Reviews

The installation presented by Pablo Reinoso in Fundación YPF’s space, Arte en la Torre, provides the viewer with a double gratification: The work Fútbol 5 en la Torre adds to the great power of visual attraction the narration of the creative process, an explicit testimony of the work’s gestation written by the artist himself.

In the face of the power of the new multimedia text supports, the beautiful volume Ricardo Piglia-Eduardo Stupía. Fragments of a diary appears as a statement on the permanence of the printed book. Piglia (Argentina, 1941) has kept a private diary for over 50 years and Stupía (Argentina, 1951) has been in the public scene since his first solo show in 1973. At the intersection of the artistic sensibilities of these authors, volume and show share the intensity of poetry and the fertile discomfort of critical thought.

The work presented by Moris (Israel Meza Moreno) is a constant double play, a sort of glossary around the daily life of Mexico City simultaneously altered, infringed, evidenced, and whose risk zones or stability are increasingly less identifiable.

Even though he was very creative since he was a child, it was not clear to Jesús “Bubu” Negrón – one of the most important conceptual artists of his generation in Latin America – “what being an artist was about.” He discovered it as an art student in San Juan, when he intervened in a totally abandoned bronze statue – a sculpture of Puerto Rico’s first world champion, Sixto Escobar.

Perhaps one of the most controversial careers in Latin American avant-garde is that of Colombian-Brazilian artist María Thereza Negreiros (Maués, 1930); her itinerary evolves in an unusual way in the artistic contemporary movement of the continent.

The works of Venezuelan artist Clemencia Labin (Maracaibo, 1946), who has lived in Germany for over 20 years, maintain strong links with her home town, as well as references from it, both concerning the thematic and the formal aspects, in spite of the distance and the time gone by since she left it.

Leticia Ramos is not a photographer in the traditional sense. While her medium is photographic, with images and light printed on a surface, she is more concerned with documenting the impact the world has on a lens, or the absence of a lens, and the passage of time and variations of color as subject matter.

The sculptures of Amilcar de Castro all stem from the same basic procedure of cut and fold. He mastered the technique of turning hard metal into what appeared to be mere sheets of paper, surfaces that seem almost pliable and end up that way after strenuous efforts.

Luisa Richter (Germany, 1928) once told us that one of the reasons why she did not leave Venezuela was her attachment to her house and her fascination for the light of the tropics.

Photography-based works by Susy Iglicki tie together very diverse space-historical times, showing how the river of blood that crosses the history of the world tends to bury the signs of identity. Her art tries to make us see, to re-humanize.

It is always a privilege when someone opens that whimsical window that leads to the unsuspected inner world of each human being. This is exactly the risk and the joy afforded by the exhibition “A little window inside my head”, by Cuban artist residing in Miami Ana Albertina Delgado.

Antonia Eiriz used to refer to Guido Llinás’s grocery store, where the works of Cuban abstract painters were kept − forgotten for almost twenty years − as “the catacombs of Cuban art”, and the fact is that the history of abstract art in Cuba reflects one of the most difficult paths within the panorama of the visual arts of the island, since this art was faced more often than not with rejection or incomprehension, or with downright oblivion.

The body of Rómulo Aguerre´s photographic work is presented in this exhibition through an impeccable and limited selection of pieces that justifies the international interest that the legacy of this artist (Montevideo, 1919-2002) has aroused in recent years among collectors and institutions of the field of art.

The 2012 New Museum Ungovernables Triennial samples work by thirty-four artists born in the 1970s and 80s and from parts of the world “foreign” to New York audiences, primarily the Middle East, Africa and Latin America.

Le Bal (independent space devoted to photography, videos, cinema and new communication media) invites visitors to an unprecedented experience...

A retrospective of the work of Uruguayan artist Luis Camnitzer will be held in June at the Museo de Arte de la Universidad Nacional de Colombia.

Three large-scale canvases by Valeska Soares occupy the three main walls of Eleven Rivington – concurrently on view with the artist’s extensive exhibition of the same series at Fortes Vilaça gallery in Sao Paulo.

From May 1 through June 22, the first solo show in New York City of Soledad Arias (Buenos Aires, 1959) will be held at RH Gallery. The title of the exhibition, “ON AIR”, refers to the live retransmission of texts and to the exhaling of air necessary for speech.

Last October, in her third and most recent exhibition “ Constructions” at Cecilia de Torres Gallery, Argentinean born Marta Chilindron presented a series of seven new works - all of which emphasize and highlight trademark themes in her art of the last few years: movement, geometry, responses to light and the difference between perception and reality.

Finland, Op. 26 is the official title of a symphonic poem written in 1899 by the Finnish composer Jean Sibelius. At that time, Finland was under Russian dominion, and the piece, composed for an event organized by the local press, which was subjected to a rigorous censorship, immediately became a hymn incarnating opposition to foreign rule, and more specifically, to censorship and oppression.

From May 5 through June 16, visitors will have the chance to appreciate for the first time in New York, artist Hélio Oiticica’s (Rio de Janeiro, 1937-1980) installations Penetrável PN1, Penetrável Filtro and Penetrável PN28 “Nas Quebradas” at Galerie Lelong.

Nayda Collazo-Llorens’ latest works displayed in her individual show at LMAKprojects are so fascinating, complex and inquisitive as usual.

Eduardo Stupía has been in the public eye ever since his first solo show held in 1972 at the legendary Lirolay gallery. Writer Ricardo Piglia (Argentina, 1941), whose most recent novel, Blanco nocturno (Anagrama, 2010) obtained the Dashiell Hammett Award, the National Critics’ Award (Spain), the Rómulo Gallegos and the Casa de las Américas awards, has kept a private diary for more than fifty years.

Fernanda Laguna, a paradigmatic artist of the 1990s whose artistic talent was many times pushed into the background by her brilliant role as a cultural manager, is presenting the brief retrospective “Don’t trust what you see” at Nora Fisch Gallery.