REINOSO'S BIOMORPHISM, AT THE MEIAC

The eighty-first edition of the Whitney Biennial—the longest-running survey of contemporary art in the United States—features seventy-one artists and collectives grappling with many of today’s most pressing issues.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

The Madrid-based Max Estrella exhibits in its Project Room space Escuchando la Lluvia (Listening to the Rain), by artist Glenda León (Havana, Cuba, 1976), which also serves as a letter of introduction of the Cuban artist as the gallery's new representative. This piece of enormous stylization is presented as a blown glass sculpture handcrafted by the Royal Glass Factory of La Granja in Segovia that collects a visual representation of a drop of water falling.

The Centro Atlántico de Arte Moderno (CAAM), located in Las Palmas de Gran Canaria, is hosting the exhibition Toda utopía pasa por la barriga, a tour through the work of Carlos Garaicoa (Havana, Cuba, 1967) curated by Lillebit Fabraga that best connects with architecture, the natural order and the location of the human being in the system.

The Canary Islands' TEA (Tenerife Espacio de las Artes) is showing until September Y, a solo exhibition by Nela Ochoa (Caracas, Venezuela, 1953), which is part of the curatorial program Filtraciones that the center carries out for artists and with its collection.

The CAC Malaga hosts Milagro, the first solo exhibition in a museum of Mario Ayala (Los Angeles, USA, 1991), son of a Mexican-American mother and Cuban immigrant father, whose production reflects his personal experiences and artistic concerns of the world of garages, truck drivers and mechanics of Fontana.

The Museum of Photography of the Antonio Perez Foundation, at its headquarters in the town of Huete, Cuenca, exhibits part of the results of the artistic residence held at Kárstica Espacio de Creación, in which, during last June, a total of six artists have developed their projects.

The international photography festival PHOTOEspaña proposes a program of exhibitions that evoke, both in concept and subject matter, a breadth and diversity that have led to its recognition for years. However, one of its most appreciated improvements has been the expansion of venues and cities, which allows for a wider and better offer.

Soy Palacio / Soy Establo is the proposal conceived by Ana Laura Aláez (Bilbao, Spain, 1964) for one of the spaces of the Balearic Museum Es Baluard and in which she proposes, as an intervention, an express dialogue with emptiness.

The eighty-first edition of the Whitney Biennial—the longest-running survey of contemporary art in the United States—features seventy-one artists and collectives grappling with many of today’s most pressing issues.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

The Madrid-based Max Estrella exhibits in its Project Room space Escuchando la Lluvia (Listening to the Rain), by artist Glenda León (Havana, Cuba, 1976), which also serves as a letter of introduction of the Cuban artist as the gallery's new representative. This piece of enormous stylization is presented as a blown glass sculpture handcrafted by the Royal Glass Factory of La Granja in Segovia that collects a visual representation of a drop of water falling.

The Centro Atlántico de Arte Moderno (CAAM), located in Las Palmas de Gran Canaria, is hosting the exhibition Toda utopía pasa por la barriga, a tour through the work of Carlos Garaicoa (Havana, Cuba, 1967) curated by Lillebit Fabraga that best connects with architecture, the natural order and the location of the human being in the system.

The Canary Islands' TEA (Tenerife Espacio de las Artes) is showing until September Y, a solo exhibition by Nela Ochoa (Caracas, Venezuela, 1953), which is part of the curatorial program Filtraciones that the center carries out for artists and with its collection.

The CAC Malaga hosts Milagro, the first solo exhibition in a museum of Mario Ayala (Los Angeles, USA, 1991), son of a Mexican-American mother and Cuban immigrant father, whose production reflects his personal experiences and artistic concerns of the world of garages, truck drivers and mechanics of Fontana.

The Museum of Photography of the Antonio Perez Foundation, at its headquarters in the town of Huete, Cuenca, exhibits part of the results of the artistic residence held at Kárstica Espacio de Creación, in which, during last June, a total of six artists have developed their projects.

The international photography festival PHOTOEspaña proposes a program of exhibitions that evoke, both in concept and subject matter, a breadth and diversity that have led to its recognition for years. However, one of its most appreciated improvements has been the expansion of venues and cities, which allows for a wider and better offer.

Soy Palacio / Soy Establo is the proposal conceived by Ana Laura Aláez (Bilbao, Spain, 1964) for one of the spaces of the Balearic Museum Es Baluard and in which she proposes, as an intervention, an express dialogue with emptiness.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

The Madrid-based Max Estrella exhibits in its Project Room space Escuchando la Lluvia (Listening to the Rain), by artist Glenda León (Havana, Cuba, 1976), which also serves as a letter of introduction of the Cuban artist as the gallery's new representative. This piece of enormous stylization is presented as a blown glass sculpture handcrafted by the Royal Glass Factory of La Granja in Segovia that collects a visual representation of a drop of water falling.

The Centro Atlántico de Arte Moderno (CAAM), located in Las Palmas de Gran Canaria, is hosting the exhibition Toda utopía pasa por la barriga, a tour through the work of Carlos Garaicoa (Havana, Cuba, 1967) curated by Lillebit Fabraga that best connects with architecture, the natural order and the location of the human being in the system.

The Canary Islands' TEA (Tenerife Espacio de las Artes) is showing until September Y, a solo exhibition by Nela Ochoa (Caracas, Venezuela, 1953), which is part of the curatorial program Filtraciones that the center carries out for artists and with its collection.

The CAC Malaga hosts Milagro, the first solo exhibition in a museum of Mario Ayala (Los Angeles, USA, 1991), son of a Mexican-American mother and Cuban immigrant father, whose production reflects his personal experiences and artistic concerns of the world of garages, truck drivers and mechanics of Fontana.

The Museum of Photography of the Antonio Perez Foundation, at its headquarters in the town of Huete, Cuenca, exhibits part of the results of the artistic residence held at Kárstica Espacio de Creación, in which, during last June, a total of six artists have developed their projects.

The international photography festival PHOTOEspaña proposes a program of exhibitions that evoke, both in concept and subject matter, a breadth and diversity that have led to its recognition for years. However, one of its most appreciated improvements has been the expansion of venues and cities, which allows for a wider and better offer.

Soy Palacio / Soy Establo is the proposal conceived by Ana Laura Aláez (Bilbao, Spain, 1964) for one of the spaces of the Balearic Museum Es Baluard and in which she proposes, as an intervention, an express dialogue with emptiness.

The eighty-first edition of the Whitney Biennial—the longest-running survey of contemporary art in the United States—features seventy-one artists and collectives grappling with many of today’s most pressing issues.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

The Madrid-based Max Estrella exhibits in its Project Room space Escuchando la Lluvia (Listening to the Rain), by artist Glenda León (Havana, Cuba, 1976), which also serves as a letter of introduction of the Cuban artist as the gallery's new representative. This piece of enormous stylization is presented as a blown glass sculpture handcrafted by the Royal Glass Factory of La Granja in Segovia that collects a visual representation of a drop of water falling.

The Centro Atlántico de Arte Moderno (CAAM), located in Las Palmas de Gran Canaria, is hosting the exhibition Toda utopía pasa por la barriga, a tour through the work of Carlos Garaicoa (Havana, Cuba, 1967) curated by Lillebit Fabraga that best connects with architecture, the natural order and the location of the human being in the system.

The Canary Islands' TEA (Tenerife Espacio de las Artes) is showing until September Y, a solo exhibition by Nela Ochoa (Caracas, Venezuela, 1953), which is part of the curatorial program Filtraciones that the center carries out for artists and with its collection.

The CAC Malaga hosts Milagro, the first solo exhibition in a museum of Mario Ayala (Los Angeles, USA, 1991), son of a Mexican-American mother and Cuban immigrant father, whose production reflects his personal experiences and artistic concerns of the world of garages, truck drivers and mechanics of Fontana.

The Museum of Photography of the Antonio Perez Foundation, at its headquarters in the town of Huete, Cuenca, exhibits part of the results of the artistic residence held at Kárstica Espacio de Creación, in which, during last June, a total of six artists have developed their projects.

The international photography festival PHOTOEspaña proposes a program of exhibitions that evoke, both in concept and subject matter, a breadth and diversity that have led to its recognition for years. However, one of its most appreciated improvements has been the expansion of venues and cities, which allows for a wider and better offer.

Soy Palacio / Soy Establo is the proposal conceived by Ana Laura Aláez (Bilbao, Spain, 1964) for one of the spaces of the Balearic Museum Es Baluard and in which she proposes, as an intervention, an express dialogue with emptiness.

The eighty-first edition of the Whitney Biennial—the longest-running survey of contemporary art in the United States—features seventy-one artists and collectives grappling with many of today’s most pressing issues.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

The Madrid-based Max Estrella exhibits in its Project Room space Escuchando la Lluvia (Listening to the Rain), by artist Glenda León (Havana, Cuba, 1976), which also serves as a letter of introduction of the Cuban artist as the gallery's new representative. This piece of enormous stylization is presented as a blown glass sculpture handcrafted by the Royal Glass Factory of La Granja in Segovia that collects a visual representation of a drop of water falling.

The Centro Atlántico de Arte Moderno (CAAM), located in Las Palmas de Gran Canaria, is hosting the exhibition Toda utopía pasa por la barriga, a tour through the work of Carlos Garaicoa (Havana, Cuba, 1967) curated by Lillebit Fabraga that best connects with architecture, the natural order and the location of the human being in the system.

The Canary Islands' TEA (Tenerife Espacio de las Artes) is showing until September Y, a solo exhibition by Nela Ochoa (Caracas, Venezuela, 1953), which is part of the curatorial program Filtraciones that the center carries out for artists and with its collection.

The CAC Malaga hosts Milagro, the first solo exhibition in a museum of Mario Ayala (Los Angeles, USA, 1991), son of a Mexican-American mother and Cuban immigrant father, whose production reflects his personal experiences and artistic concerns of the world of garages, truck drivers and mechanics of Fontana.

The Museum of Photography of the Antonio Perez Foundation, at its headquarters in the town of Huete, Cuenca, exhibits part of the results of the artistic residence held at Kárstica Espacio de Creación, in which, during last June, a total of six artists have developed their projects.

The international photography festival PHOTOEspaña proposes a program of exhibitions that evoke, both in concept and subject matter, a breadth and diversity that have led to its recognition for years. However, one of its most appreciated improvements has been the expansion of venues and cities, which allows for a wider and better offer.

Soy Palacio / Soy Establo is the proposal conceived by Ana Laura Aláez (Bilbao, Spain, 1964) for one of the spaces of the Balearic Museum Es Baluard and in which she proposes, as an intervention, an express dialogue with emptiness.