JORGE PARDO: COLOR, SPACE, AND PERCEPTION AT ELBA BENÍTEZ

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Cultural Institute of Mexico in Spain hosts the exhibition Estrategias de recuperación (Recovery Strategies), featuring three recent projects by the photographer. Including the series Las flores mueren dos veces (Flowers Die Twice, 2021–2024), Palimpsesto (2024–2025), and Maíz (Corn) (2023–present), the Mexican photographer explores the elements and causes that create distortion and fragmentation in memory.

Fernando Pradilla presents Depresión Tropical (Tropical Depression), Gonzalo Fuenmayor’s (Barranquilla, Colombia, 1977) third solo exhibition at the gallery. The show brings together a new series of charcoal drawings created specifically for its Madrid headquarters. In this latest body of work—caught between references to nature and the artificial, between chaos and tranquility—the artist offers a vision in which climate becomes a metaphorical instrument for personal and cultural transformation, as well as a certain historiography.

The terraces of the Nouvel Building at the Reina Sofía Museum are being transformed into a new exhibition space. Under the title A Different Order: Utopian Geometry and Kinetic Art, the space will showcase two sculptural works by Jesús Rafael Soto and Edgar Negret, along with a third piece by Martín Chirino.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Cultural Institute of Mexico in Spain hosts the exhibition Estrategias de recuperación (Recovery Strategies), featuring three recent projects by the photographer. Including the series Las flores mueren dos veces (Flowers Die Twice, 2021–2024), Palimpsesto (2024–2025), and Maíz (Corn) (2023–present), the Mexican photographer explores the elements and causes that create distortion and fragmentation in memory.

Fernando Pradilla presents Depresión Tropical (Tropical Depression), Gonzalo Fuenmayor’s (Barranquilla, Colombia, 1977) third solo exhibition at the gallery. The show brings together a new series of charcoal drawings created specifically for its Madrid headquarters. In this latest body of work—caught between references to nature and the artificial, between chaos and tranquility—the artist offers a vision in which climate becomes a metaphorical instrument for personal and cultural transformation, as well as a certain historiography.

The terraces of the Nouvel Building at the Reina Sofía Museum are being transformed into a new exhibition space. Under the title A Different Order: Utopian Geometry and Kinetic Art, the space will showcase two sculptural works by Jesús Rafael Soto and Edgar Negret, along with a third piece by Martín Chirino.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Cultural Institute of Mexico in Spain hosts the exhibition Estrategias de recuperación (Recovery Strategies), featuring three recent projects by the photographer. Including the series Las flores mueren dos veces (Flowers Die Twice, 2021–2024), Palimpsesto (2024–2025), and Maíz (Corn) (2023–present), the Mexican photographer explores the elements and causes that create distortion and fragmentation in memory.

Fernando Pradilla presents Depresión Tropical (Tropical Depression), Gonzalo Fuenmayor’s (Barranquilla, Colombia, 1977) third solo exhibition at the gallery. The show brings together a new series of charcoal drawings created specifically for its Madrid headquarters. In this latest body of work—caught between references to nature and the artificial, between chaos and tranquility—the artist offers a vision in which climate becomes a metaphorical instrument for personal and cultural transformation, as well as a certain historiography.

The terraces of the Nouvel Building at the Reina Sofía Museum are being transformed into a new exhibition space. Under the title A Different Order: Utopian Geometry and Kinetic Art, the space will showcase two sculptural works by Jesús Rafael Soto and Edgar Negret, along with a third piece by Martín Chirino.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Cultural Institute of Mexico in Spain hosts the exhibition Estrategias de recuperación (Recovery Strategies), featuring three recent projects by the photographer. Including the series Las flores mueren dos veces (Flowers Die Twice, 2021–2024), Palimpsesto (2024–2025), and Maíz (Corn) (2023–present), the Mexican photographer explores the elements and causes that create distortion and fragmentation in memory.

Fernando Pradilla presents Depresión Tropical (Tropical Depression), Gonzalo Fuenmayor’s (Barranquilla, Colombia, 1977) third solo exhibition at the gallery. The show brings together a new series of charcoal drawings created specifically for its Madrid headquarters. In this latest body of work—caught between references to nature and the artificial, between chaos and tranquility—the artist offers a vision in which climate becomes a metaphorical instrument for personal and cultural transformation, as well as a certain historiography.

The terraces of the Nouvel Building at the Reina Sofía Museum are being transformed into a new exhibition space. Under the title A Different Order: Utopian Geometry and Kinetic Art, the space will showcase two sculptural works by Jesús Rafael Soto and Edgar Negret, along with a third piece by Martín Chirino.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.

The Madrid headquarters of El Apartamento presents Lo que es igual, no es ventaja Vol.2 (What is equal is not an advantage) in its project room, a group exhibition by REGULARNORMAL, a project led by Danny Báez. As the exhibition’s curator, Báez seeks to connect the perspectives of eight artists living and working in New York, delving into human relationships in a globalized world.

The CAV La Neomudéjar Museum is in its final days of exhibiting Ecos del Vacío (Echoes of the Void), a project developed by Guatemalan filmmaker and artist Verónica Riedel during her artistic residency at Kárstica Espacio de Creación, in the town of Cañada del Hoyo, Cuenca.

The Cultural Institute of Mexico in Spain hosts the exhibition Estrategias de recuperación (Recovery Strategies), featuring three recent projects by the photographer. Including the series Las flores mueren dos veces (Flowers Die Twice, 2021–2024), Palimpsesto (2024–2025), and Maíz (Corn) (2023–present), the Mexican photographer explores the elements and causes that create distortion and fragmentation in memory.

Fernando Pradilla presents Depresión Tropical (Tropical Depression), Gonzalo Fuenmayor’s (Barranquilla, Colombia, 1977) third solo exhibition at the gallery. The show brings together a new series of charcoal drawings created specifically for its Madrid headquarters. In this latest body of work—caught between references to nature and the artificial, between chaos and tranquility—the artist offers a vision in which climate becomes a metaphorical instrument for personal and cultural transformation, as well as a certain historiography.

The terraces of the Nouvel Building at the Reina Sofía Museum are being transformed into a new exhibition space. Under the title A Different Order: Utopian Geometry and Kinetic Art, the space will showcase two sculptural works by Jesús Rafael Soto and Edgar Negret, along with a third piece by Martín Chirino.

Amid the centenary of Surrealism, or at least from what is officially understood as its inception with the publication of The First Surrealist Manifesto by André Breton in 1924, it is truly significant to access an exhibition as profound as 1924: Other Surrealisms, presented by the MAPFRE Foundation in Madrid, which will later tour other locations. This exhibition is important for the centrifugal perspectives it presents, emphasizing the expansion of the main official—or officialism—ideas beyond Breton's boundaries and granting maximum importance to Latin America in the acceptance, production, and collaboration within the movement.