AMALIA MESA-BAINS: ARCHAEOLOGY OF MEMORY

With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.

Héctor Canonge began to explore the possibilities of performance almost without being aware of it. With an extensive career in the field of new media and the art surrounding these technologies, and almost by inertia, he incorporates the use of his body in one of his installations, Schema CorpoReal, where his body covered by bar codes was scanned by the public so that, through texts that emerged referring to parts of his body, they ended up constructing a narrative of identity.

The Guggenheim Museum Bilbao presents Metahaven. Chaos Theory. This is the first exhibition of the year in the Film & Video room, a space that the Museum dedicates entirely to video art, audiovisual installation and moving image as artistic languages, and which celebrates its tenth anniversary in 2024.

A week away from its official opening, the 60th edition of the Venice Biennale has generated press urbi et orbi. While some articles celebrated the irruption of the Global South in the Arsenale and the Giardini, others -truly devastating- reported on the disturbance and discomfort that the proposal of Adriano Pedrosa -the first Latin American to cure La Biennale in more than a century of existence- has awakened in the Western art system.

Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.

Lehmann Maupin presents Soil Horizon, an exhibition of new work by New York based artist Teresita Fernández. Over the course of her decades-long career, Fernández’s practice has been characterized by an expansive reimagining of what constitutes a landscape: from the subterranean to the cosmic, to contentious borderlines and borderlands.

Ernesto Neto (Rio de Janeiro, Brazil, 1964) presents Nosso Barco Tambor Terra at Lisbon's Museum of Art, Architecture and Technology (MAAT), an impressive large-scale installation with which he evokes and stages the crossing of different cultures and the relationships between individuals from different continents.

Patricio Reig (San Juan, Argentina, 1952) exhibits at the Centre Cultural La Mercè in Girona Anatomía de la mirada, a proposal that deals with the dissection of the act of looking and its individual and subjective approach.

Included within the activities of the program Transcultura. Integrating Cuba, the Caribbean and the European Union through Culture and Creativity, an initiative coordinated by the European Union and implemented by UNESCO in Havana, fifteen young Caribbean photographers between the ages of 18 and 35 will participate in PHotoESPAÑA 2024 with the presentation of their recent work, in addition to being able to interact professionally with cultural agents and the sector.

For some time now, the Inéditos program carried out by La Casa Encendida -an institution of the Montemadrid Foundation- has become a more or less reliable thermometer of the emerging curatorial scene that has Spain as its epicenter. As a result of that consolidation, within that faithful reflection, the Spanish social and artistic structure itself plays a very prominent role.

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.

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.

With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.

Héctor Canonge began to explore the possibilities of performance almost without being aware of it. With an extensive career in the field of new media and the art surrounding these technologies, and almost by inertia, he incorporates the use of his body in one of his installations, Schema CorpoReal, where his body covered by bar codes was scanned by the public so that, through texts that emerged referring to parts of his body, they ended up constructing a narrative of identity.

The Guggenheim Museum Bilbao presents Metahaven. Chaos Theory. This is the first exhibition of the year in the Film & Video room, a space that the Museum dedicates entirely to video art, audiovisual installation and moving image as artistic languages, and which celebrates its tenth anniversary in 2024.

A week away from its official opening, the 60th edition of the Venice Biennale has generated press urbi et orbi. While some articles celebrated the irruption of the Global South in the Arsenale and the Giardini, others -truly devastating- reported on the disturbance and discomfort that the proposal of Adriano Pedrosa -the first Latin American to cure La Biennale in more than a century of existence- has awakened in the Western art system.

Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.

Lehmann Maupin presents Soil Horizon, an exhibition of new work by New York based artist Teresita Fernández. Over the course of her decades-long career, Fernández’s practice has been characterized by an expansive reimagining of what constitutes a landscape: from the subterranean to the cosmic, to contentious borderlines and borderlands.

Ernesto Neto (Rio de Janeiro, Brazil, 1964) presents Nosso Barco Tambor Terra at Lisbon's Museum of Art, Architecture and Technology (MAAT), an impressive large-scale installation with which he evokes and stages the crossing of different cultures and the relationships between individuals from different continents.

Patricio Reig (San Juan, Argentina, 1952) exhibits at the Centre Cultural La Mercè in Girona Anatomía de la mirada, a proposal that deals with the dissection of the act of looking and its individual and subjective approach.

Included within the activities of the program Transcultura. Integrating Cuba, the Caribbean and the European Union through Culture and Creativity, an initiative coordinated by the European Union and implemented by UNESCO in Havana, fifteen young Caribbean photographers between the ages of 18 and 35 will participate in PHotoESPAÑA 2024 with the presentation of their recent work, in addition to being able to interact professionally with cultural agents and the sector.

For some time now, the Inéditos program carried out by La Casa Encendida -an institution of the Montemadrid Foundation- has become a more or less reliable thermometer of the emerging curatorial scene that has Spain as its epicenter. As a result of that consolidation, within that faithful reflection, the Spanish social and artistic structure itself plays a very prominent role.

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.

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.

Héctor Canonge began to explore the possibilities of performance almost without being aware of it. With an extensive career in the field of new media and the art surrounding these technologies, and almost by inertia, he incorporates the use of his body in one of his installations, Schema CorpoReal, where his body covered by bar codes was scanned by the public so that, through texts that emerged referring to parts of his body, they ended up constructing a narrative of identity.

The Guggenheim Museum Bilbao presents Metahaven. Chaos Theory. This is the first exhibition of the year in the Film & Video room, a space that the Museum dedicates entirely to video art, audiovisual installation and moving image as artistic languages, and which celebrates its tenth anniversary in 2024.

A week away from its official opening, the 60th edition of the Venice Biennale has generated press urbi et orbi. While some articles celebrated the irruption of the Global South in the Arsenale and the Giardini, others -truly devastating- reported on the disturbance and discomfort that the proposal of Adriano Pedrosa -the first Latin American to cure La Biennale in more than a century of existence- has awakened in the Western art system.

Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.

Lehmann Maupin presents Soil Horizon, an exhibition of new work by New York based artist Teresita Fernández. Over the course of her decades-long career, Fernández’s practice has been characterized by an expansive reimagining of what constitutes a landscape: from the subterranean to the cosmic, to contentious borderlines and borderlands.

Ernesto Neto (Rio de Janeiro, Brazil, 1964) presents Nosso Barco Tambor Terra at Lisbon's Museum of Art, Architecture and Technology (MAAT), an impressive large-scale installation with which he evokes and stages the crossing of different cultures and the relationships between individuals from different continents.

Patricio Reig (San Juan, Argentina, 1952) exhibits at the Centre Cultural La Mercè in Girona Anatomía de la mirada, a proposal that deals with the dissection of the act of looking and its individual and subjective approach.

Included within the activities of the program Transcultura. Integrating Cuba, the Caribbean and the European Union through Culture and Creativity, an initiative coordinated by the European Union and implemented by UNESCO in Havana, fifteen young Caribbean photographers between the ages of 18 and 35 will participate in PHotoESPAÑA 2024 with the presentation of their recent work, in addition to being able to interact professionally with cultural agents and the sector.

For some time now, the Inéditos program carried out by La Casa Encendida -an institution of the Montemadrid Foundation- has become a more or less reliable thermometer of the emerging curatorial scene that has Spain as its epicenter. As a result of that consolidation, within that faithful reflection, the Spanish social and artistic structure itself plays a very prominent role.

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.

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.

With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.

Héctor Canonge began to explore the possibilities of performance almost without being aware of it. With an extensive career in the field of new media and the art surrounding these technologies, and almost by inertia, he incorporates the use of his body in one of his installations, Schema CorpoReal, where his body covered by bar codes was scanned by the public so that, through texts that emerged referring to parts of his body, they ended up constructing a narrative of identity.

The Guggenheim Museum Bilbao presents Metahaven. Chaos Theory. This is the first exhibition of the year in the Film & Video room, a space that the Museum dedicates entirely to video art, audiovisual installation and moving image as artistic languages, and which celebrates its tenth anniversary in 2024.

A week away from its official opening, the 60th edition of the Venice Biennale has generated press urbi et orbi. While some articles celebrated the irruption of the Global South in the Arsenale and the Giardini, others -truly devastating- reported on the disturbance and discomfort that the proposal of Adriano Pedrosa -the first Latin American to cure La Biennale in more than a century of existence- has awakened in the Western art system.

Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.

Lehmann Maupin presents Soil Horizon, an exhibition of new work by New York based artist Teresita Fernández. Over the course of her decades-long career, Fernández’s practice has been characterized by an expansive reimagining of what constitutes a landscape: from the subterranean to the cosmic, to contentious borderlines and borderlands.

Ernesto Neto (Rio de Janeiro, Brazil, 1964) presents Nosso Barco Tambor Terra at Lisbon's Museum of Art, Architecture and Technology (MAAT), an impressive large-scale installation with which he evokes and stages the crossing of different cultures and the relationships between individuals from different continents.

Patricio Reig (San Juan, Argentina, 1952) exhibits at the Centre Cultural La Mercè in Girona Anatomía de la mirada, a proposal that deals with the dissection of the act of looking and its individual and subjective approach.

Included within the activities of the program Transcultura. Integrating Cuba, the Caribbean and the European Union through Culture and Creativity, an initiative coordinated by the European Union and implemented by UNESCO in Havana, fifteen young Caribbean photographers between the ages of 18 and 35 will participate in PHotoESPAÑA 2024 with the presentation of their recent work, in addition to being able to interact professionally with cultural agents and the sector.

For some time now, the Inéditos program carried out by La Casa Encendida -an institution of the Montemadrid Foundation- has become a more or less reliable thermometer of the emerging curatorial scene that has Spain as its epicenter. As a result of that consolidation, within that faithful reflection, the Spanish social and artistic structure itself plays a very prominent role.

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.

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.

With the opening of Frieze NY last Wednesday, the NY Contemporary sales season has kicked off (if it ever truly stops!). From now until mid-May, it's a whirlwind of fairs and gallery openings, culminating in the grand auctions. May is a crucial time for the US art market calendar and the results will have global repercussion for the remainder of the year.

Héctor Canonge began to explore the possibilities of performance almost without being aware of it. With an extensive career in the field of new media and the art surrounding these technologies, and almost by inertia, he incorporates the use of his body in one of his installations, Schema CorpoReal, where his body covered by bar codes was scanned by the public so that, through texts that emerged referring to parts of his body, they ended up constructing a narrative of identity.

The Guggenheim Museum Bilbao presents Metahaven. Chaos Theory. This is the first exhibition of the year in the Film & Video room, a space that the Museum dedicates entirely to video art, audiovisual installation and moving image as artistic languages, and which celebrates its tenth anniversary in 2024.

A week away from its official opening, the 60th edition of the Venice Biennale has generated press urbi et orbi. While some articles celebrated the irruption of the Global South in the Arsenale and the Giardini, others -truly devastating- reported on the disturbance and discomfort that the proposal of Adriano Pedrosa -the first Latin American to cure La Biennale in more than a century of existence- has awakened in the Western art system.

Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.

Lehmann Maupin presents Soil Horizon, an exhibition of new work by New York based artist Teresita Fernández. Over the course of her decades-long career, Fernández’s practice has been characterized by an expansive reimagining of what constitutes a landscape: from the subterranean to the cosmic, to contentious borderlines and borderlands.

Ernesto Neto (Rio de Janeiro, Brazil, 1964) presents Nosso Barco Tambor Terra at Lisbon's Museum of Art, Architecture and Technology (MAAT), an impressive large-scale installation with which he evokes and stages the crossing of different cultures and the relationships between individuals from different continents.

Patricio Reig (San Juan, Argentina, 1952) exhibits at the Centre Cultural La Mercè in Girona Anatomía de la mirada, a proposal that deals with the dissection of the act of looking and its individual and subjective approach.

Included within the activities of the program Transcultura. Integrating Cuba, the Caribbean and the European Union through Culture and Creativity, an initiative coordinated by the European Union and implemented by UNESCO in Havana, fifteen young Caribbean photographers between the ages of 18 and 35 will participate in PHotoESPAÑA 2024 with the presentation of their recent work, in addition to being able to interact professionally with cultural agents and the sector.

For some time now, the Inéditos program carried out by La Casa Encendida -an institution of the Montemadrid Foundation- has become a more or less reliable thermometer of the emerging curatorial scene that has Spain as its epicenter. As a result of that consolidation, within that faithful reflection, the Spanish social and artistic structure itself plays a very prominent role.

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.

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.