Notes related to Painting

The Sala Alcalá 31 of the Community of Madrid presents the exhibition "A bridge to stay" in which the artist Guillermo Mora dialogues with the architecture of the room and influences how this space is perceived and transited. A questioning of hierarchies and pre-established orders that leads to new ways of traveling, looking at and experiencing space and painting.

The Thyssen-Bornemisza National Museum (Madrid, Spain) contains the world view of the American people. Almost four centuries of American painting are on display in rooms 46 to 55 on the first floor of the museum. To name but a few names: Peale, Cole, Heade, Church, Hopper, Burchfield, Shahn, Rothko, de Kooning, Pollock, Estes... Probably the most complete collection of American art in Europe, and a must-see exhibition for anyone who wants to understand the history and thougt of the Western country.

On the occasion of the centenary anniversary of the 1922 Modern Art Week, a key event for the artistic avant-gardes in Brazil and which consolidated what would become known as modernism in the country, several exhibitions throughout the year (and also in 2021) revolved around, discussed, explained, replaced and 'cancelled' such an initiative. Considered a milestone in the cultural renewal of Brazilian art, the week was about to turn around in its already canonical grave.

Miami Dade College’s (MDC) Cuban Legacy Gallery, in collaboration with the American Museum of the Cuban Diaspora, presents Baruj Salinas: 1972–2022, a thematic survey of the acclaimed Miami-based Cuban American painter’s abstract work. Curated by Adriana Herrera, the show spans a half century of Salinas’ artistic career and features 40 works and includes paintings, works on paper, glazed ceramics, and an artist’s book. The works are borrowed from Miami collections, including that of the Cintas Foundation. The exhibition will be on view until August 14, 2022.

Pinacoteca de São Paulo presents Adriana Varejão: Sutures, Fissures, Ruins, a retrospective exhibition by Adriana Varejão (Rio de Janeiro, 1964). Curated by Jochen Volz, the museum’s general director, the show proposes a narrative that highlights the diversity and complexity of her production.

El Museo del Barrio presents Raphael Montañez Ortiz: A Contextual Retrospective, from April 14^th to September 11^th, 2022, the first large-scale exhibition dedicated to the artist, activist, educator and founder of El Museo del Barrio, since 1988. Curated by El Museo’s chief curator, Rodrigo Moura, and guest curator Julieta González, the exhibition spans several decades of his production, from the 1950s to the early 2020s, in different media such as film, painting, photography, video installations, documents, and assemblages. This is the largest exhibition-to-date dedicated to the artist.

LnS GALLERY announces the inclusion of The Face of Leviathan (2021) by William Osorio into the permanent collection of El Espacio 23. This work, which is inspired by the protests that erupted in Cuba throughout the summer while compositionally quoting Picasso's Guernica (1937), was acquired by the private collection and is set to debut early this year.

The project, curated by Imma Prieto, structures and defines the Collection from a line of research focused on the human body, understood as a reflection of socio-political situations in different contexts. In addition, it brings us closer to the construction of identity from the relationship between body, subject and image. The exhibition can be visited in Space C of the Museum until November 13, 2022.

Celebrating the occasion of her 90th birthday, the exhibition will be on display until February 13, 2022. The aim is to celebrate the life and work of Cuban-born, Miami-based artist Margarita Cano.

The EFG Latin America Art Award, in partnership with ArtNexus, announces José Caerols, from OMA Galeria, Santiago de Chile, as the nominated artist for its annual acquisition award. The list of selected artists is now finallyy complete, and the winner will be announced at Pinta Miami this week.

At a Sotheby’s auction, the Argentine businessman and collector acquired Diego y yo (1949) for $ 34.8 million. Thus, the oil painting became the most expensive work in the history of Frida Kahlo, in the history of Latin American art, Mexican art and by a woman artist from the region.

The exhibition is the reflection of a series of paintings by Paz Bardi under a theme that is, at the same time, method. Taking time as a place, as a tool, and as a subject, the exhibition and its curatorship (by felisa) display a type of creation that can be summarized as: 1. Complicity 2. Fantastic architecture 3. Filtering and editing 4. Mediation

Geneva-based gallery Espace Muraille presents Eamon Ore-Giron: Auto-Tune, the first-ever show of the Los Angeles-based artist in continental Europe. Curated by Valentina Locatelli and developed in close collaboration with the artist, the exhibition gathers eighteen paintings from his ongoing series Infinite Regress, conceived especially for the exhibition in Geneva, and two loom-woven tapestries created in collaboration with the Taller Mexicano de Gobelinos in Guadalajara, Mexico

Lydia Rubio was born in Havana, Cuba, with art in her bones. She comes from three generations of women painters, to be precise. "My grandmother painted every day, whenever she could," Lydia recalls. "She worked at an office but painted in the living room. The whole family lived together, so I used to see her painting there and was trained visually. My cousin, everybody was drawing and painting, but I was the only one that took it to another level of development and commitment."

Galería Zielinsky presents Yamandú Canosa's exhibition "Entre ramas” (Between Branches) as an epilogue — a coda — to "El árbol de los frutos diferentes", the project that the artist presented in 2011 at the Fundació Suñol in Barcelona. “Entre ramas” is Yamandú Canosa's first solo exhibition for the Zielinsky Gallery, in which the artist revisits works from different periods that interweave different formal preferences and thematic subjects.

Presented by Hutchinson Modern & Contemporary, the exhibition features a selection of the artist’s work from the 1960s to the present. Over the course of a seventy-year-long career, New York-based Argentinian-American artist Raquel Rabinovich (b. 1929, Buenos Aires) has been concerned with the paradox of making the invisible visible. Her interest in mythology, existence, poetry, nature, and transcendence is reflected in her monochromatic paintings and drawings, as well as in her sculptural practice that encompasses large-scale glass environments and site-specific stone installations along the shores of the Hudson River.

The exhibition comprises fourteen key works from major collections, including most of Larraz’ notorious themes.

Casa Triângulo exhibits Antonio Henrique Amaral: Pelo Avesso, Antonio Henrique Amaral's first exhibition at the gallery, curated by Pollyana Quintella and Raphael Fonseca. Multiple and polyphonic, Antonio Henrique Amaral (1935 - 2015) endeavored to create a body of work that would resist univocal meanings. His more than six decades of production have drawn a multifaceted path that has been the subject of recent revisions through essays and monographic exhibitions that place the artist beyond his iconic and emblematic Bananas, made between 1968 and 1975.

The first major exhibition on Cuban artist Mariano Rodríguez (1912–90) in the United States, this retrospective features over 140 oil paintings, watercolors, and drawings from leading museum and private collections, including the artist's estate, which has provided unprecedented access to rarely seen works and archives.

The Museum of Art of Lima - MALI presents this exhibition of the outstanding Peruvian artist curated by the historian and art critic Luis Eduardo Wuffarden. Based on the so-called mixed race paintings commissioned by Viceroy Manuel de Amat y Junyent and sent to the King of Spain Carlos III in 1770, Sandra Gamarra commissioned their reproduction to a copyists' workshop in China. On these she added quotes from different contemporary feminist thinkers. In response to the absence of original works in Peru, this series, made up of twenty paintings, has been donated by LiMac to the MALI collection of contemporary art.

Drawing from possibilities of artistic creation through affectations, the artists Marcelo Amorim and Nino Cais present a joint exhibition at FONTE, an independent art and residency space they founded in 2013. With curatorship by Ana Roman, "Poemas a Dois e Cartas Queimadas" (Poems by Two and Burnt Letters) investigates the male body and its relations of nearness and distance with violence and love.

José Luis Landet has been searching for the image of the Latin American landscape for years. And in El Atajo (The Shortcut), the exhibition that he presents in Marco, he finds some ways of approaching that idea. He builds ramps, connects vestiges, shreds colors, traces identikits, joins random images, creates an alphabet ... and ends up building a total idea of ​​our landscape, but above all of another subject that also haunts him: the painting. There is a large installation, a physical shortcut, and a set of 467 works that point to something that is clear in the subtitle: a displacement in the author.

The Galería del Paseo Lima presents Volvamos (Let’s Return), the solo show by Sylvia Fernández under the curatorship of Nicolás Gómez Echeverri.

Is a visual manifesto possible? How to show the possible dialogues between art and education? How many images are within each image? How many words are in each word? What's in between? With these questions, the Argentine artist Marina De Caro introduces us to her exhibition Tierra de las emociones perdidas (Land of Lost Emotions), at the Ruth Benzacar gallery in the city of Buenos Aires, which brings together her most recent production.

The group show runs until August 26 at the laNao space in La Condesa, Mexico City. Curated by Manuel Sentíes, COMERSE EL OJO (TO EAT ONE’S EYE) revolves around painting. The artists Anaís Vasconcelos, Luis Figueroa, Lucas Lugarinho and Enrique López Llamas participate.

“It is inevitable to mention the history of painting when we refer to the work of Fernando Uhía, since it seems in the first instance to allude to the theories of color, the purism of the medium and the ruptures of the mimetic representation that occurred during the emergence of the artistic avant-gardes in the first decades of the 20th century. However, Special Defects departs from such assumptions and invites the viewer to an aesthetic experience of color through a unique treatment of paint. The above, from a global language that is expressed through the construction of shapes and colors, which today are not only present in fine arts but also in design and advertising. " Luciana Rizo introduces in the curatorial text.

The exhibition PROHIBIDO (Forbidden) showcases selection of 13 paintings and an oversized travel journal completed from 1992 to 2014 by artist Lydia Rubio, who represents her environment in a naturalistic style reminiscent of the Hudson River School. For four decades, she has painted highly technical oils on panel, using the traditions of the old masters with a systematic conceptual approach; the traditional style transformed through her subversive allegorical and poetic play.

The artworks draw on visual, cultural, and mythological cues informed by feminism, decolonialism and the artist’s personal and familial histories, while simultaneously engaging with the biodiversity, geology, and dark skies of Far West Texas. The sky was particularly striking for Huanca–animated with cosmic and extraterrestrial forces while also revealing the natural rhythms of the sun and moon. ESPEJO QUEMADA is curated by Daisy Nam, Ballroom Marfa curator.

Exhibited at Galería Zielinsky, this solo exhibition will take place until September 10, 2021 in Barcelona. It gives an account of the recent production of the artist, who bases his research on envisioning a new perspective of the landscape: extracting the layers of the environment he inhabits and discovering the synergies that arise between fragments of everyday ruins with materials of great symbolic charge.

Set in Valle Sagrado de los Incas (Peru), the works are exhibited along with a made-for-the-occasion text written by Rafael Mayu Nolte. Taking its elements from banking, advertising and finance, the show aims to expose the ways in which a generation was manipulated and even suffocated by monetary schemes. Through metonimias and the deliberate invisibility of all identities but the white male, Cieza Hurtado speaks to the middle-class consciense of Lima.