THE MYSTERY OF LIFE IN ANA ALBERTINA DELGADO’S WORK

By Álvaro de Benito

The Madrid branch of La Cometa gallery presents during July the work of eight of its Ibero-American artists in a group show that delves into different languages and techniques, from ceramics to painting, and also includes dialogues with architecture and other productions. Three of those represented come from Spain, while of the five American representatives, four are Colombian and one is Cuban, which brings a representative vision of the gallery's artistic proposal closer to the spectator.

Widline Cadet (Pétion-Ville, Haiti, 1992) brings together in her life experience several of the aspects and themes that, perhaps, have inspired more production among all those curatorial lines with more presence. Her biography, constructed through childhood memories, the environment of a generation and a country marked by its own strong culture or the phenomena of emigration, constitutes the framework in which the photographer develops the practical integrity of her work.

All sauce, No shrimp is Sophie Ullrich’s anticipated solo exhibition at Piero Atchugarry. The artist presented a new collection of site-specific paintings and sculptures that entwines modern folklore and scientific inquiry.

Kasmin gallery presented Mundo de Julia, an exhibition of ceramic sculpture by Julia Isídrez. This is the artist’s first solo exhibition in the United States and runs concurrently with Isídrez’s presentation in Stranieri Ovunque – Foreigners Everywhere, the 60th International Art Exhibition of La Biennale di Venezia curated by Adriano Pedrosa.

The Ford Foundation Gallery presented Catando Bajito: Incantations, the second movement of a year-long exhibition series that celebrates strategies for resistance in the wake of rising violence and incursions against bodily autonomy toward feminized bodies.

The powerful painting of Starsky Brines (Caracas, Venezuela, 1977) has in his most recent production the consolidation of one of the most intense expressions of the Latin American panorama. Collected under the accurate epigraph of Paisajes imposibles (Impossible Landscapes), the exhibition invites the spectator to let himself be impacted and submerged in a world as unreal and dreamlike as it is sometimes grotesque. These adjectives, more typical of the symptomatology of the society that underlies each of the Venezuelan's pictorial interpretations, seem to originate in the different angles that converge in Brines' universe.

Marisol: a retrospective is an itinerant exhibition on view at the Buffalo AKG Art Museum, featuring the collection of artworks Marisol kept in her personal possession and left to the museum.

Cronotopías at the Museo de Arte Moderno de Bogotá (MAMBO) is the first institutional retrospective in Colombia dedicated to the visionary work of Argentinean artist Silvia Rivas. Since the late 1990s, Rivas has explored the expressive possibilities of expanded cinema, pushing the boundaries of video as a medium and creating multimedia and immersive environments. The exhibition is curated by Eugenio Viola.

Lucio Fontana made one of the most extraordinary and radical gestures of modern art in 1958 when he cut the surface of a monochromatic canvas with a razor blade. The exhibition “Il y a eu un futur- Un Futuro c'é stato” at the Musée Soulage, Rodez, revisits the legacy of this artist and offers a survey of his entire oeuvre, before and after the war, in Argentina and Italy.

By Álvaro de Benito

The Madrid branch of La Cometa gallery presents during July the work of eight of its Ibero-American artists in a group show that delves into different languages and techniques, from ceramics to painting, and also includes dialogues with architecture and other productions. Three of those represented come from Spain, while of the five American representatives, four are Colombian and one is Cuban, which brings a representative vision of the gallery's artistic proposal closer to the spectator.

Widline Cadet (Pétion-Ville, Haiti, 1992) brings together in her life experience several of the aspects and themes that, perhaps, have inspired more production among all those curatorial lines with more presence. Her biography, constructed through childhood memories, the environment of a generation and a country marked by its own strong culture or the phenomena of emigration, constitutes the framework in which the photographer develops the practical integrity of her work.

All sauce, No shrimp is Sophie Ullrich’s anticipated solo exhibition at Piero Atchugarry. The artist presented a new collection of site-specific paintings and sculptures that entwines modern folklore and scientific inquiry.

Kasmin gallery presented Mundo de Julia, an exhibition of ceramic sculpture by Julia Isídrez. This is the artist’s first solo exhibition in the United States and runs concurrently with Isídrez’s presentation in Stranieri Ovunque – Foreigners Everywhere, the 60th International Art Exhibition of La Biennale di Venezia curated by Adriano Pedrosa.

The Ford Foundation Gallery presented Catando Bajito: Incantations, the second movement of a year-long exhibition series that celebrates strategies for resistance in the wake of rising violence and incursions against bodily autonomy toward feminized bodies.

The powerful painting of Starsky Brines (Caracas, Venezuela, 1977) has in his most recent production the consolidation of one of the most intense expressions of the Latin American panorama. Collected under the accurate epigraph of Paisajes imposibles (Impossible Landscapes), the exhibition invites the spectator to let himself be impacted and submerged in a world as unreal and dreamlike as it is sometimes grotesque. These adjectives, more typical of the symptomatology of the society that underlies each of the Venezuelan's pictorial interpretations, seem to originate in the different angles that converge in Brines' universe.

Marisol: a retrospective is an itinerant exhibition on view at the Buffalo AKG Art Museum, featuring the collection of artworks Marisol kept in her personal possession and left to the museum.

Cronotopías at the Museo de Arte Moderno de Bogotá (MAMBO) is the first institutional retrospective in Colombia dedicated to the visionary work of Argentinean artist Silvia Rivas. Since the late 1990s, Rivas has explored the expressive possibilities of expanded cinema, pushing the boundaries of video as a medium and creating multimedia and immersive environments. The exhibition is curated by Eugenio Viola.

Lucio Fontana made one of the most extraordinary and radical gestures of modern art in 1958 when he cut the surface of a monochromatic canvas with a razor blade. The exhibition “Il y a eu un futur- Un Futuro c'é stato” at the Musée Soulage, Rodez, revisits the legacy of this artist and offers a survey of his entire oeuvre, before and after the war, in Argentina and Italy.

Widline Cadet (Pétion-Ville, Haiti, 1992) brings together in her life experience several of the aspects and themes that, perhaps, have inspired more production among all those curatorial lines with more presence. Her biography, constructed through childhood memories, the environment of a generation and a country marked by its own strong culture or the phenomena of emigration, constitutes the framework in which the photographer develops the practical integrity of her work.

All sauce, No shrimp is Sophie Ullrich’s anticipated solo exhibition at Piero Atchugarry. The artist presented a new collection of site-specific paintings and sculptures that entwines modern folklore and scientific inquiry.

Kasmin gallery presented Mundo de Julia, an exhibition of ceramic sculpture by Julia Isídrez. This is the artist’s first solo exhibition in the United States and runs concurrently with Isídrez’s presentation in Stranieri Ovunque – Foreigners Everywhere, the 60th International Art Exhibition of La Biennale di Venezia curated by Adriano Pedrosa.

The Ford Foundation Gallery presented Catando Bajito: Incantations, the second movement of a year-long exhibition series that celebrates strategies for resistance in the wake of rising violence and incursions against bodily autonomy toward feminized bodies.

The powerful painting of Starsky Brines (Caracas, Venezuela, 1977) has in his most recent production the consolidation of one of the most intense expressions of the Latin American panorama. Collected under the accurate epigraph of Paisajes imposibles (Impossible Landscapes), the exhibition invites the spectator to let himself be impacted and submerged in a world as unreal and dreamlike as it is sometimes grotesque. These adjectives, more typical of the symptomatology of the society that underlies each of the Venezuelan's pictorial interpretations, seem to originate in the different angles that converge in Brines' universe.

Marisol: a retrospective is an itinerant exhibition on view at the Buffalo AKG Art Museum, featuring the collection of artworks Marisol kept in her personal possession and left to the museum.

Cronotopías at the Museo de Arte Moderno de Bogotá (MAMBO) is the first institutional retrospective in Colombia dedicated to the visionary work of Argentinean artist Silvia Rivas. Since the late 1990s, Rivas has explored the expressive possibilities of expanded cinema, pushing the boundaries of video as a medium and creating multimedia and immersive environments. The exhibition is curated by Eugenio Viola.

Lucio Fontana made one of the most extraordinary and radical gestures of modern art in 1958 when he cut the surface of a monochromatic canvas with a razor blade. The exhibition “Il y a eu un futur- Un Futuro c'é stato” at the Musée Soulage, Rodez, revisits the legacy of this artist and offers a survey of his entire oeuvre, before and after the war, in Argentina and Italy.

By Álvaro de Benito

The Madrid branch of La Cometa gallery presents during July the work of eight of its Ibero-American artists in a group show that delves into different languages and techniques, from ceramics to painting, and also includes dialogues with architecture and other productions. Three of those represented come from Spain, while of the five American representatives, four are Colombian and one is Cuban, which brings a representative vision of the gallery's artistic proposal closer to the spectator.

Widline Cadet (Pétion-Ville, Haiti, 1992) brings together in her life experience several of the aspects and themes that, perhaps, have inspired more production among all those curatorial lines with more presence. Her biography, constructed through childhood memories, the environment of a generation and a country marked by its own strong culture or the phenomena of emigration, constitutes the framework in which the photographer develops the practical integrity of her work.

All sauce, No shrimp is Sophie Ullrich’s anticipated solo exhibition at Piero Atchugarry. The artist presented a new collection of site-specific paintings and sculptures that entwines modern folklore and scientific inquiry.

Kasmin gallery presented Mundo de Julia, an exhibition of ceramic sculpture by Julia Isídrez. This is the artist’s first solo exhibition in the United States and runs concurrently with Isídrez’s presentation in Stranieri Ovunque – Foreigners Everywhere, the 60th International Art Exhibition of La Biennale di Venezia curated by Adriano Pedrosa.

The Ford Foundation Gallery presented Catando Bajito: Incantations, the second movement of a year-long exhibition series that celebrates strategies for resistance in the wake of rising violence and incursions against bodily autonomy toward feminized bodies.

The powerful painting of Starsky Brines (Caracas, Venezuela, 1977) has in his most recent production the consolidation of one of the most intense expressions of the Latin American panorama. Collected under the accurate epigraph of Paisajes imposibles (Impossible Landscapes), the exhibition invites the spectator to let himself be impacted and submerged in a world as unreal and dreamlike as it is sometimes grotesque. These adjectives, more typical of the symptomatology of the society that underlies each of the Venezuelan's pictorial interpretations, seem to originate in the different angles that converge in Brines' universe.

Marisol: a retrospective is an itinerant exhibition on view at the Buffalo AKG Art Museum, featuring the collection of artworks Marisol kept in her personal possession and left to the museum.

Cronotopías at the Museo de Arte Moderno de Bogotá (MAMBO) is the first institutional retrospective in Colombia dedicated to the visionary work of Argentinean artist Silvia Rivas. Since the late 1990s, Rivas has explored the expressive possibilities of expanded cinema, pushing the boundaries of video as a medium and creating multimedia and immersive environments. The exhibition is curated by Eugenio Viola.

Lucio Fontana made one of the most extraordinary and radical gestures of modern art in 1958 when he cut the surface of a monochromatic canvas with a razor blade. The exhibition “Il y a eu un futur- Un Futuro c'é stato” at the Musée Soulage, Rodez, revisits the legacy of this artist and offers a survey of his entire oeuvre, before and after the war, in Argentina and Italy.

By Álvaro de Benito

The Madrid branch of La Cometa gallery presents during July the work of eight of its Ibero-American artists in a group show that delves into different languages and techniques, from ceramics to painting, and also includes dialogues with architecture and other productions. Three of those represented come from Spain, while of the five American representatives, four are Colombian and one is Cuban, which brings a representative vision of the gallery's artistic proposal closer to the spectator.

Widline Cadet (Pétion-Ville, Haiti, 1992) brings together in her life experience several of the aspects and themes that, perhaps, have inspired more production among all those curatorial lines with more presence. Her biography, constructed through childhood memories, the environment of a generation and a country marked by its own strong culture or the phenomena of emigration, constitutes the framework in which the photographer develops the practical integrity of her work.

All sauce, No shrimp is Sophie Ullrich’s anticipated solo exhibition at Piero Atchugarry. The artist presented a new collection of site-specific paintings and sculptures that entwines modern folklore and scientific inquiry.

Kasmin gallery presented Mundo de Julia, an exhibition of ceramic sculpture by Julia Isídrez. This is the artist’s first solo exhibition in the United States and runs concurrently with Isídrez’s presentation in Stranieri Ovunque – Foreigners Everywhere, the 60th International Art Exhibition of La Biennale di Venezia curated by Adriano Pedrosa.

The Ford Foundation Gallery presented Catando Bajito: Incantations, the second movement of a year-long exhibition series that celebrates strategies for resistance in the wake of rising violence and incursions against bodily autonomy toward feminized bodies.

The powerful painting of Starsky Brines (Caracas, Venezuela, 1977) has in his most recent production the consolidation of one of the most intense expressions of the Latin American panorama. Collected under the accurate epigraph of Paisajes imposibles (Impossible Landscapes), the exhibition invites the spectator to let himself be impacted and submerged in a world as unreal and dreamlike as it is sometimes grotesque. These adjectives, more typical of the symptomatology of the society that underlies each of the Venezuelan's pictorial interpretations, seem to originate in the different angles that converge in Brines' universe.

Marisol: a retrospective is an itinerant exhibition on view at the Buffalo AKG Art Museum, featuring the collection of artworks Marisol kept in her personal possession and left to the museum.

Cronotopías at the Museo de Arte Moderno de Bogotá (MAMBO) is the first institutional retrospective in Colombia dedicated to the visionary work of Argentinean artist Silvia Rivas. Since the late 1990s, Rivas has explored the expressive possibilities of expanded cinema, pushing the boundaries of video as a medium and creating multimedia and immersive environments. The exhibition is curated by Eugenio Viola.

Lucio Fontana made one of the most extraordinary and radical gestures of modern art in 1958 when he cut the surface of a monochromatic canvas with a razor blade. The exhibition “Il y a eu un futur- Un Futuro c'é stato” at the Musée Soulage, Rodez, revisits the legacy of this artist and offers a survey of his entire oeuvre, before and after the war, in Argentina and Italy.