An encounter of 12 independent spaces from the Nordic countries and Southeast Asia, accompanied by a public program curated by Tenthaus (Oslo), Bunga Siagian (Jakarta) and Jatiwangi art Factory (Majalengka).
Scenes within scenes. A theater entertained by the deliriousness of the boxes inside the frame
We’re living in very com plex times wi thin the universe of contemporary art, according to the signals coming from everywhere under the sun, either inside the country or outside. Never before there’s b
If archives were not to be delved into and were scorned as simply useless and lugubrious places, we’ll be taking the risk of letting boldface names like Max Jimenez Huete (1900-1947) fall into oblivion
When the past century came to a close , the Caribbean art was basking in the international limelight. The 1990s were fertile in the opening of regional exchanges and in terms of major world-class exhib
I remember that a few years ago information on Central America’s artistic scene was scarce and misleading. On nations like Nicaragua, it used to be far more disappointing. No wonder one of the exhibits
The fact that America is a young people is borne out, first of all, by the very history of the United States. The arch of sense that would fundamentally span from the 2000 to the 2008 presidential elec
The invisibility of Paraguay’s arts in the world scene is not under discussion; it’s a fact. A shroud of silence wraps the country’s cultural creation. Even in the South Cone, Paraguay is still draped
Jose Bedia has never bee n properly an artis t. He ’s never wanted to be. Either way, he’s always been trying to avoid it, to escape from art just like any hounded animal in peril would do. Just as muc
Thinking feels a kind of fruition very similar to that of loving when it touches the naked body of an idea. Ortega y Gasset
Our publishing group is giving its readers Art by Excelencias, a magazine envisaged to bear testimony to the creative processes within the framework of the fine arts and their main figures in the Ameri
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