Reviews

To talk about Anna María Maiolino (Scalea, Italy, 1942) is to talk about one of the essential voices and languages in Brazilian contemporary art, a necessary element to understand the evolution of artistic experimentation of the productive 1960s and fundamental to understand its later development.

By Álvaro de Benito Fernández
Reviews

Anna María Maiolino

By Álvaro de Benito Fernández

To talk about Anna María Maiolino (Scalea, Italy, 1942) is to talk about one of the essential voices and languages in Brazilian contemporary art, a necessary element to understand the evolution of artistic experimentation of the productive 1960s and fundamental to understand its later development.

June 20, 2011
Scene from the Banquet for the materialization of a happening for a dead wild boar, 2010. Escena del Banquete de materialización del happening para un jabalí difunto, 2010.

Among the latest challenges posed by the RSNAM directors is “El deseo nace del derrumbe” (“Desire is born from collapse”), an interesting proposal which materializes the ambitious attempt of the Madrid museum, by way of a retrospective exhibition, to classify, agglutinate and interpret the work of multidisciplinary sociologist and artist Roberto Jacoby.

By Álvaro de Benito Fernández
Reviews

Roberto Jacoby

By Álvaro de Benito Fernández

Among the latest challenges posed by the RSNAM directors is “El deseo nace del derrumbe” (“Desire is born from collapse”), an interesting proposal which materializes the ambitious attempt of the Madrid museum, by way of a retrospective exhibition, to classify, agglutinate and interpret the work of multidisciplinary sociologist and artist Roberto Jacoby.

June 20, 2011
Edunia, (from the “Natural History of the Enigma” series), 2003/2008, Flower. Transgenic combination with the artist’s DNA. Dimensions variable. Artist’s Collection. Flor. Combinación transgénica con el ADN del artista. Dimensiones variables. Colección del artista.

Bio-art is one of the most recent trends developed by contemporary art, and its particularity is that it adopts biotechnology as a medium.

By Patricia Avena Navarro
Reviews

Eduardo Kac

By Patricia Avena Navarro

Bio-art is one of the most recent trends developed by contemporary art, and its particularity is that it adopts biotechnology as a medium.

June 20, 2011
Three Women, 2010. Photographies, projectors and tripods. Variable dimensions. Courtesy the Artist and Kamel Mennour, Paris. Tres mujeres, 2010. Fotografías, proyectores y trípodes. Dimensiones variables. Cortesía del artista y Kamel Mennour, París.

For many years now, even before political art had become fashionable, Alfredo Jaar (1956, Santiago,Chile) has been investigating the nature of images and the place the African Continent occupies in the world.

By Patricia Avena Navarro
Reviews

Alfredo Jaar

By Patricia Avena Navarro

For many years now, even before political art had become fashionable, Alfredo Jaar (1956, Santiago,Chile) has been investigating the nature of images and the place the African Continent occupies in the world.

June 20, 2011
Family of tailors. La Paz Bolivia, 2010. Lambda print, hand retouching, 46.4 x 61.8 in. Familia de sastres /Impresión sobre papel Lambda retocada a mano, 118 x 157 cm.

“Tierra en Trance” is the suggestive and evocative title of the first retrospective in France of the Argentine artist Marcos López (Santa Fe, 1958). The exhibition makes reference to a famous film by Glauber Rocha, a master of Brazilian “cinema novo”, which combines political themes with mythical and folkloric elements

By Patricia Avena Navarro
Reviews

Marcos López

By Patricia Avena Navarro

“Tierra en Trance” is the suggestive and evocative title of the first retrospective in France of the Argentine artist Marcos López (Santa Fe, 1958). The exhibition makes reference to a famous film by Glauber Rocha, a master of Brazilian “cinema novo”, which combines political themes with mythical and folkloric elements

June 18, 2011
Allora & Calzadilla. Photograph by/Fotografía de Marion Vogel, 2008.

In the course of their joint artistic career, Jennifer Allora & Guillermo Calzadilla have developed a solid and versatile body of work based on a permanent and often bold research involving the formal aspects as well as the materials, resources and language procedures present in their proposals.

By José Antonio Navarrete
Reviews

Allora & Calzadilla

By José Antonio Navarrete

In the course of their joint artistic career, Jennifer Allora & Guillermo Calzadilla have developed a solid and versatile body of work based on a permanent and often bold research involving the formal aspects as well as the materials, resources and language procedures present in their proposals.

June 17, 2011
Situação T/T,1 [Situation T/T, 1] 1970. Record-photos: color slides, 11.8 x 17.7 in. Materials: cables, meat, blood, bones....etc. Collection: Instituto Inhotim, Brumadinho Record-Photo by César Carneiro Situación T/T,1, 1970. Registro fotográfico: diapositivas color, 30 x 45 cm. Materiales: cables, carne, sangre, huesos, etc. Registro fotográfíco: César Carneiro Colección Instituto Inhotim, Brumadinho.

Over the course of the 1960s, the human body progressively became established as a privileged field for the actions of Brazilian artists.

By Jacopo Crivelli Visconti (São Paulo)
Reviews

Artur Barrio

By Jacopo Crivelli Visconti (São Paulo)

Over the course of the 1960s, the human body progressively became established as a privileged field for the actions of Brazilian artists.

June 04, 2011
The Garden of Mistrust, 2003-2005. Aluminum, surveillance cameras and projectors, 157 x 71 in. Installation view (detail) Ellipse Foundation, Portugal, Spain. Images courtesy AlonsoArt, Photographer Gory. El jardín de la desconfianza, 2003-2005. Aluminio, cámaras de vigilancia y proyectores, 398,8 x 180,3 cm.. Vista de la instalación (detalle) Fundación Ellipse, Portugal, España.. Imágenes cortesía de AlonsoArt, fotógrafo Gory.

In the work of Alexandre Arrechea –who will be representing Cuba in the 54th Venice Biennial − perspicacity, the meaning of which is “keen eyesight, acuteness of perception, discernment, or understanding,” defines a relationship with power in which the artist systematically resorts to humor as a strategy that leads him to hesitate just enough to discern its fissures and shake its hegemonic structures.

By Adriana Herrera Téllez
Reviews

Alexandre Arrechea

By Adriana Herrera Téllez

In the work of Alexandre Arrechea –who will be representing Cuba in the 54th Venice Biennial − perspicacity, the meaning of which is “keen eyesight, acuteness of perception, discernment, or understanding,” defines a relationship with power in which the artist systematically resorts to humor as a strategy that leads him to hesitate just enough to discern its fissures and shake its hegemonic structures.

June 02, 2011
The Geographers, 2010. Oil on canvas mounted on panel, 59 x 59 in. © Guillermo Muñoz Vera, courtesy of Forum Gallery, New York. Óleo sobre lienzo montado sobre panel de madera, 150 x 150 cm. © Guillermo Muñoz Vera, courtesy of Forum Gallery, New York.

Probably the most significant item in this striking new series of paintings by Guillermo Muñoz Vera is the canvas called Los Geógrafos. It is a complex composition, which shows the artist’s virtuoso powers of realistic representation at full stretch.

By Edward Lucie-Smith
Reviews

Guillermo Muñoz Vera

By Edward Lucie-Smith

Probably the most significant item in this striking new series of paintings by Guillermo Muñoz Vera is the canvas called Los Geógrafos. It is a complex composition, which shows the artist’s virtuoso powers of realistic representation at full stretch.

June 01, 2011
Color making machine (eight-movement suite), 2010. Light projection. Shown at the exhibition “Theories”. Recoleta Cultural Center. Máquina de hacer color (suite para ocho movimientos), 2010. Proyección de luz. Dentro del marco de la muestra “Teorías”. Centro Cultural Recoleta.

Karina Peisajovich’s dazzling and surprising light interventions construct spaces and speculate about their perceptive possibilities; they address concerns associated to vision, to the direct relationship between the image and the eye.

Reviews

Karina Peisajovich

Karina Peisajovich’s dazzling and surprising light interventions construct spaces and speculate about their perceptive possibilities; they address concerns associated to vision, to the direct relationship between the image and the eye.

June 01, 2011
Marta Minujín

The well-deserved retrospective of Marta Minujin’s (Buenos Aires, 1943) work at the MALBA, brought to the forefront the artist’s popularity and her complex artistic production, which revolves mainly around massive participation by the public and the alteration of perceptions, the modification of the environment, and the creation of a popular art.

By Victoria Verlichak
Reviews

Marta Minujín

By Victoria Verlichak

The well-deserved retrospective of Marta Minujin’s (Buenos Aires, 1943) work at the MALBA, brought to the forefront the artist’s popularity and her complex artistic production, which revolves mainly around massive participation by the public and the alteration of perceptions, the modification of the environment, and the creation of a popular art.

April 12, 2011
Antonio Berni. Ramona en el cabaret, 1973. Oil and collage on board, 81.9 x 48,4 in. Óleo y collage sobre madera, 208 x 123 cm. Courtesy/Cortesía Galería Sur, Punta del Este.

Jorge and Martín Castillo, of Galería Sur, made the opening of the exhibition The 60s and Pop: Politics and Sensuality coincide with the reception in honor of the directors of the prestigious international fair, who visited Punta del Este for the first time.

By Victoria Verlichak
Reviews

The 60s and Pop

By Victoria Verlichak

Jorge and Martín Castillo, of Galería Sur, made the opening of the exhibition The 60s and Pop: Politics and Sensuality coincide with the reception in honor of the directors of the prestigious international fair, who visited Punta del Este for the first time.

April 12, 2011
The Other Side, 2010. Wood panel with metal figurine. 14 x 11 x 1 1⁄2 inches.

“They are visual commentaries that make reference to the human condition. What interests me is the simultaneity of humor and affliction, the banal and the possibility of meaning that may be found behind the works,” Liliana Porter (Buenos Aires, 1941) comments in relation to her exhibition at Galería del Paseo.

By Victoria Verlichak
Reviews

Liliana Porter

By Victoria Verlichak

“They are visual commentaries that make reference to the human condition. What interests me is the simultaneity of humor and affliction, the banal and the possibility of meaning that may be found behind the works,” Liliana Porter (Buenos Aires, 1941) comments in relation to her exhibition at Galería del Paseo.

April 12, 2011
Paisaje/Ficcion 12-05, 2010. Photography. 33.46 x 12.59 inches. Fotografia, 85 x 32 cms.

The work of Sachiyo Nishimura (1978) expands the notion of the photographic under abstract-minimalist strategies that disrupt, in turn, the notion of the real.

By Carolina Lara B.
Reviews

Sachiyo Nishimura

By Carolina Lara B.

The work of Sachiyo Nishimura (1978) expands the notion of the photographic under abstract-minimalist strategies that disrupt, in turn, the notion of the real.

April 12, 2011
Roxana Butazzoni. Vuelta en bici o los dos regalos, 2007. DVD, monochannel video, color, sound/DVD, video monocanal, color, sonido. Mariela Scafatii. Teatro de lo ausente. Rastros de una fábula que pasó, 2010. Installation/Instalación. Marcela Astorga. Sin título, 2008. Cotton fabric and stainless steel/Tela de algodón y acero inoxida- ble. Dimensions variable/Medidas variables. Marina de Caro. Hilos de voz de una cascada escondida, 2008. Installation (painting on cutout paper, yarn, wool /Instalación (pintura sobre papel recortado, hilo y lana). Dimensions variable/Medidas variables.

Rather than revealing a point of view on the current Argentine art scene, Palmario introduces us into a universe shared by a curator and artist –Ana Gallardo– and the group of artists belonging to different generations that she convened

By Carolina Lara B.
Reviews

Palmario

By Carolina Lara B.

Rather than revealing a point of view on the current Argentine art scene, Palmario introduces us into a universe shared by a curator and artist –Ana Gallardo– and the group of artists belonging to different generations that she convened

April 12, 2011
Interceptions of Reflection, 2009. Sieve netting, 35.4 x 106.3 in. Photograph: Jacinto González Salcedo. Intercepciones del reflejo, 2009. Malla de cedazo, 90 x 270 cm. Fotografía: Jacinto González Salcedo

Giambattista Vico (Naples, Italy, 1688-1744) in his book of 1725, The New Science or Principles of a New Science Regarding the Common Nature of Nations, opposed the criteria of rationalism, in particular the Cartesian destruction based on clear and distinct ideas, as the sole means to know the truth.

By Beatriz Sogbe
Reviews

Jonidel Mendoza

By Beatriz Sogbe

Giambattista Vico (Naples, Italy, 1688-1744) in his book of 1725, The New Science or Principles of a New Science Regarding the Common Nature of Nations, opposed the criteria of rationalism, in particular the Cartesian destruction based on clear and distinct ideas, as the sole means to know the truth.

April 12, 2011
Masharabiya, 2009. Comma 04; Bloomberg Space, London/Londres

Of Catalonian parentage, Jaime Gili (Caracas, 1972) has lived in London since 1996. But he always returns to these lands to meet up with nature once again and manipulate it through his art interventions. He also does so in different countries.

By Beatriz Sogbe
Reviews

Jaime Gil Periférico Caracas-Centro de Arte Los Galpones

By Beatriz Sogbe

Of Catalonian parentage, Jaime Gili (Caracas, 1972) has lived in London since 1996. But he always returns to these lands to meet up with nature once again and manipulate it through his art interventions. He also does so in different countries.

April 09, 2011
Wilson Díaz. Fallas de origen, 1997. Painting on wood panel, resin, coca plants, monitors, intu- ra sobre madera, resina, plantas de coca, monitores, DVD, dimen- sions variable, edition of 2 / Courtesy La Central. Pintura sobre madera, resina, plantas de coca, monitores, DVD, dimensiones variables, edición de 2 / Cortesía: La Central.

The politics of blood and fear established by Pablo Escobar and the Medellín Cartel with the aim of subjecting the Colombian society to their rule was very different from the one applied in Colombia’s Western Region. And this issue is precisely the central theme of this exhibition, which gathers together four artists under the curatorship of Juan Sebastián Ramírez.

By Camilo Chico Triana
Reviews

Cali: Fallas de Origen

By Camilo Chico Triana

The politics of blood and fear established by Pablo Escobar and the Medellín Cartel with the aim of subjecting the Colombian society to their rule was very different from the one applied in Colombia’s Western Region. And this issue is precisely the central theme of this exhibition, which gathers together four artists under the curatorship of Juan Sebastián Ramírez.

March 26, 2011
The Strange Rider, decade of the 1960s. Black-and-white photograph. Courtesy Rafael Moure. El extraño jinete, década de 1960. Fotografía a blanco y negro / Cortesía: Rafael Moure

A selection of 150 photographs that include por- traits and documentary photography condenses half a century of artistic production by photographer Hernán Díaz (1929 – 2009).

By Camilo Chico Triana
Reviews

Hernán Díaz

By Camilo Chico Triana

A selection of 150 photographs that include por- traits and documentary photography condenses half a century of artistic production by photographer Hernán Díaz (1929 – 2009).

March 26, 2011
Miguel Ángel Rojas, 2010. Coca leaves, ink, beans, rice, cof- fee, and corn. Detail /Courtesy of N-CE Arte. Photo: Oscar Monsalve. Hoja de coca, tinta, frijoles, arroz, café y maíz. Detalle/Cortesía: N-CE Arte. Fotografía: Oscar Monsalve.

The traditional concept of mural painting, that instrument which rendered art democratic, drawing the absent-minded viewer towards a certain world of ideas that endures in time as a soundly established document.

By Camilo Chico Triana
Reviews

Expansive References: Seven Ephemeral Murals

By Camilo Chico Triana

The traditional concept of mural painting, that instrument which rendered art democratic, drawing the absent-minded viewer towards a certain world of ideas that endures in time as a soundly established document.

March 24, 2011
Navegante, 1965. Aluminum sculpture. National Museum. Escultura en aluminio. Museo Nacional. Photo courtesy of/ Crédito y cortesía Juan Pablo Zapata Santos.

Colombia paid homage to master artist Edgar Negret on his 90th birthday at its National Capitol.

By Juan Pablo Zapata
Reviews

Edgar Negret

By Juan Pablo Zapata

Colombia paid homage to master artist Edgar Negret on his 90th birthday at its National Capitol.

March 24, 2011
Mariana Monteagudo − in the case of the latter artist, through an interesting work of recovery of the popular tradi- tion of cloth dolls, reinterpreted here as morbid sculptures. Other essential sub-themes within the show are those of the toy-as-merchandise and the ecology-related toy. In the case of the former, Mariano Costa Peuser, Michelle Bergeron and Massimo Gammacurta’s proposals stand out. Costa Peuser’s Financial Bike features an excellent allegory of the commercial relationships that hide behind the toy. Financial fulfillment (incarnated here by the unfinished trace of a dollar sign left by the bicycle as it moves forward) is thwarted, for its definitive achievement prevents the realization of the object’s primary function. On the other hand, Gammacurta’s series, Lolli-Pop, appropri- ates well-known design brands such as Dior, Yves Saint Laurent, Coach, Louis Vuitton, among others, to create deli- cious sweets that evince the transference of the toy’s functions to the consumption of brand products during the passage from childhood to adolescence. The resulting works, endowed with great plasticity, appropriate the language of advertising pho- tography for the effective creation of a halo that is at once seductive and scary. From an etymological point of view, the series plays with the notion of the “Lolitas” and the Pop impact of advertising on our everyday life. Nestor Arenas, Rosario Bond, Jairo Ruedo, Ena Marrero and Alicia Meza address the subject of the toy on the basis of the ecological urgencies of our time. Resorting to playful commentary, Toys Art Us consti- tutes a scathing interpretation of contemporary society. Edgar Negret Congreso de la República Bogotá Colombia paid homage to master artist Edgar Negret on his 90th birthday at its National Capitol. An impressive series of works by the artist took possession of different halls and corridors in the emblematic building of the Congress of the Republic. The sculptor, born in Popayán, Department of Cauca, in 1920, introduced modern sculpture in Colombia with his mythical sculptures featuring a magical symmetry, a play of space in permanent metamorphosis, the use of aluminum sheets, screws and nuts, and a supernatural palette that fuses with a perpetu- al reflection on the past and the present, characterized by the fact that the recovery of Pre-Hispanic themes avoids the ‘indi- del biberón se instaura como metáfora: el seno de la madre ha sido suplantado por el obje- to industrial, la asociación ins- tantánea con términos como Alma Mater (Madre nutricia) es inevitable llevándonos de la mano a nuevas connotaciones en torno a esta obra. La exce- lente serie fotográfica de Lamia Korshid se apoya en la cons- trucción –e imposición- de roles de género a través de la muñeca como prototipo social. En este sentido, destacan tam- bién las propuestas de Leslie Gabaldón, Chu Teppa, Nahila Campus, Mariana Thome y Mariana Monteagudo. En el caso de ésta última a través de un interesante trabajo de recuperación de la tradición popular de muñecas de trapo reinterpretadas aquí como esculturas mórbidas. Otras subtemas esenciales dentro de la muestra son el de jugue- te-relación mercantil y juguete-ecología. En el caso de la pri- mera, sobresalen las propuestas de Mariano Costa Peuser, Michelle Bergeron y Massimo Gammacurta. Financial Bike, de Costa Peuser, nos presenta excelente alego- ría sobre las relaciones mercantiles ocultas tras el juguete. La realización financiera (aquí encarnada a partir del trazo inaca- bado del signo de dólar que dibujan las ruedas de la bicicleta en su avance) deviene entuerto, pues su concreción definitiva impide la realización de la funcionalidad primaria del objeto. Por su lado, la serie Lolli-Pop, de Gammacurta, se apropia de cono- cidas marcas de diseño como Dior, Yves Saint Laurent, Coach, Louis Vuitton, entre otras para crear apetitosos caramelos que evi- dencian la transferencia de funciones del juguete al consumismo de objetos de marca en el paso de la infancia a la adolescencia. Las obras resultantes de gran plasticidad se apropian del lenguaje de la fotografía publicitaria para la creación efectiva de un halo a un tiempo seductor y escalofriante. Etimológicamente, la serie juega con la idea de las Lolitas y el impacto Pop de la publicidad en nuestro cotidiano. Nestor Arenas, Rosario Bond, Jairo Ruedo, Ena Marrero y Alicia Meza abordan el tema del juguete a partir de urgencias ecológicas de nuestro tiempo. Desde el comentario lúdi- co, Toys Art Us constituye una mordaz interpretación de la socie- dad contemporánea. Janet Batet Colombia rindió homenaje al maestro Edgar Negret en sus 90 años de vida en el Capitolio Nacional. Una impresionante serie de obras suyas se enseñorearon por diversas salas y pasillos del emblemático edificio del Congreso de la República. El escultor nacido en Popayán, departamento del Cauca, en 1920, fue el introductor de la escultura moderna en este país con sus míticas esculturas con la simetría mágica, el juego del espacio en permanente metamorfosis, el uso de láminas de alu- minio, tuercas, tornillos y un colorido sobrenatural que fusiona con una perpetua reflexión sobre el pasado y el presente caracterizada porque el rescate de temáticas prehispánicas Mariano Costa Peuser. Financial Bike, 2010. Multimedia installation/Instalación multimedia Courtesy/Cortesía Curator's Voice Art Project

I have always been obsessed with the perverse character that the naïve image of toys hides.

By Janet Batet
Reviews

Toys Art Us

By Janet Batet

I have always been obsessed with the perverse character that the naïve image of toys hides.

March 24, 2011
Vista general de Inside Out. Photography after Form: Selections from the Ella Fontanals- Cisneros Collection. Courtesy the/Cortesía de Cisneros Fontanals Art Foundation Photo /Foto: Vieri Tomaselli.

Besides being an establishment for the dissemination of art, 801 Projects is, above all, an artistic project founded in 2005 to present performative events.

By José Antonio Navarrete
Reviews

Consuelo Castañeda, Nereida García-Ferraz and Ángela Valella

By José Antonio Navarrete

Besides being an establishment for the dissemination of art, 801 Projects is, above all, an artistic project founded in 2005 to present performative events.

March 24, 2011
Cao Guimarães. Hypnosis, 2001. Video, 7'30" Courtesy /Cortesía Galeria Nara Roesler, Sao Paulo.

This exhibition of video work curated by Jacopo Crivelli Visconti stood in stark contrast to its surroundings during the week of the overwhelming Art Basel Miami Beach fair.

By Mónica Ramírez-Montagut
Reviews

Feijão Com Arroz/Rice and Beans

By Mónica Ramírez-Montagut

This exhibition of video work curated by Jacopo Crivelli Visconti stood in stark contrast to its surroundings during the week of the overwhelming Art Basel Miami Beach fair.

March 24, 2011
olferino, 2010. From the Pilgrims series. Photography installation. Photo courtesy Curator's Voice Art Project. De la serie Peregrinos. Instalación fotográfica. Foto cortesía Curator's Voice Art Project

Pilgrims is the title of the most recent photographic series conceived by the creative duo Atelier Morales, and it is also the title of the exhibition of this series that Curator’s Voice Art Projects is presenting in Miami.

By Janet Batet
Reviews

Atelier Morales

By Janet Batet

Pilgrims is the title of the most recent photographic series conceived by the creative duo Atelier Morales, and it is also the title of the exhibition of this series that Curator’s Voice Art Projects is presenting in Miami.

March 24, 2011
Alessandro Chorillos, Peru, 2010 (after Caravaggio: Narcisse, 1595) Archival pigment on cotton paper, 41 x 35.5 in. Edition 2/7 + 2 AP. Tinta de pigmento sobre papel de arroz, 104 x 90 cm. Edición 2/7 + 2 PA. Photo courtesy of / Foto cortesía de Dina Mitrani Gallery, Miami.

The Peruvian photographer Roberto Huarcaya (Lima, 1959) is one of the artists who uses the camera as a cogitative and analytic instrument, capturing and exposing reality in such a way that it leads us to discover aspects of this reality which we generally do not notice.

By Rafael López-Ramos
Reviews

Roberto Huarcaya

By Rafael López-Ramos

The Peruvian photographer Roberto Huarcaya (Lima, 1959) is one of the artists who uses the camera as a cogitative and analytic instrument, capturing and exposing reality in such a way that it leads us to discover aspects of this reality which we generally do not notice.

March 23, 2011
Ceres, 1979. Oil on canvas, 50 x 54 in. Mr. And Mrs. Bermello Collection. Photo courtesy of the Soriano family. Óleo sobre tela, 127 x 137 cm. Colección del Sr. y la Sra. Bermello. Foto cortesía de la familia Soriano.

Painter Rafael Soriano (Cuba, 1920) is not only one of the pioneers of abstract art in the Caribbean island; he is also one of the most original abstract artists in the American continent.

By Rafael López-Ramos
Reviews

Rafael Soriano

By Rafael López-Ramos

Painter Rafael Soriano (Cuba, 1920) is not only one of the pioneers of abstract art in the Caribbean island; he is also one of the most original abstract artists in the American continent.

March 23, 2011
Palimpsesto, 2010. Graphite and rubber on paper. Grafito y goma sobre papel. Courtesy/Cortesía Dot Fifty One, Miami.

Mauro Giaconi’s universe is trussed up by a powerful secretiveness. His buildings impose their presence like enigmatic swarms, barriers, boundaries, impossibility.

By Janet Batet
Reviews

Mauro Giaconi

By Janet Batet

Mauro Giaconi’s universe is trussed up by a powerful secretiveness. His buildings impose their presence like enigmatic swarms, barriers, boundaries, impossibility.

March 23, 2011
Opalia, 2010. Acrylic on canvas. Image courtesy of The Americas Collection. Acrílico sobre lienzo. Imagen cortesía de Americas Collection, Coral Gables

Opalia is the title of the most recent exhibition of works by the Cuban-American artist Mario Bencomo, presented by The Americas Collection.

By Janet Batet
Reviews

Mario Bencomo

By Janet Batet

Opalia is the title of the most recent exhibition of works by the Cuban-American artist Mario Bencomo, presented by The Americas Collection.

March 23, 2011
Isla (See-scape), 2010, oil, nails, and fish hooks on four panels of jute and plywood, 106 x 315 in. Courtesy of the artist and Jack Shainman Gallery. Isla (See-scape), 2010. Óleo, clavos y anzuelos sobre cuatro paneles de yute y madera contrachapada, 2,69 x 8 m. Cortesía del artista y de la Galería Jack Shainman.

I have followed the development of Yoan Capote’s work from his participation in the 8th Havana Biennial (2003) to his first solo exhibition last fall at the Jack Shainman Gallery.

By Julia P. Herzberg, Ph.D.
Reviews

Yoan Capote

By Julia P. Herzberg, Ph.D.

I have followed the development of Yoan Capote’s work from his participation in the 8th Havana Biennial (2003) to his first solo exhibition last fall at the Jack Shainman Gallery.

March 23, 2011
Invisible Labyrinth, 1971. Mixed Media. Variable Dimensions. Image courtesy of the artist and Henrique Faria Fine Art. Laberinto invisible, 1971. Técnica mixta. Dimensiones variables. Imagen cortesía del artista y de Henrique Faria Fine Art.

Argentine artist Luis F. Benedit’s recent exhibition at Henrique Faria Gallery in New York is focused on the artist’s explorations regarding the elaboration of habitats and social organization systems.

By Laura F. Gibellini
Reviews

Luis F. Benedit

By Laura F. Gibellini

Argentine artist Luis F. Benedit’s recent exhibition at Henrique Faria Gallery in New York is focused on the artist’s explorations regarding the elaboration of habitats and social organization systems.

March 23, 2011
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