#gaston-bolantildeos

#gaston-bolantildeos

Eliades Ochoa's aura is so powerful that under the generous rays of sunlight streaming through the large window on this March morning, he evokes a Western film.

Abraham Vazquez has this lusty, powerful, aching voice. This song is about loss, and you feel it with every inch of intensity that he's performing.

"One must put himself in the period... crime had a certain familiarity from its repetition through time.... That's what they were like, unscrupulous. So was I. And since we are speaking about it, so was the Renaissance."

In Cabranes, Asturias, Atelier Poem has realized the Taller Agropoetico for Foresta Collective—a space that integrates agricultural practice with pedagogy.

Pianist Dr. Gabriela Calderón and violinist Dr. Catalina Barraza celebrate the rich musical heritage of Latin America.

We don't eat batteries. They take away the water; they take away life. This pronouncement, in Spanish, appears in a photograph that the artist Tomás Saraceno sent via WhatsApp last month from Salinas Grandes, a high-altitude salt flat in northern Argentina. There, in one of the world's largest lithium reserves, the artist is working alongside 11 Indigenous communities to build El Santuario del Agua (The Water Sanctuary), a monumental work about the global energy transition.

The Andes Cordillera is full of incredible sights, unique ecosystems, and unforgettable experiences. I believe there's something here for everyone, from vibrant cities to towering volcanic peaks.

The Siekopai Nation, which has historically occupied territories along the northern border between Ecuador and Peru, was separated and displaced during the 1941 border war between the two countries, a conflict with consequences that extended into the 1990s. According to Justino Piaguaje, leader of the Siekopai in Ecuador, the nation's original population was close to 20,000 but diseases brought by colonisers, Jesuit missions, conditions of slavery during the rubber boom, and the impacts of the oil industry led to a drastic decline.

Now, he celebrates his first major presentation in Latin America, in congruence with Mexico City Art Week 2026 and ZSONAMACO, showcasing on an ideal stage inside one of the city's most architecturally layered interiors. Titled The Resident, the site-responsive installation, created during a residency at the Diez Company house, transforms the historic showroom into an immersive tableau where more than 50 works negotiate the boundaries between collectible design, contemporary art, and spatial theater.

This is not a simple administrative issue, but a renewed attempt by the center-right government of Rodrigo Paz to sweep aside the memory of the world's most famous guerrilla fighter, who was assassinated in the Bolivian village of La Higuera in 1967. Since Bolivia's Movement Towards Socialism (MAS) lost power to the new government last year, several attempts have been made to rid the country of Guevara's legacy.

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.

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.

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.

An exhibition of Wifredo Lam is about as safe a bet as the Museum of Modern Art can place and still plausibly say that it's a bet on expanding the canon. The Cuban artist is one of the most famous painters of the 20th century, featured in almost every single key show about Surrealism. MoMA acquired his famous painting The Jungle in 1946, a few years after he made it.

Although this truism is typically offered as a negative, it can also be read as a positive that provides comfort and stability amid new environments. In I Bring Home with Me, Ghanaian artist Amoako Boafo recreates his Accra studio in an architectural reproduction within Roberts Projects ' Los Angeles gallery. Boafo is known for his stylized portraiture of Black people, whose skin the artist renders in swirling gestures made with his fingers.

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.

"The new venue has allowed us to develop the experience of the fair-it lends itself to being more of a destination," Brett W. Schultz, the co-founder and director of Material, tells The Art Newspaper. The fair features over 70 exhibitors this year, with an especially strong contingent of Mexico City galleries that, like Material, have been around for a little over a decade.

The artists José Parlá and Claudia Hilda, his wife, live in a former fire station in Fort Greene surrounded by memories of Cuba, which Parlá's ­family fled in 1970 and where ­Hilda lived until recently. "There's a lot of magical realism here, a big mix of Cuban traditions and religion," says Parlá, pointing to an icon of la Caridad del Cobre, the island's patron saint, in the kitchen. "We cannot move her!"