Argentine director Matías Piñeiro’s Isabella is the latest in a string of offbeat films about the nature of performance and creativity.
Cuando Cambia el Mundo (When the World Changes) invites audiences to deconstruct their own biases.
Amanda Cotrim’s photographs document the thousands of abortion rights advocates who erupted into festivities throughout Buenos Aires on the day of the vote.
“How can we think that Period Red can universally represent our menstrual palettes?” asks Cromoactivismo, an Argentine group that mobilizes color in the service of social change.
Three of the Argentine director’s films are now on the Criterion Channel, and they demonstrate how she complicates ideas of female agency and power.
Juan Carlos Lynch, who had just been nominated as president of arteBA in Argentina, posted numerous sexist, racist jokes on his Instagram.
From the tactile joy of brushing our bare skin against fabric to the discovery of new architecture that yields to our touch, Neto’s work melds the pleasures of sight to the sensuality of material.
Curator Gabriela Rangel, now leading the Buenos Aires Museum of Latin American Art, sees an opportunity to bring submerged connections between Latin American nations to light.
Many of the objects, which were slated for an exhibition at the Holocaust Museum of Buenos Aires, had multiple misspellings in German, misused or wrongly contextualized National Socialist symbols, and errors in the names of Nazi-era institutions.
The Argentine conceptual artist reminds us that imagination can transform reality into art.
This labor of love was shot over the course of 10 years in around a dozen countries across South America, Europe, and Asia.
Neither a political thriller nor entirely a noir, Benjamin Naishtat’s Rojo is an eerie film in which the stakes feel painfully high.