PROCESS AND CLIMATE IMPACT IN HERIBERTO NIEVES
There is something structural in the Museo La Neomudéjar that allows plastic initiatives such as those of Heriberto Nieves (Vega Alta, Puerto Rico, 1957) to acquire greater meaning thanks to the dialogue with the space offered by this Madrid institution. Its industrial reminiscence contrasts and fits perfectly with the Puerto Rican artist's production, and is even necessary to understand the material plane of many of his works. In Nous sommes la terre, the exhibition he is presenting at Madrid, Nieves advocates for expressing the result of his research on climate impact through a proposal that militates the architectural and the installation, but without ignoring his plastic art in more rigid frames or sculptures and video.
On this occasion, moreover, the protagonist role of the environment also acquires a certain activism, filling the walls with botanical and organic elements that, at first glance, could lead everything towards an overly artificial iconography and industrial production. In itself, the storyline used by Nieves is nothing complex, not even creative in the sense of new, because the analysis of the human impact on nature is almost as old as its existence. However, it is in the approach to the representation where we can appreciate the qualities that the Puerto Rican artist puts at the service of expression, being able to bring together materials such as steel and gold with the organics of botany.
The latter is also positioned as a central axis, both for its conceptual relationship and its impact on the exhibition environment, seeming to direct from the sculptural installation that presides over the room all its ramification -it also serves as a literal noun- to manage those invisible threads that unite it with the metal pieces that overflow, with a certain irony, nature in the form of leaves and vegetable paths. And that could be a characteristic personal mark, a seal easily distinguishable in part of Nieves' work where, curiously enough, the use of chemical elements is also highlighted to emphasize the organic and close, it would seem, with that productive dynamic, that vicious circle of what some call the Anthropocene.
Heriberto Nieves: Nous sommes la terre can be seen until June 30 at Museo La Neomudéjar, Antonio Nebrija st, Madrid, Spain.
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The birth of a new collective is always good news, and it is so for several reasons. Firstly, because of the existence of collective dynamics that bring together different points of view and, second, because, in a didactic way, it contributes to illustrate and understand the current cartographies of art. For the Revolú collective, formed by Andrés Meléndez (San Juan, Puerto Rico, 1996), Miguel Ángel Feba (San Juan, Puerto Rico, 1994) and Marcos Daniel Vicéns (Bayamón, Puerto Rico, 1996), their first exhibition experience is the result of an artistic residency in which, almost blindly, they have been able to build those specific ties to start from the individual and reach the group identity.
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Carolina Caycedo’s (London, UK, 1978) Tierra de los amigos (Land of Friends) arrives at the IVAM in Valencia after its run at the Artium museum in Vitoria.
Madrid's Casado Santapau presents a retrospective exhibition of the work of Waldo Balart (Banes, Cuba, 1931), which covers the minimalist and precise, almost mathematical proposal of the geometries and the concrete abstraction of his works.
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"If you hear a voice within you say, "you cannot paint," then by all means paint, and that voice will be silenced".Vincent Van Gogh
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"If you hear a voice within you say, "you cannot paint," then by all means paint, and that voice will be silenced".Vincent Van Gogh
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Austrian-born artist Eva Lootz (Vienna, Austria, 1940) has been living in Spain for more than half her life, where she has established herself not only as one of the great names of contemporary art in the country, where she was awarded the National Prize of Plastic Arts, but also in the whole international European panorama. A regular in exhibitions and public interventions, she now assaults Madrid with a double institutional presence with two large-format exhibitions at the Sala Alcala 31 and the Reina Sofia Museum.
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The exhibition Territorios: Latin American Contemporary Art in the Jorge M. Perez Collection shows a selection of works by more than 50 contemporary Latin American artists at the Centro Andaluz de Arte Contemporáneo (CAAC). It is curated by Jimena Blázquez Abascal, director of the CAAC.
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Carolina Caycedo’s (London, UK, 1978) Tierra de los amigos (Land of Friends) arrives at the IVAM in Valencia after its run at the Artium museum in Vitoria.
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Carolina Caycedo’s (London, UK, 1978) Tierra de los amigos (Land of Friends) arrives at the IVAM in Valencia after its run at the Artium museum in Vitoria.
Madrid's Casado Santapau presents a retrospective exhibition of the work of Waldo Balart (Banes, Cuba, 1931), which covers the minimalist and precise, almost mathematical proposal of the geometries and the concrete abstraction of his works.
THE GEOMETRIC AND THE CONCRETE OF WALDO BALART IN CASADO SANTAPAU GALLERY
Freedom First is the first solo exhibition that Fernando Bryce (Lima, Peru, 1965) presents at 1 Mira Madrid and is practically a declaration of intentions.
FERNANDO BRYCE: FREEDOM AND POST-TRUTH AT 1 MIRA MADRID
Freedom First is the first solo exhibition that Fernando Bryce (Lima, Peru, 1965) presents at 1 Mira Madrid and is practically a declaration of intentions.
"If you hear a voice within you say, "you cannot paint," then by all means paint, and that voice will be silenced".Vincent Van Gogh
PATRICIA SICARDI, A BOOK, A LIFE
"If you hear a voice within you say, "you cannot paint," then by all means paint, and that voice will be silenced".Vincent Van Gogh
Soy mujer que habla con el viento is the proposal that, around the production of the famous photographer Maya Goded (Mexico City, Mexico, 1967), presents the Madrid gallery Memoria (at its Centro venue) within the PhotoEspaña program.
Zielinsky presented Vera Chaves Barcellos' second solo exhibition at the gallery, entitled Objects 1969-1970.
Haitian photographer Wildline Cadet's exhibition Take this with you at Casa de América portrays the longing for the lost home. It is curated by Nanda van den Berg, Widline Cadet and Désirée Kroep.
HAITIAN PHOTOGRAPHER WILDLINE CADET PRESENTS EXHIBITION AT CASA DE AMERICA
Haitian photographer Wildline Cadet's exhibition Take this with you at Casa de América portrays the longing for the lost home. It is curated by Nanda van den Berg, Widline Cadet and Désirée Kroep.
Austrian-born artist Eva Lootz (Vienna, Austria, 1940) has been living in Spain for more than half her life, where she has established herself not only as one of the great names of contemporary art in the country, where she was awarded the National Prize of Plastic Arts, but also in the whole international European panorama. A regular in exhibitions and public interventions, she now assaults Madrid with a double institutional presence with two large-format exhibitions at the Sala Alcala 31 and the Reina Sofia Museum.
EVA LOOTZ ASSAULTS MADRID
Austrian-born artist Eva Lootz (Vienna, Austria, 1940) has been living in Spain for more than half her life, where she has established herself not only as one of the great names of contemporary art in the country, where she was awarded the National Prize of Plastic Arts, but also in the whole international European panorama. A regular in exhibitions and public interventions, she now assaults Madrid with a double institutional presence with two large-format exhibitions at the Sala Alcala 31 and the Reina Sofia Museum.
The exhibition Territorios: Latin American Contemporary Art in the Jorge M. Perez Collection shows a selection of works by more than 50 contemporary Latin American artists at the Centro Andaluz de Arte Contemporáneo (CAAC). It is curated by Jimena Blázquez Abascal, director of the CAAC.
TERRITORIES. CONTEMPORARY ART IN THE JORGE M. PÉREZ COLLECTION
The exhibition Territorios: Latin American Contemporary Art in the Jorge M. Perez Collection shows a selection of works by more than 50 contemporary Latin American artists at the Centro Andaluz de Arte Contemporáneo (CAAC). It is curated by Jimena Blázquez Abascal, director of the CAAC.
The CAC Malaga hosts Milagro, the first solo exhibition in a museum of Mario Ayala (Los Angeles, USA, 1991), son of a Mexican-American mother and Cuban immigrant father, whose production reflects his personal experiences and artistic concerns of the world of garages, truck drivers and mechanics of Fontana.
CAC MALAGA HOSTS MARIO AYALA'S FIRST SOLO EXHIBITION IN A MUSEUM
The CAC Malaga hosts Milagro, the first solo exhibition in a museum of Mario Ayala (Los Angeles, USA, 1991), son of a Mexican-American mother and Cuban immigrant father, whose production reflects his personal experiences and artistic concerns of the world of garages, truck drivers and mechanics of Fontana.
The birth of a new collective is always good news, and it is so for several reasons. Firstly, because of the existence of collective dynamics that bring together different points of view and, second, because, in a didactic way, it contributes to illustrate and understand the current cartographies of art. For the Revolú collective, formed by Andrés Meléndez (San Juan, Puerto Rico, 1996), Miguel Ángel Feba (San Juan, Puerto Rico, 1994) and Marcos Daniel Vicéns (Bayamón, Puerto Rico, 1996), their first exhibition experience is the result of an artistic residency in which, almost blindly, they have been able to build those specific ties to start from the individual and reach the group identity.
GENESIS AND BORICUA RESONANCES IN REVOLÚ
The birth of a new collective is always good news, and it is so for several reasons. Firstly, because of the existence of collective dynamics that bring together different points of view and, second, because, in a didactic way, it contributes to illustrate and understand the current cartographies of art. For the Revolú collective, formed by Andrés Meléndez (San Juan, Puerto Rico, 1996), Miguel Ángel Feba (San Juan, Puerto Rico, 1994) and Marcos Daniel Vicéns (Bayamón, Puerto Rico, 1996), their first exhibition experience is the result of an artistic residency in which, almost blindly, they have been able to build those specific ties to start from the individual and reach the group identity.
