Reviews

Azar and Miño’s exhibition is not a literal commentary on “the remains of triumph;” its musicality opens up other horizons.

Arte x Arte debuts its new stage as a foundation with an exceptional exhibition that investigates the intersections between painting and photography.

Medail presents an exhibition in where debate is the obsessions with perfection with roots in romantic thinking of a documentary photography that aspires to be ontology: to show the essence of things exactly as they are.

The exhibitionfeaturing works by the photographer Adriana Lestido  at Rolf Art, displays two impressive and beautiful photographic essays, developed in Mexican territory in 2010.

In the work of Vic Muniz, the materials have an economy, a social and political history, or a technology that begs to be included in the discourse.

Cotina was not a professional photographer but through the lens of his camera he captured the loneliness, the fog  and the beauty of the everyday in a way that had never been seen before.

Durban Segnini Gallery celebrates its twenty۔third anniversary at the local level and forty۔five years of existence, with an alluring collective exhibition.

The exhibition underscores the work developed by the artist during the 1970s, when his proposal became an unequivocal turning۔point within the tradition of modern Venezuelan art.

There are no frontal or precise ideas in this show; what prevails at all times is a tangential, oblique discourse.

Yoan Capote’s exhibition inhabits binary spaces. Two galleries of work explore two seemingly contradictory themes: physical and mental suppression, and human resilience.

Lucía Pizzani’s exhibition at Cecilia Brunson Projectsfeatures a series of four works revolving around the relationship between nature, gender and materiality.

Amadeo Azar’s (Argentina, 1972) watercolors and Jorge Miño’s (Argentina, 1973) digital photographs converge in the utilization of a geometric language in Los Restos del Triunfo, a show featured at Fundación Jorge F. Klemm

Eugenio Espinoza: Unruly Supports (1970-1980) constitutes a rigorous exhibition that embarks the viewer on an exploration of Eugenio Espinoza’s (San Juan de los Morros, 1950) radical proposal. Curated by Jesús Fuenmayor, the exhibition is composed for more than fifty works that include paintings, photographs, sculptures, postcards and documentations of performances and interventions,

Yoan Capote’s Collective Unconscious inhabits binary spaces. Two galleries of work explore two seemingly contradictory themes—physical and mental suppression, and human resilience.

An impressive topography of tamped down asphalt showing reliefs and planar areas extends throughout the main exhibition room of the Recoleta Cultural Center. Argentine artist Matías Duville’s (Buenos Aires, 1974) enigmatic and attractive installation lends its name to the exhibition: Arena Parking.

The exhibition México, featuring works by the notable photographer Adriana Lestido (Argentina, 1955) at Rolf Art, displays two impressive and beautiful photographic essays, developed in Mexican territory in 2010. The interview México – which lends its title to the exhibition – is the product of an invitation from the Mexican photographer and curator Patricia Mendoza, to capture photographs of forest areas on the occasion of the International Year of Forests.

Beatrix Potter was an English scientist and illustrator who investigated the reproduction and taxonomy of fungi. In spite of her having developed important biological-reproductive theories, her scientific work could never be carried out professionally for reasons of gender.

Since his emergence in the visual arts scene, the photographer Roberto Huarcaya (Lima, 1959) has distinguished himself by the ambition of his projects, in which photography has often been associated with other creative mediums in very solid combinations that have elicited intense responses from different audiences.

The same day that I began writing this text, I saw on a video featured by an online Argentine newspaper, a TransAsia Airways plane cross a Taipei highway with a wing pointed towards the ground and another towards the sky, destroy the front of a taxi and crash on a river.

As a celebration of its 25 years of existence, the Instituto Valenciano de Arte Moderno (IVAM) explores a part of the creation of Latin America through 127 works of its collection, under the special influence of Uruguayan artist Joaquín Torres-García.

The images of Fuera de foco, works by Alejandro Kuropatwa (Buenos Aires, 1956-2003), presented at Vasari gallery, were shot and produced in New York, where the artist lived for around six years.

“Talking to you makes me think that Man’s descent from the apes hasn’t even started yet.”

The passion caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment; and astonishment is that state of the soul, in which all its motions are suspended, with some degree of horror.

In 1980, the exhibition Didáctica y dialéctica del color, by master of color Carlos Cruz-Diez (Venezuela, 1923), was held at the Universidad Simón Bolívar (USB), Caracas.