TRADITION, IDENTITY AND CONTEMPORARY LANGUAGE IN ÉDGAR CALEL
The concern about how the surrounding affects not only the individual but also artistic production connects with the principle by which Édgar Calel (San Juan Comalapa, Guatemala, 1987) has developed a unique project from scratch at La Oficina gallery. Sueños guardados en granos de maíz brings us to a specific moment of materialization, but it expands toward all the vertices with which the artist works, delving above all into the importance of ancestry, identity, and the spirituality that is related to space.
The exhibition is the result of the actions that the Guatemalan artist has been developing for a month in different parts of Madrid. Invited by the gallery to create the exhibition, Calel preferred to build from scratch, carrying out an active practice and a registration practice to shape it. Rooted in the ancestral focus of the Mayan-Kaqchikel tradition, several of the works presented reflect on the impact of anthropological visual historiography on rituals and their instruments.
The conceptual game that unfolds here dusts off a more intimate reality, far from perfect artifacts, and falls back on that deep social connection. The remains of the actions carried out at specific points in the region, along with the performative acts in the exhibition space, make up a record of them with a clear and direct language. The results of these actions remain on display, directly linking with the visual codes of contemporary art and museography without distorting their origins.
Calel does not miss the opportunity to share the space directly with that ancestry, placing at the entrance a piece that also seems to stand watch over it. A rock sits on a swing, which, while masquerading as a contemporary artwork, conceals a direct relationship with its past and culture. From this first contact, a thread emerges in which the relationship between language and meaning becomes relevant—a binomial that structures the proposal he develops.
Beyond the records of actions—sometimes aesthetically striking as a consequence—other testimonies of striking spatial contrast flow naturally. His visit to the nearby Cerro Almodóvar, the famous cerro testigo symbol of the Vallecas School, or to the Reina Sofía Museum, is captured in photographs with a stark contrast. These places, visited while wearing protective jaguar skins, seem entirely out of context and yet retain all the spiritual charge that articulates his work.
Colonialism, transcribed in its most symbolic version into the conception of the artwork, also highlights power relations—questions of control over what and how things are represented—while serving as a symbol of subjugation. The use of sugar, salt, and charcoal, and their representation, embodies a conceptual approach that explores cultural roots from a contemporary perspective, seemingly adapted to facilitate interpretation.
Rendered in embroidery, the world of dreams and its symbolism permeate that tradition, which also survives through oral transmission and the importance of family structures as a safeguard. Everything is amplified by the ironic vision of that metalanguage with which the Western world aspires to understand other universes, yet in its attempt, it often remains superficial. That is where everything lies: what we see in Calel’s work is nothing more than the material, the result, or the transcription of the irony and critique of everything surrounding his daily universe.
Sueños guardados en granos de maíz can be seen until April 26th at La Oficina, Morenés Arteaga, 9, Madrid (Spain).
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The Albarrán Bourdais gallery, at its Madrid venue, is hosting the exhibition En movimiento, by Julio Le Parc (Mendoza, Argentina, 1928). With a celebratory tone, as this is the first solo exhibition dedicated to the Argentine artist in Spain in 30 years, the show explores a fundamental part of the work of this master of kinetic and op-art and does so with a selection of several pieces that illustrate key periods. Without being a retrospective, there is something of that essence in the way the tour is presented, which proposes, through connected groups, an analysis of the connection between the past and the present.
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The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
The Albarrán Bourdais gallery, at its Madrid venue, is hosting the exhibition En movimiento, by Julio Le Parc (Mendoza, Argentina, 1928). With a celebratory tone, as this is the first solo exhibition dedicated to the Argentine artist in Spain in 30 years, the show explores a fundamental part of the work of this master of kinetic and op-art and does so with a selection of several pieces that illustrate key periods. Without being a retrospective, there is something of that essence in the way the tour is presented, which proposes, through connected groups, an analysis of the connection between the past and the present.
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The Albarrán Bourdais gallery, at its Madrid venue, is hosting the exhibition En movimiento, by Julio Le Parc (Mendoza, Argentina, 1928). With a celebratory tone, as this is the first solo exhibition dedicated to the Argentine artist in Spain in 30 years, the show explores a fundamental part of the work of this master of kinetic and op-art and does so with a selection of several pieces that illustrate key periods. Without being a retrospective, there is something of that essence in the way the tour is presented, which proposes, through connected groups, an analysis of the connection between the past and the present.
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.
CRISTÓBAL ASCENCIO, AT THE CULTURAL INSTITUTE OF MEXICO IN SPAIN
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.
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.
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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.
Ana González (Bogotá, Colombia, 1974) explores the significance of water as a medium, an environment, and a sacred entity in Llovizna, her solo exhibition at La Cometa’s Madrid venue. Rooted in the Muisca culture’s reverence for water as an integral part of sacred land, this element becomes the symbolic core of her exhibition. Through it, the artist reflects on its spiritual value while also exposing the harsh reality of the Bogotá River, using symbolism to prompt a deeper awareness of environmental degradation.
La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.
PERCEPTION AND QUOTIDIANITY IN LEANDRO ERLICH
La nevera en la sala (The Fridge in the Living Room) is the arrangement through which Leandro Erlich (Buenos Aires, Argentina, 1973) reinterprets his vision of perception through architecture and everyday life at Prats Nogueras Blanchard. A recurring theme in this Argentine artist’s work, the pieces exhibited at the gallery’s Madrid headquarters do not belong to a new production but rather mark the first public presentation of a series of works that engage with realism and illusion, complemented by their location and functionality within the space.
The Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.
THE SUBTLE EMBROIDERY OF PAIN BY MARISA CAICHIOLO AT LNM MUSEUM
The Museo La Neomudéjar presents No hay más ciego que el que no quiere ver (No one is more blind than the one who refuses to see), a solo exhibition by Marisa Caichiolo (Santa Fe, Argentina, 1974). In this project, the artist explores and materializes pain and absence, primarily through embroidery. Drawing from her personal experiences, Caichiolo constructs narratives of resistance and instrumental memory to confront traumatic episodes—many of them rooted in forced disappearances.
The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.
ARCO 2025: DIFFERENT VIEWS ON LATIN AMERICA
The Latin American presence at ARCO is consolidating year after year, establishing itself as a primary guiding thread beyond market trends, becoming a significant part of the identity of the Madrid fair. In this sense, the participating galleries in the various programs showcase well-established names as well as younger or more radical bets, shaping an ecosystem in which various productions can be analyzed.
The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
THE LATIN AMERICAN GAZE IN ARCO’S “PROFILES” PROGRAM
The organization has entrusted Mexican curator José Esparza Chong Cuy with the development of Perfiles | Arte latinoamericano, a curated journey that highlights, through ten selected figures, the diversity of visual approaches. As the curator himself states, it offers "a broad panorama of how to identify as artists and build community, proposing new ways of making, thinking, and living together."
The Albarrán Bourdais gallery, at its Madrid venue, is hosting the exhibition En movimiento, by Julio Le Parc (Mendoza, Argentina, 1928). With a celebratory tone, as this is the first solo exhibition dedicated to the Argentine artist in Spain in 30 years, the show explores a fundamental part of the work of this master of kinetic and op-art and does so with a selection of several pieces that illustrate key periods. Without being a retrospective, there is something of that essence in the way the tour is presented, which proposes, through connected groups, an analysis of the connection between the past and the present.
CELEBRATING LE PARC AT ALBARRÁN BOURDAIS
The Albarrán Bourdais gallery, at its Madrid venue, is hosting the exhibition En movimiento, by Julio Le Parc (Mendoza, Argentina, 1928). With a celebratory tone, as this is the first solo exhibition dedicated to the Argentine artist in Spain in 30 years, the show explores a fundamental part of the work of this master of kinetic and op-art and does so with a selection of several pieces that illustrate key periods. Without being a retrospective, there is something of that essence in the way the tour is presented, which proposes, through connected groups, an analysis of the connection between the past and the present.
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.
CRISTÓBAL ASCENCIO, AT THE CULTURAL INSTITUTE OF MEXICO IN SPAIN
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.
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.
VERÓNICA RIEDEL'S LAST WEEK AT LA NEOMUDÉJAR
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.
