THE URGENT BESTIARY OF ROBERT NAVA

For some time now, the Inéditos program carried out by La Casa Encendida -an institution of the Montemadrid Foundation- has become a more or less reliable thermometer of the emerging curatorial scene that has Spain as its epicenter. As a result of that consolidation, within that faithful reflection, the Spanish social and artistic structure itself plays a very prominent role.

Included within the activities of the program Transcultura. Integrating Cuba, the Caribbean and the European Union through Culture and Creativity, an initiative coordinated by the European Union and implemented by UNESCO in Havana, fifteen young Caribbean photographers between the ages of 18 and 35 will participate in PHotoESPAÑA 2024 with the presentation of their recent work, in addition to being able to interact professionally with cultural agents and the sector.

Patricio Reig (San Juan, Argentina, 1952) exhibits at the Centre Cultural La Mercè in Girona Anatomía de la mirada, a proposal that deals with the dissection of the act of looking and its individual and subjective approach.

El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.

Delcy Morelos (Tierralta, Colombia, 1967) lands at the Centro Andaluz de Arte Contemporáneo (CAAC) in Seville with Profundis, an exhibition that gathers the spectacular intervention she has made ex profeso in the monumental areas of the Sevillian institution and that focuses on revitalizing the ancestral link of man with the earth, as well as capturing, through botany, the symbolism of the relations between Europe and America.

The Green Havana project is a captured sample of a time and an attitude, the same one that transits between evasion and hedonism and the social reality of the Cuban capital, a unique and referential site of that almost isolated Cuba and of a popular culture grown in the shadow of political influences.

Pedro Cabrita Reis (Lisbon, Portugal, 1956) celebrates his half century of artistic production in ATELIER, a complex and complete exhibition that covers what is, perhaps, one of the most relevant proposals of the last decades that has emerged from the Portuguese plastic arts. More than 1,500 works from his personal collection fill eight pavilions of Mitra, a space donated by the Santa Casa da Misericórdia de Lisboa, located in Marvila, the same town where the artist lives and works.

For some time now, the Inéditos program carried out by La Casa Encendida -an institution of the Montemadrid Foundation- has become a more or less reliable thermometer of the emerging curatorial scene that has Spain as its epicenter. As a result of that consolidation, within that faithful reflection, the Spanish social and artistic structure itself plays a very prominent role.

Included within the activities of the program Transcultura. Integrating Cuba, the Caribbean and the European Union through Culture and Creativity, an initiative coordinated by the European Union and implemented by UNESCO in Havana, fifteen young Caribbean photographers between the ages of 18 and 35 will participate in PHotoESPAÑA 2024 with the presentation of their recent work, in addition to being able to interact professionally with cultural agents and the sector.

Patricio Reig (San Juan, Argentina, 1952) exhibits at the Centre Cultural La Mercè in Girona Anatomía de la mirada, a proposal that deals with the dissection of the act of looking and its individual and subjective approach.

El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.

Delcy Morelos (Tierralta, Colombia, 1967) lands at the Centro Andaluz de Arte Contemporáneo (CAAC) in Seville with Profundis, an exhibition that gathers the spectacular intervention she has made ex profeso in the monumental areas of the Sevillian institution and that focuses on revitalizing the ancestral link of man with the earth, as well as capturing, through botany, the symbolism of the relations between Europe and America.

The Green Havana project is a captured sample of a time and an attitude, the same one that transits between evasion and hedonism and the social reality of the Cuban capital, a unique and referential site of that almost isolated Cuba and of a popular culture grown in the shadow of political influences.

Pedro Cabrita Reis (Lisbon, Portugal, 1956) celebrates his half century of artistic production in ATELIER, a complex and complete exhibition that covers what is, perhaps, one of the most relevant proposals of the last decades that has emerged from the Portuguese plastic arts. More than 1,500 works from his personal collection fill eight pavilions of Mitra, a space donated by the Santa Casa da Misericórdia de Lisboa, located in Marvila, the same town where the artist lives and works.

Included within the activities of the program Transcultura. Integrating Cuba, the Caribbean and the European Union through Culture and Creativity, an initiative coordinated by the European Union and implemented by UNESCO in Havana, fifteen young Caribbean photographers between the ages of 18 and 35 will participate in PHotoESPAÑA 2024 with the presentation of their recent work, in addition to being able to interact professionally with cultural agents and the sector.

Patricio Reig (San Juan, Argentina, 1952) exhibits at the Centre Cultural La Mercè in Girona Anatomía de la mirada, a proposal that deals with the dissection of the act of looking and its individual and subjective approach.

El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.

Delcy Morelos (Tierralta, Colombia, 1967) lands at the Centro Andaluz de Arte Contemporáneo (CAAC) in Seville with Profundis, an exhibition that gathers the spectacular intervention she has made ex profeso in the monumental areas of the Sevillian institution and that focuses on revitalizing the ancestral link of man with the earth, as well as capturing, through botany, the symbolism of the relations between Europe and America.

The Green Havana project is a captured sample of a time and an attitude, the same one that transits between evasion and hedonism and the social reality of the Cuban capital, a unique and referential site of that almost isolated Cuba and of a popular culture grown in the shadow of political influences.

Pedro Cabrita Reis (Lisbon, Portugal, 1956) celebrates his half century of artistic production in ATELIER, a complex and complete exhibition that covers what is, perhaps, one of the most relevant proposals of the last decades that has emerged from the Portuguese plastic arts. More than 1,500 works from his personal collection fill eight pavilions of Mitra, a space donated by the Santa Casa da Misericórdia de Lisboa, located in Marvila, the same town where the artist lives and works.

For some time now, the Inéditos program carried out by La Casa Encendida -an institution of the Montemadrid Foundation- has become a more or less reliable thermometer of the emerging curatorial scene that has Spain as its epicenter. As a result of that consolidation, within that faithful reflection, the Spanish social and artistic structure itself plays a very prominent role.

Included within the activities of the program Transcultura. Integrating Cuba, the Caribbean and the European Union through Culture and Creativity, an initiative coordinated by the European Union and implemented by UNESCO in Havana, fifteen young Caribbean photographers between the ages of 18 and 35 will participate in PHotoESPAÑA 2024 with the presentation of their recent work, in addition to being able to interact professionally with cultural agents and the sector.

Patricio Reig (San Juan, Argentina, 1952) exhibits at the Centre Cultural La Mercè in Girona Anatomía de la mirada, a proposal that deals with the dissection of the act of looking and its individual and subjective approach.

El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.

Delcy Morelos (Tierralta, Colombia, 1967) lands at the Centro Andaluz de Arte Contemporáneo (CAAC) in Seville with Profundis, an exhibition that gathers the spectacular intervention she has made ex profeso in the monumental areas of the Sevillian institution and that focuses on revitalizing the ancestral link of man with the earth, as well as capturing, through botany, the symbolism of the relations between Europe and America.

The Green Havana project is a captured sample of a time and an attitude, the same one that transits between evasion and hedonism and the social reality of the Cuban capital, a unique and referential site of that almost isolated Cuba and of a popular culture grown in the shadow of political influences.

Pedro Cabrita Reis (Lisbon, Portugal, 1956) celebrates his half century of artistic production in ATELIER, a complex and complete exhibition that covers what is, perhaps, one of the most relevant proposals of the last decades that has emerged from the Portuguese plastic arts. More than 1,500 works from his personal collection fill eight pavilions of Mitra, a space donated by the Santa Casa da Misericórdia de Lisboa, located in Marvila, the same town where the artist lives and works.

For some time now, the Inéditos program carried out by La Casa Encendida -an institution of the Montemadrid Foundation- has become a more or less reliable thermometer of the emerging curatorial scene that has Spain as its epicenter. As a result of that consolidation, within that faithful reflection, the Spanish social and artistic structure itself plays a very prominent role.

Included within the activities of the program Transcultura. Integrating Cuba, the Caribbean and the European Union through Culture and Creativity, an initiative coordinated by the European Union and implemented by UNESCO in Havana, fifteen young Caribbean photographers between the ages of 18 and 35 will participate in PHotoESPAÑA 2024 with the presentation of their recent work, in addition to being able to interact professionally with cultural agents and the sector.

Patricio Reig (San Juan, Argentina, 1952) exhibits at the Centre Cultural La Mercè in Girona Anatomía de la mirada, a proposal that deals with the dissection of the act of looking and its individual and subjective approach.

El Museo del Barrio presented the exhibition Amalia Mesa-Bains: Archaeology of Memory, the first retrospective exhibition by the pioneering artist, curator, and theorist. Born in 1943 to a Mexican immigrant family, Mesa-Bains has been a leading figure in Chicanx art for nearly half a century.

It could have been an ordinary retrospective, but the decision to participate in some way in the creative process is a differential and even declarative point in Tembló acá un delirio, the exhibition that Museo CA2M in Móstoles delves into the figure, and at first hand, of Ana Gallardo (Rosario, Argentina, 1958).

Tania Pardo (Madrid, Spain, 1976) is the new Director of the Museo Centro de Arte Dos de Mayo (CA2M Museum), the museum of contemporary art of the Community of Madrid. Pardo's career until her recent appointment has been built on a detailed work of promotion and visibility of emerging art through the curatorial actions she has developed in numerous Spanish institutions.

Delcy Morelos (Tierralta, Colombia, 1967) lands at the Centro Andaluz de Arte Contemporáneo (CAAC) in Seville with Profundis, an exhibition that gathers the spectacular intervention she has made ex profeso in the monumental areas of the Sevillian institution and that focuses on revitalizing the ancestral link of man with the earth, as well as capturing, through botany, the symbolism of the relations between Europe and America.

The Green Havana project is a captured sample of a time and an attitude, the same one that transits between evasion and hedonism and the social reality of the Cuban capital, a unique and referential site of that almost isolated Cuba and of a popular culture grown in the shadow of political influences.

Pedro Cabrita Reis (Lisbon, Portugal, 1956) celebrates his half century of artistic production in ATELIER, a complex and complete exhibition that covers what is, perhaps, one of the most relevant proposals of the last decades that has emerged from the Portuguese plastic arts. More than 1,500 works from his personal collection fill eight pavilions of Mitra, a space donated by the Santa Casa da Misericórdia de Lisboa, located in Marvila, the same town where the artist lives and works.