Reviews

Process: de’ Fence, 2006. Drawing. Proceso: de’ Fence, 2006. Dibujo.

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.

By Michèle Dalmace
Reviews

Arnaldo Roche-Rabell

By Michèle Dalmace

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.

May 10, 2010
Camper, 2007. Mixed media on canvas, 35.4 x 70.8 in. Técnica mixta sobre tela, 90 x 180 cm.

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.

By Luis Lama
Reviews

Jorge Cabieses

By Luis Lama

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.

May 10, 2010
Blue Phase (Klee), 1995. Banknotes, buckram. 20 x 20 in. Courtesy the artist. Fase azul (Klee), 1995. Billetes, tela Buckram, 51 x 51 cm. Cortesía de la artista.

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)

By Daniela Castro
Reviews

Jac Leirner

By Daniela Castro

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)

May 04, 2010
Flower Ornament Grove, 2007. From the series Buddy Tree. Periférico Caracas /Arte Contemporáneo. Glenda Carvallo Collection. Photo courtesy of the artist. De la serie Buddy Tree. Periférico Caracas /Arte Contemporáneo. Colección Glenda Carvallo. Foto cortesía del artista.

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.

Reviews

Héctor Fuenmayor

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.

May 04, 2010
In collaboration with Carter Ratcliff, Portrait of the Poet Carter Ratcliff, solid paint head with projection of the video The Anatomy Lesson explaining the work’s interior, acrylic paint and video, 26 x 26 x 26 in., 1998-2005. Courtesy Alejandra Von Hartz, Miami, and Henrique Faría Fine Art, New York En colaboración con Carter Ratcliff, Retrato del poeta Carter Ratcliff, cabeza de pintura maciza con proyección del video La lección de anatomía que explica el interior de la obra, acrílico y video, 66 x 66 x 66 cm., 1998-2005. Cortesía Alejandra Von Hartz, Miami, y Henrique Faría Fine Art, Nueva York

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)

By María José Herrera
Reviews

Eduardo Costa

By María José Herrera

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)

May 04, 2010
Shibboleth, 2007. Installation, Turbine Hall, Tate Modern, London. Courtesy Tate Modern, London. Shibboleth, 2007. Instalación, Turbine Hall, Tate Modern, Londres. Cortesía Tate Modern, Londres.

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.

By María Margarita Malagón-Kurka
Reviews

Doris Salcedo

By María Margarita Malagón-Kurka

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.

May 02, 2010
Biopus Sensible, 2007. Interactive installation, 4 ́11” x 7 ́10” x 3 ́11” / Instalación interactiva, 1,50 x 2,40 x 1,20 m. Courtesy/Cortesía Grupo Proyecto Biopus

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

By Alina Tortosa
Reviews

Grupo Proyecto Biopus

By Alina Tortosa

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

May 02, 2010
Dancer, 1999. Drill, metal and silver dancer, 13.8 x 7.8 x 3.9 in., approx. Tate Gallery Collection, London. Courtesy of the artist. Bailarina, 1999. Taladro, metal y bailarina de plata, 35 x 20 x 10 cm. aproximadamente. Colección Tate Gallery, Londres. Cortesía de la artista.
By Joaquín Rodríguez del Paso
Reviews

Priscilla Monge

By Joaquín Rodríguez del Paso
April 29, 2010
La visita / The Visit, 2007. Rug made from coca leaves, object, light and sound/ Manto de hojas de coca, objeto, luz y sonido.

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

By Natalia Gutiérrez
Reviews

Miguel Ángel Rojas

By Natalia Gutiérrez

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

April 29, 2010
Ars Combinatoria, 2005. Installation. Tapestry composed by multicolored domino bones. Sylvacane Abbey, Aix-en- Provence, France. Variable dimensions. Courtesy Nara Roesler Gallery, Sao Paulo. Tapete instalatorio elaborado con piezas de dominó multicolores, Abadía de Sylvacane, Aix-en- Provence, Francia. Medidas variables. Gentileza Galería Nara Roesler, San Pablo.

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.

By Claudia Laudanno
Reviews

José Patrício

By Claudia Laudanno

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.

April 29, 2010
# 39 BF5, from the series Boy and Dwarf / # 39 BF5, de la serie Niño y Enano, 2006. Collage, mixed media on paper. 98 1/2 x 48 1/2 in. Courtesy of Sikkema Jenkins & Co. Collage, técnica mixta sobre papel, 250 x 123 cm. Cortesía de Sikkema Jenkins & Co.

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.

By Juan Ledezma
Reviews

Arturo Herrera

By Juan Ledezma

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.

April 29, 2010
Sagrada familia/ The Holy Family, 2007. Wood overlaid with plastic laminate/Madera revestida en fórmica. Photograph/Foto: Juanjo Velandia.

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

By Victoria Verlichak
Reviews

Silvana Lacarra

By Victoria Verlichak

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

April 29, 2010
As de Espadas, 2004. From the series “The Adventures of Guille and Belinda and the Enigmatic Meaning of their Dreams” / De la serie “Las aventuras de Guille y Belinda y el enigmático significado de sus sueños”. Courtesy/ Cortesía Yossi Milo Gallery, N.Y.

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.

By Amalia Caputo
Reviews

Alessandra Sanguinetti

By Amalia Caputo

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.

April 28, 2010
Mil y Un Días (A Thousand and One Days), 2007. Detail of the space intervention Fictions, Vale do Rio Doce Museum, Vitoria (Espirito Santo), Brazil. Projection, wood and paint, 100 sq.m. Production: Andre Costa (Olhar Periférico Filmes) Edition and videography: Matías Lancetti. Soundtrack: Rogerio Rochlitz. Courtesy of Brito Cimino Gallery, Sao Paulo, Brazil. Detalle de la intervención espacial Ficciones, Museu Vale do Rio Doce, Vitoria (Espirito Santo), Brasil. Proyección, madera y pintura, 100 m2 Producción: Andre Costa (Olhar Periférico Filmes) Edición y videografía: Matías Lancetti. Banda sonora: Rogerio Rochlitz Gentileza Galería Brito Cimino, Sao Paulo, Brasil.

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.

By Claudia Laudanno
Reviews

Regina Silveira

By Claudia Laudanno

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.

April 27, 2010
Dynamic Team / Equipo dinámico, 2007. Metal, polyester and monolayer paint. 51.1 x 39.3 x 27.6 in. Photo courtesy of the artist. Metal, poliéster y pintura monocapa. 130 x 100 x 70 cm. Fotografía cortesía del artista.

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

By Alejandro Rebolledo
Reviews

José Antonio Hernández-Diez

By Alejandro Rebolledo

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

April 27, 2010
Vesuvius, 2005. Mixed media on panel, 48 x 36 in. Técnica mixta sobre panel de madera, 122 x 91,4 cm. Courtesy Rubell Family Collection, Miami.

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

By Mark Coetzee (Miami) y Mark Clintberg (Montreal)
Reviews

Hernán Bas

By Mark Coetzee (Miami) y Mark Clintberg (Montreal)

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

April 27, 2010
Exhibition/Exposición Pablo Siquier, Beto de Volder y Lucio Dorr. Courtesy/Cortesía Galería del Paseo, Manantiales.

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.

By Victoria Verlichak
Reviews

Pablo Siquier, Beto de Volder and Lucio Dorr

By Victoria Verlichak

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.

April 16, 2010
Coplanal Blanc e blue, 1945. Oil on wood, 13.7 x 10. bin./Óleo sobre tabla, 35 x 27 cm. Courtesy/Cortesía Galeria de las Misiones, Uruguay

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.

By Laura Feinsilber
Reviews

Carmelo Arden Quin

By Laura Feinsilber

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.

April 16, 2010
El reino de los ciegos, 2009. Indian ink, acrylic, tempera and pencil on primed wood, 39.4 x 51 in./Tinta china, acrílico, témpera y lápices sobre madera imprimada, 100 x 130 cm.

Verena Urrutia emerged in Santiago in the 2000s, working in the field of photography, performance and video, and featuring images that used to show secretions, pieces of intimate clothing, the idea of the trace and the experience of the body.

By Carolina Lara
Reviews

Verena Urrutia

By Carolina Lara

Verena Urrutia emerged in Santiago in the 2000s, working in the field of photography, performance and video, and featuring images that used to show secretions, pieces of intimate clothing, the idea of the trace and the experience of the body.

April 16, 2010
Piezas caóticas de un paisaje chileno, 2009. Mixed media on acrylic panels, variable dimen- sions/Técnica mixta s/paneles de acrílico, medidas variables.

Internally, the Chilean art scene often falls under the stereotype of a cold and academized conceptualism. Some artists, on the other hand, have shown an interest in “refreshing” the atmosphere through aesthetic warmth, a certain humor, and urban culture.

By Carolina Lara
Reviews

Yvonne González

By Carolina Lara

Internally, the Chilean art scene often falls under the stereotype of a cold and academized conceptualism. Some artists, on the other hand, have shown an interest in “refreshing” the atmosphere through aesthetic warmth, a certain humor, and urban culture.

April 16, 2010
Ocular Espectacular II (líneas), 2009. 31 sculptures on cardboard. String, wood, patching plaster, plaster, glue and cardboard, 295 x 96.4 x 18.8 in. 31esculturas sobre cartón. Cordel, madera, pasta muro, yeso, cola fría y cartón, 750 x 245 x 48 cm.

Cristóbal Lehyt positions himself very well in large and reduced contexts

By Carolina Lara
Reviews

Cristóbal Lehyt

By Carolina Lara

Cristóbal Lehyt positions himself very well in large and reduced contexts

April 16, 2010
Arte en el Plata, Arte público, Edificio del Plata

Impossible to ignore and really impressive, the four artistic interventions featuring gigantographs of works by up-and-coming contemporary artists on the façade of the Del Plata Building managed to transfer images which are habitually viewed in more intimate venues, such as museums and private collections, to the public sphere.

By Victoria Verlichak
Reviews

Arte en el Plata

By Victoria Verlichak

Impossible to ignore and really impressive, the four artistic interventions featuring gigantographs of works by up-and-coming contemporary artists on the façade of the Del Plata Building managed to transfer images which are habitually viewed in more intimate venues, such as museums and private collections, to the public sphere.

April 15, 2010
Self-Portrait, 1986. © 2009 Andy Warhol Foundation for the Visual Arts ARS, NY SAVA, Buenos Aires. Courtesy/Cortesía MALBA.

A great success of attendance, the traveling exhibition Andy Warhol. Mr. America, at Malba-Fundación Costantini, coincided with the sale of 200 One Dollar Bills (1962), auctioned by Sotheby’s for 43 million dollars; a smaller, cross-shaped version of the same work was featured at the Buenos Aires show.

By Victoria Verlichak
Reviews

Andy Warhol

By Victoria Verlichak

A great success of attendance, the traveling exhibition Andy Warhol. Mr. America, at Malba-Fundación Costantini, coincided with the sale of 200 One Dollar Bills (1962), auctioned by Sotheby’s for 43 million dollars; a smaller, cross-shaped version of the same work was featured at the Buenos Aires show.

April 11, 2010
Partial view of Gabriela Albergaria’s solo show at Galería Vermelho, Sao Paulo. Vista parcial de la exposición individual de Gabriela Albergaria en la Galería Vermelho en San Pablo

Galería Vermelho, Sao Paulo, inaugurated its 2010 exhibitions program with three excellent solo shows: “Universe”, work by the collective Detanico Lain; Ana María Tavares’s “Paisagems perdidas” (Lost Landscapes); and the recent work of the Portuguese artist Gabriela Albergaria.

By Marta Chiape
Reviews

Gabriela Albergaria

By Marta Chiape

Galería Vermelho, Sao Paulo, inaugurated its 2010 exhibitions program with three excellent solo shows: “Universe”, work by the collective Detanico Lain; Ana María Tavares’s “Paisagems perdidas” (Lost Landscapes); and the recent work of the Portuguese artist Gabriela Albergaria.

April 11, 2010
Guillermo Trujillo , El Embrujo de la Linea N.12, Courtesy/Cortesía Galería Habitante.

Independently of the pleasure or the gratification that we have always obtained from viewing Guillermo Trujillo’s works, he has not ceased to amaze us with his capacity to offer us new emotional experiences in each of his incursions in the world of creation.

By Pedro Luis Prados S.
Reviews

Guillermo Trujillo

By Pedro Luis Prados S.

Independently of the pleasure or the gratification that we have always obtained from viewing Guillermo Trujillo’s works, he has not ceased to amaze us with his capacity to offer us new emotional experiences in each of his incursions in the world of creation.

April 11, 2010
# 24 BB5, 2006. Collage on paper, 102 x 48.5 in. Mixta collage sobre papel 250,2 x 123,2 cm. Courtesy/Cortesía Sala TAC Trasnocho Cultural, Caracas.

After a long wait, Venezuela witnessed the first solo show of Arturo Herrera (Caracas, 1959), an artist trained in the U.S.A. and currently living in Berlin.

By Beatriz Sogbe
Reviews

Arturo Herrera

By Beatriz Sogbe

After a long wait, Venezuela witnessed the first solo show of Arturo Herrera (Caracas, 1959), an artist trained in the U.S.A. and currently living in Berlin.

April 11, 2010
Carlos Cruz-Diez. Transcromias. Exhibition/Exposicion. Los galpones, Caracas. photo : Beatriz Sogbe

The sensation of color exerts an influence on and affects our everyday life. The lay person simply does not perceive it. Man shows more interest in form than in color. However, he experiences color in his daily life. To understand this we must analyze “the problem of color” and become aware of the fact that perception of the harmony of colors is part of an individual’s culture.

By Beatriz Sogbe
Reviews

Carlos Cruz-Diez

By Beatriz Sogbe

The sensation of color exerts an influence on and affects our everyday life. The lay person simply does not perceive it. Man shows more interest in form than in color. However, he experiences color in his daily life. To understand this we must analyze “the problem of color” and become aware of the fact that perception of the harmony of colors is part of an individual’s culture.

April 08, 2010
Ana María Nava , Monolito 4,

Ana María Nava’s (Venezuela, Edo. Zulia, 1962) work is featured as a fresh proposal related to the use of glass in art.

By Beatriz Sogbe
Reviews

Ana María Nava

By Beatriz Sogbe

Ana María Nava’s (Venezuela, Edo. Zulia, 1962) work is featured as a fresh proposal related to the use of glass in art.

April 08, 2010
El juguete de Torquemada. Wood and metal, 10.2 x 20.8 x 10.6 in. Madera y metal, 26 x 53 x 27 cm. Photos/Fotos: Beatriz Sogbe.

As part of the development of the theme of assemblage, Oscar d’Empaire (Venezuela. Edo Zulia, 1930) is featuring his most recent show, where he exalts the use of iron and welding.

By Beatriz Sogbe
Reviews

Oscar d’Empaire

By Beatriz Sogbe

As part of the development of the theme of assemblage, Oscar d’Empaire (Venezuela. Edo Zulia, 1930) is featuring his most recent show, where he exalts the use of iron and welding.

April 08, 2010
Elsa María Meléndez. De la memoria: la quimera de un despojo, 2008. Instalación/Installation.

Although presented with great irregularity, the Muestra Nacional de Arte de Puerto Rico (National Art Exhibition of Puerto Rico) is an event that is enthusiastically awaited and welcomed by the lovers of the visual arts of this island, since it gives them an idea − sometimes whimsical − of what is taking place in those complex and always changing/controversial creative spaces.

By Manuel Álvarez Lezama
Reviews

Muestra Nacional de Arte de Puerto Rico-09

By Manuel Álvarez Lezama

Although presented with great irregularity, the Muestra Nacional de Arte de Puerto Rico (National Art Exhibition of Puerto Rico) is an event that is enthusiastically awaited and welcomed by the lovers of the visual arts of this island, since it gives them an idea − sometimes whimsical − of what is taking place in those complex and always changing/controversial creative spaces.

April 08, 2010
Grey Tondo, 2009. Acrylic on canvas, 48 in. Acrílico sobre tela, 122 cm. Courtesy/Cortesía Galería Petrus

Tony Bechara (Puerto Rico, 1943) is an interesting combination between an icon of New York’s Hispano-American society.

By Manuel Álvarez Lezama
Reviews

Tony Bechara

By Manuel Álvarez Lezama

Tony Bechara (Puerto Rico, 1943) is an interesting combination between an icon of New York’s Hispano-American society.

April 08, 2010