GABRIEL O'SHEA'S HUMAN AND REALISTIC TECHNOLOGICAL FUTURE

Macaparana (b. José Souza Oliveira Filho, Pernambuco, Brazil, 1952) can find in his work a clear link with primitivism and African art or, at least, in the development and influence in the aesthetic and structural aspects of the same. It might seem something totally alien, given that the basic theoretical principles of the languages of concrete art that emerge without regard in his proposal seem to delve more into the aseptic of geometric forms than in the anthropological and sacred of ethnic art, but the relationship exists precisely because of a heritage raised from the geometric as an identity.

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

From February 1 to August 3, 2025, Museo Jumex presents Gabriel Orozco: Politécnico Nacional (Gabriel Orozco: National Polytechnic), the artist's first museum exhibition in Mexico since 2006; this survey explores key themes in the practice of the Mexican artist, who has constantly challenged what art can be and how it can be made. 

VETA by Fer Francés presents the first solo exhibition of Larry Madrigal (Los Angeles, USA, 1986), one of the latest artists to join the list of those represented by the Madrid gallery. Too Good to be True presents about twenty portraits that revolve around the background of human relationships, interpersonal connection and intimacy, themes that the Mexican-American artist is considering after becoming a father and radically changing his interest in political art.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.

Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.

The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.

Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).

The Chiloé Museum of Modern Art presents its 37th edition featuring photographs, paintings, sculptures, installations, performances, videos, and digital cinema in the exhibition Espectral (Spectral), which invites viewers to explore what stirs unease: the mysterious, the ethereal, and the unknown.

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.

Macaparana (b. José Souza Oliveira Filho, Pernambuco, Brazil, 1952) can find in his work a clear link with primitivism and African art or, at least, in the development and influence in the aesthetic and structural aspects of the same. It might seem something totally alien, given that the basic theoretical principles of the languages of concrete art that emerge without regard in his proposal seem to delve more into the aseptic of geometric forms than in the anthropological and sacred of ethnic art, but the relationship exists precisely because of a heritage raised from the geometric as an identity.

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

From February 1 to August 3, 2025, Museo Jumex presents Gabriel Orozco: Politécnico Nacional (Gabriel Orozco: National Polytechnic), the artist's first museum exhibition in Mexico since 2006; this survey explores key themes in the practice of the Mexican artist, who has constantly challenged what art can be and how it can be made. 

VETA by Fer Francés presents the first solo exhibition of Larry Madrigal (Los Angeles, USA, 1986), one of the latest artists to join the list of those represented by the Madrid gallery. Too Good to be True presents about twenty portraits that revolve around the background of human relationships, interpersonal connection and intimacy, themes that the Mexican-American artist is considering after becoming a father and radically changing his interest in political art.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.

Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.

The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.

Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).

The Chiloé Museum of Modern Art presents its 37th edition featuring photographs, paintings, sculptures, installations, performances, videos, and digital cinema in the exhibition Espectral (Spectral), which invites viewers to explore what stirs unease: the mysterious, the ethereal, and the unknown.

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

From February 1 to August 3, 2025, Museo Jumex presents Gabriel Orozco: Politécnico Nacional (Gabriel Orozco: National Polytechnic), the artist's first museum exhibition in Mexico since 2006; this survey explores key themes in the practice of the Mexican artist, who has constantly challenged what art can be and how it can be made. 

VETA by Fer Francés presents the first solo exhibition of Larry Madrigal (Los Angeles, USA, 1986), one of the latest artists to join the list of those represented by the Madrid gallery. Too Good to be True presents about twenty portraits that revolve around the background of human relationships, interpersonal connection and intimacy, themes that the Mexican-American artist is considering after becoming a father and radically changing his interest in political art.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.

Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.

The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.

Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).

The Chiloé Museum of Modern Art presents its 37th edition featuring photographs, paintings, sculptures, installations, performances, videos, and digital cinema in the exhibition Espectral (Spectral), which invites viewers to explore what stirs unease: the mysterious, the ethereal, and the unknown.

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.

Macaparana (b. José Souza Oliveira Filho, Pernambuco, Brazil, 1952) can find in his work a clear link with primitivism and African art or, at least, in the development and influence in the aesthetic and structural aspects of the same. It might seem something totally alien, given that the basic theoretical principles of the languages of concrete art that emerge without regard in his proposal seem to delve more into the aseptic of geometric forms than in the anthropological and sacred of ethnic art, but the relationship exists precisely because of a heritage raised from the geometric as an identity.

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

From February 1 to August 3, 2025, Museo Jumex presents Gabriel Orozco: Politécnico Nacional (Gabriel Orozco: National Polytechnic), the artist's first museum exhibition in Mexico since 2006; this survey explores key themes in the practice of the Mexican artist, who has constantly challenged what art can be and how it can be made. 

VETA by Fer Francés presents the first solo exhibition of Larry Madrigal (Los Angeles, USA, 1986), one of the latest artists to join the list of those represented by the Madrid gallery. Too Good to be True presents about twenty portraits that revolve around the background of human relationships, interpersonal connection and intimacy, themes that the Mexican-American artist is considering after becoming a father and radically changing his interest in political art.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.

Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.

The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.

Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).

The Chiloé Museum of Modern Art presents its 37th edition featuring photographs, paintings, sculptures, installations, performances, videos, and digital cinema in the exhibition Espectral (Spectral), which invites viewers to explore what stirs unease: the mysterious, the ethereal, and the unknown.

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.

Macaparana (b. José Souza Oliveira Filho, Pernambuco, Brazil, 1952) can find in his work a clear link with primitivism and African art or, at least, in the development and influence in the aesthetic and structural aspects of the same. It might seem something totally alien, given that the basic theoretical principles of the languages of concrete art that emerge without regard in his proposal seem to delve more into the aseptic of geometric forms than in the anthropological and sacred of ethnic art, but the relationship exists precisely because of a heritage raised from the geometric as an identity.

Under the enlightening title of Los espacios del pánico (Estudios superficiales sobre el vacío y el color) (The spaces of panic-Surface studies on emptiness and color), the interesting individual exhibition that the Madrid gallery El Apartamento dedicates to Luis Enrique Lopez-Chavez (Manzanillo, Cuba, 1988) is developed as a thesis scenario for the almost scientific analysis that the Cuban artist has developed around the space of the void and the chromatic.

From February 1 to August 3, 2025, Museo Jumex presents Gabriel Orozco: Politécnico Nacional (Gabriel Orozco: National Polytechnic), the artist's first museum exhibition in Mexico since 2006; this survey explores key themes in the practice of the Mexican artist, who has constantly challenged what art can be and how it can be made. 

VETA by Fer Francés presents the first solo exhibition of Larry Madrigal (Los Angeles, USA, 1986), one of the latest artists to join the list of those represented by the Madrid gallery. Too Good to be True presents about twenty portraits that revolve around the background of human relationships, interpersonal connection and intimacy, themes that the Mexican-American artist is considering after becoming a father and radically changing his interest in political art.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.

Visión y presencia, the cycle of performances by women artists organized by the Thyssen-Bornemisza Museum, reaches its fourth edition with a renewed program where, once again, the Latin American presence will play a very prominent role. As in previous editions, ten will be the creative proposals that will be staged in different spaces of the Madrid museum and that will be linked to the concept of their proposals, notably revolving around feminism, traditions, colonialism, immigration or ecology.

Canary Islands-based Mexican Gloria Godinez (Mexico City, Mexico, 1979) will be in charge of opening the cycle with Rojo descolonial en la pintura de Vincent van Gogh (Decolonial red in Vincent van Gogh's painting). The cycle will have a performative action every month, successively (except for July and August), and performances by Elisa Miralles, Yola Balanga, Cuba's Susana Pilar, Costa Rica's Eugenia S. Rudin, Paraguay's Eugenia Rudin and Elisa Miralles are scheduled. Rudin, Paraguay's Jessica Diaz, Chile's Laura Santander, Teresa Correa, Uruguay's Valentina Cardellino and Andrea Ghuisolfi, and O.R.G.I.A. along with three lectures by Brazilian curator Renata Ribeiro, Alma Cardoso and Diana Cuellar.

The Spanish Agency of International Cooperation for Development (AECID) has collaborated in the preparation of the program, as well as the Spanish Cultural Centers in Montevideo, Paraguay and Costa Rica and, for the first time, the Atlantic Center of Modern Art-CAAM of Gran Canaria.

Visión y presencia will be held from January 22 to December 10, 2025 at the Thyssen-Bornemisza Museum, Paseo del Prado, 8, Madrid (Spain).

The Chiloé Museum of Modern Art presents its 37th edition featuring photographs, paintings, sculptures, installations, performances, videos, and digital cinema in the exhibition Espectral (Spectral), which invites viewers to explore what stirs unease: the mysterious, the ethereal, and the unknown.

The work that Lúa Coderch (Iquitos, Peru, 1982) has been doing around language takes over her recent solo show at Madrid's The Ryder Projects to consolidate a new relational vision of communicative practices. Exhausted and exuberant, title of this partially retrospective and almost thesis exhibition, also responds to the two apparently opposite moods, but with an inexorable link, of the vital needs that seep into contemporary society between individuals and a certain extimacy that, organically, seems to have been imposed.