Reviews

The series “Fine Tuning VOL. V / La tierra que habla” is inevitably included in a tradition of local landscape and “blot” painting developed from the late 19th century to the preset.

Ismael Frigerio (1955) emerged at the end of the 1970s from a generation of Chilean painters influenced by the transavantgard and Neo-Expressionism.

There is a certain “Neo-conceptual” art in Chile that succeeds in reconnecting the aesthetic discourse and the aesthetic experience through craftswork and ordinary, everyday objects, bringing the public into contact with the artwork.

The Comet Gallery presented a small homage exhibition for the photographer Leo Matiz under the title Geometría en Colombia (Geometry in Colombia).

The exhibition Cuba Avant-Garde: Contemporary Cuban Art from the Farber Collection at the Lowe Art Museum is the first to exhibit in Miami the art of the politically disobedient generation that introduced contemporary art to Cuba in the early 1980s.

When at the end of November of 1952, the Supreme Electoral Council of Venezuela suspended the ballot count corresponding to that year’s elections, the country entered a period of authoritarian rule under General Marcos Pérez Jiménez which would last six years.

Ocasionalmente, el eurocentrismo en el arte ha hecho que se queden atrás, apenas sin analizar al otro lado del océano, algunas de las más interesantes tendencias artísticas fuera del viejo continente.

Once again, and for the thirteenth consecutive year, Madrid has been the epicenter of the development of a new edition of the Festival of Photography and Visual Arts, PhotoEspaña 2010.

To offer an overview of the work of the Brazilian artist Vik Muniz may be a complicated task due to the variety of formats and supports he resorts to.

For an artist, to be free means to digest external influences little by little, to be open to the world but deaf to the sirens of fashion with the aim of reaching his or her own truth.

Thirty-three years after the inception of the Centre Pompidou, Musée national d’art moderne, the Centre Pompidou-Metz has been inaugurated in Paris. Representing the first decentralization of a great national cultural institution in France.

Sameer Makarius was without doubt one of the most prolific photographers in Buenos Aires during the 1950s and 60s.

If there is no longer a center of the international art world, New York at very least remains one of a select few sites for what Pierre Bourdieu long ago called “position-taking”: the articulation of an aesthetic position in relation to a larger field of cultural production.

Hugo Zapata is a dreamer of utopias who, by dint of holding a dialogue with the earth, suddenly found himself talking to the cosmogony of the Incas, the Mayas and the Aztecs.

There were no Impressionist sunsets before Monet painted them. Oscar Wilde knew it, and for this reason he asserted that nature imitates art.

In Mateo López’s oeuvre, drawing and its three-dimensional projections are analogous to the hand that gropingly explores the world, spreading out into lines over the space with a playfulness that evokes Plato’s Myth of the Cave.

It happened during the crisis of 2001. Hundreds of metal signs began to appear in the neighborhoods. Like never before.

Anthony Goicolea’s entire body of work can be described as a fictional autobiography.

Certain vices of post-90s Chilean art are evident in the proposal of Incas of Emergency: a tautological propension in the thematized work itself, and a distance between aesthetic experience and art discourse.

The works exhibited in “Crónicas eventuales” confirm the fact that the art of Jorge Macchi (Buenos Aires, 1963) resides in the possibility of poetry, forged in his notorious sensitivity and his different visions of everyday life.

In the Guilty! series, Marcelo Grosman (Buenos Aires, 1958) ventures along an uncomfortable path, wondering who might be the one to blame in a society that makes criminals, that judges based on appearance (color, sex, origin).

Time, memory and words are part of the recurring concerns in the work of Carlos Gallardo (Buenos Aires, 1944-2008)

In this new exhibition, “El Ajuar”, in Maman Gallery, Jorge Canale (1954) creates once again, with the refined aesthetics that characterizes him, the adequate space and atmosphere to convey his message.

Nicanor Aráoz, a young man who until recently, with just a pot of cocoa and a broken shelf, devised a way to represent anguish, presents a show devoted to Hitchcock at Daniel Abate Gallery.