• View of “Andrzej Wróblewski: Recto/Verso,” 2015–16. From left: The Lovers, 1956; Man with Three Heads, Figural Composition no. 1477, ca. 1956; Fan, Abstract Composition no. 1137, n.d.; Mother with Dead Child, 1949. © Andrzej Wróblewski Foundation.

    Andrzej Wróblewski

    Museo Nacional Centro de Arte Reina Sofía

    THOUGH LITTLE KNOWN to global audiences, the work of painter Andrzej Wróblewski (1927–1957) has long been feted in his native Poland as an important bridge between the Constructivist-dominated prewar avant-gardes and the existentialist and figurative traditions of the 1950s. And there is a lot of work to fete indeed: When he died in a mountaineering accident at age twenty-nine, Wróblewski left behind some two hundred canvases, an oeuvre that is striking for its diversity as well as its size. As the artist’s recent retrospective demonstrated, his brush roamed widely, gregariously. He reflected

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  • Cabello/Carceller, Rapping Philosophy: Foucault, Sontag, Butler, Mbembe, 2016. Performance view, May 13. MC Hábil Harry. Photo: Oak Taylor-Smith.


    Galería Elba Benitez

    Helena Cabello and Ana Carceller, a Madrid-based duo active since 1992, have effectively intermingled a committed pedagogical stance with an art practice based on photography, video, performance, and writing. Deeply imbued with a solid feminist discourse, their work invariably emphasizes the voices of the minorities that were and are abusively marginalized by Eurocentric modernist canons. This approach inevitably encompasses a reevaluation of the concept of authorship; the standard image of the white male genius is systematically undermined, not only by means of a practice developed by a two-woman

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