Reviews

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.

“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.

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.

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

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.

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.

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.

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).

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.

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

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

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

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.

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.

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.

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.

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

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

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.

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.

Gabriel Orozco − Jalapa, Mexico 1962 − makes the issue of understanding and interpreting art through the limits a central theme in his work.

In 1964 León Ferrari began his Manuscripts series choosing outdated words whose resonance he found more interesting than their meaning: words and texts capable of evoking rather than describing.

Paris Éternel, 1944: feux de la liberté, at Ideobox Art Space, and The Expanded Eye, curated by Osbel Suárez for the Miami Biennale, show facets of Leo Matiz’s (Aracataca, Magdalena, 1917– Bogotá, 1998) all-embracing eye.

In Les Noces (The Wedding), 2007, the viewer witnesses a fragmentary projection of abstract shots following one another to the rhythm of Igor Stravinsky’s music.