Reviews

A new gold standard has been set with the opening of Esteban Lisa: Retornos, Toledo, 1895 / Buenos Aries, 1983 at the Biblioteca Nacional de España. The retrospective featured 149 works of art beginning with the artist's early abstract experiments in oil on cardboard rendered in a cubist-inspired style from 1930 to 1940.

A member of a family of sculptors, Claudio Girola was part of the concrete art groups in the Río de la Plata region. Like all avant-garde artists, concrete artists made use of an arsenal of pamphlets and manifestos, the first of which was the Manifiesto de cuatro jóvenes, signed precisely by Girola, jointly with Tomás Maldonado, Alfredo Hlito and Jorge Brito in 1942.

Adding color and moving away from monumental sculpture cast in unfired clay, Villar Rojas’ latest in-situ exhibition, Los Teatros de Saturno, at Kurimanzutto gallery ...

After a sell-out booth at last year’s ArtBo art fair in Bogota, Johannes Voigt, owner of Johannes Voigt Gallery in New York, has a good reason to be fond of Colombia.

Reality as the unalterable context where actions take place and the way in which those same activities have an incidence on everyday life are the point of departure for the investigations that Teresa Margolles (Culiacán, Mexico, 1963) has been carrying out for years.

There are artists who have had such a colossal impact at a given stage in the history of their countries’ art and such a marked influence on the successive generations that no tributes will ever suffice.

Beyond the vernacular-artistic manifestations that strive to understand what is produced in and from the Caribbean as an eclectic amalgamation of ancestral and cultural links, the work of artist Zilia Sánchez (1926) has developed amidst notions of rupture, which have a long tradition in the modern and contemporary art production of Latin America.

This exhibition displays works that have the power of revealing many layers of the ever-changing experience of immigration.

Fernando Carabajal is one of those cultural producers who masters different expressive platforms with equal ease.

The necessary exhibition Documentación en galería: El caso Di Tella. 1958-1969 (Documentation in gallery: The Di Tella Case. 1958-1969), curated by the gallery directors Claudio Golonbek and Ricardo Ocampo, is an invitation to delve into the research work carried out by the Center for the Visual Arts (CAV) of the Di Tella Institute.

Over the years, it has been characteristic of Magdalena Atria (Santiago de Chile, 1966) to maintain a constant activity in relation to her work with color.

On August 1st, artist Nicolás Lobo and software developer Dylan Romer launched Purple-Goo, a sound-stretching application for iPhone and iPad. It allows users to extend a song up to 100,000 times.

Carola Bravo’s video installations in “We Are Where We Are Not” bring to my mind a foundational moment in the history of this genre that did not take place in the field of art but in the field of literature.

It is a well-known fact that conceptual art cannot be understood without resorting to the essential structure it received from the most relevant authors of the revision of modernity carried out in the 1960s in Brazil.

The exhibition Sinergia/Synergy at Magnan Metz Gallery, New York features a selection of hyper-real sculptural objects crafted by Colombian artists Diego Fernando Álvarez and Maria Paula Álvarez collectively known as Mangle.

Hayward Gallery, London, is presenting the first retrospective of the Cuban artist Ana Mendieta.

Postmodernism has legitimized appropriation as a creation method. The proposal of the Spanish artist José Manuel Ballester is inscribed, precisely, within this vision.

Gean Moreno and Ernesto Oroza are both Miami cultural heavyweights, and in their work together are known for curating, writing and research-driven artistic practice.

On August 1st, artist Nicolás Lobo and software developer Dylan Romer launched Purple-Goo, a sound-stretching application for iPhone and iPad. It allows users to extend a song up to 100,000 times.

The political tensions between Argentina and Uruguay resulting from the establishment of a paper mill on a border river represent the worst of the civilization of the Río de la Plata region: pollution, antifraternal offences and unrest.

For many of the people who are part of the field of art, the first artistic project that Nicolás Paris publicly inscribed in the world was the book Doblefaz, published in 2008.

Enrique Martínez Celaya’s summer 2013 exhibition at SITE Santa Fe follows a 2011-12 installation of Schneebett (2004) at the Miami Art Museum, and provides an opportunity to survey his career.

Ever since neoconcretism flooded the international art market, the world seems to have forgotten its earlier precursor. Waldemar Cordeiro, founder of the concrete movement in São Paulo, is now redimensioned in his historic relevance in an ample retrospective at Itaú Cultural, venue in the heart of the city where he created the Ruptura movement.

Patricia Belli (Nicaragua, 1964) explores the uncertain nature of existence through installations featuring machines that draw patterns of movement and objects that reflect the fragile construction of equilibrium.