Inspiration

Infórmanos si has visto algún error en este contenido o eres este artista y quieres actualizarla. ARTEINFORMADO te agradece tu aportación a la comunidad del arte. Premios de Escultura a los que puedes presentarte en España · Cursos de Escultura a los que puedes asistir en España · Exposiciones cercanas a este evento · Ver todas las exposiciones propuestas en Vitoria-Gasteiz ·

The Vessel, a prominent 150-foot-tall structure in New York City’s Hudson Yards, plans to reopen later this year with enhanced safety features like floor-to-ceiling steel mesh after closing due to multiple suicides. Originally designed by Thomas Heatherwick and costing $260 million, the sculpture faced significant criticism and was labeled a “staircase to nowhere,” with previous safety measures like entrance fees and visitor restrictions proving ineffective at preventing people from jumping. The developers, Related Companies, hope to preserve the Vessel’s appeal while addressing safety concerns raised by past tragedies and community feedback. Amid protests urging a ban on Israel’s participation in the Venice Biennale over its actions in Gaza, the Israeli pavilion has been closed by choice of its artist Ruth Patir, signaling a stand for peace contingent on a ceasefire and hostage release. “The artist and curators of the Israeli pavilion will open the exhibition when a cease-fire and hostage release agreement is reached,” reads a sign the Israeli team taped to the pavilion’s door. Visitors can still view one of Patir’s video pieces reflecting her sadness over the conflict through the

"Ángel Garraza (Allo, Navarra, 1950) advierte en el proceso de creación un paralelismo con la vida. Una dualidad entre las circunstancias imprevisibles y la observación cuidadosa que permite la toma de decisiones. La complementariedad de elementos contrapuestos que comprenden la realidad es representada en sus obras mediante los colores, los volúmenes, las texturas o los materiales. La racionalidad y un dominio absoluto de la técnica son expresadas en un universo enigmático, profundo, bucólico. Un proceso introspectivo que induce al artista a bucear en sus recuerdos para buscar respuestas a cuestiones comunes que nos afectan como individuos. Sentimientos, sensaciones, situaciones, sugeridas desde la expresión poética. Pasado y presente convergen en las intemporales piezas de Garraza, dominadas por la liviandad de la memoria.” Silvia Gas Barrachina Infórmanos si has visto algún error en este contenido o eres este artista y quieres actualizarla. O si lo prefieres, también puedes ponerte en contacto con su autor. ARTEINFORMADO te agradece tu aportación a la comunidad del arte. Premios de Pintura a los que puedes presentarte en España · Premios de Fotografía a los que puedes presentart

Infórmanos si has visto algún error en este contenido o eres este artista y quieres actualizarla. O si lo prefieres, también puedes ponerte en contacto con su autor. ARTEINFORMADO te agradece tu aportación a la comunidad del arte. Premios de Fotografía a los que puedes presentarte en España · Exposiciones cercanas a este evento · Ver todas las exposiciones propuestas en Santiago de Compostela ·

A través de esta exposición, que se presenta por primera vez, reivindicamos el primer libro gráfico abiertamente feminista en la época de la Transición. La vigencia en sus denuncias y reflexiones hace que hoy sea necesario que vuelva a ver la luz este proyecto pionero. La exposición pone de manifiesto el valor del libro, y reivindica la figura de dos mujeres intelectuales y valientes que lucharon en una época convulsa para dignificar el hecho de ser mujer y hablar de feminismo, de manera clara y directa. Infórmanos si has visto algún error en este contenido o eres este artista y quieres actualizarla. ARTEINFORMADO te agradece tu aportación a la comunidad del arte. Exposiciones de Fotografía recien inauguradas en Madrid · Premios de Fotografía a los que puedes presentarte en España · Exposiciones cercanas a este evento · Ver todas las exposiciones propuestas en Madrid · [...]

   El fotógrafo y artista visual judío venezolano Vasco Szinetar ha presentado, por primera vez en España, su exposición 'Cuerpo de exilio', un conjunto de instantáneas que muestran el exilio y los "viajes a ninguna parte" que el artista se ha visto forzado a emprender sin olvidar nunca sus raíces. "La diáspora sustrae recuerdos", asegura en una entrevista a Europa Press.    La exposición podrá visitarse desde el próximo 22 de abril hasta el 31 de agosto en el Centro Sefarad-Israel (Madrid) y se enmarca en PhotoEspaña 2024. Está compuesta por más de un centenar de imágenes -- acompañadas de textos del propio artista y de los especialistas en su obra-- que proponen un recorrido por las nociones de exilio, cuerpo y diáspora, y sus relaciones con el hogar, la familia y los espacios de transición.    Así, Szinetar recuerda que su padre fue un "judío comunista" de Transilvania (Rumanía), que emigró a Venezuela en los años 30 y se casó con su madre, "una niña de bien del campo", venezolana e hija de "uno de los caudillos más importantes que ha tenido el país", por lo que el fotógrafo asegura estar "muy vinculado al acontecer histórico".    Como ha explicado el comisario Juan [...]

   "Siempre se habla mucho de la duración, para mí es algo anecdótico. Simplemente es una ópera, un drama, que necesita todo este tiempo para ser contada. Wagner vuelve a sus raíces de la música, de la tradición alemana. Habla de la importancia del arte, de la música en la sociedad, de la cultura, desde un aspecto muy básico", ha descrito el director en la presentación de la ópera este miércoles 17 de abril.     Mientras el director artístico del Teatro Real, Joan Matabosch, ha asegurado que es un proyecto "casi de lo más ambicioso" a lo que se puede aspirar a hacer en un teatro de ópera", el director de escena, Laurent Pelly, lo ha calificado como "monstruo amable" que trata del amor por el arte, algo que, considera, está "extremadamente lejos" de lo que es la sociedad hoy en día.    "Cómo contar esta historia en el mundo de hoy, cómo contamos la historia de un mundo que está completamente anticuado, que pertenece a otra época. Hablamos de estos maestros, cantores, que siguen con mucho rigor todo su amor por el arte, pero eso está extremadamente lejos de lo que representa la sociedad hoy en día", ha asegurado Pelly.    Junto [...]

   También se dirigen a apoyar proyectos ejemplo de buenas prácticas que planteen fórmulas que contribuyan a paliar las consecuencias del cambio climático sobre estos bienes; que fomenten la función social del patrimonio cultural; que promuevan la igualdad de género en la gestión de bienes Patrimonio Mundial; y que ayuden a compensar los efectos de la despoblación en España en este ámbito.

Discover artists, learn about new works, and stay connected to the art world with our free newsletters. Register your free account and subscribe to one or more! To see all of our free newsletters, click here. From April 11 to 14, the 11th edition of Expo Chicago, the midwest’s largest art fair (recently acquired by the London conglomerate Frieze), presented 170 galleries from 29 countries and 75 cities at Navy Pier. Two other art fairs took place simultaneously: the artist-driven Other Art Fair and the Barely Fair, run by Chicago collective Julius Caesar, featuring 20-by-20-inch miniature booths.  At the booth for New York’s LatchKey Gallery, Luis A. Sahagun stood near his portraits of his family members. Crafted from particle board, broken frames, beads, seeds, rope, drywall, and found materials, the works resemble Byzantine altar panels depicting saints. The faces, sketched in graphite, appear out of place in the ornamented panels, suggesting the ill-fitting forms of history imposed on non-European populations. Sahagun, originally from Guadalajara, Mexico, earned his MFA at Northern Illinois University. He said he seeks to reframe the way undocumented individuals are viewed. He n

Discover artists, learn about new works, and stay connected to the art world with our free newsletters. Register your free account and subscribe to one or more! To see all of our free newsletters, click here. TULSA, Okla. — I was surprised to see rivers when I looked out the plane window as we descended into Tulsa, a place I imagined as dusty and dry based on my recollections of Dust Bowl history. But outside, the land was green, and the sky bright and sunny — a far cry from the heavy rain that had canceled my initial flight from LaGuardia. As the plane wheels met the tarmac, I noticed that the city and surrounding landscape were sheathed in low-hanging smoke coming from somewhere beyond the horizon. A quick Google search revealed that the Northwest portion of the state was engulfed in flames from wildfires. I was in the city for Sovereign Futures, an arts and culture symposium that aimed to tell a more accurate history of Tulsa through the lens of Afro-Indigenous sovereignty. New York-based curator Allison Glenn organized the four-day program held from April 4 through 7 with a team of advisors consisting of Houston-based artist Rick Lowe [...]

Discover artists, learn about new works, and stay connected to the art world with our free newsletters. Register your free account and subscribe to one or more! To see all of our free newsletters, click here. Last week, the Salvador Dalí Museum in St. Petersburg, Florida, debuted a new experience called “Ask Dalí” that allows visitors to communicate with an AI-powered model of the late artist through a lobster telephone. I had the chance to try it out remotely, and though I missed the whimsy of conducting the conversation through a crustacean-shaped landline, I did learn a lot about how a project like this functions. Before my Q&A with “Dalí,” I spoke with Martin Pagh Ludvigsen, the creative and AI director, who gave me the basic ins and outs of the machine learning technology the experience is built on. Ask Dalí was created in partnership with the San Francisco advertising agency Goodby Silverstein and Partners, which has collaborated with the museum on other AI-powered projects in the past, and the answers it produces are derived from the artist’s own texts and personal documents — many of which were provided by the institution. The audio response component that emulates his voca

Discover artists, learn about new works, and stay connected to the art world with our free newsletters. Register your free account and subscribe to one or more! To see all of our free newsletters, click here. VALLADOLID, Spain — The story of Spanish art in the 20th century has long been dominated by male artists working in abstraction. But a new wave of museum exhibitions in the country is shedding light on previously overlooked artists and modes, as is the case with Delhy Tejero. Geometría y misterio (Delhy Tejero. Geometry and Mystery) at the Museo Patio Herreriano de Arte Contemporáneo Español. The extensive exhibition features more than 180 paintings, drawings, and other works from throughout the late Delhy Tejero’s career, speaking to her innovative approach to figuration. In addition, curator Patricia Molins presents preparatory sketches, archival materials, and examples of Tejero’s commercial work as a muralist and illustrator alongside her so-called fine art, giving visitors a wide and nuanced survey of her uniquely varied practice. Taken together, Tejero’s work embodies an alternative view of Spanish social and cultural life over the last century, one that privileges rural

A Leonora Carrington painting that Sotheby’s touts as her “most significant” will come to the auction block next month. It is guaranteed to sell, according to the house, and bears an estimate between $12 and $18 million, meaning it will smash her previous auction high. Les Distractions de Dagobert will be offered at the house’s marquee Modern art auction on May 15. By far the most valuable Carrington work ever offered at auction, it promises quite the return for the seller, who picked it up for $475,500 against a $250,000 high estimate when it last came to market, at Sotheby’s New York in November 1995.  “Les Distractions de Dagobert is the definitive masterpiece of Leonora Carrington’s long and storied career, bearing all the hallmarks of the artist at her absolute height,” said Julian Dawes, head of Impressionist and Modern art in New York. “The painting pioneers the visionary style that we associate with Surrealism today, while equally evocative of Hieronymus Bosch’s anarchic tableaus, bridging artistic boundaries to achieve an entirely new language.” “This is in the top five works she’s ever made,” said San Francisco gallerist Wendi Norris, an expert who deals in the artist’s w

Christie’s will sell the collection of Lear and his wife Lyn Davis Lear across its marquee New York 20th-century art sale on May 16 as well as its Postwar and Contemporary day sale and other auctions. The collection is estimated to bring in excess of $50 million.  “Norman’s collection of art brilliantly reflects his vivacious and honest nature,” she added. The lion’s share of the presale estimate is made up by one work, David Hockney’s A Lawn Being Sprinked (1967), estimated at up to $35 million. The highly stylized work shows triangles of water spraying from a bright green lawn, with a nondescript structure and a fence standing in the distance before a clear blue sky. The artist’s record high was achieved at Christie’s New York in 2018, when his 1972 canvas Portrait of an Artist (Pool with Two Figures) fetched $90.3 million against a $70 to $100 million estimate to become the most expensive work by a living artist. The other priciest lots in the sale similarly come from market and art historical fixtures. Ed Ruscha’s Truth (1973), bearing a high estimate of $10 million, shows the titular word in orange and yellow against a blank, abstract background. “The [...]

Her exhibition for the Canada Pavilion at the Venice Biennale lets raw material speak for itself in a subtle yet powerful comment on global commerce. Called “Trinket,” the artist explores a seemingly neutral object of diminutive significance which, as Kiwanga illuminates, has shaped the world: a tiny glass bead. These beads, which are smaller than a lentil, are deeply embedded in Venice’s history, which, as the artist points out, has deep connections with the world. Glass conterie or seed beads were used for international trade and merchants used them as exchange objects for various goods, including an array of raw materials that have been folded into Kiwanga’s poetic exhibition, which was commissioned by the National Gallery of Canada and curated by Gaëtane Verna, executive director at the Wexner Center for the Arts in Columbus, Ohio. The Canadian artist has become well-known on the institutional circuit for her research-heavy installations and monumental sculptures that often draw on overlooked histories or explore aspects of gender, colonialism, or social injustice. She eschews the figurative, but intimate human histories are often at the heart of her highly abstracted, minimali

In February 2020, during Mexico City’s art week, Ana Segovia staged an intervention in La Faena, a cantina in the trendy Polanco neighborhood. At one end of the bullfighting-themed bar hangs a large painting of a man holding a red cape as he crawls through a barbed wire fence into a pastoral landscape filled with bulls. Segovia painted an almost one-to-one replica of the work in his signature, decidedly femme palette, somewhere between neons and pastels. In Segovia’s version, the man’s red cape is white, and he holds a rose while dawning a salmon sweater and a baseball cap. The bull fighter is one of several toxic tropes of hyper-masculinity that Segovia, who works across painting, video, and performance, deconstructs in his work. Another frequent trope is the charro, or Mexican cowboy. For a 2020 solo exhibition at Galería Karen Huber in Mexico City, a 26-foot mural, Paisaje (2022), served as the backdrop for a performance in which dancers, hidden behind a curtain, moved their cowboy boots in unison, before ultimately devolving into a nude dog pile. Segovia, who will feature in the main exhibition of this year’s Venice Biennale and have a solo show at the Museum of Contemporary [.

Digital artist Sam Spratt is living the artist’s dream. This week, he celebrated the opening of “The Monument Game,” his first-ever art show. But it wasn’t a group show in some DIY space in New York, where he is based, like so many artists typically start out, but a solo exhibition in Venice, during the art world’s biggest event of the year—the Venice Biennale. How did Spratt–a virtually unknown name in the art world–make such a tremendous leap? With a little help from his friends, of course, including Ryan Zurrer, the venture capitalist turned digital art champion. “Something the capital ‘A’ art world doesn’t recognize is the power of the collective, it sometimes leans into the cult of the individual,” Ryan Zurrer told ARTnews during a preview of the opening. “But this show is supported by the entire community around Sam.” Related ArticlesVenice Diary Day 1: A First Look Inside the Biennale's 'Foreigners Everywhere' Main ExhibitionCLEARING Gallery Splits, Digital Basel Shutters, Christie's Pulls Greek Vases Tied to Convicted Dealer, and More: Morning Links for April 11, 2024 Spratt’s Venice exhibition was put on by 1OF1 Collection, a “collecting club” set up by Zurrer to nurture d

At the core of Venice’s history is trade. The floating lagoon has, for centuries, served as a meeting place for different cultures, both in terms of the people who visited La Serenissima and the goods they brought with them. Another well-known history is that of the city’s renowned glass factory on Murano island. But what has been almost forgotten to time is how the production of one specific glass object, conterie or Venetian seed beads, has had a lasting impact on the culture today. True to their names, these glass beads are the sizes of seeds, but for centuries, beginning around the 15th century, they have been coveted for their rarity and beauty, especially the cobalt blue ones. The material quality of conterie and their importance to trade during the Age of Exploration form the basis for artist Kapwani Kiwanga’s project for this year’s Canadian Pavilion, commissioned by the National Gallery of Canada. Kiwanga became interested in the seed beads during a site visit to the Canadian Pavilion just over a year ago. At first she was hesitant to continue with a project related to glass, given how obvious of a history that has to do with Venice, but she felt that [...]

Editor’s Note: This story originally appeared in On Balance, the ARTnews newsletter about the art market and beyond. Sign up here to receive it every Wednesday. The Venice Biennale was essentially an art fair when it opened in 1895, an exhibition built specifically to establish a market for what was then considered contemporary art. From 1942 until 1968, there was even an official office, run by Italian art dealer Ettore Gian Ferrari, that helped find buyers for works that showed in the exhibition. That is, as long as artists (and their galleries) didn’t mind that Ferrari pocketed 15 percent of the sale price for the Biennale and 2 percent for himself. As the art world’s commercial and institutional structures solidified, open sales were banned in ’68, though it was understood that the works would, at some point, become available, especially to a buyer with a dedicated interest. And if the buyer represented a major institution, all the better. Even up until 2019, exhibition labels noted a given artist’s dealer, so interested parties could initiate a transaction, or at the very least, a conversation. “One of the most important aspects of appearing in the Biennale is that an artist s

The Israeli pavilion was closed both yesterday and today. Ruth Patir, the artist chosen to represent Israel at the Biennale, said Tuesday that it will remain closed until “a ceasefire and hostage release agreement” is reached between Hamas and Israel. The US Pavilion, which features work by Jeffrey Gibson, the first Native American artist to represent the country solo at the Biennale, became a flashpoint during the protest after a man dressed head to toe in matching bright blue outfit including a ball cap and blazer, stormed into the exhibition and began shouting “this is the real genocide pavilion” while visitors looked and and filmed the incident with their phones. Shortly after, two people climbed on top of Gibson’s 10-by-18.4-by-17-foot concrete and fiberglass sculpture made of a group of pedestals and waving a black and white keffiyeh.