SOTO, NEGRET AND CHIRINO LEAD THE REOPENING OF THE REINA SOFÍA TERRACES AS AN EXHIBITION SPACE

Elba Benítez Gallery in Madrid, in collaboration with Clarissa Bronfman, presents a must-see exhibition by Jorge Pardo (Havana, Cuba, 1963), featuring a selection of works designed and created specifically for the gallery space. Emphasizing the importance of space, the Cuban artist employs his signature multidisciplinary approach to explore how color and texture influence perception. To this end, the exhibition is arranged in areas that serve a dual purpose.

The ATM Gallery in Asturias presents La naturaleza del lenguaje (The Nature of Language), a solo exhibition by Pablo Linsambarth (Santiago, Chile, 1989). The artist's proposal focuses exhaustively on the anecdotal aspect of certain narratives as the deep well from which he draws his work. Centered on immortalizing seemingly ordinary scenes, his producition is actually a reflection on both the political and the everyday.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Museo Nacional Centro de Arte Reina Sofía has announced the acquisitions made during the ARCO fair, through which both the institution and the Ministry of Culture expand the museum’s collections. Among the artists whose work is now part of the Madrid-based institution are Argentine artist Marta Minujín and Colombian artists Juan Pablo Echeverri and Luz Lizarazo—three figures with different career trajectories who bring a distinct Latin American perspective to a list of acquisitions largely focused on Spanish artists.

Madrid's Reina Sofia Museum, in collaboration with the Reina Sofia Museum Foundation, reinforces its growing involvement and strategy for the dissemination and study of Latin American contemporary art with the creation of the Cáder Institute of Central American Art (ICAC), dedicated to the research and dissemination of Central American art.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

Elba Benítez Gallery in Madrid, in collaboration with Clarissa Bronfman, presents a must-see exhibition by Jorge Pardo (Havana, Cuba, 1963), featuring a selection of works designed and created specifically for the gallery space. Emphasizing the importance of space, the Cuban artist employs his signature multidisciplinary approach to explore how color and texture influence perception. To this end, the exhibition is arranged in areas that serve a dual purpose.

The ATM Gallery in Asturias presents La naturaleza del lenguaje (The Nature of Language), a solo exhibition by Pablo Linsambarth (Santiago, Chile, 1989). The artist's proposal focuses exhaustively on the anecdotal aspect of certain narratives as the deep well from which he draws his work. Centered on immortalizing seemingly ordinary scenes, his producition is actually a reflection on both the political and the everyday.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Museo Nacional Centro de Arte Reina Sofía has announced the acquisitions made during the ARCO fair, through which both the institution and the Ministry of Culture expand the museum’s collections. Among the artists whose work is now part of the Madrid-based institution are Argentine artist Marta Minujín and Colombian artists Juan Pablo Echeverri and Luz Lizarazo—three figures with different career trajectories who bring a distinct Latin American perspective to a list of acquisitions largely focused on Spanish artists.

Madrid's Reina Sofia Museum, in collaboration with the Reina Sofia Museum Foundation, reinforces its growing involvement and strategy for the dissemination and study of Latin American contemporary art with the creation of the Cáder Institute of Central American Art (ICAC), dedicated to the research and dissemination of Central American art.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

The ATM Gallery in Asturias presents La naturaleza del lenguaje (The Nature of Language), a solo exhibition by Pablo Linsambarth (Santiago, Chile, 1989). The artist's proposal focuses exhaustively on the anecdotal aspect of certain narratives as the deep well from which he draws his work. Centered on immortalizing seemingly ordinary scenes, his producition is actually a reflection on both the political and the everyday.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Museo Nacional Centro de Arte Reina Sofía has announced the acquisitions made during the ARCO fair, through which both the institution and the Ministry of Culture expand the museum’s collections. Among the artists whose work is now part of the Madrid-based institution are Argentine artist Marta Minujín and Colombian artists Juan Pablo Echeverri and Luz Lizarazo—three figures with different career trajectories who bring a distinct Latin American perspective to a list of acquisitions largely focused on Spanish artists.

Madrid's Reina Sofia Museum, in collaboration with the Reina Sofia Museum Foundation, reinforces its growing involvement and strategy for the dissemination and study of Latin American contemporary art with the creation of the Cáder Institute of Central American Art (ICAC), dedicated to the research and dissemination of Central American art.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

Elba Benítez Gallery in Madrid, in collaboration with Clarissa Bronfman, presents a must-see exhibition by Jorge Pardo (Havana, Cuba, 1963), featuring a selection of works designed and created specifically for the gallery space. Emphasizing the importance of space, the Cuban artist employs his signature multidisciplinary approach to explore how color and texture influence perception. To this end, the exhibition is arranged in areas that serve a dual purpose.

The ATM Gallery in Asturias presents La naturaleza del lenguaje (The Nature of Language), a solo exhibition by Pablo Linsambarth (Santiago, Chile, 1989). The artist's proposal focuses exhaustively on the anecdotal aspect of certain narratives as the deep well from which he draws his work. Centered on immortalizing seemingly ordinary scenes, his producition is actually a reflection on both the political and the everyday.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Museo Nacional Centro de Arte Reina Sofía has announced the acquisitions made during the ARCO fair, through which both the institution and the Ministry of Culture expand the museum’s collections. Among the artists whose work is now part of the Madrid-based institution are Argentine artist Marta Minujín and Colombian artists Juan Pablo Echeverri and Luz Lizarazo—three figures with different career trajectories who bring a distinct Latin American perspective to a list of acquisitions largely focused on Spanish artists.

Madrid's Reina Sofia Museum, in collaboration with the Reina Sofia Museum Foundation, reinforces its growing involvement and strategy for the dissemination and study of Latin American contemporary art with the creation of the Cáder Institute of Central American Art (ICAC), dedicated to the research and dissemination of Central American art.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

Elba Benítez Gallery in Madrid, in collaboration with Clarissa Bronfman, presents a must-see exhibition by Jorge Pardo (Havana, Cuba, 1963), featuring a selection of works designed and created specifically for the gallery space. Emphasizing the importance of space, the Cuban artist employs his signature multidisciplinary approach to explore how color and texture influence perception. To this end, the exhibition is arranged in areas that serve a dual purpose.

The ATM Gallery in Asturias presents La naturaleza del lenguaje (The Nature of Language), a solo exhibition by Pablo Linsambarth (Santiago, Chile, 1989). The artist's proposal focuses exhaustively on the anecdotal aspect of certain narratives as the deep well from which he draws his work. Centered on immortalizing seemingly ordinary scenes, his producition is actually a reflection on both the political and the everyday.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Museo Nacional Centro de Arte Reina Sofía has announced the acquisitions made during the ARCO fair, through which both the institution and the Ministry of Culture expand the museum’s collections. Among the artists whose work is now part of the Madrid-based institution are Argentine artist Marta Minujín and Colombian artists Juan Pablo Echeverri and Luz Lizarazo—three figures with different career trajectories who bring a distinct Latin American perspective to a list of acquisitions largely focused on Spanish artists.

Madrid's Reina Sofia Museum, in collaboration with the Reina Sofia Museum Foundation, reinforces its growing involvement and strategy for the dissemination and study of Latin American contemporary art with the creation of the Cáder Institute of Central American Art (ICAC), dedicated to the research and dissemination of Central American art.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.