aaaaarte

Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
19
  • aaaaarte en Twitter
Viernes, 10.2.2012


Array ( )

Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Más críticas
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Anselm Kiefer. La luz, apagada, al final del tunel

Anselm Kiefer. La luz, apagada, al final del tunel

24.2.2009 | Josep Torres Campalans
Anselm Kiefer. Es Baluard. Mallorca. Hasta el 30.08 >
Un mundo post-nuclear, deshabitado, repleto de ruinas, paisajes desolados, mapas imposibles y plantas carbonizadas >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Copyright © Murakami

Copyright © Murakami

20.2.2009 | Pérez de Viñaspre
Takashi Murakami. Museo Guggenheim. Bilbao. Hasta el 31 de mayo >
Camisetas, 45€, cojines, 90€, peluches, 25€. El triunfo del merchandising >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
La Sombra, el dudoso triunfo del digest-art

La Sombra, el dudoso triunfo del digest-art

11.2.2009 | Josep Torres Campalans
(La Sombra. Museo Thyssen / Fundación CajaMadrid) Producen un cierto cansancio estos cursos digestivos de historia del arte, estas exposiciones temáticas de vertiginoso recorrido >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Centelles. Evans. Los años difíciles del fotoperiodismo

Centelles. Evans. Los años difíciles del fotoperiodismo

2.2.2009 | David García
Centelles es a la guerra civil española (Annta Gallery) lo que Walker Evans es a la Gran Depresión americana (Fundación Mapfre) >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Joan Rabascall vuelve a casa

Joan Rabascall vuelve a casa

1.2.2009 | Josep Torres Campalans
Consumo, moda, turismo, tecnología, política, sexo, toda la imagenería encantadora del edificio desarrollista es materia de escrutinio y análisis para este barcelonés casi inédito en su propio país >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Li Wei. ¿Quién anda ahí?

Li Wei. ¿Quién anda ahí?

26.1.2009 | David García
Tiene Li Wei (Feng Cheng, 1975) un sentido natural del suspense que deposita en forma de fragmentos de historias sin historia, sin planteamiento ni desenlace, en sus enormes óleos >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Todo multi: Nowhere/Now/Here+There’s no road

Todo multi: Nowhere/Now/Here+There’s no road

22.1.2009 | David García
Hasta mediados de marzo se pueden visitar dos completísimas exposiciones multitodo -diseño experimental y vídeo- en la Laboral de Gijón >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Estermann. Ciudades al instante

Estermann. Ciudades al instante

18.1.2009 | David García
Lorenz Estermann (Linz,1968) expone por primera vez en Madrid su trabajo en papel junto a modelos tridimensionales, objetos que conectan pintura-dibujo, escultura-instalación, arquitectura y fotografía >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Gerardo Delgado: siete por dos catorce, más dos, dieciseis

Gerardo Delgado: siete por dos catorce, más dos, dieciseis

15.1.2009 | Josep Torres Campalans
Siete dípticos -catorce piezas de una nueva serie- y dos solos, junto a una serie de fotografías, balance 2008 de Gerardo Delgado >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Papeles (y dos óleos) de Albacete

Papeles (y dos óleos) de Albacete

13.1.2009 | David García
Presenta Alfonso Albacete, en la Marlborough, dos óleos -dentro de la irregular "muestra de invierno" que incluye alguna firma de escasísimo interés- y 10 serigrafías >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
85 años haciendo Tàpies

85 años haciendo Tàpies

28.12.2008 | Josep Torres Campalans
Cumple Antoni Tàpies sus 85 años -13 de diciembre- exhibiendo su trabajo más reciente: pintura y ensamblajes sobre madera y tela en Madrid y obra sobre papel y cartón ondulado en París >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Manel Esclusa hurga en las sombras

Manel Esclusa hurga en las sombras

13.12.2008 | David García
¿Qué hay en las sombras de un paisaje? No es una pregunta retórica, una mera cuestión técnica, de detalle, de revelado, un problema de diafragma y exposición, un enunciado académico. Es una forma incruenta de caza >
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Empieza, con puntos rojos, la temporada navideña de Sen

Empieza, con puntos rojos, la temporada navideña de Sen

12.12.2008 | David García
12.11.09. Ayer inauguró, y ya se vieron puntos rojos, la exposición colectiva que por estas fechas tiene por costumbre montar la galería Sen.
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Vuelve, Arroyo vuelve

Vuelve, Arroyo vuelve

21.11.2008 | Josep Torres Campalans
Vuelve Eduardo Arroyo, un año más por estas mismas fechas, a la galería Estampa. Las acuarelas de la anterior -Tu nombre viene lento- se han tornado ahora en lámparas, ventanas, platos, candelabros...
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Miguel Zugaza se apunta unas piedras

Miguel Zugaza se apunta unas piedras

20.11.2008 | Pérez de Viñaspre
Un puntazo para Miguel Zugaza, director del Prado, que ha aprovechado el cierre temporal del Museo Albertinum y la cesión de sus mejores obras, para rescatar Las Musas, 20 esculturas de la propia colección.
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
Cy Twombly, tres tazas

Cy Twombly, tres tazas

20.11.2008 | David García
Con la incorporación a los fondos del museo Guggenheim de los Nueve discursos sobre Cómodo de Twombly, Carmen Giménez ha organizado esta panorámica que reúne materiales desde 1951 a la actualidad.
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
1914, la guerra (refritada) está servida

1914, la guerra (refritada) está servida

11.11.2008 | Josep Torres Campalans
Tras el chasco de la última exposición de Miró, que no cubrió las expectativas en número de visitas, llega ahora este panorama del arte de vanguardia con la esperanza de recuperar el favor del público.
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
El dirty-acid-pop de Laurina Paperina

El dirty-acid-pop de Laurina Paperina

7.11.2008 | David García
Derrocha Laurina un humor ácido, cínico, divertido, que propone una Disneylandia al revés. Un estilo aparentemente para niños poblado de personajes inspirados en el cómic popular.
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )
García-Alix. El maldito entra en el museo

García-Alix. El maldito entra en el museo

5.11.2008 | David García
Completísima retrospectiva de este outsider, fotógrafo de la vida sin límites, provocador. La exposición ocupa, con generosidad, varias salas de la tercera planta del Reina Sofía.
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )

Bermejo. Hágase la medialuz

30.10.2008 | David García
Vuelve Fernando Bermejo a Madrid a encender la luz de sus últimos trabajos. Acrílico sobre papel japonés e italiano, retroiluminado en piezas grandes.
Array ( [paged] => 2 [category_name] => critica [error] => [m] => 0 [p] => 0 [post_parent] => [subpost] => [subpost_id] => [attachment] => [attachment_id] => 0 [name] => [static] => [pagename] => [page_id] => 0 [second] => [minute] => [hour] => [day] => 0 [monthnum] => 0 [year] => 0 [w] => 0 [tag] => [cat] => 19 [tag_id] => [author_name] => [feed] => [tb] => [comments_popup] => [meta_key] => [meta_value] => [preview] => [s] => [sentence] => [fields] => [category__in] => Array ( ) [category__not_in] => Array ( ) [category__and] => Array ( ) [post__in] => Array ( ) [post__not_in] => Array ( ) [tag__in] => Array ( ) [tag__not_in] => Array ( ) [tag__and] => Array ( ) [tag_slug__in] => Array ( ) [tag_slug__and] => Array ( ) [ignore_sticky_posts] => [suppress_filters] => [cache_results] => 1 [update_post_term_cache] => 1 [update_post_meta_cache] => 1 [post_type] => [posts_per_page] => 50 [nopaging] => [comments_per_page] => 50 [no_found_rows] => [order] => DESC )

Burtynsky, de cantera en cantera

4.7.2008 | David García
La galería Toni Tàpies de Barcelona exhibe la primera exposición de Edward Burtynsky en España, después de haberle representado en ARCO este mismo año. La exposición de Barcelona es sólo una breve muestra de lo que se puede ver ahora en Madrid en la galería Arnes y Ropke.