Latin American Art
Recovering global feminism.
The nth volume of interviews by curator Hans Ulrich Obrist gathers fourteen conversations with surviving luminaries of an era of Mexican culture that in hindsight is nothing short of magnificent, despite its under-recognized or somewhat forgotten status abroad.
Mold-making and photography have an ambiguous relationship to whatever they reproduce. They can deliver the most faithful rendition of a given model, but it is precisely this similarity that makes them extraordinary, unreal.
To write about Naufus Ramírez-Figueroa is a difficult task.
Visionary artist and poet Gyula Kosice on how he has tried to reconcile “the language of the diction” and “the language of form, volume, and the kinetic.”
When I meet Oscar Murillo for the first time, it is in Central London. Murillo lives and works in East London.
One of Mexico’s most important conceptual artists, Ulises Carrión, is also one of the most overlooked. BOMB Senior Editor Mónica de la Torre is moved to child-speak over poems that might seem gibberish, but are instead Cage-like koans.
Ursula Davila-Villa discusses the minimalist work of Jac Lernier as well as the publication of her conversations with Adele Nelson.
A review of Carlos Cruz-Diez in Conversation with Ariel Jiménez, a book that chronicles an encounter between Venezuelan critic Ariel Jiménez and his countryman artist Carlos Cruz-Diez.
Take 16 minutes to learn something about Bolivian history. Or maybe not. Claudia Joskowicz’s two new video works, shown at Thierry Goldberg Projects, depict historical moments dramatically poised on the brink of a violent eruption.
This First Proof contains a portfolio of three sketchbook pages of José Antonio Suárez Londoño.
It is 1998 and The Exorcist is being screened in Caracas. The theater is, in fact, a moving bus; the audience members are young and middle-aged white-collar professionals.
Esperanza Mayobre creates passwords. These are not acts of secrecy or exclusivity. They propose an entry into a body of work that defuses deceptive cultural hierarchies
The intention of the Popular Prints created by Colombian artist Alvaro Barrios is to reach—through an artistic act—the largest number of people possible.
Erasmus of Rotterdam claimed there were three types of people: those who lived in a dream world, those who lived in reality, and those who were able to turn one world into the other. The Venezuelan artist Javier Téllez belongs in this third category.
Erasmo de Rotterdam decía que existían tres tipos de personas: aquellas que vivían en el sueño, aquellas que vivían en la realidad, y el tercer tipo que convertía uno en lo otro.
Andrew Moszynski on why optimism is at the heart of the socioeconomic statements Fernanda Laguna makes with her paintings, drawings, poems and plays.