Reviews

From April 15 through May 23, the first solo show of Cuban artist Alexandre Arrechea will be held at Magnan Metz Gallery, New York, in this new space which until 2009 was known as Magnan Projects.

It might be said that the new proposal that Sandra Gamarra (Lima, Peru, 1972) presented in the Madrid gallery Juana de Aizpuru was comprised of two projects which, although grouped under the same title − In Order of Appearance − were clearly differentiated from a formal point of view.

Mario García Torres (Monclava, México, 1975) disembarks in the MNCARS with two installations staged in what used to be the old Sabatini Building coal vaults.

We are not going to discover at this stage the effort and hard work invested by the Daros Latinamerica Collection into putting together holdings that cover the best of Latin American art.

Needless to recall the great debt that Brazilian contemporary art owes to its indigenous roots, to its indigenous peoples, and to the process of colonization, which have made it possible to develop, during the present and the past century, some of the most interesting and acclaimed proposals in the international art scene.

In the recent pictorial production of Aquiles Azar Billini (1965), his infinite combinations of fire, water, earth and air imply the notions and processes of light, life, trace, dissolution, transformation, transmutation, reaction and fertilizing friction.

After years of investigation around bringing to life the forms he creates in a virtual world, Elias Crespin (Caracas, 1965) plays not only with the spatial but also formal and temporal categories of perception.

Un diminuto hombre que limpia una oreja, una mano que sostie- ne un saquito de té, personajes extraños de siluetas casi abstractas.

Photography should not be shown merely as a physical representation of a being or a thing.

André Leroi-Gourhan, a specialist in Paleolithic Art, pointed out that “the human act par excellence is perhaps not so much the creation of tools as the domestication of time and space, or, to put it differently, the creation of a human time and space”1.

Paulo Bruscky was jailed and interrogated several times during the military regime that dominated Brazil as of 1964.

Iván Navarro (b. Santiago de Chile, 1972, based in New York) belongs to the generation of Latin American artists who, as of the 1990s, have reelaborated the relationships between modernism and contemporaneity.

For several years now, the work of Argentinean artist Alejandro Puente (Buenos Aires, 1933) has been strongly revalued by different sectors within the field of the visual arts.

In the 1960s sci-fi writer Philip K. Dick coined the term “kipple” to explain the astonishing ability of household objects to accumulate in piles of unwanted clutter.

The name Matías Duville (Buenos Aires, 1974) started to appear shyly in the Argentine circuit at the beginning of the present decade.

Javier Téllez inscribed his name in the history of contemporary art in Venezuela when he transplanted the sinister atmosphere of a psychiatric institution to the spaces of the Museum of Fine Arts in Caracas.

In the exhibition of works by Félix González Torres currently on display at the Museum of Latin American Art in Buenos Aires, art merges with life.

Historical truth, for him, is not what has happened; it is what we judge to have happened. Jorge Luis Borges, “Pierre Menard: Author of the Quijote”

In May 2008, Josée Bienvenu Gallery presented artist Darío Escobar ́s exhibition, ́Play Offs ́. In his first solo show in this New York gallery, the artist featured a series of works reviewing the sculptural operations which have been emblematic in his trajectory over the past ten years.

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.