Tania Puente

From this Author

La Ciudad Está Allá Afuera: Demolición, Ocupación y Utopía [The City Is Out There: Demolition, Occupation, and Utopia]

José Adrián Monroy López, Núcleo [Core], 2016; polypropylene weave. Courtesy of Centro Cultural Universitario Tlatelolco, UNAM. Photo: Tania Puente.

If we googled the word “megalopolis,” it is most likely that an image of Mexico City would appear in the search. The capital of Mexico has 9 million inhabitants, and a floating population of almost 2 million people who travel every day from the adjacent suburbs to study, work, and shop. This concentration of humans turns the city into a bustling social and cultural center,[…..]

Interview with Gabriela Golder

Gabriela Golder and Mariela Yeregui. Escrituras, 2014-2016; neon installation; variable dimensions. Photo: Alejandro Lipszyc

A series of neon signs appears over the urban landscape of Benito Pérez Galdós Avenue in La Boca, a working-class neighborhood located in the south of Buenos Aires. The poetic messages address territory, identity, and change: “Volvernos invisibles” [To become invisible], “El terreno se vuelve a mover” [The ground is moving again], and “El silencio es imposible” [Silence is impossible]. Despite the anonymity that public[…..]

Más Allá del Sonido [Beyond the Sound] at MUNTREF

Edgardo Rudnitzky. Border Music, 2016; steel, iron, barbed wire (custom made), 4 melodikons, wooden resonators, bronze, motor; 78.7x5.9 in. Courtesy of MUNTREF. Photo: Tania Puente.

Built in Buenos Aires during the first decade of the 20th century and active until 1952, the Hotel de Inmigrantes (Immigrants’ Hotel) was an immigrant checkpoint and a temporary shelter for exiles and expatriates from overseas. Today, the historic building fosters the National Direction of Migration and the Universidad Nacional de Tres de Febrero Museum, Centro de Arte Contemporáneo (MUNTREF). Within the building’s aseptic white[…..]

Excéntricos y Superilustrados (Eccentrics and Ultra-Enlightened)

Lux Lindner. Blister cognitivo (Cognitive Blister), 2002-2016; scales and books; variable dimensions. Courtesy of Museo de Arte Moderno de Buenos Aires. Photo: Tania Puente.

There is a worm in the White House. A sneaky, repulsive, tiny worm crawls through its corridors, aisles, and rooms. It sticks its head out, and slides from the balconies. This earthworm is not alone. There is more than one. In fact, there is a legion of earthworms in the White House, and they won’t be leaving; it is theirs now to keep. This is[…..]

Jorge Macchi: Perspectiva at Museo de Arte Latinoamericano de Buenos Aires

Jorge Macchi. Monoblock, 2013; paper. Courtesy of MALBA.

Maps, clocks, dictionaries, music sheets, signals, and words are all different resources we have to decode our reality. By living under a unified structure, we can rest assured that our messages will be understood. A sense of normality is reinforced. But what lies underneath these layers of language? Can we realize how reality is built around us? Do we know how to dismantle the rules[…..]

G.T. Pellizzi: Yo Transporto at Sala de Arte Público Siqueiros

G.T. Pellizzi. Yo Transporto, 2016; wood, plywood, Ethafoam. Courtesy of Sala de Arte Público Siqueiros.

Art travels. Within the globalized art scene, its journey takes the many forms of traveling exhibitions, international art fairs, biennials, public contests, and loans from personal or institutional collections. Although this wandering condition may enrich the experience of different public spheres by bringing them closer to popular works and major exhibitions, the accelerated speed at which these movements and spectacles take place commands a huge[…..]

Mónica Mayer: Si Tiene Dudas… Pregunte at Museo Universitario de Arte Contemporáneo

Mónica Mayer. Lo normal, 1978 (detail); print intervened with stamps, 10 cards. Courtesy of the artist and Museo Universitario Arte Contemporáneo.

Si Tiene Dudas… Pregunte [When in Doubt… Ask] at the Museo Universitario de Arte Contemporáneo (MUAC) is a retrocollective of works by feminist art pioneer Mónica Mayer (b. Mexico City, 1954). “Retrocollective” isn’t a very well-known term[1] and certainly not one that many artists would choose to designate their career retrospective, but Mónica Mayer isn’t like other artists. Since the late ’70s, Mayer has been[…..]