#faustino-oro

#faustino-oro

In Cabranes, Asturias, Atelier Poem has realized the Taller Agropoetico for Foresta Collective—a space that integrates agricultural practice with pedagogy.

Frida Kahlo, during her 1933 trip to New York, created a colorful haven in her hotel room by covering the walls with prints by José Guadalupe Posada, which depicted sensational news and political imagery.

We don't eat batteries. They take away the water; they take away life. This pronouncement, in Spanish, appears in a photograph that the artist Tomás Saraceno sent via WhatsApp last month from Salinas Grandes, a high-altitude salt flat in northern Argentina. There, in one of the world's largest lithium reserves, the artist is working alongside 11 Indigenous communities to build El Santuario del Agua (The Water Sanctuary), a monumental work about the global energy transition.

There's this push and pull between feeling unease and discomfort, the nature of the spaces, and why they feel uncomfortable. But there is also tenderness and warmth, people adapting to these spaces and finding ways to make them comfortable.

In 2025 the Prado, which is home to such masterpieces as Velazquez's Las Meninas and Hieronymus Bosch's The Garden of Earthly Delights, was visited by 3,513,402 people, an increase of more than 56,000 from the previous year. Visitor numbers have risen by more than 816,000 over the past decade. While some museum bosses would be toasting such a success, the Prado's director, Miguel Falomir, is treating it with caution. The Prado doesn't need a single visitor more, he told a press conference on Wednesday.

Concéntrico is an urban innovation laboratory that invites reflection on the city through architecture and design. Since 2015, it has carried out more than 180 interventions in Logroño, Spain. The new 2025/2026 season of the festival expands on this experimental spirit with three international calls for proposals that bring the ideas in the book Concéntrico: Laboratorio de Innovación Urbana (Park Books, 2025) into action.

We were supposed to be Frieze's special guests. And we feel like we're being censored, racially profiled and discriminated against. Having worked with the fair for five years, she says she will not continue beyond this weekend.

OSCAR MURILLO (b. 1986, La Paila, Colombia) has developed a multifaceted and challenging practice that spans painting, collaborative projects, video, sound and installation. Through each body of work, the artist probes ideas of collectivity and shared culture, demonstrating a commitment to the power of material presence alongside complex meditations on contemporary society. A focus on the social dimension that sits on the border between performance and events is also central to Murillo's practice.

From figures with multiple legs and noodles for arms to frolicking trees, Paco Pomet summons the absurd. Known for his uncanny oil paintings rendered mostly in monochrome and enlivened by colorful details of overly stretchy limbs or celestial objects, a sense of nostalgia greets surreal scenarios. The artist often derives his imagery from vintage black-and-white photographs, adding an absurd dimension to history.

In her manifesto, Borderlands/La Frontera, Anzaldúa presents what she calls a new mestiza consciousness, which advocates for ambiguity and moves "toward a more whole perspective, one that includes rather than excludes." Groundbreaking when it was published in 1987, this theory pushed queer, feminist, and cultural scholars to consider how identity is both fluid and informed by several overlapping factors. It also helped to lay the groundwork for branches of study like ecofeminism,

"The new venue has allowed us to develop the experience of the fair-it lends itself to being more of a destination," Brett W. Schultz, the co-founder and director of Material, tells The Art Newspaper. The fair features over 70 exhibitors this year, with an especially strong contingent of Mexico City galleries that, like Material, have been around for a little over a decade.

I first saw Stalker in the mid-1980s. I grew up in a very rural community, but I had a group of friends who all wanted something that we couldn't really get where we lived. With film, that was a possibility. I'm in my fifties now. I keep trying to figure out what I'm doing as an artist and how to keep going.

I was intrigued by the similarity between two paintings recently featured in the Guardian: the Ecce Homo as restored by Cecilia Gimenez (Cecilia Gimenez, famed for Monkey Christ' mural mishap, dies at 94, 30 December) and Tete de Femme by Pablo Picasso (1m Picasso portrait up for grabs for 100 in charity raffle, 31 December). Perhaps Cecilia's work is in need of a reappraisal. Steve Shearsmith Beverley, East Yorkshire

Handcrafted Artful Embroideries of Everyday Products by Alicja Kozowska Well of Eternity: Stunning Sci-Fi Concept Artworks of Sung Choi Traveller's Joy The Key To The Countryside Beautiful Shell Adverts From The Mid-1950s These Animal Illustrations Accurately Express Our Monday Blues And Friday Feels Dark, Surreal And Moody Photo Works By Simon Kerola Artist Replaces Jurassic Park Dinosaurs With Those From The Show Dinosaurs "Deathmask Divine": The Superb Dark Paintings of Bahrull Marta

Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.

MADRID - The most famous portrait of Maruja Mallo depicts the artist covered from head to toe in seaweed. She is crowned and draped with long, rope-like strands of kelp, her arms raised triumphantly like an all-powerful marine goddess. This unconventional photograph, snapped in 1945 by the poet Pablo Neruda on a Chilean beach, was no doubt carefully orchestrated by the Spanish artist, who viewed herself as an extension of her unique work, where female energy is a conduit for natural and even cosmic forces.