes in today's global discussion. Arte al Día was present to cover the 60th International Exhibition, not only to bring the work of more than 300 artists from almost 100 countries, but also to focus on the contribution of Latin American artists to the global scene, whose presence marked a high point in this edition.

PAV Parco Arte Vivente presented the first solo exhibition in Italy by the Ecuadorian artist Adrián Balseca (1989) curated by Marco Scotini. The exhibition is an investigation into the role of the human being as an actor within the ecosystem, focussing on the relationships between the economy, ecology and memory as well as on the dynamics of power linked to the extractivism and exploitation of nature.  

The board of La Biennale di Venezia appointed Koyo Kouoh as Director of the Visual Arts Department, with the specific task of curating the 61st International Art Exhibition to be held in 2026.

Shocking and enigmatic, this is the first major retrospective in Europe that the Cartier Foundation for Contemporary Art presents of Olga de Amaral, a key figure in the Colombian art scene and Fiber Art. The exhibition brings together nearly 90 works created between the 1960s and the present, many of which have never been presented outside Colombia.

The section dedicated to abstraction in the Strangers Everywhere / Stranieri Ouvunque exhibition at the Venice Biennale 2024 explores how artists from the Global South -particularly those from Latin America- pursued less rigorous forms, undulating lines and a vibrant color palette stemming from references of their own.

The Argentine artist Guillermo Kuitca was commissioned to create a site-specific work in the chapel of the Hôtel Salé, home of the Musée national Picasso-Paris. The final commission, whose canvas is the walls of the chapel, can now be visited.

The 2024 Venice Biennale has taken a profound interest on cyclical themes, with water emerging as a dominant motif across exhibitions. In resonance to Pedrosa’s title for this year ‘Stranieri Ovunque’, we see water as a dominant locus for the subjects of travel, shared heritage and fluctuation. On itself, water is seen (as both a vital resource and a destructive force) at the heart of the pavilions representing Greece, France, and in Otero Torres’ Arsenale installation, Aguacero. These exhibitions delve into water’s duality: as a life-giver and a potential destroyer, as a symbol of both division and connection.

Crisis Galería announced the recent acquisition of the painting Cosmovisión Huitoto (2022) by the outstanding indigenous artist Santiago Yahuarcani by the Museum of Modern Art of New York (MoMA). This extraordinary large format work, made with natural dyes and acrylic paint on llanchama, is one of the largest produced by the artist with more than two meters high and four meters wide.

The Venice Biennale 2024 offers an exceptional platform for examining the challenges and opportunities facing the future. The pavilions of Japan, Germany, Switzerland and Hungary trace different forms of looking at and thinking about the world to come, projecting visions of the environment, equilibrium, adaptation, world order and, of course, collective memory.

Last Thursday, September 26, a ceremony was held at the French Embassy in Paraguay, where Ambassador Pierre-Christian Soccoja awarded art critic Adriana Almada and visual artist Félix Toranzos with the Order of Arts and Letters. Both were part of the third edition of Pinta Sud | ASU.

The 2024 edition of the Venice Biennale is coming to an end. Stranieri Ovunque - Foreigners Everywhere, curated by Brazilian Adriano Pedrosa, offered a reflection through art about migration and borders, recurring themes in today's global discussion. Arte al Día was present to cover the 60th International Exhibition, not only to bring the work of more than 300 artists from almost 100 countries, but also to focus on the contribution of Latin American artists to the global scene, whose presence marked a high point in this edition.

PAV Parco Arte Vivente presented the first solo exhibition in Italy by the Ecuadorian artist Adrián Balseca (1989) curated by Marco Scotini. The exhibition is an investigation into the role of the human being as an actor within the ecosystem, focussing on the relationships between the economy, ecology and memory as well as on the dynamics of power linked to the extractivism and exploitation of nature.  

The board of La Biennale di Venezia appointed Koyo Kouoh as Director of the Visual Arts Department, with the specific task of curating the 61st International Art Exhibition to be held in 2026.

Shocking and enigmatic, this is the first major retrospective in Europe that the Cartier Foundation for Contemporary Art presents of Olga de Amaral, a key figure in the Colombian art scene and Fiber Art. The exhibition brings together nearly 90 works created between the 1960s and the present, many of which have never been presented outside Colombia.

The Argentine artist Guillermo Kuitca was commissioned to create a site-specific work in the chapel of the Hôtel Salé, home of the Musée national Picasso-Paris. The final commission, whose canvas is the walls of the chapel, can now be visited.

The 2024 Venice Biennale has taken a profound interest on cyclical themes, with water emerging as a dominant motif across exhibitions. In resonance to Pedrosa’s title for this year ‘Stranieri Ovunque’, we see water as a dominant locus for the subjects of travel, shared heritage and fluctuation. On itself, water is seen (as both a vital resource and a destructive force) at the heart of the pavilions representing Greece, France, and in Otero Torres’ Arsenale installation, Aguacero. These exhibitions delve into water’s duality: as a life-giver and a potential destroyer, as a symbol of both division and connection.

Crisis Galería announced the recent acquisition of the painting Cosmovisión Huitoto (2022) by the outstanding indigenous artist Santiago Yahuarcani by the Museum of Modern Art of New York (MoMA). This extraordinary large format work, made with natural dyes and acrylic paint on llanchama, is one of the largest produced by the artist with more than two meters high and four meters wide.

The Venice Biennale 2024 offers an exceptional platform for examining the challenges and opportunities facing the future. The pavilions of Japan, Germany, Switzerland and Hungary trace different forms of looking at and thinking about the world to come, projecting visions of the environment, equilibrium, adaptation, world order and, of course, collective memory.

Last Thursday, September 26, a ceremony was held at the French Embassy in Paraguay, where Ambassador Pierre-Christian Soccoja awarded art critic Adriana Almada and visual artist Félix Toranzos with the Order of Arts and Letters. Both were part of the third edition of Pinta Sud | ASU.

The 2024 edition of the Venice Biennale is coming to an end. Stranieri Ovunque - Foreigners Everywhere, curated by Brazilian Adriano Pedrosa, offered a reflection through art about migration and borders, recurring themes in today's global discussion. Arte al Día was present to cover the 60th International Exhibition, not only to bring the work of more than 300 artists from almost 100 countries, but also to focus on the contribution of Latin American artists to the global scene, whose presence marked a high point in this edition.

PAV Parco Arte Vivente presented the first solo exhibition in Italy by the Ecuadorian artist Adrián Balseca (1989) curated by Marco Scotini. The exhibition is an investigation into the role of the human being as an actor within the ecosystem, focussing on the relationships between the economy, ecology and memory as well as on the dynamics of power linked to the extractivism and exploitation of nature.  

The board of La Biennale di Venezia appointed Koyo Kouoh as Director of the Visual Arts Department, with the specific task of curating the 61st International Art Exhibition to be held in 2026.

Shocking and enigmatic, this is the first major retrospective in Europe that the Cartier Foundation for Contemporary Art presents of Olga de Amaral, a key figure in the Colombian art scene and Fiber Art. The exhibition brings together nearly 90 works created between the 1960s and the present, many of which have never been presented outside Colombia.

The section dedicated to abstraction in the Strangers Everywhere / Stranieri Ouvunque exhibition at the Venice Biennale 2024 explores how artists from the Global South -particularly those from Latin America- pursued less rigorous forms, undulating lines and a vibrant color palette stemming from references of their own.

The Argentine artist Guillermo Kuitca was commissioned to create a site-specific work in the chapel of the Hôtel Salé, home of the Musée national Picasso-Paris. The final commission, whose canvas is the walls of the chapel, can now be visited.

The 2024 Venice Biennale has taken a profound interest on cyclical themes, with water emerging as a dominant motif across exhibitions. In resonance to Pedrosa’s title for this year ‘Stranieri Ovunque’, we see water as a dominant locus for the subjects of travel, shared heritage and fluctuation. On itself, water is seen (as both a vital resource and a destructive force) at the heart of the pavilions representing Greece, France, and in Otero Torres’ Arsenale installation, Aguacero. These exhibitions delve into water’s duality: as a life-giver and a potential destroyer, as a symbol of both division and connection.

Crisis Galería announced the recent acquisition of the painting Cosmovisión Huitoto (2022) by the outstanding indigenous artist Santiago Yahuarcani by the Museum of Modern Art of New York (MoMA). This extraordinary large format work, made with natural dyes and acrylic paint on llanchama, is one of the largest produced by the artist with more than two meters high and four meters wide.

The Venice Biennale 2024 offers an exceptional platform for examining the challenges and opportunities facing the future. The pavilions of Japan, Germany, Switzerland and Hungary trace different forms of looking at and thinking about the world to come, projecting visions of the environment, equilibrium, adaptation, world order and, of course, collective memory.

Last Thursday, September 26, a ceremony was held at the French Embassy in Paraguay, where Ambassador Pierre-Christian Soccoja awarded art critic Adriana Almada and visual artist Félix Toranzos with the Order of Arts and Letters. Both were part of the third edition of Pinta Sud | ASU.

The 2024 edition of the Venice Biennale is coming to an end. Stranieri Ovunque - Foreigners Everywhere, curated by Brazilian Adriano Pedrosa, offered a reflection through art about migration and borders, recurring themes in today's global discussion. Arte al Día was present to cover the 60th International Exhibition, not only to bring the work of more than 300 artists from almost 100 countries, but also to focus on the contribution of Latin American artists to the global scene, whose presence marked a high point in this edition.

PAV Parco Arte Vivente presented the first solo exhibition in Italy by the Ecuadorian artist Adrián Balseca (1989) curated by Marco Scotini. The exhibition is an investigation into the role of the human being as an actor within the ecosystem, focussing on the relationships between the economy, ecology and memory as well as on the dynamics of power linked to the extractivism and exploitation of nature.  

The board of La Biennale di Venezia appointed Koyo Kouoh as Director of the Visual Arts Department, with the specific task of curating the 61st International Art Exhibition to be held in 2026.

Shocking and enigmatic, this is the first major retrospective in Europe that the Cartier Foundation for Contemporary Art presents of Olga de Amaral, a key figure in the Colombian art scene and Fiber Art. The exhibition brings together nearly 90 works created between the 1960s and the present, many of which have never been presented outside Colombia.

The section dedicated to abstraction in the Strangers Everywhere / Stranieri Ouvunque exhibition at the Venice Biennale 2024 explores how artists from the Global South -particularly those from Latin America- pursued less rigorous forms, undulating lines and a vibrant color palette stemming from references of their own.

The Argentine artist Guillermo Kuitca was commissioned to create a site-specific work in the chapel of the Hôtel Salé, home of the Musée national Picasso-Paris. The final commission, whose canvas is the walls of the chapel, can now be visited.

The 2024 Venice Biennale has taken a profound interest on cyclical themes, with water emerging as a dominant motif across exhibitions. In resonance to Pedrosa’s title for this year ‘Stranieri Ovunque’, we see water as a dominant locus for the subjects of travel, shared heritage and fluctuation. On itself, water is seen (as both a vital resource and a destructive force) at the heart of the pavilions representing Greece, France, and in Otero Torres’ Arsenale installation, Aguacero. These exhibitions delve into water’s duality: as a life-giver and a potential destroyer, as a symbol of both division and connection.

Crisis Galería announced the recent acquisition of the painting Cosmovisión Huitoto (2022) by the outstanding indigenous artist Santiago Yahuarcani by the Museum of Modern Art of New York (MoMA). This extraordinary large format work, made with natural dyes and acrylic paint on llanchama, is one of the largest produced by the artist with more than two meters high and four meters wide.

The Venice Biennale 2024 offers an exceptional platform for examining the challenges and opportunities facing the future. The pavilions of Japan, Germany, Switzerland and Hungary trace different forms of looking at and thinking about the world to come, projecting visions of the environment, equilibrium, adaptation, world order and, of course, collective memory.

Last Thursday, September 26, a ceremony was held at the French Embassy in Paraguay, where Ambassador Pierre-Christian Soccoja awarded art critic Adriana Almada and visual artist Félix Toranzos with the Order of Arts and Letters. Both were part of the third edition of Pinta Sud | ASU.

The 2024 edition of the Venice Biennale is coming to an end. Stranieri Ovunque - Foreigners Everywhere, curated by Brazilian Adriano Pedrosa, offered a reflection through art about migration and borders, recurring themes in today's global discussion. Arte al Día was present to cover the 60th International Exhibition, not only to bring the work of more than 300 artists from almost 100 countries, but also to focus on the contribution of Latin American artists to the global scene, whose presence marked a high point in this edition.

PAV Parco Arte Vivente presented the first solo exhibition in Italy by the Ecuadorian artist Adrián Balseca (1989) curated by Marco Scotini. The exhibition is an investigation into the role of the human being as an actor within the ecosystem, focussing on the relationships between the economy, ecology and memory as well as on the dynamics of power linked to the extractivism and exploitation of nature.  

The board of La Biennale di Venezia appointed Koyo Kouoh as Director of the Visual Arts Department, with the specific task of curating the 61st International Art Exhibition to be held in 2026.

Shocking and enigmatic, this is the first major retrospective in Europe that the Cartier Foundation for Contemporary Art presents of Olga de Amaral, a key figure in the Colombian art scene and Fiber Art. The exhibition brings together nearly 90 works created between the 1960s and the present, many of which have never been presented outside Colombia.