Notes related to Pintura

NSU Art Museum at Miami presents three exhibitions: Rose B. Simpson and Vanessa German: IT INCLUDES EVERYONE, EVERYWHERE, ALWAYS; the first solo museum exhibition of artist Cici McMonigle Creatures for the divine; and Vicious Circles, the first exhibition in the United States dedicated to artist Jacqueline de Jong.

Fundación Casa de Mexico in Spain hosts the exhibition Modern Art of Mexico, with funds from the Blaisten Collection and curated by Daniel Garza Usabiaga, which takes an interesting look at the country's 20th century production through the eyes of Margarita Nelken (Madrid, Spain, 1894-Mexico City, Mexico, 1968).

Pérez Art Museum presents the exhibition José Parla: Homecoming. Featuring new works and a site-specific mural exhibition, it marks the artist’s return to painting and Miami.

Inspired by the murals of Carl Abrahams lining the departures lounge of Kingston Jamaica’s Norman Manley International Airport, Hurvin Anderson presents a new, sixteen-panel, monumental painting in his first solo show at Pérez Art Museum Miami.

Lisbon's MAAT hosts the exhibition Disco, a show with more than half a thousand works by Vivian Suter (Buenos Aires, Argentina, 1949) with which the institution pays tribute to the pictorial production of the Swiss-Argentine artist and her particular exploration of the interaction with nature and the different techniques and possibilities applicable to painting.

The Argentine artist Guillermo Kuitca was commissioned to create a site-specific work in the chapel of the Hôtel Salé, home of the Musée national Picasso-Paris. The final commission, whose canvas is the walls of the chapel, can now be visited.

Travesía Cuatro hosts at its Madrid headquarters Surf and Turf, the fifth exhibition that the gallery dedicates to Milena Múzquiz (Tijuana, Mexico, 1972), that gathers, with about thirty works, the continuity of the production that began after the aesthetic and technical change produced by the end of Los Súper Elegantes, a musical group that he shared with the Argentine Martiniano López Crozet, and which represented a platform that brought together his purest expression through voice and body, as well as with the aesthetic possibilities of costumes and image.

Germán Tagle (Santiago, Chile, 1976) returns to Madrid's Daniel Cuevas, where he held his first exhibition two years ago, with El territorio portátil, a show in which the Chilean artist returns to the axes of landscape, painting and culture that have been the backbone of his latest productions.

The double problem that arose from the acquisition in the 1980s of several hippopotamuses in one of the many eccentricities of the trafficker Pablo Escóbar is the starting point of a fable that, between the tragic and the comic, Camilo Restrepo (Medellín, Colombia, 1975) has managed to weave with a very successful graphic and conceptual narrative. With Cocaine Hippos Sweat Blood, the spectator faces this surrealistic story from its beginnings to the present by the hand of a figurativism that sets aside the academic and the technical for the sake of a greater aesthetic and relational concordance with that of the madness transmitted by the story itself.

Lucio Fontana made one of the most extraordinary and radical gestures of modern art in 1958 when he cut the surface of a monochromatic canvas with a razor blade. The exhibition “Il y a eu un futur- Un Futuro c'é stato” at the Musée Soulage, Rodez, revisits the legacy of this artist and offers a survey of his entire oeuvre, before and after the war, in Argentina and Italy.

The powerful painting of Starsky Brines (Caracas, Venezuela, 1977) has in his most recent production the consolidation of one of the most intense expressions of the Latin American panorama. Collected under the accurate epigraph of Paisajes imposibles (Impossible Landscapes), the exhibition invites the spectator to let himself be impacted and submerged in a world as unreal and dreamlike as it is sometimes grotesque. These adjectives, more typical of the symptomatology of the society that underlies each of the Venezuelan's pictorial interpretations, seem to originate in the different angles that converge in Brines' universe.

The exhibition Lia D Castro: Everywhere and Nowhere, at MASP – Museu de Arte de São Paulo Assis Chateaubriand is the artist’s first solo show in a museum, and brings together 36 works, most of which are figurative paintings. The selected works explore scenarios where affection, dialogue and imagination become important tools for social transformation.

The Museum of Contemporary Art of the Americas presented the exhibition Women Who I Could’ve Been, featuring the latest work of renowned artist Ana Albertina Delgado.

If the history of art is, to a certain extent, "the history of the complex infrastructure generated by the development of relations between artists and economic power" (López Zumelzu, 2020), when we are faced with works that subvert the canons established by tradition -and still belong to it- we may ask ourselves, how can we operate from within this framework to question the policies that constitute and decide what is made visible, and what is consequently made invisible?

Casa de America joins the program of Muestra t, cultural festival of Madrid Orgullo (MADO) 2024, with the exhibition Jungle, by Cuban artist Leslie Sardinias. It is curated by Aldones Nino.

Álbum de Casi Todos (Album of Almost Everyone) is the solo exhibition of Chilean artist Pablo Linsambarth at the Instituto Cultural Peruano Norteamericano (ICPNA). It is curated by Daniel H. Rey.

Standing before the expressive forcefulness of Mexican-American Robert Nava (East Chicago, USA, 1985) can be risky. At first glance, the primitivism in the technique used in his canvases is shocking in the conversion of the strength of the stroke and the basics of the gesture into a language that agglutinates a brute force. Perhaps for that reason, the usual tendency of those who face his work is to quickly pigeonhole it out of the academic, out of that refinement that is presupposed -although less and less- to those who fill the room of a museum, to let themselves be carried away by the urgency of expression in front of that pretended good taste.

The Museo Extremeño e Iberoamericano de Arte Contemporáneo (MEIAC) in Badajoz is exhibiting, under the title Paisaje Transferido, a wide-ranging show by MartÍn Lopez Lam (Lima, Peru, 1981), one of the main exponents of graphic art in Spain, where he has been living for the last two decades.

The exhibition From the Margins. Gumier Maier in the 80s, at the Museo de Bellas Artes, brings together nearly 90 paintings, drawings, illustrations, photographs, publications and documents from the early years of Jorge Gumier Maier's career (1953-2021). It is curated by Natalia Pineau.

MIAMI

Marquez Art Projects presents Cusp, a new body of work by José Delgado Zuñiga. In dynamic paintings and drawings that explode with surreal, humorous and intensely personal images, Zuñiga reflects the complexities of Chicano experiences, with a focus on the formation of identity and freedom.

MIAMI

The Bass presents Hernan Bas: The Conceptualists, an exhibition on-view beginning December 4, 2023 that explores conceptual art as a permissive realm for creative behavior and an inviting space for queerness.

MIAMI

ICA Miami presents the first solo museum presentation for New York–based artist Sasha Gordon, Surrogate Self. The surreal paintings and drawings that Gordon creates explore the complexities of bodily experience in gorgeous and hyper-realistic detail.

MIAMI

Laundromat Art Space presented Worlds Behind You, the debut solo exhibition by Miami-based artist Melissa Wallen. Curated by Ray-Anthony Eddie, the presentation comprises several new and recent works from the artist’s ongoing series of dream-like “portal” paintings.

The Museo de Arte Moderno de México (MAM) presents the exhibition Oswaldo Vigas: Looking Inward, which explores, 100 years after the birth of the visual artist, fundamental works of his prolific career, as well as his intellectual interests. The work of Oswaldo Vigas will dialogue with other Venezuelan, Latin American and European creators of the time.

The experience proposed by Martina Servio Olavide is composed of two parts, one that invokes dying and the other, as an organic counterpoint, living. The first, "dying", is represented by a non-naturalistic play, while the second, "living", manifests itself as an exhibition in an art gallery. Through these two dimensions, the artist challenges the viewer to question their understanding of self and others, and to explore a wide range of interpretations.

From September 13 to November 15, 2023, Venezuelan artist Pedro Medina inaugurated his first solo show in Spain, with Cerquone Gallery, at its headquarters in Madrid. Entitled Gran Turismo: Simulaciones Simultáneas (Big Tourism: Simultaneous Simulations), the exhibition is conceived as an exhibition of recent work on a process of observation of speed and resistance in painting.

MIAMI

Aglaé Bassens: Emptiful is the debut solo museum presentation for the Brooklyn-based painter at Institute of Contemporary Art Miami.

Artist Daniel Santoro proposes an immersive experience at the Museo de Bellas Artes in Argentina with an unpublished 30-meter-long work, plus a series of ink works and a charcoal drawing on one of the walls of the second-floor hall.

EFG Latin America Art Award, in collaboration with ArtNexus, presented arteba 2023's nominated artist. Iosu Aramburu is one of the finalists for the annual acquisition award, which will be announced at Pinta Miami during Miami Art Week.

Tender Loving Care: Contemporary Art from the Collection at the Museum of fine Arts in Boston invites visitors to explore how contemporary artists trace and address concepts of care through their materials, subjects, ideas, and processes.