Walking through the second-floor galleries of the National Museum of Fine Arts with Federico Brook. “Entre Roma y Latinoamérica” (Between Rome and Latin America) is in many ways like following an artist’s life in parallel, an odyssey straddling two continents, multiple artistic languages, and political moments. 

This unexpected encounter with “A través del Espejo” (Through the Mirror), the new exhibition bringing together Renata Schussheim, Edgardo Giménez, and Juan Stoppani at MCMC Gallery, feels like a breath of fresh air. These three artists—each with a remarkable and richly woven trajectory—may not require further validation from critics, curators, or historians, yet what they share here is their creative conviction and adventurous spirit › truly the essence that defines greatness in art.

In “El desentierro del diablo“ (The Unburying of the Devil), Carrie Bencardino stages her institutional debut at MALBA—a subterranean stage for the uncanny—that transforms gallery one into a tableau both theatrical and intimate. Curated by Carlos Gutiérrez, the exhibition champions a “crisis of imagination” borne of contemporary political instability and eroding emotional bonds. Here, Bencardino is not simply painting; she is excavating the subconscious, conjuring dreamscapes that unsettle as they seduce.

The Klemm Foundation of Buenos Aires presented the anthological exhibition “The Slight Power of the Concept” by Tucumán-born artist Carlota Beltrame. Curated by Eugenia Garay Basualdo, the winner of the Klemm Award 2022 will show a total of forty-two pieces produced between 2003 and 2025. Through a group of works that combine textiles, installations, and light, the artist offers a profound reflection on the intersection between the materiality of art, politics, and memory.

At the Mite Gallery in Buenos Aires, the exhibition “How not to be dead on this day” (Como para no estar muerta con este día) displays a visual tribute to the literary universe of Mariana Enriquez, a key figure in Latin American horror literature. 

Alex Goldschwartz's exhibition “Venus is the Promised Land” at PalermoH Gallery highlights a bold blend of styles that fuses the baroque with pop, creating a unique visual language. Through this fusion, Goldschwartz builds a dialogue between the monumental, exuberant, and ornate of the baroque with the vibrant and accessible aesthetics of pop art, generating an attractive tension between the ancient and the modern.
The proposal invites us on a reflective and, simultaneously, expansive journey toward the representation of the body and its landscapes, framed in a critique of the myths of beauty and fertility associated with the female figure. From the title, Goldschwartz establishes a provocative parallelism between Venus, the classical deity of beauty, and the earth, in its most literal and symbolic sense, as a space of creation, transformation, and struggle.

Upon entering, the visitor encounters large canvases dominated by warm tones and dense textures, combining abstract forms and recognizable fragments of human anatomy. The baroque is manifested in the visual saturation that dominates the room. The female bodies, often in contorted poses or overloaded with ornaments, seem to evoke sacred or mythological figures, but always from a contemporary and provocative perspective. The use of a palette of deep golds and reds in many works reinforces this association with the baroque, evoking a sense of opulence and historical weight.

However, this visual density is balanced and contrasted with distinctly pop elements. The use of neon and synthetic textures, combined with the dramatic compositions and themes of corporeality and female fertility, creates a visual clash that not only celebrates excess but reinterprets it in a contemporary light.

The exhibition “Aída Carballo: An Open Door to the Infinite” celebrates the legacy of the Argentine artist, known especially for the unique style of her engravings in which she combines elements of everyday life with a deep social commitment, as well as her teaching role. The proposal, held at the Museum of La Cárcova, is curated by Lucía Laumann, author of the book “Aída Carballo, teacher: Graphic Production and Institutional Paths in Buenos Aires in the Second Half of the 20th Century”.The exhibition brings together engravings, drawings, documents, ceramics, and photographs, organized into three sections: “La Cárcova”, which focuses on her time at the Ernesto de la Cárcova School of Fine Arts; “The Soul of the City”, which shows her ways of inhabiting urbanity that, in some way, was reflected in her work, and “Between the classrooms and the workshop”, dedicated to her job as a teacher.

The Museum of La Cárcova previously functioned as the Ernesto de la Cárcova School of Fine Arts, a key training instance for the artist. Hence, the exhibition space becomes a key player in her artistic career. This takes on greater importance in the “La Cárcova” nucleus, focusing on the artist's training since her youth.