Reviews

It is a generation of somber hues. In sharp contrast with the Brazilian concrete project, the wave of artists now coming of age in the country shrug off the modernist inheritance, the cerebral objectivity that marked the strongest movement the region has produced, to concentrate on the leftovers.

Video and electronic-based artistic media are the habitual supports for the work of Leticia El Halli Obeid (1975). One of these pieces, Menos tiempo que lugar (Less time than space), curated by Alfons Hug, is currently being shown at the Latin American Pavilion in the Venice Biennial, alongside other videos by young artists.

When asked where he is from, Saraceno simply replies, “I am from planet earth.” At the tender age of one, Tomás Saraceno and his parents were exiled to Italy, only returning to Argentina 11 years later, in 1986.

Antonio Seguí´s retrospective at Nohra Haime Gallery covers work ranging from the early years of his artistic career to his more recent production, focusing on works produced from the 1990s to the present.

For many years Cristina Piffer (Buenos Aires, 1953) has been weaving a weft that links the history of Argentina and certain organic elements, challenging dominant narrations and conveying visibility to characters these narratives have forgotten, counting losses of lives, anonymous or with names and surnames, denouncing diverse slaughters.

Fiction and reality coalesce in Panteón de los héroes. Historias, próceres y otros en el arte contemporáneo (The heroes’ pantheon, Histories, patriots and others in contemporary art), displayed at OSDE Foundation and curated by Isabel Plante and Sebastián Vidal Mackinson, who question concepts historically rooted in history, in coincidence with the recent Bicentennial of Argentina in 2010.

The central axis of Tomás Rivas’s oeuvre is architecture, in particular, the way in which a glorious past may be reconstructed and architectural history reviewed.

Comprised of works by 18 Chilean artists of international renown, this exhibition depicts key moments of the critical-experimental scene that emerged in the 1990s in Chile.

Frozen on the gallery ceiling are metal ribbons like the ones used to decorate car shops, but these are hard, motionless. Cinthia Marcelle constructs a numbed spectacle to denote that the happy days, or at least the era when money had a value, are over.

Leo cannot change the world. And Leonilson, the artist who wrote that phrase as a sad confession in several of his drawings knew this.

If the space between two pages of a book had volume and weight, it would be made of concrete. At least, such was the proposal that the Argentine artist Pablo Accinelli featured in one of the works he exhibited at Luisa Strina Gallery, Sao Paulo.

Julio Pacheco Rivas (Caracas, 1953) belongs with the kind of artists whose consistency over time must be recognized. One must also acknowledge the evolution of his work and his constant search.

Currently, the information we receive as a result of globalization is so much that it is almost impossible to process it simultaneously.

Finland is one of the northernmost countries in Europe. To Latin Americans, this country situated between parallels 60° and 70° N, may seem so far away.

Together with Jesús Rafael Soto and Alejandro Otero, Carlos Cruz- Diez is considered one of the precursors of the Kinetic Movement that developed in Paris between the 50s and the 60s,

The Museo de Arte del Banco de la República is presenting a retrospective exhibition of the work of León Ferrari.

Photography in Colombia began to receive recognition only when Fernell Franco (1942-2006) obtained the top prize in his category at the 26th National Salon of Visual Arts in 1976, with his photo Interior.

Rosario Rivera-Bond (Santo Domingo, 1952) studied at L‘Académie de la Grande Chaumière, Paris, France and at the Camden Art Center, London, England (1975-79), during which period she also studied and lived in Paris, Florence, London and New York.

From April 2 to June 19, the Museum of Modern Art is presenting what has been considered Graciela Iturbide’s first retrospective show in Mexico, under the fine curatorship of Marta Dahó and sponsored by MAPFRE Foundation.

In Content, Andrés Michelena’s exhibition at Hardcore Contemporary Space, the emptiness that prevails in the space makes slowness and contemplative silence a requisite for the tour of the show.

A new solo show by Graciela Sacco was presented at Diana Lowenstein Fine Arts.

As part of the Contemporary Art Project (CAP) program, the Vizcaya Museum presented “Archetype Vizcaya”, an exhibition by Cuban-American artist Ernesto Oroza.

SUBTROPICS XXI, the latest edition of the Experimental Biennial of Music and Sound Art, which has been organized since its inception by the sound artist Gustavo Matamoros.

This International photography exhibit based on the Ella Fontanals-Cisneros Collection was featured as part of the exhibitions program revolving around Art Basel Miami 2010.