Wilfredo Prieto’s works deal with complex concepts and situations created through “fresh, spontaneous, exact, and functional interventions,” in the words of Gerardo Mosquera, author of this article. Mosquera posits as essential features of Prieto’s work a marked simplicity, the attempt to use art as a de-sacralized activity, the use of non-auratic spaces, the activation of everyday objects, and a minimalist aesthetic.

The art critic comments on the particulars of the work of the Cuban artist, who, despite his youth, has captured the international attention and exhibit his work in significant contemporary art spaces. Wilfredo Prieto has also been granted the Cartier Award for 2008. On our cover, his Sin título (chícharo o frijol con mundo,) from 2002.
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This text by María Belén Sáenz analyzes the artistic proposals seen in FACE to FACE, a show that brought together works by artists from Europe, the United States, and Latin America, from the respective Daros Collections. The curatorial proposal intends to highlight the production of artists who share local and global transcendental regarding the concerns transformation under way in today’s society.
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A moving text by Victoria Verlichak that underscores the masterly use of light, the dazzling spaces, and the characters represented by the Argentine artist in his paintings, drawings, and collages. In them, Aizenberg suggests environments loaded with existential dilemmas. The writer guides us in a tour of Aizenberg’s work since his first entrance into the Argentine arts scene, and notes how he has been referenced as an artist who rejected sectarianism and fills his work with rationalism, Cartesian principles, and fantastic Jewish legends.
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On the occasion of the most recent Whitney Biennial in New York, and faced with the ever more present possibility that art biennials are displaced by fairs due to the importance gained by the movement of art as a financial investment, Raúl Zamudio Taylor presents a series of reflections about the role of this event that every two years displays the best of contemporary American art. The text also analyzes some of the proposals and works of the biennial, as well as the curatorship and the differences with respect to previous editions.
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The Colombian artist has confronted and redefined the concept of sculpture in a singular way since her earliest productions. Notable in her work is an interest for formless, unstructured masses without shape boundaries or outlined territories. Ivonne Pini notes how the artist assumes her work from a dynamic of volume, space, and vacuum as mobile elements, and enter different spaces that she manipulates to give free rein to her materials.
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George Baselitz’s recent exhibition in Hamburg presented a series of paintings created between 1998 and 2002. Luis Camnitzer reviews the show and notes how it brought to the fore, among other topics for debate, the use of art as a tool for personal therapeutics, the definition of the artist as painter, and the possibility of art as a vehicle for national identity.
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Jorge Vigil tells us about his first encounter with the work of Esteban Lisa at the ARCO fair in 1997, the emotions it arouse in him, and his interest in collecting it and give it greater publicity. The collector also shares how Lisa’s most recent show at the Antonio Pérez de Cuenca Foundation came about, with works from his private collection.
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Brazilian artist Eduardo Kac’s constant quest has been the configuration of a poetics undergirded by new technologies. His work is posited as a space for the intersection and confluence of art with science and technology. This text by Ángel Kalenberg explores in depth Kac’s work as a proposal in digital and biological art.
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The fact that Brazil was the guest country at this year’s ARCO generated many exhibitions and debates about its visual arts production. Carlos Jiménez writes here about the terms and matters of debate and analysis that emerged in response to the question of whether there is a Brazilian art distinct from what is being done in the rest of the world.
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An article by Issa María Benítez about the proliferation f art fairs around the world and the noticeable lack of a factor of originality and differentiation among them. The author analyzes how fairs have expanded giving priority to commercial interests and abandoning the goals that were the motive for their emergence years ago.
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