Joaquín Jesús Sánchez

  • picks June 04, 2019

    Ulrich Rückriem

    With its eight sculptures and two series on paper, “The Last Fifty Years, 1968 / 2019” demonstrates the archetypes that have run through Ulrich Rückriem’s oeuvre with assured concision and a poise at once mysterious and upfront. The oldest of the pieces—all of which have been remade for the exhibition—is the iconic dolomite Column, 1968/2019, a rectangular prism sawed in half and then wedged together. This early work sprang from the artist’s experience as a quarrier for the reconstruction of the Cologne Cathedral. With its simple but resolute gesture, great concern for process, warm rather than

  • picks December 14, 2018

    José Díaz

    In his previous exhibitions, José Díaz’s main inspirations were the night and the city. This was because while he was painting, he moonlighted as a bartender at night. The city appeared in his work as a series of automated roads that spanned the canvases. Now, in “La mañana,” Díaz repositions the theme around awakening: His new large-scale abstractions, all from 2018, are composed and hued groggily, their associations drifting toward bleary eyes, the scrape of a toothbrush against teeth, a half-remembered dream.

    In this show, Díaz has enriched his palette with blues and grays as well as widened

  • picks October 12, 2018

    Alfredo Rodríguez

    With “Body Building,” Alfredo Rodríguez continues his long-standing photographic exploration of the human form. This exhibition contains two types of work. First, torn photographs of what look like limbs, muscles, and joints are adhered to panels of wood and coated in a highly protective, hard matte resin to create large-scale collages. The delicate, crystal-like reflective surfaces from previous exhibitions, such as “Limbo” (2016), are nowhere to be found here. Instead, one observes the artist’s investigation into how fragile materials such as paper and processes such as silver gelatin can be

  • picks July 11, 2018

    Beatriz González

    Anyone who happened to have heard the story behind the series “Los suicidas del Sisga” (The Sisga Suicides), 1965, would have been intrigued: Two young religious fanatics in love drowned themselves in the Sisga Dam to keep from falling into sins of the flesh. It’s telling that, ignoring the event, what struck Beatriz González was the clumsiness of newspapers’ reproduction of the couple’s image—the excessive and grainy flatness of their smiling faces, the overall lack of detail.

    This curiosity toward mass-produced images—their aesthetics, their political and affective clout—unites the strategies

  • picks April 19, 2018

    Vítor Mejuto

    For centuries, the education of painters revolved around scrutinizing masterpieces in order to grasp how their makers resolved problems of a purely technical nature. No one looks at painting as mercilessly, and with as little sense of metaphor, as a painter. In “Pintor en la corte,” (Painter in the Court), Vítor Mejuto revisits Diego Velázquez, Antonello da Messina, Jaime Serra, Francisco Goya, and Titian, among others. Mejuto’s small-format paintings are concise and honed, to say nothing of elegant, reproductions of the geometric aspects of some of those masters’ works.

    Despite its schematic