PalaisPopulaire in Berlin presents Make a Travel Deep of Your Inside, and Don’t Forget Me to Take, the first institutional solo exhibition by Chinese-Singaporean artist Charmaine Poh (b. 1990), Deutsche Bank’s “Artist of the Year” 2025.
What does Doris Salcedo evoke when she orders to choose the floor of the Hall of Turbines with a 547-foot-long crack?
It’s becoming increasingly necessary to make an analysis of the research studies channeled by the Havana Biennial in an effort to move beyond the curatorial field that apparently zeroes in on the work of art.
Sometimes I’ve said on television that in the face of the music video’s drive into ethno-esthetic profiles and the social-cultural expressions of certain individuals and groups, we should take on the notion of the anthropological video.
Will Duchamp’s lesson never end? It always sneaks in through an unexpected place –a window, for example– when nobody expects it, just another twist on that virtually endless inspiration for art over the last hundred years.
Scenes within scenes. A theater entertained by the deliriousness of the boxes inside the frame
Claudio Antonio Gomes was born in Belo Horizontes, Brazil, in 1972 and has lived in Salvador de Bahia over the past thirteen years.
Antonio Martorell is a regular Havana visitor, a city where he admits to have found new confidences and drives for his life and artistic career.
Venturing into the brain-racking task of mapping out and defining the connections in the diversity of identities and cultures lodged in the Latin American and Caribbean region might seem to be a somewhat worthless, yet necessary effort based on th
One of those indispensable books is no doubt A History of Graphic Humor in Cuba, launched in 2007 as part of the History of Graphic Humor collection directed by the General Foundation of the Alcala de Henares University.
There’s no social layer, group or status racism is at odds with. You may fall victim of racism no matter how deep your pockets are, the place where you live or the position you hold down.
Earlier today I skimmed through my archives and I drew out not one but four files at the same time.
As I read on Visible and Invisible, I imagine the exceptional hand of Pedro de Oraa –the hand of a painter and author, making sure this appraisal doesn’t lean solely to one side– assisted by profound thinking and abundant reflexive power.
I ignore whether curating a book –organize it, be responsible for all its images and vignettes, for all texts both critical and informative– may hamper someone from writing a review about it.
