Documents of Latin American and Latino Art

This article reviews the exhibition Summertime at the Centro Cultural Ricardo Rojas, December 1991-February 1992. It describes the exhibition as “retrospective-festive, that includes young artists—those who passed or did not pass through this [...]

The article reports that “Italian art critic and poet Enrico R. Comi, director of the magazine/book Spazio Humano [Human Space] during the XII Jornadas Internacionales de la Crítica [12th International Symposium of Criticism] in Buenos Aires “ [...]

This short article reviews the exhibition of Jorge Gumier Maier held at the Centro Cultural Recoleta in December 1989. It describes the characteristics of the works shown, even the sensation of “desconcierto” [bewilderment] and “rabia” [anger [...]

This is the invitation card from the exhibition by Jorge Gumier-Maier, Alfredo Londaibere, Benito Laren, and Omar Schiliro at Espacio Giesso [Giesso Space] (from July 22 to August 2, 1992 [...]

The question asked by French art critic Pierre Restany in this article is this: how is the political and general cultural context of the 1990s, characterized by the double presidential mandate of Carlos Saúl Menem, related to artistic [...]

Following the exhibition El Tao del Arte (Buenos Aires: Centro Cultural Recoleta, 1997), Marcelo Pachecho points out in this article that “while the Rojas effect was being felt in Buenos Aires, some skirmishes happened among critics, historians, [...]

Following the El Tao del Arte exhibition (Buenos Aires: Centro Cultural Recoleta, May 13–June 8, 1997), Pacheco describes Galería del Rojas’s character during its beginnings: the curatorial policy of Jorge Gumier-Maier (its director), the [...]

This article reviews the exhibition La Conquista (Buenos Aires, Centro Cultural Recoleta, March 1992). It argues that “the response of the forty participating artists are varied. There is no unifying artistic trend.” It gives a detailed [...]

The text describes the Galería del Centro Cultural Ricardo Rojas as a “a mental place that presents the art that tunes in exactly with the current times,” mentioning that, “in spite of having a joke of a budget, the Rojas space became a [...]

Carlos Basualdo links the works gathered in this exhibition, The rational twist [(New York: Apex Art, February, 1996) with the “memory” of Argentinean Concrete art; almost nonexistent, as such, for economically developed countries, since, at the [...]

In “Crimen es ornamento” [Crime is Ornamental], the text of the exhibition catalogue of the homonymous show carried out in the Centro Cultural Parque España, Rosario (Argentina), between September 8 and October 2, 1994, Carlos Basualdo links the [...]

The article reviews the exhibition by artists Jorge Gumier-Maier, Benito Laren, Omar Schiliro, and Alfredo Londaibere in the Espacio Giesso, which took place in August 1992. Besides briefly describing the works of each of the artists, it makes a [...]

The article describes the characteristics of the works presented by Jorge Gumier-Maier in the Decoralia exhibition (Buenos Aires: Centro Cultural Recoleta, July, 1991). In his judgment, “the artist researches geometrical combinations and synthesis [...]

The article reviews the exhibition El Rojas presenta: Algunos Artistas [The Rojas presents: Some Artists] (Buenos Aires: Centro Cultural Recoleta, from August 26 to September 6, 1992).   He describes the Galería del Centro Cultural Ricardo Rojas [...]

The article describes the characteristics of the works by Fabián Burgos, Jorge Gumier-Maier, and Graciela Hasper presented in Nadar sobre la superficie [To Swim Over the Surface] (Buenos Aires: Espacio Giesso, November 6–23, 1991) and, at the same [...]

This is the exhibition catalog of Nadar sobre la superficie [To Swim over the Surface] (Buenos Aires: Espacio Giesso, November 6–11, 1991). The text presenting the show, written by Fabián Lebenglik, besides briefly describing the characteristics [...]