Reviews

La DS, 1993. Modified Citroën DS, 55 x 190 x 45,3 in. Citroën DS modificado, 140,1 x 482,5 x 115,1 cm. © Centre national des arts plastiques-ministère de la Culture et de la communication, Paris. Courtesy/Cortesía galerie Chantal Crousel, Paris.

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

By Patricia Avena Navarro
Reviews

Gabriel Orozco

By Patricia Avena Navarro

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

March 22, 2011
The Impregnating Tree, 1964. Ink and collage on paper, 16 1/2 x 12 5/8 in. Tinta y collage sobre papel, 42 x 32 cm. © Leon Ferrari 2011

In 1964 León Ferrari began his Manuscripts series choosing outdated words whose resonance he found more interesting than their meaning: words and texts capable of evoking rather than describing.

By Laura F. Gibellini
Reviews

León Ferrari

By Laura F. Gibellini

In 1964 León Ferrari began his Manuscripts series choosing outdated words whose resonance he found more interesting than their meaning: words and texts capable of evoking rather than describing.

March 22, 2011
Après Mondrian. Digital print mounted on plexiglas. 24 x 24 in. / Impresión digital montada sobre Plexiglás, 61 x 61 cm. Courtesy/Cortesía Alejandra Matiz. Edition/Edición 1

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.

By Adriana Herrera Téllez
Reviews

Leo Matiz

By Adriana Herrera Téllez

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.

March 22, 2011
Laura F. Gibellini

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.

By Untitled, 2006 /Sin título, 2006. Graphite and coffee on paper, 80 x 58 in. Image courtesy of the artist and Sikkema Jenkins & Co. Grafito y café sobre papel, 203,2 x 147,3 cm Imagen cortesía del artista y de Sikkema Jenkins & Co.
Reviews

Arturo Herrera

By Untitled, 2006 /Sin título, 2006. Graphite and coffee on paper, 80 x 58 in. Image courtesy of the artist and Sikkema Jenkins & Co. Grafito y café sobre papel, 203,2 x 147,3 cm Imagen cortesía del artista y de Sikkema Jenkins & Co.

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.

March 22, 2011
Sasha Pivovarova, British Vogue, London/Londres 2007. Courtesy/Cortesía Museo Thyssen Bornemisza, Madrid.

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).

By Álvaro de Benito Fernández
Reviews

Mario Testino

By Álvaro de Benito Fernández

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).

March 22, 2011
View of the urban intervention La Stargate. Vista de la intervención urbana La Stargate

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.

By Álvaro de Benito Fernández
Reviews

Carolina Caycedo

By Álvaro de Benito Fernández

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.

March 22, 2011
Cucarachon Patticcas 12300 - Falcon-Navistar "American Truckers", 2010. Oil, senok, ink, pencil & Comme des Garçons lotion on paper, 104 x 153 cm. Óleo, senok, tinta, lápiz y loción Comme des Garçons sobre papel, 104 x 153 cm.

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.

By Edu Hurtado
Reviews

Abdul Vas

By Edu Hurtado

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.

March 22, 2011
Puente sobre el rio Salado. Digital print, 44,5 x 24.8 in. Impresion digital, 113 x 63 cm.

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.

By Patricia Avena Navarro
Reviews

Mariano Favetto

By Patricia Avena Navarro

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.

March 22, 2011
The Eternal Butterflies, 2010. Sculpture. Clay (unbaked), cement, burlap fabric, wood, glass and plastic, 15.7 x 14.7 x 16.4 ft. Kurimanzutto - Mexico FD. Photo © Patricia Alpizar and Diego Pérez. Courtesy of Kurimanzutto Gallery. Las mariposas eternas, 2010. Escultura. Arcilla (cruda), cemento, tela de arpillera, madera, vidrio y plástico. 4,8 x 4,5 x 5 m. Kurimanzutto - México DF. Foto © Patricia Alpizar y Diego Pérez. Cortesía de Galería Kurimanzutto. Adrián Villar Rojas. Foto © Dana Danger.v

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.

By Victoria Verlichak
Reviews

Adrián Villar Rojas

By Victoria Verlichak

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.

March 21, 2011
María Brito, de Juan A. Martínez,

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.

By Adriana Herrera Téllez
Reviews

María Brito

By Adriana Herrera Téllez

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.

March 20, 2011
Black Marlin, 2009. Bronze, fiberglass, 118 x 47.2 in. Pez aguja negro, 2009. Bronce, fibra de vidrio, 300 x 120 cm. Courtesy/Cortesía Galerie Laurent Godin, Paris

“ 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.

By Adriana Herrera Téllez
Reviews

Gonzalo Lebrija

By Adriana Herrera Téllez

“ 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.

March 17, 2011
Shadow and shadow. Mural drawing. CC Puebla, Mexico 2002. Sombra y sombra. Dibujo en el muro. CC Puebla, México 2002.

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

By Ramiro Garavito
Reviews

Douglas R. Rada

By Ramiro Garavito

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

March 14, 2011
3. Requiem NN, 2009. Lenticular mural, 2.58 x 8.30 mt. approx./ Mural lenticular, aprox. 2,58 x 8,30 m. Artists and War II, North Dakota Museum of Art, Grand Forks, North Dakota. Photographer/Fotógrafo Chuck Kimmerle.

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.

By Julia P. Herzberg
Reviews

Juan Manuel Echavarría

By Julia P. Herzberg

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.

March 14, 2011
Mares, 2009 (detail). Seas, 2009 (detalle). Names of the seas drawn onpaper.Nombresdelos mares dibujados sobre papel. Courtesy /Cortesía baró galeria

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.

By Jacopo Crivelli Visconti
Reviews

Rosana Ricalde

By Jacopo Crivelli Visconti

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.

March 14, 2011
 Virginia Pérez Raton

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,

Reviews

IN MEMORIAN: The Legacy of Virginia Pérez Raton

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,

December 31, 2010
Photo/Foto ©Daniel Avena

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.

By Patricia Avena Navarro
Reviews

IN MEMORIAM : Carmelo Arden Quin

By Patricia Avena Navarro

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.

December 31, 2010
Praxis Gallery, new space in Chelsea, New York | Galeria Praxis, nuevo espacio en Chelsea, Nueva York.

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.

Reviews

Praxis Gallery moves to Chelsea

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.

December 31, 2010
Beatriz Milhazes (Brazilian b. 1960) Machina, 1993-94. Signed, dated and titled 'B. Milhazes, 1993/94, Machina' (on the reverse) acrylic on canvas,391⁄2 x 76 in. (100.3 x 193 cm.) Painted in Estimate: 200,000 - 300,000 U.S. dollars Price Realized: 722,500 U.S. dollars Photo courtesy of CHRISTIE'S IMAGES LTD. 2010 Machina, 1993-94. Firmada, fechada y titulada 'B. Milhazes, 1993/94, Machina' (en el reverso) Acrílico sobre lienzo,100,3 x 193 cm. Precio estimado: 200.000 – 300.000 dólares estadounidenses Precio obtenido en subasta: 722.500 dólares estadounidenses Foto cortesía de CHRISTIE'S IMAGES LTD. 2010

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.

Reviews

Success at Christie ́s and Sotheby ́s New York Latin American Art Sales

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.

December 31, 2010
Del capítulo en el que nuestra heroína es anacrónica, 2010. Oil on canvas, 26 x 11.4 in. Óleo sobre tela, 66 x 29 cm.

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.

By Victoria Verlichak
Reviews

Silvia Gurfein

By Victoria Verlichak

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.

December 31, 2010
installation/ Instalacion. Courtesy/Cortesía Centro Cultural Borges.

A central figure of kinetic language, Julio Le Parc (Argentina, 1928) inaugurated a splendid artistic intervention in the Plaza de las Artes at the Borges Cultural Center, confirming the fact that his works are capable of transforming those who admire them.

By Victoria Verlichak
Reviews

Julio Le Parc

By Victoria Verlichak

A central figure of kinetic language, Julio Le Parc (Argentina, 1928) inaugurated a splendid artistic intervention in the Plaza de las Artes at the Borges Cultural Center, confirming the fact that his works are capable of transforming those who admire them.

December 21, 2010
El Cielo en la Tierra, Photography/ Fotografia. Courtesy of the artist/Cortesía del artista.

Martín Bonadeo’s (Buenos Aires, 1975) exhibition El cielo en la tierra reflects an eager mind, passionate about the possibilities of technology.

By Victoria Verlichak
Reviews

Martín Bonadeo

By Victoria Verlichak

Martín Bonadeo’s (Buenos Aires, 1975) exhibition El cielo en la tierra reflects an eager mind, passionate about the possibilities of technology.

December 21, 2010
Last Choice, 2008. Object in concrete and plastic beer pouring device, 7.8x11.8x2.7in. Objeto en concreto y soporte plástico de cerveza.20x30x7cm.

Artist Marcelo Cidade (São Paulo, 1979) revisits some of the fundamental references of the Brazilian Modernist movement from Hélio Oiticica’s environments, through the tropicalist tenets, to Lina Bo Bardi’s architectonic paradigm.

By Gabriela Longman
Reviews

Marcelo Cidade/ Lia Chaia

By Gabriela Longman

Artist Marcelo Cidade (São Paulo, 1979) revisits some of the fundamental references of the Brazilian Modernist movement from Hélio Oiticica’s environments, through the tropicalist tenets, to Lina Bo Bardi’s architectonic paradigm.

December 21, 2010
Glovetrotter, 2010. Digital print on stainless steel plate, 48 x 33.8 in. Placadeaceroconimpresióndigital.122x86cm.

Long influenced by the proposals of conceptual art, installations and performances, Cildo Meireles’s (Rio de Janeiro, 1948) works hold a dialogue with Brazilian poetic and social issues, and from this point of departure, it engages in more thorough investigations on the art object and sensory experiences.

By Gabriela Longman
Reviews

Cildo Meireles

By Gabriela Longman

Long influenced by the proposals of conceptual art, installations and performances, Cildo Meireles’s (Rio de Janeiro, 1948) works hold a dialogue with Brazilian poetic and social issues, and from this point of departure, it engages in more thorough investigations on the art object and sensory experiences.

December 21, 2010
Cooking Crystals, 2010, detail/detalle. Installation with glass and rock cristal /Instalación con vidrio y cristal de roca.

Between September and October of the past year, the famous Brazilian artist Tung (Palmares, 1952) made a strong impression on the visitors to the Moscow Biennial. Supported by metal structures, laboratory flasks containing a yellowish liquid tied to phallic-shaped crystal fragments and simulacra of faeces.

By Gabriela Longman
Reviews

TUNGA

By Gabriela Longman

Between September and October of the past year, the famous Brazilian artist Tung (Palmares, 1952) made a strong impression on the visitors to the Moscow Biennial. Supported by metal structures, laboratory flasks containing a yellowish liquid tied to phallic-shaped crystal fragments and simulacra of faeces.

December 17, 2010
Dwell, 2010. Weaved copper seven panels conforming a room variable measures in space, each panel. Photo: Fernando Bryce. Habitacion, 2010. Cobre tejido siete paneles conformando una habitacion Medidas varia- bles, cada panel mide 260 x 120 cm.

“We can never bathe twice in the same river,” Heraclitus of Ephesus, the enigmatic Presocratic thinker pointed out. The river is the same river we always see, he explained, but its waters are constantly changing.

By Simón Flores
Reviews

Cecilia Paredes

By Simón Flores

“We can never bathe twice in the same river,” Heraclitus of Ephesus, the enigmatic Presocratic thinker pointed out. The river is the same river we always see, he explained, but its waters are constantly changing.

December 17, 2010
House of doors [La casa de las puertas], 2005 – 2008. Gelatin silver print, 115.7 x 239.7 in. /Impresión de gelatina de plata, 294 x 609 cm. / Courtesy/Cortesía Museo de Arte de la Universidad Nacional.

Time will reveal it all, the selective exhibition of works by the British artist Hannah Collins at the Museo de Arte de la Universidad Nacional, is a reflection of the marginality and displacement in contemporary society.

By Camilo Chico Triana
Reviews

Hannah Collins

By Camilo Chico Triana

Time will reveal it all, the selective exhibition of works by the British artist Hannah Collins at the Museo de Arte de la Universidad Nacional, is a reflection of the marginality and displacement in contemporary society.

December 17, 2010
Ex–Tagua, 2010. Copper, iron and acrylic lacquer, 9.4 x 25 x 9 in.Courtesy of the artist. Photo: Vasco Szinetar. Cobre, hierro y laca acrílica, 24 x 64 x 23 cm. / Cortesía de la artista. Fotografía Vasco Szinetar.

Several sculptural structures made of metal, plastic or textiles constitute this Venezuelan artist’s exhibition at Sextante Gallery, entitled “Gen y Figura”.

By Camilo Chico Triana
Reviews

Nela Ochoa

By Camilo Chico Triana

Several sculptural structures made of metal, plastic or textiles constitute this Venezuelan artist’s exhibition at Sextante Gallery, entitled “Gen y Figura”.

December 17, 2010
Rosario López, Luz Ángela Lizarazo, Rodrigo Facundo. Courtesy/Cortesía: LIA Laboratorio Interdisciplinario de las Artes.

Far removed from the discourse of a curated show on a particular theme, this exhibition gathers together some of the best names in what critics have termed The Intermediate Generation.

By Camilo Chico Triana
Reviews

Desde mañana

By Camilo Chico Triana

Far removed from the discourse of a curated show on a particular theme, this exhibition gathers together some of the best names in what critics have termed The Intermediate Generation.

December 17, 2010
Llegaste con la brisa, 2010. Installation, mixed elements./ Instalación de elementos mixtos. Photo/Foto: Ángela Bonadies

In her first solo show in Venezuela, filmmaker and artist Mariana Rondón (Edo. Lara, 1966) delighted the public. Rondón has been doing research on the narrative possibilities of robotics for more than ten years.

By Beatriz Sogbe
Reviews

Mariana Rondón

By Beatriz Sogbe

In her first solo show in Venezuela, filmmaker and artist Mariana Rondón (Edo. Lara, 1966) delighted the public. Rondón has been doing research on the narrative possibilities of robotics for more than ten years.

December 17, 2010
Untitled/Sin titulo, 2010. Glued wood, 31.5 x 31.5 in./ Maderas encoladas, 80 x 80 cm.

Vicente Antonorsi (Caracas, 1952) presents an exhibition in which he contrasts the geometric and the rational.

By Beatriz Sogbe
Reviews

Vicente Antonorsi

By Beatriz Sogbe

Vicente Antonorsi (Caracas, 1952) presents an exhibition in which he contrasts the geometric and the rational.

December 17, 2010
Too Much #2- Para Polesello - Serie Compases, 2001/10. Collage on canvas, 31 1/2 x 33 1/8 in. /Collage sobre tela, 80x84cm.

Rooted in different intellectual fields contemporary philosophy, computer science, or cultural studies the exhibition “Atopia: Art and City in the Twentieth Century” is a response to a series of anguishing symptoms of the city in the culture of world globalization.

By Janet Batet
Reviews

Alejandra Padilla Diana Lowenstein Miami

By Janet Batet

Rooted in different intellectual fields contemporary philosophy, computer science, or cultural studies the exhibition “Atopia: Art and City in the Twentieth Century” is a response to a series of anguishing symptoms of the city in the culture of world globalization.

December 17, 2010
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