ERNESTO NETO AND HIS CROSSROADS OF CULTURES AT MAAT

El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.

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.

Alberto Baraya (Bogota, Colombia, 1968) lands through El Naturalista Artificial, his alter ego for the occasion, his working method to research and search, in an almost expeditionary way, the knowledge and exotic objects of the world in Fábulas Goyescas, recently inaugurated at Fernando Pradilla in Madrid.

The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.

Pedro Cabrita Reis (Lisbon, Portugal, 1956) celebrates his half century of artistic production in ATELIER, a complex and complete exhibition that covers what is, perhaps, one of the most relevant proposals of the last decades that has emerged from the Portuguese plastic arts. More than 1,500 works from his personal collection fill eight pavilions of Mitra, a space donated by the Santa Casa da Misericórdia de Lisboa, located in Marvila, the same town where the artist lives and works.

El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.

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.

Alberto Baraya (Bogota, Colombia, 1968) lands through El Naturalista Artificial, his alter ego for the occasion, his working method to research and search, in an almost expeditionary way, the knowledge and exotic objects of the world in Fábulas Goyescas, recently inaugurated at Fernando Pradilla in Madrid.

The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.

Pedro Cabrita Reis (Lisbon, Portugal, 1956) celebrates his half century of artistic production in ATELIER, a complex and complete exhibition that covers what is, perhaps, one of the most relevant proposals of the last decades that has emerged from the Portuguese plastic arts. More than 1,500 works from his personal collection fill eight pavilions of Mitra, a space donated by the Santa Casa da Misericórdia de Lisboa, located in Marvila, the same town where the artist lives and works.

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.

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.

Alberto Baraya (Bogota, Colombia, 1968) lands through El Naturalista Artificial, his alter ego for the occasion, his working method to research and search, in an almost expeditionary way, the knowledge and exotic objects of the world in Fábulas Goyescas, recently inaugurated at Fernando Pradilla in Madrid.

The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.

Pedro Cabrita Reis (Lisbon, Portugal, 1956) celebrates his half century of artistic production in ATELIER, a complex and complete exhibition that covers what is, perhaps, one of the most relevant proposals of the last decades that has emerged from the Portuguese plastic arts. More than 1,500 works from his personal collection fill eight pavilions of Mitra, a space donated by the Santa Casa da Misericórdia de Lisboa, located in Marvila, the same town where the artist lives and works.

El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.

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.

Alberto Baraya (Bogota, Colombia, 1968) lands through El Naturalista Artificial, his alter ego for the occasion, his working method to research and search, in an almost expeditionary way, the knowledge and exotic objects of the world in Fábulas Goyescas, recently inaugurated at Fernando Pradilla in Madrid.

The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.

Pedro Cabrita Reis (Lisbon, Portugal, 1956) celebrates his half century of artistic production in ATELIER, a complex and complete exhibition that covers what is, perhaps, one of the most relevant proposals of the last decades that has emerged from the Portuguese plastic arts. More than 1,500 works from his personal collection fill eight pavilions of Mitra, a space donated by the Santa Casa da Misericórdia de Lisboa, located in Marvila, the same town where the artist lives and works.

El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.

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.

Alberto Baraya (Bogota, Colombia, 1968) lands through El Naturalista Artificial, his alter ego for the occasion, his working method to research and search, in an almost expeditionary way, the knowledge and exotic objects of the world in Fábulas Goyescas, recently inaugurated at Fernando Pradilla in Madrid.

The Seville-based Fundación Valentín de Madariaga y Oya raises in its collective exhibition Herencia. Proyecto 360º the need to reconsider actions and return to the essential and almost primary link through the observation and analysis of our environment and its possibilities. The show gathers the work of fifteen international artists who become instrumental through their works for this purpose.

Pedro Cabrita Reis (Lisbon, Portugal, 1956) celebrates his half century of artistic production in ATELIER, a complex and complete exhibition that covers what is, perhaps, one of the most relevant proposals of the last decades that has emerged from the Portuguese plastic arts. More than 1,500 works from his personal collection fill eight pavilions of Mitra, a space donated by the Santa Casa da Misericórdia de Lisboa, located in Marvila, the same town where the artist lives and works.