“Vechy Logioio. Travesía”, currently on view at the National Museum of Fine Arts in Buenos Aires, offers a thoughtful survey of an artist whose work has remained remarkably consistent while continually expanding its formal vocabulary. Rather than presenting a chronological retrospective, the exhibition foregrounds the persistence of Logioio’s visual concerns across different media, bringing together bronze sculptures, paintings, collages, and mixed-media works that reveal a sustained investigation into form, surface, and spatial relationships.

The exhibition is structured around a dialogue between two-dimensional and three-dimensional works. Instead of treating painting and sculpture as separate practices, Logioio approaches them as complementary ways of thinking through volume and space. Her paintings and collages, many of them produced during the 1990s, rely on subtle geometric structures, restrained chromatic harmonies, and textured surfaces that invite prolonged looking. These works avoid spectacle, preferring quiet visual rhythms in which composition becomes an exercise in balance rather than assertion.

The sculptures extend this investigation into physical space. Cast in bronze, they combine solidity with fluidity, resisting stable or literal interpretation. Their organic silhouettes oscillate between abstraction and bodily suggestion, while their curved planes and abrupt interruptions produce shifting relationships with light and shadow. Rather than occupying space as monumental objects, they activate it, encouraging viewers to move around them and experience form as something constantly redefined through perception.

From the opening moments of the exhibition, “Visión imposible” (Impossible Vision) at Recoleta Cultural Center reveals itself as less a conventional “show” and more a deliberate reimagining of materials and space: a sculptural installation that dissolves the boundary between drawing and three-dimensional form. Ullua uses mild steel — a humble, industrial metal — as if it were pencil or charcoal, lifting lines off a page and suspending them in air. The result is simultaneously minimal and daring: delicate arcs, loops, and tangles that hover, bend and hover again, tracing volatile geometries in the gallery’s volume.

Recoleta Cultural Center

What makes this transformation especially powerful is Ullua’s willingness to embrace color. In “Visión imposible”, the metal is not only shaped; it is painted, coated, gifted with hues that introduce new perceptual tensions. The interplay of line, volume, and color destabilizes the viewer’s assumptions: a “drawing” that occupies space, a “sculpture” that feels graphic. The gallery becomes a field of floating gestures, where shadows and reflections participate, and where negative space becomes as charged as the material itself.

Beneath the formal experimentation lies, however, a quiet wit and a sense of modesty, traits characteristic of Ullua’s broader practice. The exhibition does not seek grandeur, but intimacy. The metal lines do not attempt to dominate; they insinuate, invite, challenge quietly. It is a humble poetry of form, born from discarded or industrial materials repurposed into delicate structures.

Moreover, “Visión imposible” seems to ask something of the viewer: to move, to shift perspective, to reconsider what counts as drawing, what counts as volume, what counts as space. At different vantage points, the work changes, lines that appear connected dissolve, tangles resolve into airy arcs. In this way, the exhibition becomes less a static display than a dynamic experience, a choreography of gaze and spatial relation.

Curated by Carla Barbero, the show feels like a thoughtful continuation and refinement of Ullua’s ongoing investigation into the poetic potential of industrial material, line, humor, and space. It neither flaunts technical virtuosity nor shock value; instead, it invites reflection, subtle disorientation, and a renewed awareness of how a simple “line” can occupy and transform the world around us.

For those accustomed to heavy, monumental contemporary sculpture, “Visión imposible” might feel almost ghostly: thin, airy, fragile. Yet that is precisely its strength. There is an elegance in its restraint, a radicalism in sparseness. It’s an exhibition that doesn’t shout, it whispers. And in its whispers, it manages to rewire the space of the gallery, and briefly, rewire how we see.

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. 

The exhibition Jajan't, by Argentine artist Paula Castro, is presented in Room 5 of the Centro Cultural Recoleta under the curatorship of Carla Barbero. The show delves into Castro's sculptural exploration, using unusual materials to transform the trivial into a complex sensorial and conceptual experience. Her pieces oscillate between the humorous and the disturbing and function as vehicles for reflecting on everyday life.

Ph: AURA Photo