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Monterrey, Nuevo León, México. CP 64920

March 10, 2019

Siempre fueron lecturas polarizadas que van del blanco al negro con escasos tonos intermedios. Decía mi colega la artista Pilar Villela que mi trabajo es un veneno rápido y un bálsamo lento. En efecto las primeras lecturas ante un nuevo trabajo mío y me refiero a las primeras en publicarse suelen ser reacciones viscerales, punitivas y las lecturas más sobrias vienen luego poco a poco. A veces mi trabajo es tomado como una sucesión de escándalos lucrativos y otras como un valioso testimonio de nuestro tiempo. Tal vez no sea tanto mi obra sino nuestra sociedad el elemento de polarización. Nuestro público es muy diverso y no lo es sólo por su nivel de especialización, sino ante todo por su posición en la jugada. No sólo nos visitan desde la universidad, también y sobre todo desde los grupos sociales más favorecidos y a estos últimos no les agrada según que cosas. They were always polarized readings that go from black to white with few middle ground views. My colleague, artist Pilar Villel...

February 23, 2019

This last December, Bitcoin made the news when it rose in value at a record of $19,000 USD, and then made the news again in January when it “plummeted” to $11,000 USD, and kept going (at time of publication, it was at $8,000 USD). Most of the talk was focused on whether to invest or not, whether it’s a bubble, whether it will go up, down, sideways or upside down. With that kind of discussion, we’re only scratching the very surface of what the blockchain technology is capable of. Of course, investing in cryptocurrency has proven to be lucrative for some, but the focus of this text is to explore the possibilities of the blockchain technology. Cryptocurrency means the separation of money and state. Because of its peer-to-peer transactions, that means that no third party - whether bank, government or otherwise- can interfere or do the transfer for you. It means you send your money directly to someone else without having to transfer it through a bank. These third parties can’t interfere,...

January 23, 2019

 Previously published in LARMAGAZINE.025 Language and Techology

Deslice abajo para leer en español 

In the mid-90s, the Japanese telephone company Docomo began experimenting with a new symbology for written communication. Through his experimentation, Shigetaka Kurita found that an efficient way of communication could be through small images that economize words and were clear at the same time; thus were born the first emojis.

First they were supposed to be simple images that could share emotions; that’s why the smiley face infiltrated so deeply in the 90s pop culture. But as urban languages started to develop through emoticons and emojis, they left their informal character behind to consolidate a new method of communication which, next to geographical languages and binary programming, would be effective in the internet.

Today, emojis are part of our daily life, and they are associated as a complement for written communication, but in order to understand their connotation and transformation...

Catalina Restrepo: Patricia, what caught my attention when I saw your work was that although the creatures do not exactly have a human form —in a realistic way—, they seem to have personality. In addition to technical skills, I guess this also requires significant knowledge of psychology, anthropology or even body language. Are there other studies that you have combined with art? Patricia Piccinini: Before I went to Art school I completed a degree in Economic History, but tended to focus more on themes like philosophy and cultural studies. However, as an artist I’ve always had an enormous interest in the world that surrounds me, so I spend a lot of time doing more informal research, following scientific announcements that come to my attention. After Art school I spent a lot of time drawing anatomy in museums, and that has had a lasting influence on my work. I don’t really have any particular expert knowledge beyond that which I have gleaned for myself. I would not want to be considere...

November 2, 2016

 scroll dow for english

LARMAGAZINE tiene muchas noticias últimamente. Por una parte, está estrenando una plataforma mucho más robusta y que permite generar contenidos más interactivos. Además, está presentando un nuevo número con el tema de lenguaje y tecnología con el cual celebra su edición número 25, mostrando ampliamente el trabajo de artistas tan importantes como Alfredo Jaar, Marcos Ramírez ERRE, Miguel Ventura y teamLab, por nombrar a algunos. También inauguró LARSCHOOL, una escuela de arte en Monterrey, y por si fuera poco, prepara una segunda subasta de arte contemporáneo, por medio de la cual invita a sus lectores a contribuir de una manera directa con la financiación de la revista y así garantizar que continúe siendo una publicación completamente gratuita.

Como saben, este es un proyecto editorial único en Latinoamérica y específicamente en el ámbito del arte contemporáneo, puesto que se produce en formato app. LARMAGAZINE hasta ahora sólo podía ser descargada en tabletas ele...

June 16, 2016

 (english below)

En todo lo referente a lo paranormal, creo yo, recae uno de los temas más polarizantes que existen en la sociedad. Están tanto los que creen, como los que no. Hay quienes incluso dicen “no creo en brujas pero de que las hay, las hay” o “yo no creo mucho, pero una vez…”. Sin embargo, por más que muchos pretendan tener argumentos válidos, no hay realmente pruebas que demuestren o desmientan la existencia de presencias, posesiones, fantasmas, brujas o demonios, entre otros.

Siempre existirán escépticos que no bajarán de charlatanes a quienes sí creen; así como creyentes que criticarán a los que no logran percibir nada. Lo que podemos decir es que este es un terreno debatido en el que la opinión de todos merece respeto, pues al final de cuentas cada quien está en su derecho de creer lo que quiera. Incluso a pesar de que este sea un tipo de pensamiento que no comulgue con la ciencia, o ni siquiera con el pensamiento artístico contemporáneo, que en mi opinión es cada vez más...

March 17, 2016

(español abajo)

In my opinion, artistic projects with an ephemeral character –performative, installative, in public spaces or of social engagement projects- require a higher level of thoroughness than any other discipline. I am not able to point out that which makes them so susceptible to “failure”, let’s say. Maybe because it is an area that endorses many clichés, but I could almost say that, as a general rule, when they are good they are excellent, and when they are not, they are usually really bad. I don’t think there is a generous error margin in these types of projects, as I do find in more traditional formats such as painting and sculpture.

I could count the actions and performances I have really liked with the fingers of my hand. For example: one of the exhibits that I enjoyed the most last year was Infinite Experience at MALBA. In that opportunity I was positively surprised by a number of important pieces, specially Judi Werthein´s Obras contadas (20...

February 11, 2016

 

 

 

Come and visit our stand at ARCOmadrid

 

ARCO:
An inspiring scene of contemporary collectors

By Emireth Herrera

Published in LARMAGAZINE.022 Family
 

 

​The International Contemporary Art Fair ARCOMadrid, organized by IFEMA, has become an event of great importance in the art scene in Spain and for the rest of the world. Since 1982 it has marked a crucial axis in the art market given its status, quality and cultural production. ARCOmadrid’s 35th anniversary will be held from 24 to 28 February 2016, gathering 35 of the most prestigious galleries worldwide. The city of Madrid will be a center point to generate, cultivate and expand international relations through dialogue and global understanding of what is happening in the art fields.

 

Why is ARCOmadrid fair considered so seductive? In addition to the magnificent scenery of the capital of Spain, it is interesting to analyze the development of the Spanish art scene that has historically been characterized by its ability to generate critical...

Cover by Catherine Bagnall Photo credit: Alicia Young

For me, being from Colombia and living in Mexico, it is hard to imagine what it would have been like to grow up in a peaceful context… a real peaceful one, and to live without fear of going out of my house and being robbed, to say the least. Through movies, the media, or even with the help of history books, one could make himself an idea of how life is in such places. However, it is probable that the people who live there have a different way of addressing general issues.

Many people think of peace as the opposite to war or violence. Despite that, in this new issue we try to deal with the concept of peace as an independent condition that stimulates one type of thought, sensibility and creativity that in most cases allows exploring the world from a perspective that goes beyond survival. As usual, we do not propose a thesis with this magazine, since pages and editing timelines are never enough. Conversely we want to invite the readers t...

VIOLENT CONTEXTS 

 

At first we had the idea of preparing two LARMAGAZINE issues that would complement each other: the first would review artistic production related to violent contexts, and the second related to peaceful ones. I imagined the difficult one would be the second, since peace in the world is something so scarce, but with the almost obvious preconception that conflicts and inconformity stimulate artistic creation, I thought I would be entering a tsunami of content; and yes, I found a lot of things, but not so much as expected.

I know the reviews of each subject set out on these pages represent a little grain of sand in the sea of the world’s artistic production, but in the end I had the feeling that the most committed artists who today are generating poetic, sensitive and rightfully critic content, are the same ones who’ve been doing it since always; and that maybe younger artists are tackling other equally interesting issues as nature, memory, space/time, but are not complete...

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