INTERVALO, the solo show by Alexandre Estrela, is the second part of a trilogy that began with the exhibition at Culturgest and will conclude at MACE, in Elvas, in 2026. This exhibition, curated by Marta Mestre, will be open at the CIAGJ, in Guimarães, Portugal until September 21, 2025.
“Talking with Mariela Scafati is a rare opportunity to dive deeply into intersecting concerns—artistic, political, affective—thanks to her trajectory and her unwavering commitment to the urgencies of the present. Not through frontal activism, but through choreographed actions that traverse the uncertainty of beginning-middle-beginning, she invites us to embrace the vulnerability that shapes us and to radicalize everything.” Read the interview in Terremoto.
Clear, Lucid, and Awake – Spanish Artists from the TBA21 Collection, Exhibition at Art Sonje Center, Seoul is the group show that marks the 75th anniversary of diplomatic relations between Spain and South Korea. Curated by Chus Martínez and co-produced by TBA21 Thyssen-Bornemisza Art Contemporary and Art Sonje Center, where the exhibition will be on view from May 9, until July 20, 2025 . The show includes works by Teresa Solar Abboud, Asunción Molinos Gordo, Claudia Pagès Rabal.
The peasant, The Scholar, The Engineer is a retrospective exhibition of the artist and cultural researcher Asunción Molinos Gordo, curated by Nora Razian, at the Jameel Arts Centre in Dubai. The exhibition will be on view until September 21st, 2025.
Solar Watch (2006), by Alexandre Estrela, will be part of the group exhibition Archaic Futures, curated by Andrea Torreblanca, at Museo Tamayo, CDMX, Mexico. The exhibition will be on view from April 24 to August 31, 2025.
Teresa Solar Abboud will be part of the group exhibition Over Land and Sea curated by Anna Nowak, which tells the migratory history of humanity, its present and its future, at the Kunsthaus Hamburg, in Germany. The exhibition will be on view from April 6 to July 7, 2025.
Milena Muzquiz is currently featured in the group exhibition The Vessel Revisited: Fundamental Forms in Contemporary Ceramics at the Anne Noland Edwards Gallery at Torggler Fine Arts Center, Newport, Virginia, USA. The show is open to visitors until August 8th, 2025.
Bird Dream Machine is the third chapter of Teresa Solar Abboud’s retrospective. This exhibition is now on view at Fondazione Sandretto Re Rebaudengo, in Torino, Italy, and will be on view until October 12, 2025.
continents like seeds gathers the practices of La Chola Poblete, Niño de Elche and Pedro G. Romero at CARA Center for Art, Research and Alliances, New York. The group exhibition was curated by Manuela Moscoso and Marian Chudnovsk, and will be on view until May 18th, 2025.
Éramos felices y no lo sabíamos is the group show that includes works by Jorge Méndez Blake and Gonzalo Lebrija at Casa de México, in Madrid, Spain. The exhibition is part of the Jumex Collection, curated by Ixel Rion Lora, and can be visited until June 8, 2025.
Alexandre Estrela’s work Lazy Susan (Bookshelf Version), 2016, takes part of the group exhibition UMA DERIVA ATLANTICA AS ARTES DO SÉCULO XX , curated by Nuria Enguita, Marta Mestre and Mariana Pinto dos Santos, at Fundação Centro Cultural de Belém, in Lisbon, Portugal.
“When Mariela Scafati tackles a piece, exploration becomes the driving force behind her creative process. The first step consists of asking herself questions to push the boundaries of painting and take her outside of her comfort zone, something she also seeks to achieve with the public”. Keep reading in Iberia: talento a bordo.
Within the framework of ARCOmadrid 2025, VEINS (2024) by Álvaro Urbano was awarded as the winning work of the VIII Catalina D’Anglade Art Prize in the presence of Maribel López, director of the fair. In the words of the artist, the winning work reflects “the representation of a discreet place, a place of passage or waiting. On the street you wouldn’t stop to look at it, but for me it reflects the poetics of the moment”.
The City of Los Angeles Department of Cultural Affairs’ (DCA) will present Step & Repeat, a group exhibition curated by Nancy Meyer and John Weston. The show, that includes works by Milena Muzquiz, will be on view from March 6th at Los Angeles Municipal Art Gallery (LAMAG), USA.
Tania Pérez Córdova (1979, Mexico) lives and works in Mexico City. Her sculptural practice relates to the temporality and lifespan of objects. Conceiving her works as “situations,” Pérez Córdova creates sculptures and installations that consider the contextual relationships of everyday objects. She works with a wide range of materials, incorporating found objects and performance through networks of intimate, interpersonal exchanges.
Shifting Landscapes is the group exhibition that includes Donna Huanca’s GUERRERA PROTECTORA (pacha), which is now part of the collection of the Whitney Museum of American Art, in New York, where the show can be visited until January 2026.
Opening Somerset House at 25, London, Somerset House presents SOIL: The World at Our Feet, a landmark exhibition unearthing the wonder of soil, its unbreakable bond to all life, and the vital role it plays in our planet’s future. The group show includes artworks by Asunción Molinos Gordo, and will be on view from January 23rd, until April 13th, 2025.
Ficciones. Narratividad en el arte contemporáneo is the exhibition curated by Ferran Barenblit at MAZ, Museo de Arte de Zapopan, in Jalisco, Mexico. The exhibition will be open from November 29, 2024 to April 20, 2025. 2025. This show includes works by Jorge Méndez Blake and Teresa Solar Abboud.
The first episode of MEET POINT is dedicated to TRAVESÍA CUATRO gallery and features its directors Silvia Ortiz and Inés López-Quesada, who talk to us about the essence of being a gallery owner, their beginnings, their relationship with artists, their interest in creating bridges between Southern Europe and Latin America and the foundation of the space's three venues, the first one in Madrid and the other two located in Mexico, specifically in Guadalajara and Mexico City.
“[Álvaro] Urbano’s intervention raises a question that many of these messy works also begin to approach: Why don’t we spend more time turning our collective trash, excess, errors, and ruin into beauty?”. Read the full article at CULTURED.