ALLORA & CALZADILLA'S FABLE ON LISTENING

Helga de Alvear (Kirn/Nahe, Germany, 1936-Madrid, Spain, 2025) passed away at the age of 88. A fundamental figure of collecting and gallerism in Spain and Europe, her name remains as a metaphorical vocative and reference of one of the keys to the evolution and understanding of how contemporary art should be shared and communicated to facilitate its appreciation as a fundamental part of the times in which she lived. A true believer that artistic practices should come to the surface and be another representation of the motifs and realities that shaped each period of history, convulsive in the case of Spain, she approached it with the vision and experience of someone who finds a necessary space to appreciate the present and build a future.

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.

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.

The proposal of Día Muñoz (Guayaquil, Ecuador, 1989) goes through the materialized ideas of a posthumanist future from a speculative perspective in his recent exhibition “Creaturas” de la dimensión de lo inconsciente (Creatures from the dimension of the unconscious) at the Madrid-based Ponce+Robles. To this end, she concentrates on the scientific possibilities and the multiple options of resolution, starting from organic principles with which to operate and create those dimensions of biological character and fundamentally technical essence.

Felipe Romero (Bogota, Colombia, 1992) usually shows in his photographic proposal a high interest in conflict zones. While the scenario reflects this palpable but still intangible tension, it also serves as a reflective framework where the conflict and its protagonists meet.

Madrid-based Maisterravalbuena proposes a vindication of the work of Sarah Grilo (Buenos Aires, Argentina,1917 - Madrid, Spain, 2007) through Soluciones para pensar, the second exhibition on this artist at the gallery. With a didactic and rediscovery vocation, the exhibition gathers a selection of paintings in different formats made between the 1960s and 1990s, many of them unpublished to the public. This work of selection and direct work of the gallery with the archive and the legacy of the Argentinean artist becomes fundamental in the structuring of the objective of creating opportunities for a greater knowledge of Grilo's work.

Helga de Alvear (Kirn/Nahe, Germany, 1936-Madrid, Spain, 2025) passed away at the age of 88. A fundamental figure of collecting and gallerism in Spain and Europe, her name remains as a metaphorical vocative and reference of one of the keys to the evolution and understanding of how contemporary art should be shared and communicated to facilitate its appreciation as a fundamental part of the times in which she lived. A true believer that artistic practices should come to the surface and be another representation of the motifs and realities that shaped each period of history, convulsive in the case of Spain, she approached it with the vision and experience of someone who finds a necessary space to appreciate the present and build a future.

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.

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.

The proposal of Día Muñoz (Guayaquil, Ecuador, 1989) goes through the materialized ideas of a posthumanist future from a speculative perspective in his recent exhibition “Creaturas” de la dimensión de lo inconsciente (Creatures from the dimension of the unconscious) at the Madrid-based Ponce+Robles. To this end, she concentrates on the scientific possibilities and the multiple options of resolution, starting from organic principles with which to operate and create those dimensions of biological character and fundamentally technical essence.

Felipe Romero (Bogota, Colombia, 1992) usually shows in his photographic proposal a high interest in conflict zones. While the scenario reflects this palpable but still intangible tension, it also serves as a reflective framework where the conflict and its protagonists meet.

Madrid-based Maisterravalbuena proposes a vindication of the work of Sarah Grilo (Buenos Aires, Argentina,1917 - Madrid, Spain, 2007) through Soluciones para pensar, the second exhibition on this artist at the gallery. With a didactic and rediscovery vocation, the exhibition gathers a selection of paintings in different formats made between the 1960s and 1990s, many of them unpublished to the public. This work of selection and direct work of the gallery with the archive and the legacy of the Argentinean artist becomes fundamental in the structuring of the objective of creating opportunities for a greater knowledge of Grilo's work.

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.

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.

The proposal of Día Muñoz (Guayaquil, Ecuador, 1989) goes through the materialized ideas of a posthumanist future from a speculative perspective in his recent exhibition “Creaturas” de la dimensión de lo inconsciente (Creatures from the dimension of the unconscious) at the Madrid-based Ponce+Robles. To this end, she concentrates on the scientific possibilities and the multiple options of resolution, starting from organic principles with which to operate and create those dimensions of biological character and fundamentally technical essence.

Felipe Romero (Bogota, Colombia, 1992) usually shows in his photographic proposal a high interest in conflict zones. While the scenario reflects this palpable but still intangible tension, it also serves as a reflective framework where the conflict and its protagonists meet.

Madrid-based Maisterravalbuena proposes a vindication of the work of Sarah Grilo (Buenos Aires, Argentina,1917 - Madrid, Spain, 2007) through Soluciones para pensar, the second exhibition on this artist at the gallery. With a didactic and rediscovery vocation, the exhibition gathers a selection of paintings in different formats made between the 1960s and 1990s, many of them unpublished to the public. This work of selection and direct work of the gallery with the archive and the legacy of the Argentinean artist becomes fundamental in the structuring of the objective of creating opportunities for a greater knowledge of Grilo's work.

Helga de Alvear (Kirn/Nahe, Germany, 1936-Madrid, Spain, 2025) passed away at the age of 88. A fundamental figure of collecting and gallerism in Spain and Europe, her name remains as a metaphorical vocative and reference of one of the keys to the evolution and understanding of how contemporary art should be shared and communicated to facilitate its appreciation as a fundamental part of the times in which she lived. A true believer that artistic practices should come to the surface and be another representation of the motifs and realities that shaped each period of history, convulsive in the case of Spain, she approached it with the vision and experience of someone who finds a necessary space to appreciate the present and build a future.

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.

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.

The proposal of Día Muñoz (Guayaquil, Ecuador, 1989) goes through the materialized ideas of a posthumanist future from a speculative perspective in his recent exhibition “Creaturas” de la dimensión de lo inconsciente (Creatures from the dimension of the unconscious) at the Madrid-based Ponce+Robles. To this end, she concentrates on the scientific possibilities and the multiple options of resolution, starting from organic principles with which to operate and create those dimensions of biological character and fundamentally technical essence.

Felipe Romero (Bogota, Colombia, 1992) usually shows in his photographic proposal a high interest in conflict zones. While the scenario reflects this palpable but still intangible tension, it also serves as a reflective framework where the conflict and its protagonists meet.

Madrid-based Maisterravalbuena proposes a vindication of the work of Sarah Grilo (Buenos Aires, Argentina,1917 - Madrid, Spain, 2007) through Soluciones para pensar, the second exhibition on this artist at the gallery. With a didactic and rediscovery vocation, the exhibition gathers a selection of paintings in different formats made between the 1960s and 1990s, many of them unpublished to the public. This work of selection and direct work of the gallery with the archive and the legacy of the Argentinean artist becomes fundamental in the structuring of the objective of creating opportunities for a greater knowledge of Grilo's work.

Helga de Alvear (Kirn/Nahe, Germany, 1936-Madrid, Spain, 2025) passed away at the age of 88. A fundamental figure of collecting and gallerism in Spain and Europe, her name remains as a metaphorical vocative and reference of one of the keys to the evolution and understanding of how contemporary art should be shared and communicated to facilitate its appreciation as a fundamental part of the times in which she lived. A true believer that artistic practices should come to the surface and be another representation of the motifs and realities that shaped each period of history, convulsive in the case of Spain, she approached it with the vision and experience of someone who finds a necessary space to appreciate the present and build a future.

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.

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.

The proposal of Día Muñoz (Guayaquil, Ecuador, 1989) goes through the materialized ideas of a posthumanist future from a speculative perspective in his recent exhibition “Creaturas” de la dimensión de lo inconsciente (Creatures from the dimension of the unconscious) at the Madrid-based Ponce+Robles. To this end, she concentrates on the scientific possibilities and the multiple options of resolution, starting from organic principles with which to operate and create those dimensions of biological character and fundamentally technical essence.

Felipe Romero (Bogota, Colombia, 1992) usually shows in his photographic proposal a high interest in conflict zones. While the scenario reflects this palpable but still intangible tension, it also serves as a reflective framework where the conflict and its protagonists meet.

Madrid-based Maisterravalbuena proposes a vindication of the work of Sarah Grilo (Buenos Aires, Argentina,1917 - Madrid, Spain, 2007) through Soluciones para pensar, the second exhibition on this artist at the gallery. With a didactic and rediscovery vocation, the exhibition gathers a selection of paintings in different formats made between the 1960s and 1990s, many of them unpublished to the public. This work of selection and direct work of the gallery with the archive and the legacy of the Argentinean artist becomes fundamental in the structuring of the objective of creating opportunities for a greater knowledge of Grilo's work.