The Americas

Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.

Curator Carolina Ponce de León discusses Colombian art history, describing how Conceptual art of the late 70s in Colombia differed from similar practices in South America.

Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.

Art historian María Clara Bernal discusses the necessary work of negotiating context and difference in art history, and the importance of Conceptual art and Land art for the Colombian art scene of the 1980s onwards

Curator Christine Macel traces the connections between Brazilian artist Lygia Clark’s fascination with psychoanalysis and subsequent exploration of the body and mind in art.

Architect and artist Simón Hosie reflects on the changing dynamics of architecture in Colombia today, focusing on qualities such as context, the human element, and sustainability.

“In your practice, how do you approach the challenges that arise when presenting art from contexts that are not familiar to your audience?” With the dominance of the biennial model and the aggressive globalization of art institutions, such a question is as pertinent to a curator as it ever was.

Gego (1912–1994, Gertrud Goldschmidt), arguably the most influential Venezuelan artist of the twentieth century, was the critical counter-figure of Venezuelan Kineticism.

In this 5 Questions video, art historian Gina McDaniel Tarver, a specialist in modern and contemporary Colombian art, comments on the importance of local immersion to challenge categorical thinking.

Art historian Ana María Reyes discusses the importance of reception and institutional framing in understanding works of art and identifies key moments of Colombian art history.

Colorhythms, a group of works by Venezuelan artist Alejandro Otero made in the 1940s and 1950s, are vertical or horizontal rectangular paintings that unfold in countless serial compositional variations.

Twelve ink drawings by Hércules Barsotti explore a radical geometry and a systematic mode of working that, already in 1960, point to a new mode of working for the Brazilian artist.