#beatriz-gonzalez

#beatriz-gonzalez

Ibarra's performance shattered the historical designation of the nude woman as beautiful in art but vulgar in the flesh, challenging societal norms.

Pilar Zeta builds environments like dreams that feel like stepping into a thought mid-formation. Her sculptural works take shape in the form of portals and objects that invite direct engagement, as visitors are invited to walk through them and notice subtle shifts in perception.

In many works, sturdy, almost sculptural nude women appear alongside children and dogs, suggesting an untamed intimacy. The rust-colored painting is Barry's interpretation of the famed Capitoline Wolf, a centuries-old sculpture depicting Romulus and Remus, the mythical twin founders of Rome who were suckled by a she-wolf after being abandoned.

Cepeda emphasizes that he is not competing against other candidates like Abelardo de La Espriella or Paloma Valencia, but rather against former president Alvaro Uribe Velez.

Chauvet developed 'Zapatos Rojos,' which takes the form of dozens or hundreds of pairs of red shoes publicly displayed in site-specific formations. Each pair of shoes connotes the absence of a femicide victim, or a disappeared woman or girl.

Jose Antonio Kast, a 60-year-old ultra Catholic whose father was a member of the Nazi party, has consistently blocked progressive bids for women's rights and equality across his three-decade career in politics. As a congressman, Kast voted against divorce when Chile became one of the last countries of the world to legalise it in 2004 and vehemently opposed the legalisation of abortion under limited exceptions when it was passed in 2017.

Over the past three years, several Latin American countries have witnessed the arrival of the Orb, a futuristic-looking spherical device used to read irises and capture biometric data. This striking technology, developed by World Foundation and created by Sam Altman, a leading figure in artificial intelligence and CEO of OpenAI, along with its operational partner, Tools for Humanity, has been installed in shopping malls, gas stations, and other locations in Colombia, Chile, and Brazil.

The project was prompted by a new practice requiring all journalists or outlets who received any non-Russian funding to self-identify as "foreign agents." At first, the reactions of TV Rain on-air host Anna Nemzer and her colleagues, forced to read an absurd disclaimer at the beginning of every story, is one of typically Russian dark humor.

For the Escarrias-petite sisters of African descent born ten months apart in Cali, Colombia-commercial photography was in their family DNA. Their parents established a studio in their hometown that was overseen by their mother after their father's early demise. The siblings learned the family trade, and when they fled the country's civil war in 1958, they quickly reestablished the studio in Buenos Aires.

Founded in 2014 as a tongue-in-cheek alternative to the esteemed Whitney Biennial, the Every Woman Biennial has evolved into an intergenerational showcase that mixes emerging talent with established feminist art stars while maintaining the scrappy, activist energy that inspired it in the first place.

There's this push and pull between feeling unease and discomfort, the nature of the spaces, and why they feel uncomfortable. But there is also tenderness and warmth, people adapting to these spaces and finding ways to make them comfortable.

What began as a passion for collecting became a responsibility. She not only believes in the artistic genius of women, but she wants society in general to hold men and women artists in equal esteem-and to place the same monetary value on their work.

Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.

On January 22, artist Gabrielle Goliath and curator Ingrid Masondo filed a founding affidavit in the High Court of South Africa in Pretoria, stating their intention to challenge South African Minister of Sport, Arts and Culture Gayton McKenzie's unilateral decision to terminate the video and performance series, Elegy, at its national pavilion at the 2026 Venice Biennale. McKenzie had attempted to characterize Goliath's piece, which would have centered Palestinians enduring genocide in Gaza, as "highly divisive" and not aligned with South Africa's interests - even though the country famously brought a legal case against Israel at the International Court of Justice (ICJ) in The Hague over allegations of genocide in Gaza.

In 2011, the Colombian government ordered the creation of a national museum "to achieve the strengthening of the collective memory" around the decades-long armed conflict. That same year, it passed the Victims and Land Restitution Law aimed at providing victims with reparations and justice. More than just a curated collection of objects or artworks, the museum, scheduled to be inaugurated in 2018, was conceived as an archive of the violent civil war.

Following the tragic death of Koyo Kouoh last May, the details of her final project- In Minor Keys, the international exhibition of the 2026 Venice Biennale-were unveiled this week by the collaborative team that will carry through her vision for the show.

OSCAR MURILLO (b. 1986, La Paila, Colombia) has developed a multifaceted and challenging practice that spans painting, collaborative projects, video, sound and installation. Through each body of work, the artist probes ideas of collectivity and shared culture, demonstrating a commitment to the power of material presence alongside complex meditations on contemporary society. A focus on the social dimension that sits on the border between performance and events is also central to Murillo's practice.

Going out and demonstrating is really important. But if you don't feel comfortable demonstrating, you can volunteer for organizations, you can donate to organizations, you can sign petitions, you can call your senator. There's no excuse not to be involved on some level.

If you want to paint, put your clothes back on! That was how Carolee Schneemann summarised the critical response to her 1975 performance piece Interior Scroll, which she had performed nude standing on a gallery table. After making a series of life model poses, she removed a scroll from her vagina and began to read her manifesto. In doing so, Schneemann asked an important question: What does it mean for a female artist to be both the artist and the life model?

The only thing most people know about epiphytes, if they know about them at all, is that they're rootless. That's not quite true - they develop highly specialized root systems adapted to wherever they land. In Epiphytic Elucidations at Patel Brown Gallery, Calgary-based artist Marigold Santos takes this fact as more than a metaphor. The exhibition uses epiphytes - plants that grow on other plants without harming them - as a framework for the expansive ways diasporas form through material labor.