Monterrey, Nuevo León, México. CP 64920

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...

June 20, 2017


Human Figure: Between Abstract and Figurative Representation

In 2016, during our first participation in ARCOmadrid, from among the thousands of works of art we saw every day, we noticed that many of them covered the subject of the human figure but from perspectives that were diametrically far away from the boring cliché of the nude. We understood there’s a gray area between abstract and figurative representations; proposals that were not necessarily realist or hyperrealist, but that were closer to those styles of representations in very interesting ways. We also got to know the artists whose work —at first sight— were close to cartoons in non-conventional ways. We realized that, without a doubt, this is a universe where different things are happening, where subtle changes are taking place, and the range of nuances in matters of representation are only becoming more attractive every day.

After defining our subject we had another concern: How to speak about the human figure...

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Hay quienes dicen que los libros electrónicos o las publicaciones digitales van a desaparecer, que nunca le ganaran al libro, como si se tratara de una competencia. Existe una especie de rechazo y miedo hacia las publicaciones digitales que casi me recuerda la pelea de Uber vs Taxi, cuando en verdad se parece más a la transición del correo tradicional al correo electrónico, en cuanto a que el e-book cumple tareas que antes eran exclusivas del impreso, pero que ofrece otros beneficios. Cada formato tiene una determinada función y cada uno suple necesidades diferentes.

Estoy de acuerdo en que algunos libros deben ser impresos, pues generan una experiencia que se disfruta mucho. Más que libros, se convierten en objetos de deseo que vale la pena conservar. Sin embargo, creo que no todos los libros o revistas deberían imprimirse. Unos, por malos e innecesarios -que hasta duele pensar en los árboles que se talaron-, y otros porque son tan buenos que sería ideal q...

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...

March 15, 2016


(versión en español abajo)

“Once you’re a parent, you’re the ghost of your children’s future”.

Cooper, character from the movie Interstellar (2014)


Most of the contemporary artists I know and really admire address different interests through their works, which usually involve complex creative processes full of research and planning. However, it would seem that sometimes, when they work with their own families as a central theme, it touches something inside of them: they become less objective, less methodic and even less organized, which results in powerful emblematic pieces, even though the formats and recurring themes are different.


It is common to lose any trace of objectivity when something related to our families affects us, and when this happens it’s important to fight to keep calm and not allow ourselves to be dragged by the hurricane these sentiments entail. Family is our first environment, where most of our traumas and fears live; it is a fragile but indestructible link, it buil...

February 11, 2016




Come and visit our stand at ARCOmadrid


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...

January 25, 2016

LARMAGAZINE is an interactive contemporary art magazine in app format for iPads and Tablets. Five editions are published a year - three bimestral and two trimestral- and LARMAGAZINE pocket an optimized version for smartphone that delivers the main content in weekly capsules.

This independent project seeks to innovate in terms of how contemporary art content is presented, edited, transmitted and consumed nowadays. Thanks to its format, LARMAGAZINE supports interactive formats such as video, audio, gif, VR, AR, among others, which allows the video-artists, sound artists or artists who work with the internet to transmit their work, as well as others who work in more traditional mediums.

All content is bilingual, and each edition presents different sections related to a central theme, such as: Recommended Exhibitions, Interviews and/or articles, Special Guests, interactive games and 5-9 Artist Portfolios.

LARMAGAZINE features an international array of artists from different contexts and tr...

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