Reviews

At France National Library in Paris, a tribute is paid to the renowned Argentine artist, Antonio Seguí. From the pictorial to the narrative, the game of the exhibition reflects Seguí's search for a redefinition of mankind.

Leandro Erlich, the artist who questions the look. A profile made by Victoria Verlichak.

Margarita Sánchez Prieto illustrates the work and thought of the renowned Argentine artist, Dolores Cáceres.

The curator and art critic Adriana Herrera takes a tour of the prlifica career of the Brazilian artist Lydia Okumura.

Brazilian curator, art critic and  journalist Angélica de Moraes drew a portrait of the multimedia artist Túlio Pinto. Taking the substantial elements of the career of the artist born in Brasilia, de Moraes illustrates with her words the profile of one of the most interesting protagonists of the contemporary Latin American scene.

The visual artist, writer, and filmmaker spoke with Julia P. Herzberg for Arte al Día about his work process, his interest in photography and its boundaries.

Art Paris 2019!

Curated by Joaquín Barrera, Las cosas que Crecen is the second exhibition of the young project led by the pair Jen Zapata and Andrés Matías Pinilla located in the neighborhood of San Telmo. On this occasion, and as a strong bet during the ArteBA art fair weekend, Lanzallamas attacked with a solid collective proposal.

The reasoned catalog of the Coloritmos by Alejandro Otero is published in Caracas, a volume with more than three hundred pages that delves for the first time into a chapter little studied and of great value for the Venezuelan and Latin American art of the XX century.

Narciso plebeyo is the title chosen for the Pablo Suárez (1937-2006) exhibition curated by Jimena Ferreiro and Rafael Cippolini at the Museum of Latin American Art of Buenos Aires (MALBA). From the part towards the whole, the sculptural installation Narciso de Mataderos (1984-1985) projects as a key to look at the whole of the portrait of a subjectivity, which in each work is imbricated with the folds of a social history. In these folds the plebeian appears as a program of intervention in the art system and as a torsion of the artistic canon. The biographical effect of the exhibition reflects a work of collective memory carried out by those who knew it and contributed to the historical thickness of the exhibition.

Entering Delia Cancela. Reina de corazones (Delia Cancela. Queen of hearts), exhibition curated by Carla Barbero at Buenos Aires Museum of Modern Art, we are greeted by a painting with curved contours. Inward, large planes of primary colors oppress a face with absorbed eyes; outward, those planes push against the edges like a cloud in the instant before losing its contour. In Mujer y nubes (Woman and Clouds), of 1965, the formal synthesis of a pin-up figure and the effects of reverie annotated, with stereotypical signs, by a camp consciousness converge. The piece realized in co-authorship with Pablo Mesejean was, perhaps, chosen for the position it occupies by knotting three tenacious lines in Cancela’s production: visual mass culture, representations of femininity and visualized fantasy as an expanding force.

On Air is the fourth edition of the carte blanche exhibition series that offers selected artists the opportunity to appropriate all the exhibition spaces of the Palais de Tokyo, in Paris. For the occasion, Tomás Saraceno has made his greatest project to date which brings together some of his main works, installations and unpublished creations. An interactive project that links art and science and that makes the Palais de Tokyo a place of unique sensory experience. This multidisciplinary purpose continues the artist's research on the relationship between humans and non-humans. A collaborative and evolutionary project designed to imagine new ways of inhabiting the world.

Filled with artworks and prototypes for his next individual exhibition in La Boca neighborhood, Gonzalo Maggi’s studio-house in Villa General Miter remains hidden like a small museum. Behind two monitors, in front of the library, the young Argentinean artist takes a review over the works he has been doing throughout his career. Graduated from the Universidad del Cine almost a decade ago, Maggi changed cinema for the photography, but his production processes have more cinematographic filming than anything else.

The Fondation Cartier explores the diversity of Latin America modern art through Géométries Sud, du Mexique à la Terre de Feu, enhancing the richness and variety of ornaments, colors and figures in southern continent art. Gathering about 250 works from pre-Columbian period to the most contemporary productions, including popular art, abstract art, ceramics, sculpture, architecture and basketry, the exposition investigates the multiple forms of geometric abstraction in Latin America, which are inspired in pre-Columbian art, European avant-garde’s or in indigenous cultures still alive.

Until November 25, on the sixth floor of a business building in Buenos Aires City (928 Lenado N. Alem street), a sui generis collective exhibition within the Argentine contemporary scene opened. With the participation of ten of the most outstanding plastic artists since 2000 -Juan Becú, Florencia Bohtlingk, Laura Codega, Max Gómez Canle, Vicente Grondona, Máximo Pedraza, Tiziana Pierri, Déborah Pruden, Nahuel Vecino and Lorena Ventimiglia-, Le Le Lend inaugurated two weeks ago as a self-curated show.

Since immemorial times, the thread has fascinated and inspired artists and poets, and mythology has developed incessantly its mysteries: The Ariadne thread, the Moebius ribbon ...

After a significant remodeling the Museum of Modern Art of Buenos Aires (MAMBA) reopened its doors this July with an exhibition held jointly with the Museum für Moderne Kunst Frankfurt with the aim of reviewing the modern collections facing a global art history.

To judge an artistic expression is not an easy thing. It is about judging the subjectivity of another within one's sensitivity. Therefore, the text is nothing more than an opinion of another opinion. And reading this is only the multiplication of that process. This is how this review should be read, because that is what the solo exhibition Sinapsis, that takes place in OdA Espacio de Arte (Buenos Aires, Argentina), is all about.
 

It wanders satisfied around the borders of the global mainstream fairs circuit, Mercado de Arte Contemporáneo – Córdoba, an annual event that brings together a set of galleries, collectives and collections in the second most important city in Argentina.

During yesterday afternoon at Quimera Gallery, located in Güemes 4474 (Buenos Aires), Eric Markowski appropriates the gallery space with a can of meat monument. Like a great alphabet soup, the exhibition curated by Sebastián Vidal Mackinson seeks to reconstruct history and understand citizen construction processes that materialize history.

The fourteenth edition of the specialized fair in Latin American photography Baphoto has an international and diverse selection emphasized on the different ways of approaching artistic exploration through the medium. At the Buenos Aires Fairground La Rural, Dr. Emilio Solanet’s pavilion is divided into eight sections, each one curated by a specific curator: Ana Luiza Fonseca for Photobook Tijuana, Alfredo Aracil for Fuera de Foco, Francisco Medail for Artista Homenaje, Florencia Portocarrero for Special Rooms, Mercedes Claus for Links Projects and Rodrigo Alonso for Videoprojects.

The fourteenth edition of the specialized fair in Latin American photography Baphoto has an international and diverse selection emphasized on the different ways of approaching artistic exploration through the medium. At the Buenos Aires Fairground La Rural, Dr. Emilio Solanet’s pavilion is divided into eight sections, each one curated by a specific curator: Ana Luiza Fonseca for Photobook Tijuana, Alfredo Aracil for Fuera de Foco, Francisco Medail for Artista Homenaje, Florencia Portocarrero for Special Rooms, Mercedes Claus for Links Projects and Rodrigo Alonso for Videoprojects. 

In the spaces of Cerquone Projects, Caracas, more than twenty works in medium and large format made by the Venezuelan artist Yoshi during the last seven years make up the exhibition Superficies Alteradas (Altered Surfaces), under the curatorship of Lorena González Inneco and the museography of Jean Nouel.