Reviews

At last, eleven years after his passing away, Colombia ́s National Museum dedicated a well-deserved tribute to Carlos Rojas.

Under the title Operativo/Raid, Teresa Margolles presented her first solo show in New York, structured as two consecutive exhibitions at Y Gallery, and curated by Cecilia Jurado.

Gabriel Pérez-Barreiro, the new director of the Colección Patricia Phelps de Cisneros, CPPC, has the merit of breaking the paradigms that inadvertently configure the imaginaries of culture.

A fundamental artificer of the birth of geometric abstract art in Uruguay, painter and sculptor Maria Freire (1917) continues to be one of its select representatives.

Next to nothing. As we enter the Jorge Mara-La Ruche gallery, the white canvases, reinforced by the white walls of the very elegant and extended exhibition room, project an impression of emptiness.

Minimum Landscapes, The exhibition by Sao Paulo artist Artur Lescher, at Alejandra von Hartz Gallery, is the first solo show by the artist in the USA.

Arnaldo Roche Rabell often resorts to several types of models: models considered to define trends and/or essences –internal, Caribbean, European– that establish an intercultural dialogue.

Jorge Cabieses ́s oeuvre is one of the most transcendent within the generation that attempts to revamp the ways of seeing and making art in Peru.

Besides, even when the subject is different, people always paint the same painting. - Andy Warhol. THE Philosophy of Andy Warhol (From A to B and Back Again)

Inscribed within the conceptualist trends on account of his reflexive lineage, geographically and culturally anchored in the contradictions of a Catholic Caribbean America, Héctor Fuenmayor is a Venezuelan artist whose oeuvre is difficult to situate both within local and foreign historiographical frameworks.

John Perreault: “At the end of the 1960s, when we were part of a group which included Scott Burton and Vito Acconci, among others, it seemed that your forte was to invent a basic innovation and, based on it and on the “ism” it generated, begin to construct your work. ¿Do you still believe that is what must be done?”
EC: “Yes”(1)

Aprofound humanist concern underlies the work of Colombian artist Doris Salcedo. Shibboleth, her most recent work exhibited at the Turbine Hall in London between October 2007 and April 2008, reiterates this concern. As the artist states, this work makes reference to the deep divisions that prevail in the present-day world.

The panorama of contemporary visual art, in full evolution, is forever presenting us with work that goes beyond the limits we know.

Miguel Ángel Rojas invents ways of doing that go beyond “the academic”.

A post-culture situation like the one we are experiencing at present is the breeding ground that unveils and highlights particularities and singularities, questioning de facto hegemonies – including contemporary artistic practice itself.

Last year I proposed a reading of Arturo Herrera’s output that counters previous interpretations. That first text steps back from other writers’ psychoanalytic treatment of Herrera’s tendency to fragment the silhouettes of cartoon figures and reinscribe them in a both gestural and serialized mode of abstraction.

First space for socialization, the table is where children learn to share and adults make a cult of conversation.

One of the characteristics which have defined photography as a medium has been its voyeuristic capacity...the act of observing, entering into, and poking one ́s nose in the lives of others as if they were one ́s own... The appropriation of the act of breaking up the space of intimacy that exists between private and public.

In her current production, the Brazilian artist generates a true double eulogy of shadows and luminosity. Her most recent works are the territory hosting a critical, and at the same time nostalgic, exploration of a present that mixes the mentioned perceptive configurations, either through the fragmentation or the completion of the spatial enclaves she transforms.

With Demuéstranos qué es la premura (Show us what haste is), a proposal that is being exhibited as of September 28 at the Estrany-De la Mota Gallery in Barcelona, Spain, José Antonio Hernández-Diez configures a systemics of gears and calibrations, but also of codes and functions

The following is a dialogue, via SMS, between Mark Coetzee and Mark Clintberg concerning the work of Hernan Bas.

Founded in 1998 by Silvia Arrocés in Montevideo (Uruguay), Galería del Paseo inaugurated a new venue in Manantiales, Punta del Este, in 2004. Open year-round, it features a distinguished calendar of exhibitions including mainly Uruguayan and Argentinean artists.

When he arrived in Montevideo, Uruguay, in 1935, Carmelo Arden Quin, born in Rivera in 1913, attended Joaquín Torres García’s famous lectures at the Theosophical Society in Uruguay and became fascinated with his teachings, which also allowed him to come into contact with the European constructivist trends.