José Luis Falconi, PhD

Press

Press

Línea de defensa

Artischock
July 17, 2017

En su actual muestra en Die Ecke Arte Contemporáneo, en Santiago, José Luis Falconi (Lima, 1973) nos invita a tener una experiencia en relación con el horizonte, equiparándolo a la noción de frontera: la que separa a Estados Unidos y México durante la administración Trump, la casi-imposible subida a las serranías del Perú por parte del ejército chileno durante su ocupación en los 1880s, la imagen cliché de la puesta del sol en el Caribe.

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Second Nature

The Miami Rail
October 10, 2015

Second Nature, a solo show by José Luis Falconi, makes clear Jenielift’s aim to challenge the traditional role of the gallery or contemporary project space.Second Nature, a solo show by José Luis Falconi, makes clear Jenielift’s aim to challenge the traditional role of the gallery or contemporary project space. Falconi has transformed the four-hundred-square-foot gallery into a more aestheticized contemporary space we don’t often see in Miami. 

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Approximationes a una misma linea

Artischock
November 15, 2014

Die Ecke Arte Contemporáneo presenta la segunda muestra individual del artista peruano José Luis Falconi, titulada Aproximaciones a una misma línea, en la cual nos invita a tener una experiencia sublime en relación al horizonte como componente geográfico del paisaje. Esta exposición instalativa está compuesta por fotografías, tanto análogas como digitales, dispuestas de manera escultórica.

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10th Mercosul Biennial – Messages from a New America

Floornature
November 10, 2015

The thing that we really like about this are the best practices of social responsibility that forms the backbone of all the work of the Mercosul Biennial Foundation, a non-profit organisation whose mission is to spread art as a driver of social change through educational programmes, and for democratic access to the visual arts “as concrete tools for the exercise of citizenship and the construction of a more just and solidarity-based society”.

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10th Mercosul Biennial “Messages From A New America”

Biennial Foundation
October 26, 2015

The 10th Mercosul Biennial has opened to the public in Porto Alegre, Brazil, and runs from October 23 to December 6. This edition of the biennial is dedicated exclusively to art from Latin America, searching for its roots and presenting a new curatorial model that goes against the grain by including works from the early 18th century to the present.

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10th Edition Of Mercosul Biennial Starts Today With Works By 402 Artists From 21 Countries

Pipa
October 23, 2015

This edition of the exhibition’s goal is to promote the visibility, the legibility ash reception of the artworks of these countries through a large scale show, constructed around the most relevant production of this region.

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Participating artists announced for 10th edition

e-flux
July 30, 2015

More than 20 years later, the Biennial has deeply reevaluated its political perspective by reconsidering the role it plays in the context of hundreds of Biennials existing today around the world. In order to make a more significant contribution to the field of exhibitions, especially those concerning the art of Latin America and including, but not limited to, its reception and legibility, the 10th exhibition brings to the forefront an extensive group of works  representing the immense artistic contribution of the entire region.  

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Crisis at the 10th Mercosur Biennial

ArtNexus
2015

The 10th Mercosur Biennial is in the midst of a deep crisis; the message for this year, Messages of a New America, has instead revealed a profound disconnect. On the one hand, the curatorial team has seen three of its members, Raphael Fonseca (Brazil), Ramón Castillo Inostroza (Chile), and Fernando Davis (Argentina), resign as a group after the event’s official launch, when the Mercosur Biennial Foundation made the unilateral decision to reduce the number of works and artists without consulting the curators, who for months had carried out a painstaking selection process. 

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10th Mercosul Biennial- Messages from a New America

Arte Sur
2015

The 10th Biennial will take into account the historical substratum of art, emphasizing the dimension of excellence and artistic and cultural meaning of contemporary productions. Thus, a wide selection of canonical and non-canonical works will be on exhibit, which will offer a comprehensive historical framework reaching into the present.

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Exposición: Paralelos Urbanos

Plataforma Urbana
August 26, 2014

Desde hoy 26 de agosto hasta el 5 de octubre se podrá ver la exposición Paralelos Urbanos, en donde 20 artistas de todas partes del mundo, reflexionan acerca de los cambios en el ecosistema y en las políticas urbanas  generados por el rápido crecimiento de nuestras ciudades. La muestra que trata conceptos como hábitat, arquitectura y paisaje, es una selección de fotografías, video arte e instalaciones realizada por el curador Rodolfo Andaur.

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Paralelos Urbanos. Habitat, Arqitectura y paisaje

Artischock
October 17, 2014

El Centro Cultural Matucana 100 presentó recientemente Paralelos Urbanos, muestra curada por Rodolfo Andaur que reflexiona sobre los conceptos de hábitat, arquitectura y paisaje. El crecimiento desmesurado de las ciudades, los cambios en el ecosistema y las políticas urbanísticas fueron algunas de las temáticas abordadas en esta muestra, que reunió fotografías, videos e instalaciones de 20 artistas de Chile, Perú, Bolivia y España.

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Lo ideal sería que LO IDEAL se diera

Arte Actual ​​
August 10, 2010

Proyecto ideal surge de la necesidad de diálogo, reflexión e intercambio entre consolidados artistas de diversas nacionalidades y se plantea como una plataforma horizontal de cruces de mirada y de pensamiento crítico en torno a las diversas propuestas de cada creador, por lo que no se necesitó la figura del curador para la organización del evento. 

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Elsewhere(S): Otros Mundos, Otros Tiempos, Otros Territorios

Arte al Día Internacional
2022

Organizado en tres secciones entrelazadas, Elsewhere(s) abarca múltiples generaciones y períodos de tiempo. La primera sección, Territorios Inexplorados, explora la larga tradición latinoamericana de cosmología sobrenatural que presenta a los “observadores de estrellas” prehispánicos de las culturas olmeca y del mezcala que datan entre los siglos III y IX a. C. 

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Six Discoveries to Make at Miami’s Untitled Art Fair 2021

Cultured
December 3, 2021

Known for featuring exciting mid-career and emerging artists around the globe, with over 145 galleries and four guest curators—Natasha Becker, Miguel A. López, Estrellita Brodsky and José Falconi—this year’s edition proved not only the largest, but the most diverse and ambitious yet. 

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The 10 Best Booths at Untitled Art Miami Beach 2021

Artsy
November 30, 2021

To celebrate its 10th edition, this year, Untitled Art expanded its curatorial platform by inviting four guest curators—Natasha Becker, Miguel A. López, Estrellita Brodsky, and José Falconi—who all contributed in creating a diverse and global conversation about contemporary art. Below are 10 exceptional booths from Untitled Art Miami Beach’s 2021 edition.

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All the fun of the fairs in Miami

Financial Times
November 25, 2021

Untitled Art Miami Beach (November 29-December 4, 12th Street and Ocean Drive) is celebrating its 10th edition by inviting four curators to stage presentations at the show. Natasha Becker of the de Young Museum in San Francisco is uniting 11 galleries around the theme of black voices, while art historians Estrellita Brodsky and José Falconi have focused theirs on less traditional, more outlying ways of understanding the universe.

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3 Curatorial Projects You Won’t Want to Miss at This Year’s Untitled Art Fair in Miami Beach

Artnet
November 19, 2021

The 10th edition of the event will also be the biggest it’s ever been, with over 145 international galleries exhibiting and a new section, Nest, which will aim to support emerging galleries, collectives, and non-profits. But there’s more. This year, Untitled has also tapped four powerhouse guest curators to create special themed shows within the fair: Natasha Becker, Miguel A. López, Estrellita Brodsky, and José Falconi.

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To Get a Clearer Look at the Poor, an Artist Uses Distorted Images

The New York Times
August 4, 2007 

Twenty-five enlarged color prints arranged as diptychs and multiple-panel works, as well as a slide show and video, are included in “Emancipatory Action: Paula Trope and the Meninos”, at the Americas Society in Manhattan, organized by Gabriela Rangel, the society’s director of visual arts, and José Falconi, curator at the David Rockefeller Center for Latin American Studies at Harvard University. This is Ms.Trope’s first exhibition in the United States.

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Emancipatory Action: Paula Trope and the Meninos

e-flux
May 18, 2007

Paula Tropes point of departure is grounded in the sociopolitical concerns and radical experiments developed in Brazil in the 1960s and 1970s by artist Helio Oiticica and filmmaker Glauber Rocha. Both decisive figures founded Neo-Concretism, Tropicalia and Cinema Novo, advocating projects of emancipation through the visual arts.Inspired by their legacy Trope presents photographs co-produced by the Meninos whom she met in the streets of Rio de Janeiro, and who live in the urban shantytowns vast areas discarded from modern society.

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Emancipatory Action: Paula Trope and the Meninos

Artforum
May 2007

“Emancipatory Action” grew out of a documentary project intended to profile street children (meninos) in Rio’s poor urban neighborhoods, called favelas. Originally, Trope was to photograph children from the Pereirão favela and the large-scale model of their neighborhood that they constructed from brick and debris, the Morrinho Project. 

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A public artist uses his wits: Pedro Reyes's 'ad usum' has hope and heart

The Boston Globe
December 7, 2006

Most of the pieces in this mini-retrospective either document or propose some form of social intervention, hence their usefulness. The artist found inspiration from masters of political theater such as Antanas Mockus, the former mayor of Bogota, who hired mimes to mock traffic violators because he thought ridicule was a more effective deterrent than fines. 

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Panel and Last Chance: ‘The Great Swindle’ at OAS

The Georgetowner
March 27, 2017

As the exhibition “The Great Swindle: Works by Santiago Montoya” comes to a close at the Art Museum of the Americas at the Organization of American States, a panel discussion, “Santiago Montoya’s Work in the Colombian Context,” will be held this Friday, March 24, at 6 p.m. The exhibition closes March 26. The museum, open Tuesday to Sunday, 10 a.m. to 5 p.m., is located at 201 18th St. NW.

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The Great Swindle, Our Love Affair with Art and Money

Linkedin
March 6, 2017

Over the last ten years, Montoya’s artworks have been comprised of vast canvases and banknotes. Paper currency is the base of most of his works, with the purpose of re-contextualizing our relationship with money. The exhibition’s launch in DC is timely as it helps us focus more attention to the issue of currency especially in the constantly changing global financial environment such as Brexit, low interest rates and potential impact of currency exchanges.

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Art Museum of the Americas

Adventures In Dc

March 1, 2017

 

Currently on display on the main floor of the Art Museum of the Americas, The Great Swindle by Colombian artist Santiago Montoya explores our relationship with money. The artist uses patterns and collages to show off the various colors and national images on currency from around the world.

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Money for Something

True Vue
2017

Rising Colombian artist Santiago Montoya garnered an international reputation for his exploration of our interaction with money. He uses real currency notes from various countries whose power dynamics interest him – either because of their domestic governance or their roles on the world stage – to create pointillist portraits of power. 

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‘The Great Swindle’ Looks at Our Fraught Relationship with Money

The Washington Diplomat
December 22, 2016

The seemingly Godlike power money wields certainly makes the world go round, whether in the U.S., China, Argentina or Zimbabwe. Montoya’s works examine the singular yet universal aspirations of different nations to accumulate wealth and prosperity, while laying bare the shaky foundations on which this prosperity is often built.

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Art Museum Of The Americas Presents THE GREAT SWINDLE: WORKS BY SANTIAGO MONTOYA, 10/20

Broadway World

September 28, 2016

 

Comprised of works that Montoya has made over the last ten years, The Great Swindle exhibition at the OAS AMA | Art Museum of the Americas represents a sustained examination of the complicated, fluid relationships we have with financial systems. 

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Sculptures of chocolate and gold are ‘Bittersweet’ at Somerville Museum

Boston Globe
March 1, 2022

“Bittersweet,” Colombian artist Santiago Montoya’s exhibition at the Somerville Museum, reflects that fraught relationship with wealth. It expands on a previous show mounted in Colombia, “El Dorado Chocolaterie.” Organized by Peruvian curator José Luis Falconi, it’s a sad, smart exhibition revolving around objects of desire: chocolate sculptures dipped in gold.

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An interview with Jose Falconi and Santiago Montoya, curators of ‘Bittersweet’

The Somerville Times 

February 16, 2022

 

Bittersweet is the latest installment of a project which the artists began in Colombia under the title El Dorado Chocolaterie, a reference to the mythical gold-covered city that expeditionists sought throughout the 16th century. And while the promises of hot chocolate, cacao-infused sweets, and hand-made ceramics were sufficient to draw a crowd, it was the idea of a promise itself that Falconi and Montoya hoped to lay bare for audiences to reflect on.

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Bittersweet Symphony

ReVista
August 17, 2020

I’ve worked with chocolate for the last four years, but ironically, I only started drinking hot chocolate for breakfast a couple of weeks ago. My morning chocolate comes from our family plantation in the region of Quindío, Colombia, the country where I was born. My father planted the cacao trees; my mother roasted and ground the beans. While I sip this dark and delicious re-discovered miracle, I remember how my personal story with chocolate began.

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Cristóbal Lehyt

Artforum
May 2010

From Gustave Courbet’s stone breakers to task-based dance, artists have variously attempted to depict the laboring body. Chilean-born, New York–based Cristóbal Lehyt’s latest solo endeavor also references industry, effort, and production: The show consists of a series of 260 paintings (the number of weekdays in a year) and a large plywood box containing dozens of tangled and woven string sculptures that obliquely refer to textile manufacturing and its obsolescence.

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Cristóbal Lehyt: If Organizing is the Answer, What's the Question?

Carpenter Center for the Visual Arts

If someone can rest assured of the robustness of our logical system, and perhaps even find shelter in the dreadful paradoxes that unravel when one tries to go against its most basic principles, that someone has to be Cristóbal Lehyt, whose artistic proposals have always been based on teasing out a number of the most illustrious of logical aporias one can think of.

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If the Grid Is the New Palm Tree of Latin American Art

Oxford Art Journal Vol. 33, No. 3
2010

Through a collection of artifacts, ranging from photographic documentation to works of art, Alessandro Balteo Yazbeck’s pedacito de cielo (1998—2008) stages a return to the 1950s, to the moment of Venezuela’s state-led modernization as evidenced in Carlos Villanueva’s architectural projects, images of which begin pedacito de cielo’s installation. Balteo Yazbeck’s work, what he calls an ‘ intimate museum’, is not concerned with the accurate reconstruction of events in a way that would present history as the consequence of individual actors. 

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Alessandro Balteo Yazbeck

ArtNexus 69: Arte en Colombia 115
Jun – Aug 2008

 ¿Cómo abordar una obra de arte que sólo se declara a sí misma como tal en el mismo momento en que se descifra desde el punto de vista conceptual? ¿Cómo podría ese desciframiento inducir, de manera estratégica  —incluso coercitiva— a la percepción de las continuas repercusiones del contradictorio proyecto del modernismo? Éstas son dos preguntas fundamentales que planteó la fascinante exposición Pedacito de cielo (1998-2008), de Alessandro Balteo Yazbeck, presentada por la Galería Sert de la Universidad de Harvard.

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A Little Piece of Balteo Yazbeck

The Harvard Crimson
February 15, 2008

Alessandro Balteo Yazbeck’s exhibit at the Sert Gallery in the Carpenter Center, titled “Pedacito del Cielo (1998-2008),” tackles the tangled exponents of Latin American geometrical abstraction, from modernist architecture to sculpture to a video of performance art. At the same time, the show is also a supremely individual creation. Balteo Yazbeck, while not the curator of the exhibit, is perhaps best called the artist of the exhibit.

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Sticking it to the man

The Boston Phoenix
January 2, 2007

“Dissent!” is a fiery greatest hits of five centuries of such protest art. The 62 prints and publications offer a who’s who of art rabble rousers: Honoré Daumier, Francisco de Goya, Käthe Kollwitz, José Guadalupe Posada, Pablo Picasso, Joseph Beuys. It’s important that we see and study this stuff, but the challenge for institutional exhibits — a challenge curator Susan Dackerman doesn’t solve — is how to embrace protest art without neutralizing it.

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A public artist uses his wits Pedro Reyes's 'ad usum' has hope and heart

The Boston Globe
December 7, 2006

Reyes, who started out as an architect, makes conceptual art, architectural models, and ritualistic projects, all intended to change and refresh the public’s mind-set through the element of surprise. Some of these are wonderfully ambitious yet sensible, such as his vision for an abandoned, triangle-shaped high-rise in Mexico City: turn it into a vertical green space with hundreds of hydroponic units, and put in solar panels to create enough electricity to pump the water.

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Perusing A Peruvian Archive

The Harvard Crimson
April 12, 2006

Baldomero Alejos, whose photographic documents of life in the Ayacucho region of Peru currently hang in the David Rockefeller Center for Latin American Studies (DRCLAS) building, considered himself a tradesman, not an artist. But considering his unusual talent for composition, dynamism, and detail as displayed in the exhibit, it seems that he sorely underestimated himself.

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Mean streets Colombian artist's urban studies find beauty amid the bleakness

The Boston Globe
March 25, 2005

Cities that sprawl out of control, with hundreds of thousands of people living on the margins, both geographically and economically, in makeshift structures prone to collapse. That’s the starting point for Jaime Ávila’s two current Boston-area shows: ”Life Is a Catwalk (La Vida Es Una Pasarela),” at the David Rockefeller Center for Latin American Studies at Harvard, and ”4th World (Cuarto Mundo),” at the Boston Arts Academy.

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Auto-Portraits: Blue Bananas on Fire and Blueprints for a Nation

Latin Art
January 5, 2005

In the course of the past three decades, Adál Maldonado, known as ADÁL, has shifted his creative focus from introspective explorations into the human experience (love, relationships, family history, and self-identity), to more critical work that aggressively confronts issues of government control and exploitation. Since 1996, ADÁL’s artwork has dealt with the racial, political and economic status of Puerto Ricans living in the United States, particularly those in New York City

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His blurry photos bring clarity to the plight of Puerto Ricans

The Boston Globe
December 24, 2004

The artist, known as Adal, has developed over the years from a photographer to a conceptual and installation artist. You can witness the progression in “Blue Bananas on Fire,” at Harvard University’s David Rockefeller Center for Latin American Studies, and see its culmination in “Blueprints for a Nation,” a searingly funny show of his current work at the Center for Latino Arts.

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Exhibition Preview: Portraits of an Invisible Country

The Harvard Crimson 
February 27, 2004

Colombia’s identity, captured by Munera’s 52 black and white prints, is far from Hollywood’s rendering of a country ruled by the decadence of warring drug lords. The collection includes prints of a boy bathing, a pair of old platform shoes, a hospital room and a band from the Fiesta de San Pedro Munera, which together create an illuminating dialogue with his homeland.

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Latin American artists given their due in shows

The Boston Globe
October 22, 2003

The title “Code-Switcher” refers to the practice of shifting between languages. In this case it alludes to the displacement and even disappearance of Uruguayans, and the fractured lives of people who don’t “belong” anywhere. Many of these pieces are purposely difficult to see: the almost invisible Plexiglas dots climbing the stairwell, for instance, asking to be “read” through touch; the white paper diptych called “Maps,” embossed with images of a human heart, its parts labeled as in a medical text, and the words “welcome home,” but with no indication of where home is.

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Visual Preview: Code-Switcher

The Harvard Crimson
October 10, 2003

The small wax faces adorning the walls of the David Rockefeller Center for Latin American Studies (DRCLAS) seem to follow passers-by with their ghost-like presence and identical, penetrating open mouths. These strange voyeurs are part of the center’s new exhibition by artist Rosalia Bermudez titled “Code-Switcher.”

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Emotions, Expression Pervade Cauvin’s Art

The Harvard Crimson
February 28, 2003

At the intersection of Irving and Kirkland streets, Haiti meets Harvard. “Crossroads,” an exhibition of Haitian artist Marie-Hélène Cauvin’s paintings and drawings, opened at the David Rockefeller Center for Latin American Studies last weekend to a friendly crowd of Harvard students, art aficionados and members of the local Haitian community.

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Like Father, Like Son

The Harvard Crimson
October 3, 2002

Cuba and its rich history come to life in the photography exhibit now on display at Harvard’s David Rockefeller Center for Latin American Studies. According to Jose Luis Falconi, Latin American and Latino Art Forum coordinator and curator of the exhibition, “Cuba is very difficult to frame.” But this small show, representing two generations of Cuban history, manages to express the complexity of Cuban society in a way accessible to Harvard students.

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Agua, tierra (mágica) y hongos. Sobre tres proyectos expositivos llevados a cabo en el MAC Lima

Terremoto
July 16, 2020

El Museo de Arte Contemporáneo de Lima está ubicado en el distrito de Barranco, uno de los más húmedos y representativos de la franja costera de la ciudad. En diciembre de 2018, empecé mi trabajo en el MAC Lima como parte de un equipo que se encargó de proponer una programación reflejo de nuevos enfoques curatoriales y de investigación, centrados en las prácticas artísticas peruanas contemporáneas. 

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Ximena Garrido-Lecca e Ishmael Randall Weeks: Materia Común

Artishock
November 12, 2019

En los albores de la modernidad, el fray dominico Tomás Campanella soñó con una ciudad tan perfecta que su diseño correspondía directamente al sistema solar copernicano y todos sus muros estaban recubiertos de todo el saber de su tiempo para que sus habitantes puedan acceder a este cuando quisieran. A esta utopía la llamó la Ciudad del Sol.

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Un proyecto de LIFEWTR en Gallery Weekend CDMX

Código
September 21, 2018

El 20 de septiembre, inauguró su exposición Arte sin fronteras en las instalaciones de Casa Orizaba en la colonia Roma de la Ciudad de México, donde los artistas Ana Roldán, Rubén Ortiz-Torres y Laercio Redondo —bajo la curaduría de José Falconi— presentaron un conjunto de piezas comisionadas por LIFEWTR en las que exploran la noción de frontera no desde el aspecto formal ni territorial, sino como una categoría cultural desde la que pueden plantearse procesos creativos pertinentes para el contexto actual.

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Malos pasos

El Periódico de Crítica Colombiana
Febrero 2018

Santiago Montoya se propone ilustrar la carga histórica y las implicaciones políticas del paso del Quindío para Colombia, así que, como dice el curador José Falconi, se supone que uno como espectador tiene la posibilidad de experimentar lo que implicó atravesar dicho territorio.

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Mal Paso y otros senderos

Espacio El Dorado 
2017

Exhibido en los tres pisos del edificio El Dorado, Mal paso (y otros senderos) comprende tres instalaciones mayores, cada una de ellas reinterpretando la experiencia de cruzar un camino sospechoso hacia la riqueza y la fortuna, tratando que el espectador se cuestione y reflexione sobre las limitaciones e ilusiones del proyecto nacional colombiano.

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Mal paso y otros senderos en Espacio El Dorado

Semana
November 21, 2017

Mal paso y otros senderos es una instalación del artista Santiago Montoya que lleva al visitante al corazón del Eje Cafetero. En concreto, a un punto de la accidentada geografía colombiana conocido como ‘El paso del Quindío’. Debido a lo dificil que es recorrerlo, desde la Colonia se han tejido varios mitos alrededor del lugar, reflejados en la literatura colombiana y en los trazados de la expedición del científico Alexander von Humboldt. 

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Augusto Ballardo

Art Nexus 104
Feb – May 2017

Ballardo trata de “profundizar en la analogía entre la implementación de los patrones geométricos preincaicos y los de una etapa modernista del Arte, la que hoy en día se construye como una misma imagen, el lenguaje de las artes”. Esta exposición consta de dieciocho obras, de las cuales nueve son pinturas sobre diferentes soportes (plexiglás, acero y fuselajes de aeronaves), tres esculturas (plexiglás, acero y fuselajes de aeronaves), una serie de grabado de nueve piezas y cinco instalaciones de partes de aeronaves. 

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Augusto Ballardo: Plumaje – El Esplendor Del Vuelo

Artishock
October 25, 2016

Curada por José Luis Falconi, esta propuesta está sustentada en la investigación que Augusto Ballardo (Perú) inició hace cinco años. Tales indagaciones iniciales sobre el uso de la geometría y sus múltiples utilizaciones en el arte actual, generaron en el artista una búsqueda histórica de las relaciones que pueden existir entre los objetos culturales contemporáneos y el pasado prehispánico.

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Augusto Ballardo inaugura Plumaje – El esplendor del vuelo

Lima Gris
September 28, 2016

Analogías entre nuestra arquitectura contemporánea hasta los elaborados textiles geométricos de la época prehispánica, entretejen un lenguaje espacial propio, que podemos encontrar en cada cultura estudiada por Augusto Ballardo, explorando conexiones que convergen en una misma historia sin fronteras. 

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Augusto Ballardo y el arte de volar

Grupo Asia Sur

Augusto quiso sintetizar su larga investigación con una exposición. Su reciente muestra, Plumaje. El esplendor del vuelo, reflexionó sobre migraciones y movimientos culturales estableciendo un contraste entre el arte plumario ancestral y la estética de las aeronaves contemporáneas. En la Galería Impakto, reunió pinturas, grabados y esculturas; a la vez, gestionó una exhibición paralela de arte plumario en el Museo Textil Precolombino Amano: en esta se planteó un recorrido por la iconografía de aves en los textiles peruanos.

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El Anverso de las nubes

Arte por Excelencias
June 8, 2011

Acerca de la muestra, ha comentado José Luis Falconi, curador: “es, antes que nada, un diálogo entre dos artistas a partir de sus propia exploración de las posibilidades inherentes a los materiales con los cuales han elaborado sus respectivas obras. Tanto para Huffman como para Cárdenas es allí, en esa relación primigenia con el material, en donde comienza la escultura, en donde la materia se transforma en concepto al adquirir forma, densidad, textura. 

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Fernell Franco “El artista Invisible”

Periodico Arteria Año 6 # 28
Abril – Junio 2011

La muestra, curada por José Falconi del Centro Rockefeller de Harvard y Ángela Gómez del Museo Nacional, reúne más de 100 obras, en su mayoría de formato pequeño, que hacen parte de algunas de las series más emblemáticas de Fernell Franco, como ´Amarrados´, ´Prostitutas´, ´Interiores´, ´Demoliciones´ y ´Retratos de Ciudad´, aunque no muestra ninguna en conjunto -la mirada curatorial hizo énfasis en la búsqueda técnica de Franco, más que en sus temas y preocupaciones conceptuales.

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Francotirador: Disparos sobre el fotógrafo Fernell Franco

e Revista El Malpensante
April 4, 2011

Haber crecido en la casa que después sería el estudio de un fotógrafo y haber sido retratado por él desde la infancia ofrece un punto de vista bien particular. El autor de este perfil retrata muy de cerca a uno de los principales fotógrafos caleños.

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Fernell Franco, una impecable soledad

El Tiempo
March 16, 2011

La exposición está conformada por 101 obras y tiene dos ejes temáticos: Procesos y bocetos, cada uno compuesto con tres series. En la primera el artista explota los problemas de especialización y la narratividad del tiempo en el medio fotográfico.

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Una impecable Soledad (An Impeccable Solitude) Photographs by Fernell Franco

Art Nexus

This Exhibition by Fernell Franco showcases his experiments and career-long inquiries into the photographic medium. The works included in the show represent an attempt to convey the interest of this artist in capturing the image of a city in a constant process of creation, destruction, and recreation, an interest that has led him to propose works that redefine the boundaries of photography.

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«Carlo Tognato (ed.), Cultural agents reloaded: the legacy of Antanas Mockus» en Eunomía

Preguntas y comentarios
November 25, 2021

Carlo Tognato trabajó durante casi una década en la construcción de este libro. Reunir los capítulos, trabajar con los autores, adelantar las entrevistas e incluso resolver asuntos financieros y editoriales complejos que el mismo Tognato reconoce en el capítulo introductorio, supuso un esfuerzo sostenido por lograr el resultado final. 

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Colombia, Tierra de Luz

Baudó
2020

Colombia, Tierra de Luz (Land of Light) / Editorial Universidad de Caldas – Colección Diseño Visual, que reúne las fotografías, concepto e investigación del proyecto del fotógrafo y arquitecto colombiano Santiago Escobar-Jaramillo, acompañado de escritores invitados quienes hacen una revisión crítica del mismo. El proyecto utilizó la luz como elemento material y narrativo en la reconfiguración de la noción de reparación. 

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Colombia, tierra de luz

Bakanika 
May 2, 2019 

Al tomar un ejemplar de Colombia, tierra de luz se experimenta la sensación de emprender un viaje por oscuros rincones del país, de indagar entre las páginas de un informe secreto que es urgente revelar, de hacer parte de la edición de un libro fragmentado cuyos pliegos aguardan por la versión definitiva en manos del lector.No se trata solo de un libro de fotografía sino de una experiencia en varios sentidos. 

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Intramuros: Palimpsestos sobre arte y paisaje, Nathalie Goffard, Editorial Metales Pesados, Santiago de Chile, 2019

Artelogie
2020

Los Palimpsestos son manuscritos que se graban múltiples veces. Como dice su autora, la investigadora y ensayista chilena Nathalie Goffard, son capas de escritura, capas de paisaje, capas de libertad, composiciones independientes que van más allá de su matriz de circulación, exposición o texto de catalogo. 

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Conversaciones con Néstor García Canclini

Crónica Jalisco 
November 28, 2018

En el libro “La interculturalidad y sus imaginarios”, dos de los temas que más preocupan en la actualidad al investigador, los participantes conversan con García Canclini sobre las migraciones, la dictadura que provocó su exilio en 1976, el arte contemporáneo, como una forma de creación individual y comunitaria, las ciudades, la antropología de aproximaciones múltiples, los jóvenes y la intimidad crítica.

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Pedro Reyes: Ad Usum / To Be Used

Carpenter Center for the Visual Arts
April 2018

Artist Pedro Reyes,  editor José Luis Falconi, and contributor Liz Munsell discuss Ad Usum / To Be Used, a survey of Reyes’s projects. Opening remarks by contributor and Harvard faculty Doris Sommer. The publication is a collection of images, interviews, and critical essays intended as an apparatus for multiplying the possibilities when art becomes a resource for the common good. 

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The Other Latinos by José Luis Falconi and José Antonio Mazzotti, eds

AnthroSource 
16 April 2009

This volume makes a positive contribution towards current U.S. debates on immigration. The authors selected for this volume use multidisciplinary approaches to discuss immigrant identities and representations, focusing on the “other” Latinos: those whose origin or place of birth is not Puerto Rico, Cuba, or Mexico (identified by the editors as “traditional” Latinos). The editors ask a key question: “to what degree are Latinos linguistically, culturally, or even politically homogeneous?”

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A Principality of Its Own: Fourty Years of Visual Arts and the Americas Society

ArtNexus 64 
Mar – Jun 2007

The publication brings together 15 essays by different historians, curators and critics who examine certain aspects of the history of Latin American art in the United States. Among the themes dealt with in the book are: the origins and the role fulfilled by the Americas Society in the Cold War and its context; the role of Mexican art through the extraordinary exhibitions that took place in the gallery since 1970; the history of Brazilian photography as a form of art. 

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Axis Mundi: Eje del Mundo. Jose Falconi & Kyle Huffman

Arteinformado
2015

José Luis Falconi es investigador en el Departamento de Historia del Arte y Arquitectura de Harvard -universidad en la cual recibió su doctorado en Literaturas Románicas. Su área de especialización es la teoría del paisaje en la tradición de las arte visuales latinoamericanas y en la teoría ética en la estética contemporánea. 

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