Reviews

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In 1964 León Ferrari began his Manuscripts series choosing outdated words whose resonance he found more interesting than their meaning: words and texts capable of evoking rather than describing.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

It is true that, beyond anything that might indirectly refer to the commercial aspects surrounding this exhibition, there is an important artistic background in the work of Mario Testino (Lima, Peru, 1954).

The past spring, Carolina Caycedo (London, United Kingdom, 1978) was invited to collaborate with Intermediae, one of the institutions devoted to contemporary creation launched in 2007 by the Madrid municipality, in a project based on the concepts of sound and neighborhood.

The argument that the exhibition project raises in this new presentation at Casado Santapau Gallery that we are referring to, is framed by a huge projection of elements, but it refers specifically to the relationship between this new species of humanoid chickens with machines.

The landscape is, in fact, the summary or the visual product of a contemplative attitude with respect to the world that initially manifested itself exclusively in the reproduction of fields, skies and seas, but later projected itself strongly to encompass the rest of the world.

At the age of 30 and backed by a trajectory that is short in terms of time but extremely fruitful, even in the international arena, Adrián Villar Rojas is officially representing Argentina at the 54th edition of the Venice Biennial.

Reading Juan A. Martínez’s María Brito is equivalent to exploring an immense retrospective in which the chronological structure is crossed by multiple levels of meaning.

“ The concentrated instant”: that synthesis of time and vital intensity that Gonzalo Lebrija began to pursue during his apprenticeship as assistant director of photography in the field of cinematography.

It might be stated that present-day art has reached a point where it is possible to distinguish two trends: one is marked by the predominace of the spectacle and its propension to create a sensasionalist and dazzling aesthetics based on grandiloquent or technological formats

Juan Manuel Echavarría was a professional writer for many years when he set aside his literary endeavors and, in measured steps, turned his creative and intellectual attention to art.

In an article published in 20011, art critic Guy Brett marked out an interesting genealogy of Brazilian artists for whom the creation of books constituted a fundamental exercise.

The lesson left behind by Virginia Pérez Ratón, the woman who, from San José de Costa Rica, broadened the dimension and the practices of contemporary art in Central America and the Caribbean Region,

The death of master painter Carmelo Arden Quin constitutes a great loss for Latin American art, and above all, for the diffusion of this art in Europe.

After more than twenty years in the Upper East Side of Manhattan, Praxis has moved its New York venue to the gallery district in Chelsea.

Works by Diego Rivera, Fernando Botero, Rufino Tamayo, and Beatriz Milhazes realized top prices at Christie’s two-session sale of Latin American Art on November 17 & 18 in New York.

The strength of the work drawing and installed painting in Silvia Gurfein’s (Buenos Aires, 1959) exhibition El libro de las excepciones (The Book of Exceptions) imposes itself in the exhibition space with double-height ceilings of Zabaleta Lab gallery.