DiabloRosso

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<channel>
	<title>DiabloRosso</title>
	<link>https://diablorosso.com</link>
	<description>DiabloRosso</description>
	<pubDate>Thu, 26 Mar 2026 12:03:00 +0000</pubDate>
	<generator>https://diablorosso.com</generator>
	<language>en</language>
	
		
	<item>
		<title>On View</title>
				
		<link>https://www.diablorosso.com/On-View-2</link>

		<pubDate>Wed, 19 Jan 2022 22:44:30 +0000</pubDate>

		<dc:creator>DiabloRosso</dc:creator>

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		<description>&#60;img width="1196" height="896" width_o="1196" height_o="896" data-src="https://freight.cargo.site/t/original/i/b86bfbd1597d4615abca541e1bb92e23fd7b3e6b0d5c962de21149678a250c99/Screenshot-2026-06-12-at-09.55.03.png" data-mid="249391213" border="0"  src="https://freight.cargo.site/w/1000/i/b86bfbd1597d4615abca541e1bb92e23fd7b3e6b0d5c962de21149678a250c99/Screenshot-2026-06-12-at-09.55.03.png" /&#62;
	MANUEL “CHINGUI” SACRAMENTOChinguimanía II: El más bello recuerdo de una abuelita con rollos, patinando dentro de un jarrón.
	
	upcoming
june 20, 2026

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	<item>
		<title>Past Exhibitions </title>
				
		<link>https://www.diablorosso.com/Past-Exhibitions-1</link>

		<pubDate>Wed, 26 Jan 2022 16:37:52 +0000</pubDate>

		<dc:creator>DiabloRosso</dc:creator>

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&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/570fcc93a891170170096443d922bb55166759a519e81882a8b8e997674da3c1/_RS_0147-copy.jpg" data-mid="246536805" border="0" alt="IRENE KOPELMAN : Preguntas a la Isla" data-caption="IRENE KOPELMAN : Preguntas a la Isla" src="https://freight.cargo.site/w/1000/i/570fcc93a891170170096443d922bb55166759a519e81882a8b8e997674da3c1/_RS_0147-copy.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/8f9b7b4ac2cd3db2012520f8e3ae76f7a114aa2ed99adfa782a200465886f7ca/_P2A2123.jpg.jpg" data-mid="244220754" border="0" alt="AD&#38;Aacute;N VALLECILLO : Anatom&#38;iacute;as de la Percepci&#38;oacute;n" data-caption="ADÁN VALLECILLO : Anatomías de la Percepción" src="https://freight.cargo.site/w/1000/i/8f9b7b4ac2cd3db2012520f8e3ae76f7a114aa2ed99adfa782a200465886f7ca/_P2A2123.jpg.jpg" /&#62;
&#60;img width="3360" height="2240" width_o="3360" height_o="2240" data-src="https://freight.cargo.site/t/original/i/75036291eef2ec41687b0248309867927bb984c0820bb280125f3659b3891c1e/_P2A9458.jpg" data-mid="247224529" border="0" alt="DEJARSE MOVER : Una exposici&#38;oacute;n a beneficio del Programa Enlaces" data-caption="DEJARSE MOVER : Una exposición a beneficio del Programa Enlaces" src="https://freight.cargo.site/w/1000/i/75036291eef2ec41687b0248309867927bb984c0820bb280125f3659b3891c1e/_P2A9458.jpg" /&#62;
&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/32cf28a657b4737ac6c149a5b12986ef62898d4911530c3c2debd149f1bfb80a/_P2A6767.jpg" data-mid="239120849" border="0" alt="JUAN PABLO GARZA &#38;amp; CHRISTIAN VINCK : Patio Ondulado" data-caption="JUAN PABLO GARZA &#38;amp; CHRISTIAN VINCK : Patio Ondulado" src="https://freight.cargo.site/w/1000/i/32cf28a657b4737ac6c149a5b12986ef62898d4911530c3c2debd149f1bfb80a/_P2A6767.jpg" /&#62;
&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/bc614750233ff7c979964e877a4b9438735b82f662721502df27c3e3adc3ac08/_P2A2988.jpg" data-mid="236809433" border="0" alt="La Historia Ficticia de un Amor Verdadero" data-caption="La Historia Ficticia de un Amor Verdadero" src="https://freight.cargo.site/w/1000/i/bc614750233ff7c979964e877a4b9438735b82f662721502df27c3e3adc3ac08/_P2A2988.jpg" /&#62;
&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/5c5436be395e168e8080ec86c228e43f750f442b6db5a23e7802677d22eefaf1/2.jpg" data-mid="233480705" border="0" alt="ANA ELENA GARUZ : Greetings from Panam&#38;aacute;" data-caption="ANA ELENA GARUZ : Greetings from Panamá" src="https://freight.cargo.site/w/1000/i/5c5436be395e168e8080ec86c228e43f750f442b6db5a23e7802677d22eefaf1/2.jpg" /&#62;
&#60;img width="1250" height="833" width_o="1250" height_o="833" data-src="https://freight.cargo.site/t/original/i/7aaa43168477df2f54cd56944f54f3b6988f4a8420821c331efeee25b0a32283/lerma1.jpg" data-mid="236405970" border="0" alt="JOSE LERMA : Diez-Gracias" data-caption="JOSE LERMA : Diez-Gracias" src="https://freight.cargo.site/w/1000/i/7aaa43168477df2f54cd56944f54f3b6988f4a8420821c331efeee25b0a32283/lerma1.jpg" /&#62;
&#60;img width="750" height="500" width_o="750" height_o="500" data-src="https://freight.cargo.site/t/original/i/e36b0903876bb55161f3308372bc9e3dfbdfea22e6f8775ef0643e4a80e57445/bittersweet3.jpg" data-mid="236406513" border="0" alt="Bittersweet Symphony" data-caption="Bittersweet Symphony" src="https://freight.cargo.site/w/750/i/e36b0903876bb55161f3308372bc9e3dfbdfea22e6f8775ef0643e4a80e57445/bittersweet3.jpg" /&#62;
&#60;img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/5f0d7a8b6662b9c133f81e0b804fba7a34712c551cf56d655185dd90ccbb636e/01_U0A8373.jpg" data-mid="218410904" border="0" alt="LIZ COHEN : Avenida de los M&#38;aacute;rtires" data-caption="LIZ COHEN : Avenida de los Mártires" src="https://freight.cargo.site/w/1000/i/5f0d7a8b6662b9c133f81e0b804fba7a34712c551cf56d655185dd90ccbb636e/01_U0A8373.jpg" /&#62;
&#60;img width="2535" height="1707" width_o="2535" height_o="1707" data-src="https://freight.cargo.site/t/original/i/b1eabdb1b030312545f2abdb81ffdce8d28773c01c1730788ef41f26344017a7/_EL_9830-Retocada-Final.jpg" data-mid="214873087" border="0" alt="ENGEL LEONARDO : Gag&#38;aacute;" data-caption="ENGEL LEONARDO : Gagá" src="https://freight.cargo.site/w/1000/i/b1eabdb1b030312545f2abdb81ffdce8d28773c01c1730788ef41f26344017a7/_EL_9830-Retocada-Final.jpg" /&#62;
&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/03e782a2525933c25c0a69e81300267453e07bb64b506aa07dd64163836a134b/_U0A1419.jpg" data-mid="209576663" border="0" alt="DONNA CONLON : Lo que ma&#38;ntilde;ana ya no ser&#38;aacute; / What will no longer be tomorrow" data-caption="DONNA CONLON : Lo que mañana ya no será / What will no longer be tomorrow" src="https://freight.cargo.site/w/1000/i/03e782a2525933c25c0a69e81300267453e07bb64b506aa07dd64163836a134b/_U0A1419.jpg" /&#62;
&#60;img width="2560" height="1706" width_o="2560" height_o="1706" data-src="https://freight.cargo.site/t/original/i/bd014e3515fb8b7576f61ba68a8be3f5a9bdb583f19683d2ac5a4e0dea1f6fd2/00_U0A7426.jpg" data-mid="203277083" border="0" alt="El Presente est&#38;aacute; por Escribirse" data-caption="El Presente está por Escribirse" src="https://freight.cargo.site/w/1000/i/bd014e3515fb8b7576f61ba68a8be3f5a9bdb583f19683d2ac5a4e0dea1f6fd2/00_U0A7426.jpg" /&#62;
&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/8f306b77cef15dfe2820d98c2daddb558a5251b5b317e0e737e0052d67a1d713/_U0A6562.jpg" data-mid="198650416" border="0" alt="Enlaces de Cambio, la Revoluci&#38;oacute;n se Baila, no se Habla" data-caption="Enlaces de Cambio, la Revolución se Baila, no se Habla" src="https://freight.cargo.site/w/1000/i/8f306b77cef15dfe2820d98c2daddb558a5251b5b317e0e737e0052d67a1d713/_U0A6562.jpg" /&#62;
&#60;img width="1890" height="1260" width_o="1890" height_o="1260" data-src="https://freight.cargo.site/t/original/i/95594c6983a0e2ac678f0e664385f5e7bb09446a6eea051a51aabf30d6ba24d2/00.jpg" data-mid="197418285" border="0" alt="OMAR VEL&#38;Aacute;ZQUEZ : Nube madrugadora, piedra traidora" data-caption="OMAR VELÁZQUEZ : Nube madrugadora, piedra traidora" src="https://freight.cargo.site/w/1000/i/95594c6983a0e2ac678f0e664385f5e7bb09446a6eea051a51aabf30d6ba24d2/00.jpg" /&#62;
&#60;img width="3960" height="2640" width_o="3960" height_o="2640" data-src="https://freight.cargo.site/t/original/i/dbf1623ca8f3fc37debbbec5122925a1da0c8871925a4249761330adedac5482/00_U0A2261.jpg" data-mid="189348006" border="0" alt="JUAN PABLO GARZA : Vidrio Molido y Otras Reflexiones Diarias" data-caption="JUAN PABLO GARZA : Vidrio Molido y Otras Reflexiones Diarias" src="https://freight.cargo.site/w/1000/i/dbf1623ca8f3fc37debbbec5122925a1da0c8871925a4249761330adedac5482/00_U0A2261.jpg" /&#62;
&#60;img width="3200" height="2136" width_o="3200" height_o="2136" data-src="https://freight.cargo.site/t/original/i/5219f6e7a61e7037bca5d171542e033b9fce6f5d6f0e20251976b0448c11cf3a/Los-Nocturnos-001.jpg" data-mid="181365887" border="0" alt="ISABEL DE OBALD&#38;Iacute;A : Los Nocturnos" data-caption="ISABEL DE OBALDÍA : Los Nocturnos" src="https://freight.cargo.site/w/1000/i/5219f6e7a61e7037bca5d171542e033b9fce6f5d6f0e20251976b0448c11cf3a/Los-Nocturnos-001.jpg" /&#62;
&#60;img width="3827" height="2552" width_o="3827" height_o="2552" data-src="https://freight.cargo.site/t/original/i/86eff8b286130c5dd2f546e4473b8ddf410491ebea2b8fba22881fd5b3176ad8/01-_U0A0030.jpg" data-mid="169571157" border="0" alt="AD&#38;Aacute;N VALLECILLO : Buenas Commodities" data-caption="ADÁN VALLECILLO : Buenas Commodities" src="https://freight.cargo.site/w/1000/i/86eff8b286130c5dd2f546e4473b8ddf410491ebea2b8fba22881fd5b3176ad8/01-_U0A0030.jpg" /&#62;
&#60;img width="3960" height="2640" width_o="3960" height_o="2640" data-src="https://freight.cargo.site/t/original/i/b183ea8c9a165df66d6b7b1ae506ffbf9071408210eae5474e92ccc4dfd0f7ea/01-_U0A8101.jpg" data-mid="162032651" border="0" alt="FABRIZIO ARRIETA : Que el fin del mundo me pille pintando" data-caption="FABRIZIO ARRIETA : Que el fin del mundo me pille pintando" src="https://freight.cargo.site/w/1000/i/b183ea8c9a165df66d6b7b1ae506ffbf9071408210eae5474e92ccc4dfd0f7ea/01-_U0A8101.jpg" /&#62;
&#60;img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/7f64e302fcf6e9131f1152006e50b83499f2a06eb62261383bd75d746b32c778/01.jpg" data-mid="154361928" border="0" alt="MATEO L&#38;Oacute;PEZ : Palabras de Cierre" data-caption="MATEO LÓPEZ : Palabras de Cierre" src="https://freight.cargo.site/w/1000/i/7f64e302fcf6e9131f1152006e50b83499f2a06eb62261383bd75d746b32c778/01.jpg" /&#62;
&#60;img width="3960" height="2640" width_o="3960" height_o="2640" data-src="https://freight.cargo.site/t/original/i/52d9bda116e43bd0372b21e4ab5fc06dcf2eff8b71921ad9666badd2cad0986d/01-_U0A4483.jpg" data-mid="149992382" border="0" alt="JOS&#38;Eacute; LERMA : Parecidos" data-caption="JOSÉ LERMA : Parecidos" src="https://freight.cargo.site/w/1000/i/52d9bda116e43bd0372b21e4ab5fc06dcf2eff8b71921ad9666badd2cad0986d/01-_U0A4483.jpg" /&#62;
&#60;img width="3468" height="2312" width_o="3468" height_o="2312" data-src="https://freight.cargo.site/t/original/i/a27ba96982c2a70e07499fd8f7ad0f085df927a9a4388889faa3546511a6d39e/02-copy-2.jpg" data-mid="146324883" border="0" alt="ANA ELENA GARUZ : Fragmentos de una imagen" data-caption="ANA ELENA GARUZ : Fragmentos de una imagen" src="https://freight.cargo.site/w/1000/i/a27ba96982c2a70e07499fd8f7ad0f085df927a9a4388889faa3546511a6d39e/02-copy-2.jpg" /&#62;
&#60;img width="3960" height="2640" width_o="3960" height_o="2640" data-src="https://freight.cargo.site/t/original/i/3d7da71e32d9f6054a30005acef25ffc3bdfd53af5f402f921407aac3a5aec7e/13-_U0A1250.jpg" data-mid="133269357" border="0" alt="QUINCEA&#38;Ntilde;ERE 15 a&#38;ntilde;os de DiabloRosso : Curated by Pablo Le&#38;oacute;n de La Barra" data-caption="QUINCEAÑERE 15 años de DiabloRosso : Curated by Pablo León de La Barra" src="https://freight.cargo.site/w/1000/i/3d7da71e32d9f6054a30005acef25ffc3bdfd53af5f402f921407aac3a5aec7e/13-_U0A1250.jpg" /&#62;
&#60;img width="3749" height="2499" width_o="3749" height_o="2499" data-src="https://freight.cargo.site/t/original/i/ac4393200401e3ac905cace052d25b825e3eb4b64f092ae0f42f21e454ed0ebe/101-_U0A0422.jpg" data-mid="131529497" border="0" alt="KATHERINE BERNHARDT : Ah&#38;iacute; donde no has llegao' sabes que yo te llevar&#38;eacute;" data-caption="KATHERINE BERNHARDT : Ahí donde no has llegao' sabes que yo te llevaré" src="https://freight.cargo.site/w/1000/i/ac4393200401e3ac905cace052d25b825e3eb4b64f092ae0f42f21e454ed0ebe/101-_U0A0422.jpg" /&#62;
&#60;img width="3960" height="2640" width_o="3960" height_o="2640" data-src="https://freight.cargo.site/t/original/i/230093d1ac040a3036873f67f84894476f5ad2d7680c57a16180050bb9256703/_U0A2135.jpg" data-mid="132369269" border="0" alt="EL PAPEL AGUANTA TODO : Refugio" data-caption="EL PAPEL AGUANTA TODO : Refugio" src="https://freight.cargo.site/w/1000/i/230093d1ac040a3036873f67f84894476f5ad2d7680c57a16180050bb9256703/_U0A2135.jpg" /&#62;
&#60;img width="3960" height="2640" width_o="3960" height_o="2640" data-src="https://freight.cargo.site/t/original/i/72686eb99cb49e136c041e571ed516d791109df5d24d3b6ddcc00882fb4e7d22/03-_U0A0161.jpg" data-mid="131529498" border="0" alt="WELLS CHANDLER : Schizophyllum Commune" data-caption="WELLS CHANDLER : Schizophyllum Commune" src="https://freight.cargo.site/w/1000/i/72686eb99cb49e136c041e571ed516d791109df5d24d3b6ddcc00882fb4e7d22/03-_U0A0161.jpg" /&#62;
&#60;img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/ff692eb2ed8ee5eaa048787d178a7c3092fdd4d251be08d3f0de2b13b239a6c4/RaphaSalazar-01-_U0A6392.jpg" data-mid="131529507" border="0" alt="FABRIZIO ARRIETA : Una promesa de aventura" data-caption="FABRIZIO ARRIETA : Una promesa de aventura" src="https://freight.cargo.site/w/1000/i/ff692eb2ed8ee5eaa048787d178a7c3092fdd4d251be08d3f0de2b13b239a6c4/RaphaSalazar-01-_U0A6392.jpg" /&#62;
&#60;img width="3960" height="2640" width_o="3960" height_o="2640" data-src="https://freight.cargo.site/t/original/i/9928b791504e0f3e9a4b9bdcc16bdcf9546ea92ea4899fdcacce0a4830357d38/02-_U0A1877.jpg" data-mid="131529499" border="0" alt="ANA ELENA GARUZ : Si las paredes hablaran" data-caption="ANA ELENA GARUZ : Si las paredes hablaran" src="https://freight.cargo.site/w/1000/i/9928b791504e0f3e9a4b9bdcc16bdcf9546ea92ea4899fdcacce0a4830357d38/02-_U0A1877.jpg" /&#62;
&#60;img width="1623" height="1080" width_o="1623" height_o="1080" data-src="https://freight.cargo.site/t/original/i/52d7dc4cf07f011a0c60ce05f77426f5410b77cb17623f5fc834b080686dc8b7/Untitled-design.jpg" data-mid="132574688" border="0" alt="DONNA CONLON : No Stone Unturned : Curated by Jen Hoffmann" data-caption="DONNA CONLON : No Stone Unturned : Curated by Jen Hoffmann" src="https://freight.cargo.site/w/1000/i/52d7dc4cf07f011a0c60ce05f77426f5410b77cb17623f5fc834b080686dc8b7/Untitled-design.jpg" /&#62;
&#60;img width="3691" height="2460" width_o="3691" height_o="2460" data-src="https://freight.cargo.site/t/original/i/c8c7ab3b5349a86384adb535e85d27eb067d690ff8f2a62946feb4c5c46c3090/02-_U0A8727.jpg" data-mid="131529501" border="0" alt="ESQUECI DE ACORDAR : Curated by Federico Herrero" data-caption="ESQUECI DE ACORDAR : Curated by Federico Herrero" src="https://freight.cargo.site/w/1000/i/c8c7ab3b5349a86384adb535e85d27eb067d690ff8f2a62946feb4c5c46c3090/02-_U0A8727.jpg" /&#62;
&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/6194ce7bd3a59a9ae8e260287a077723dda525f5b7fef9ad13567a14a22373be/05-_U0A7332.jpg" data-mid="131529502" border="0" alt="PACH PAN : Curated by Juan Pablo Garza &#38;amp; Railey Stiven Yance" data-caption="PACH PAN : Curated by Juan Pablo Garza &#38;amp; Railey Stiven Yance" src="https://freight.cargo.site/w/1000/i/6194ce7bd3a59a9ae8e260287a077723dda525f5b7fef9ad13567a14a22373be/05-_U0A7332.jpg" /&#62;
&#60;img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/fb1f97b5a097da92b3b3c39210091d62d8bfb5d6a55a163b0ecc6ad637f28777/03-_U0A6182.jpg" data-mid="131529503" border="0" alt="ENGEL LEONARDO : Manoguayablo" data-caption="ENGEL LEONARDO : Manoguayablo" src="https://freight.cargo.site/w/1000/i/fb1f97b5a097da92b3b3c39210091d62d8bfb5d6a55a163b0ecc6ad637f28777/03-_U0A6182.jpg" /&#62;
&#60;img width="2790" height="1861" width_o="2790" height_o="1861" data-src="https://freight.cargo.site/t/original/i/a34c47aecf5f0bb9551eaf29d60901adb3b79c0f147410c433feabb6d61114c4/03-_U0A2134.jpg" data-mid="131529504" border="0" alt="CHRISTIAN VINCK : Solares" data-caption="CHRISTIAN VINCK : Solares" src="https://freight.cargo.site/w/1000/i/a34c47aecf5f0bb9551eaf29d60901adb3b79c0f147410c433feabb6d61114c4/03-_U0A2134.jpg" /&#62;
&#60;img width="3000" height="2003" width_o="3000" height_o="2003" data-src="https://freight.cargo.site/t/original/i/5982d48aef498b60b2b8909bdfc812fbe7dce726b234bf828c4fa313e6224398/05-HIPERCAPNIA-13_imprimir.jpg" data-mid="131529506" border="0" alt="ADAN VALLECILLO : Hipercapnia" data-caption="ADAN VALLECILLO : Hipercapnia" src="https://freight.cargo.site/w/1000/i/5982d48aef498b60b2b8909bdfc812fbe7dce726b234bf828c4fa313e6224398/05-HIPERCAPNIA-13_imprimir.jpg" /&#62;
&#60;img width="1064" height="709" width_o="1064" height_o="709" data-src="https://freight.cargo.site/t/original/i/a9f906f256892754e8e853080db43dc0d710b74d0a57a51093f3d9467dc98fc3/_U0A2009.jpg" data-mid="131920311" border="0" alt="FABRIZIO ARRIETA : La tierra era plana" data-caption="FABRIZIO ARRIETA : La tierra era plana" src="https://freight.cargo.site/w/1000/i/a9f906f256892754e8e853080db43dc0d710b74d0a57a51093f3d9467dc98fc3/_U0A2009.jpg" /&#62;
&#60;img width="2822" height="1882" width_o="2822" height_o="1882" data-src="https://freight.cargo.site/t/original/i/9d36c89bcdc52733ffa3911cf50ff2f46a43920ec8f24946d979c7ddb44ff584/02_U0A6201.jpg" data-mid="131920574" border="0" alt="JOSE OLANO : Degradaciones Tropicales : Abismos al borde de una mesa" data-caption="JOSE OLANO : Degradaciones Tropicales : Abismos al borde de una mesa" src="https://freight.cargo.site/w/1000/i/9d36c89bcdc52733ffa3911cf50ff2f46a43920ec8f24946d979c7ddb44ff584/02_U0A6201.jpg" /&#62;
&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/df4adea40b40b8984943fc641d1187bb64ddad663ab6f87966d4e4d0904a34cb/_U0A1638.jpg" data-mid="131920674" border="0" alt="ANA ELENA GARUZ : Bottom Line" data-caption="ANA ELENA GARUZ : Bottom Line" src="https://freight.cargo.site/w/1000/i/df4adea40b40b8984943fc641d1187bb64ddad663ab6f87966d4e4d0904a34cb/_U0A1638.jpg" /&#62;
&#60;img width="3960" height="2640" width_o="3960" height_o="2640" data-src="https://freight.cargo.site/t/original/i/0701652868616a859fc7d7bc335cff2b89c272307b2d27052b2fb9940eb4b51e/_U0A7782.jpg" data-mid="131920695" border="0" alt="JHAFIS QUINTERO : una serie de eventos desafortunados en el pasado me obligaban en el presente a comer deprisa" data-caption="JHAFIS QUINTERO : una serie de eventos desafortunados en el pasado me obligaban en el presente a comer deprisa" src="https://freight.cargo.site/w/1000/i/0701652868616a859fc7d7bc335cff2b89c272307b2d27052b2fb9940eb4b51e/_U0A7782.jpg" /&#62;
&#60;img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/bb0d89e81cf0cd878e03c64b8d351325f68736c1925f485321449724dea96f8e/_U0A8787.jpg" data-mid="131920712" border="0" alt="JOS&#38;Eacute; LERMA : IO E IO" data-caption="JOSÉ LERMA : IO E IO" src="https://freight.cargo.site/w/1000/i/bb0d89e81cf0cd878e03c64b8d351325f68736c1925f485321449724dea96f8e/_U0A8787.jpg" /&#62;
&#60;img width="3240" height="2160" width_o="3240" height_o="2160" data-src="https://freight.cargo.site/t/original/i/58d7bd4397a9b9a5378f6b5fc0a897ab1511a99a95359e9a4bc2b391c7c2c0ee/03022018-_MG_0651.jpg" data-mid="131920721" border="0" alt="JUAN PABLO GARZA : Volviendo A Los Descalzos (Caminos Dominicales)" data-caption="JUAN PABLO GARZA : Volviendo A Los Descalzos (Caminos Dominicales)" src="https://freight.cargo.site/w/1000/i/58d7bd4397a9b9a5378f6b5fc0a897ab1511a99a95359e9a4bc2b391c7c2c0ee/03022018-_MG_0651.jpg" /&#62;
&#60;img width="3000" height="2003" width_o="3000" height_o="2003" data-src="https://freight.cargo.site/t/original/i/1748dcf4bd214e6392abfbf7a4146f2e5a179d3f8a5693799bb10af4b770e87d/06-RE-Diablo-Rosso_imprimir_0002.jpg" data-mid="131920753" border="0" alt="KEEP THE LIGHTS ON : Jos&#38;eacute; Lerma, Donna Conlon, Ingrid Cordero &#38;amp; Fabrizio Arrieta" data-caption="KEEP THE LIGHTS ON : José Lerma, Donna Conlon, Ingrid Cordero &#38;amp; Fabrizio Arrieta" src="https://freight.cargo.site/w/1000/i/1748dcf4bd214e6392abfbf7a4146f2e5a179d3f8a5693799bb10af4b770e87d/06-RE-Diablo-Rosso_imprimir_0002.jpg" /&#62;
&#60;img width="2850" height="1900" width_o="2850" height_o="1900" data-src="https://freight.cargo.site/t/original/i/0cb4a254641871055b3b5a3219f9c76db40545683bbff02157f3459e4300beec/02_U0A7553.jpg" data-mid="131920857" border="0" alt="ELSA-LOUISE MANCEAUX : Hola Fantasma" data-caption="ELSA-LOUISE MANCEAUX : Hola Fantasma" src="https://freight.cargo.site/w/1000/i/0cb4a254641871055b3b5a3219f9c76db40545683bbff02157f3459e4300beec/02_U0A7553.jpg" /&#62;
&#60;img width="2799" height="1866" width_o="2799" height_o="1866" data-src="https://freight.cargo.site/t/original/i/be82af9bbd630ab3328604b3785d901a5f6ab0fe1dccaea4000b889623e8c8ec/05.jpg" data-mid="131920993" border="0" alt="IRREMEDIABLEMENTE COTIDIANO" data-caption="IRREMEDIABLEMENTE COTIDIANO" src="https://freight.cargo.site/w/1000/i/be82af9bbd630ab3328604b3785d901a5f6ab0fe1dccaea4000b889623e8c8ec/05.jpg" /&#62;
&#60;img width="3000" height="2003" width_o="3000" height_o="2003" data-src="https://freight.cargo.site/t/original/i/352dd5a1e4c83b7640fd3666bc264b7dd9976858dc2e03e2e8ec941fd19047b3/3a-palo-encebao_imprimir_001.jpg" data-mid="131921049" border="0" alt="JOS&#38;Eacute; CASTRELL&#38;Oacute;N : Palo enceba'o" data-caption="JOSÉ CASTRELLÓN : Palo enceba'o" src="https://freight.cargo.site/w/1000/i/352dd5a1e4c83b7640fd3666bc264b7dd9976858dc2e03e2e8ec941fd19047b3/3a-palo-encebao_imprimir_001.jpg" /&#62;
&#60;img width="1823" height="1216" width_o="1823" height_o="1216" data-src="https://freight.cargo.site/t/original/i/646b36d3e3a01f9a8b3568e144853eca2a6864b46ac7c0c07109a2ca9698ba3a/01-RE_U0A1586.jpg" data-mid="131921180" border="0" alt="FABRIZIO ARRIETA : Dec&#38;aacute;logo de la felicidad" data-caption="FABRIZIO ARRIETA : Decálogo de la felicidad" src="https://freight.cargo.site/w/1000/i/646b36d3e3a01f9a8b3568e144853eca2a6864b46ac7c0c07109a2ca9698ba3a/01-RE_U0A1586.jpg" /&#62;
&#60;img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/1ece62b76387cf92140fd22bca1f4762dfa6ac7c531c818e9d771ce7dda4e926/_U0A9082.jpg" data-mid="131921248" border="0" alt="CARLOS AMORALES : Solo para tus ojos" data-caption="CARLOS AMORALES : Solo para tus ojos" src="https://freight.cargo.site/w/1000/i/1ece62b76387cf92140fd22bca1f4762dfa6ac7c531c818e9d771ce7dda4e926/_U0A9082.jpg" /&#62;
&#60;img width="3000" height="2003" width_o="3000" height_o="2003" data-src="https://freight.cargo.site/t/original/i/ed0f6320576ed902b47cab61a11cf444e96c41cf7b3348dd725274796a186414/01-Visa-Boogaloo_imprimir_001.jpg" data-mid="131921258" border="0" alt="IGNACIO GATICA : Visa Boogaloo" data-caption="IGNACIO GATICA : Visa Boogaloo" src="https://freight.cargo.site/w/1000/i/ed0f6320576ed902b47cab61a11cf444e96c41cf7b3348dd725274796a186414/01-Visa-Boogaloo_imprimir_001.jpg" /&#62;
&#60;img width="3000" height="2003" width_o="3000" height_o="2003" data-src="https://freight.cargo.site/t/original/i/0e98a5ed66e93e0f761d792bfe88379ff8ccc6101c0548305384622f9c214b21/12-Objects-in-the-rearview-mirror-are-closer-than-they-appears_imprimir_001.jpg" data-mid="131921286" border="0" alt="OBJECTS IN THE REARVIEW MIRROR ARE CLOSER THAN THEY APPEAR" data-caption="OBJECTS IN THE REARVIEW MIRROR ARE CLOSER THAN THEY APPEAR" src="https://freight.cargo.site/w/1000/i/0e98a5ed66e93e0f761d792bfe88379ff8ccc6101c0548305384622f9c214b21/12-Objects-in-the-rearview-mirror-are-closer-than-they-appears_imprimir_001.jpg" /&#62;
&#60;img width="2880" height="1920" width_o="2880" height_o="1920" data-src="https://freight.cargo.site/t/original/i/54585dd4aac3efe1da21aae024254e5bcfaf75c5d2a78dca56709cc006a8898c/01-_U0A9287.jpg" data-mid="131921297" border="0" alt="IRENE KOPELMAN : Underwater Workstation" data-caption="IRENE KOPELMAN : Underwater Workstation" src="https://freight.cargo.site/w/1000/i/54585dd4aac3efe1da21aae024254e5bcfaf75c5d2a78dca56709cc006a8898c/01-_U0A9287.jpg" /&#62;
&#60;img width="3000" height="2003" width_o="3000" height_o="2003" data-src="https://freight.cargo.site/t/original/i/6aa0f22177944633778e690d8a11fe0a90061460762feabccfaae62f18431405/03-Ejercicios-de-concentracion_imprimir_004.jpg" data-mid="131921342" border="0" alt="ANA ELENA GARUZ : Ejercicios de concentraci&#38;oacute;n" data-caption="ANA ELENA GARUZ : Ejercicios de concentración" src="https://freight.cargo.site/w/1000/i/6aa0f22177944633778e690d8a11fe0a90061460762feabccfaae62f18431405/03-Ejercicios-de-concentracion_imprimir_004.jpg" /&#62;
&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/0155961807e69e7bc3eff9a81127dda48c1d27d46ceb1cccf54926ab240b3164/05-_MG_1332.jpg" data-mid="131921347" border="0" alt="JOS&#38;Eacute; OLANO : LA eternidad, una ilusi&#38;oacute;n" data-caption="JOSÉ OLANO : LA eternidad, una ilusión" src="https://freight.cargo.site/w/1000/i/0155961807e69e7bc3eff9a81127dda48c1d27d46ceb1cccf54926ab240b3164/05-_MG_1332.jpg" /&#62;
&#60;img width="2784" height="1856" width_o="2784" height_o="1856" data-src="https://freight.cargo.site/t/original/i/4d249a6c76526214bd238980c337a1dc97dde0a113298690c50a836409878237/08-_MG_0575.jpg" data-mid="131921486" border="0" alt="TODO LLEGA CUANDO TIENE QUE LLEGAR" data-caption="TODO LLEGA CUANDO TIENE QUE LLEGAR" src="https://freight.cargo.site/w/1000/i/4d249a6c76526214bd238980c337a1dc97dde0a113298690c50a836409878237/08-_MG_0575.jpg" /&#62;
&#60;img width="3861" height="2574" width_o="3861" height_o="2574" data-src="https://freight.cargo.site/t/original/i/82a974bc48925db613419033fa344ba37a238811e184b02d1c4598998aa1fc20/02-_MG_0181.jpg" data-mid="131921492" border="0" alt="AD MINOLITI : Playpen 2.0" data-caption="AD MINOLITI : Playpen 2.0" src="https://freight.cargo.site/w/1000/i/82a974bc48925db613419033fa344ba37a238811e184b02d1c4598998aa1fc20/02-_MG_0181.jpg" /&#62;
&#60;img width="1080" height="720" width_o="1080" height_o="720" data-src="https://freight.cargo.site/t/original/i/35152565a5d3b32dd0df3621f3b10d7f989f16d6643964fca294cd1b83dda129/_MG_0149.jpg" data-mid="246882964" border="0" alt="DONNA CONLON &#38;amp; JONATHAN HARKER : Bajo La Alfombra" data-caption="DONNA CONLON &#38;amp; JONATHAN HARKER : Bajo La Alfombra" src="https://freight.cargo.site/w/1000/i/35152565a5d3b32dd0df3621f3b10d7f989f16d6643964fca294cd1b83dda129/_MG_0149.jpg" /&#62;
&#60;img width="3861" height="2574" width_o="3861" height_o="2574" data-src="https://freight.cargo.site/t/original/i/020701e53aefe5e7999e0b375122d52229590a6d1c2245ed51f352af2f3d59fc/08-_MG_0395.jpg" data-mid="131921580" border="0" alt="MIKY FABREGA : Undercoverflowerporn" data-caption="MIKY FABREGA : Undercoverflowerporn" src="https://freight.cargo.site/w/1000/i/020701e53aefe5e7999e0b375122d52229590a6d1c2245ed51f352af2f3d59fc/08-_MG_0395.jpg" /&#62;
&#60;img width="1000" height="668" width_o="1000" height_o="668" data-src="https://freight.cargo.site/t/original/i/14f77d5837109441e901fb592fa2dbaae391ec1a8730d68f24dafb9895b2e8d7/03-_DSC7459.jpg" data-mid="131921726" border="0" alt="MARLON DE AZAMBUJA : Sentencias Espaciales" data-caption="MARLON DE AZAMBUJA : Sentencias Espaciales" src="https://freight.cargo.site/w/1000/i/14f77d5837109441e901fb592fa2dbaae391ec1a8730d68f24dafb9895b2e8d7/03-_DSC7459.jpg" /&#62;
&#60;img width="4256" height="2832" width_o="4256" height_o="2832" data-src="https://freight.cargo.site/t/original/i/d0b67a900cd509921ad170977a0a98fce916ccb816eb08709751eb4741a379ce/08-Diablo_Rosso-3598.jpg" data-mid="131921757" border="0" alt="JONATHAN HARKER : Inner Workings" data-caption="JONATHAN HARKER : Inner Workings" src="https://freight.cargo.site/w/1000/i/d0b67a900cd509921ad170977a0a98fce916ccb816eb08709751eb4741a379ce/08-Diablo_Rosso-3598.jpg" /&#62;
&#60;img width="4096" height="2731" width_o="4096" height_o="2731" data-src="https://freight.cargo.site/t/original/i/5ae643e3ebfbe12efcb459f84b68627a598b1109f476297c889b45a242f976f2/02-_MG_8880.jpg" data-mid="131921772" border="0" alt="ABRAHAM CRUZVILLEGAS : Autoconfusi&#38;oacute;n" data-caption="ABRAHAM CRUZVILLEGAS : Autoconfusión" src="https://freight.cargo.site/w/1000/i/5ae643e3ebfbe12efcb459f84b68627a598b1109f476297c889b45a242f976f2/02-_MG_8880.jpg" /&#62;
&#60;img width="1620" height="1080" width_o="1620" height_o="1080" data-src="https://freight.cargo.site/t/original/i/6df1e86e33779aa7138fd51a5f2200497ebd2283ac443a71be053eed3d905253/08-_MG_3182.jpg" data-mid="131921808" border="0" alt="LA ANGUSTIA DE CASI SABER Y QUEDARSE NO SABIENDO" data-caption="LA ANGUSTIA DE CASI SABER Y QUEDARSE NO SABIENDO" src="https://freight.cargo.site/w/1000/i/6df1e86e33779aa7138fd51a5f2200497ebd2283ac443a71be053eed3d905253/08-_MG_3182.jpg" /&#62;

</description>
		
	</item>
		
		
	<item>
		<title>Artists</title>
				
		<link>https://www.diablorosso.com/Artists</link>

		<pubDate>Wed, 19 Jan 2022 22:44:30 +0000</pubDate>

		<dc:creator>DiabloRosso</dc:creator>

		<guid isPermaLink="true">https://www.diablorosso.com/Artists</guid>

		<description>


REPRESENTED ARTISTS
	

Fabrizio Arrieta
Donna Conlon

Donna Conlon &#38;amp; Jonathan Harker

Ana Elena Garuz
Juan Pablo Garza
Jonathan Harker

Engel Leonardo
José Olano
Adan Vallecillo
Christian Vinck


EXHIBITED ARTISTS


	Carlos AmoralesRicardo Alcaide

ArtemioHellen Ascoli AsmaLuis Arroyo

Marlon de Azambuja

Katherine Bernhardt
Fabiola Burgos
Sol Calero
Javier Calvo
Pia Camil


Luis CamnitzerSantiago Cancino

Brandon Cannon

José CastrellónLuz Carabaño


Wells Chandler

Liz Cohen&#38;nbsp;Ingrid CorderoJimena Croceri
Abraham CruzvillegasRachel De Joode

	Giana De Dier


	Milko Delgado
Isabel De Obaldía
Sandra Eleta
Carla Escoffery


Miky FábregaJaime Fitzpatrick
Román Flórez


Ignacio Gatica
Hell Gette
Homero Hidalgo
Rodrigo Hernandez

Federico Herrero


Karlo Andrei Ibarra
Akira Ikezoe
Arturo Kameya


Irene Kopelman
Paulina León


José Lerma


Almudena LoberaMateo LópezUlrik LopezRubén Lozano

	Elsa-Louise Manceaux

Adriana Martinez
Claudia Martínez Garay

Ad MinolitiAna Navas
Lulu V. Molinares
Pilar Moreno
Ismael Ortiz
Christian Pérez Vega
Jhafis QuinteroNaufus Ramírez-FigeuroaEvan Roberts Luis Romero
Armando Rosales
Andrea Santos

Señor LoopOlman Torres
Abdul Vas


Omar Velázquez
Jean-Pierre Villafañe
Assume Vivid Astro FocusYuli YamagataTrevor Yeung
 

</description>
		
	</item>
		
		
	<item>
		<title>About Us</title>
				
		<link>https://www.diablorosso.com/About-Us</link>

		<pubDate>Wed, 12 Oct 2011 04:34:59 +0000</pubDate>

		<dc:creator>DiabloRosso</dc:creator>

		<guid isPermaLink="true">https://www.diablorosso.com/About-Us</guid>

		<description>
	DiabloRosso is a creative think tank located in the historic old quarter of Panama City. It is also a community that supports and promotes artistic talent in its most broad and multidisciplinary definition. 
Founded in 2006 to help fill the existing void for emerging art practices in the region, it has established itself as a place of empowerment and stimulation, advancing the public’s appreciation for contemporary art, mainly through the generation of social impact in the surrounding community.


DiabloRosso es un think tank creativo localizado en la Avenida Central de la Ciudad de Panamá. Es también una comunidad que apoya y promueve el talento artístico en su definición más amplia y multidisciplinar. 
Creado en el 2006 para ayudar a llenar el vacío existente de prácticas artísticas emergentes en la región, se ha establecido como un espacio para el empoderamiento y estímulo, incentivando la apreciación del público por el arte contemporáneo, principalmente generando impacto social en la comunidad circundante.


&#60;img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/3f53e20bff9b4fa1c28549b26728100eb2a2fd92112573ec9ee87f3650de28de/01-8681_03.JPG" data-mid="132574992" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/3f53e20bff9b4fa1c28549b26728100eb2a2fd92112573ec9ee87f3650de28de/01-8681_03.JPG" /&#62;
Photo: Fernando Alda</description>
		
	</item>
		
		
	<item>
		<title>IRENE KOPELMAN Preguntas a la Isla</title>
				
		<link>https://www.diablorosso.com/IRENE-KOPELMAN-Preguntas-a-la-Isla</link>

		<pubDate>Thu, 26 Mar 2026 12:03:00 +0000</pubDate>

		<dc:creator>DiabloRosso</dc:creator>

		<guid isPermaLink="true">https://www.diablorosso.com/IRENE-KOPELMAN-Preguntas-a-la-Isla</guid>

		<description>IRENE KOPELMANPreguntas a la Isla
	
	solo exhibitionmar 18 - may 18 / 2026


&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/2fe55ff4d96382734cd16283e5b916d125337094eccf96d547037ac558e3e7a4/_RS_0147.jpg" data-mid="246536279" border="0"  src="https://freight.cargo.site/w/1000/i/2fe55ff4d96382734cd16283e5b916d125337094eccf96d547037ac558e3e7a4/_RS_0147.jpg" /&#62;
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&#38;nbsp; &#38;nbsp; &#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/ff4d00f3a6cd1df019d6214999885cd43b94416295d7321b5b45c560889e2ba6/7J8A7598.jpg.jpg" data-mid="246536460" border="0"  src="https://freight.cargo.site/w/1000/i/ff4d00f3a6cd1df019d6214999885cd43b94416295d7321b5b45c560889e2ba6/7J8A7598.jpg.jpg" /&#62;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/a23c73d9b0970951a6552e9bf0cfe260a0ea6bcbfe1abe5082f86ad8c8a66074/_RS_0049.jpg" data-mid="246536283" border="0"  src="https://freight.cargo.site/w/1000/i/a23c73d9b0970951a6552e9bf0cfe260a0ea6bcbfe1abe5082f86ad8c8a66074/_RS_0049.jpg" /&#62;
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&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/9e310bc238c95410fd5b85d08acb34728b9f24e2981fcaf431eceef8185d33d6/7J8A7524.jpg.jpg" data-mid="246536457" border="0"  src="https://freight.cargo.site/w/1000/i/9e310bc238c95410fd5b85d08acb34728b9f24e2981fcaf431eceef8185d33d6/7J8A7524.jpg.jpg" /&#62;
&#38;nbsp; &#38;nbsp; 
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&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/189bd45364fcc1c34aa25d0d6ea88fbaa95ed68c193caad47b64d0266a770aef/_RS_0111.jpg" data-mid="246536291" border="0"  src="https://freight.cargo.site/w/1000/i/189bd45364fcc1c34aa25d0d6ea88fbaa95ed68c193caad47b64d0266a770aef/_RS_0111.jpg" /&#62;
&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/34e1d7f0dc6e68dcf4e069251b52a088991cf6288e1906bbca99198df1dce396/_RS_0103.jpg" data-mid="246536293" border="0"  src="https://freight.cargo.site/w/1000/i/34e1d7f0dc6e68dcf4e069251b52a088991cf6288e1906bbca99198df1dce396/_RS_0103.jpg" /&#62;

&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/14ceb6133456d4bc8668452f6b28afe9eb9c074da9f6721d654133779e310dfb/7J8A7649.jpg.jpg" data-mid="246536466" border="0"  src="https://freight.cargo.site/w/1000/i/14ceb6133456d4bc8668452f6b28afe9eb9c074da9f6721d654133779e310dfb/7J8A7649.jpg.jpg" /&#62;&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/4d30b614966c69889914cde634c66a685e5a18af149c63d770b8d282ce645d33/7J8A7903.jpg.jpg" data-mid="246536499" border="0"  src="https://freight.cargo.site/w/1000/i/4d30b614966c69889914cde634c66a685e5a18af149c63d770b8d282ce645d33/7J8A7903.jpg.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/47da9f3b11f63b4549c0109e452ff839724e9f7ca7e7d3793874044cb4498503/7J8A7898.jpg.jpg" data-mid="246536498" border="0"  src="https://freight.cargo.site/w/1000/i/47da9f3b11f63b4549c0109e452ff839724e9f7ca7e7d3793874044cb4498503/7J8A7898.jpg.jpg" /&#62;Photos: Raphael Salazar

Irene Kopelman works in a territory between scientific observation and art. Her work does not aim to represent a landscape, but to learn how to look long enough for perception to change its nature. Her desire for representation is situated in the interstices between seeing and understanding where the world begins to become unfamiliar again.Questions to the Island brings together works produced through extended stays on Barro Colorado Island, STRI. A mecca for tropical biologists, Barro Colorado Island and five surrounding peninsulas provide easy access to central Panama’s lowland tropical forest. The 1,560 hectare island was formed when engineers dammed the Chagres River in 1914 to create Gatun Lake, the main channel of the Panama Canal.The exhibition functions as an archive of observations: variations, comparisons and successive approximations where the island appears (not as a setting but) as an interlocutor. Each series emerges from a precise inquiry —into color, distance, form, object, and light— formulated through direct experience with the Island. The work does not seek to explain the ecosystem or translate it into image; it proposes building tools for perception: indexes, cuts, perspectives, and chromatic and material variations function as devices of attention. The studio moves into the field and the field enters the studio: observing, collecting, comparing and looking yet again.
Irene Kopelman trabaja en un territorio intermedio entre la observación científica y el arte. Su trabajo no busca representar un paisaje, sino aprender a mirar lo suficiente como para que la percepción cambie de naturaleza. Su deseo de representación se sitúa en los intersticios entre ver y comprender, allí donde el mundo comienza a volverse nuevamente desconocido. 

Preguntas a la Isla reúne trabajos producidos a partir de estancias prolongadas en la Isla Barro Colorado, STRI. Considerada un punto de referencia para biólogos tropicales, la Isla Barro Colorado y cinco penínsulas circundantes ofrecen acceso directo al bosque tropical de tierras bajas del centro de Panamá. La isla, de 1,560 hectáreas, se formó cuando ingenieros represaron el río Chagres en 1914 para crear el Lago Gatún, el principal canal de navegación del Canal de Panamá. 

La exposición funciona como un archivo de observaciones: variaciones, comparaciones y aproximaciones sucesivas en las que la isla aparece —no como escenario, sino como interlocutora. Cada serie surge de una indagación precisa —sobre el color, la distancia, la forma, el objeto y la luz— formulada a partir de la experiencia directa con la isla. El trabajo no busca explicar el ecosistema ni traducirlo en imagen; propone construir herramientas para percibirlo: índices, cortes, perspectivas y variaciones cromáticas y materiales funcionan como dispositivos de atención. El estudio se desplaza al campo y el campo entra al estudio: observar, recolectar, comparar y volver a mirar.
</description>
		
	</item>
		
		
	<item>
		<title>ADÁN VALLECILLO Anatomías de la Percepción</title>
				
		<link>https://www.diablorosso.com/ADAN-VALLECILLO-Anatomias-de-la-Percepcion</link>

		<pubDate>Fri, 30 Jan 2026 18:23:00 +0000</pubDate>

		<dc:creator>DiabloRosso</dc:creator>

		<guid isPermaLink="true">https://www.diablorosso.com/ADAN-VALLECILLO-Anatomias-de-la-Percepcion</guid>

		<description>ADÁN VALLECILLOAnatomías de la Percepción
	
	solo exhibitionjan 24 - mar 8 / 2026


&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/3183f7e4805f5653afce06968d3425492d87984a4cd4154e139e2decd8c57462/_P2A2079.jpg.jpg" data-mid="244220322" border="0"  src="https://freight.cargo.site/w/1000/i/3183f7e4805f5653afce06968d3425492d87984a4cd4154e139e2decd8c57462/_P2A2079.jpg.jpg" /&#62;&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/bc266e86681458dcc296b31530e95b8cef320e588b5ebdc85221342f5e3e6afe/_P2A2089.jpg.jpg" data-mid="244220332" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/bc266e86681458dcc296b31530e95b8cef320e588b5ebdc85221342f5e3e6afe/_P2A2089.jpg.jpg" /&#62;&#38;nbsp; &#38;nbsp;&#38;nbsp;&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/166cf1d495a8469830c15cc9a275256dbf85c34e056c4b8b4c39b80cc0e74c3a/_P2A2094.jpg.jpg" data-mid="244220333" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/166cf1d495a8469830c15cc9a275256dbf85c34e056c4b8b4c39b80cc0e74c3a/_P2A2094.jpg.jpg" /&#62;&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/20423349adeab1632a1f667f394ae074432d8983c054d83dc590809ab96c4e11/_P2A2104.jpg.jpg" data-mid="244220630" border="0"  src="https://freight.cargo.site/w/1000/i/20423349adeab1632a1f667f394ae074432d8983c054d83dc590809ab96c4e11/_P2A2104.jpg.jpg" /&#62;
&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/091dcb19921b04211259fb0651aa6abbc92a39f856d75fb7d075a97b672c03f4/_P2A2291.jpg" data-mid="244220487" border="0"  src="https://freight.cargo.site/w/1000/i/091dcb19921b04211259fb0651aa6abbc92a39f856d75fb7d075a97b672c03f4/_P2A2291.jpg" /&#62;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/c2eda935c219b1d71213d6f80b9ab81f7d545697c8f2b9fb18eef0d96a890df3/_P2A2256.jpg" data-mid="244220544" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/c2eda935c219b1d71213d6f80b9ab81f7d545697c8f2b9fb18eef0d96a890df3/_P2A2256.jpg" /&#62;&#38;nbsp; &#38;nbsp;&#38;nbsp;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/c0d579d8e78c61c3270adf65054108e2197fd12a0a77d47638106fe6cba823da/_P2A2261.jpg" data-mid="244220545" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/c0d579d8e78c61c3270adf65054108e2197fd12a0a77d47638106fe6cba823da/_P2A2261.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/fbc58a55f12fc3fd52da8dfc831700c2175726f2345ff3ab61a554a0416f17e2/_P2A2132.jpg.jpg" data-mid="244220557" border="0"  src="https://freight.cargo.site/w/1000/i/fbc58a55f12fc3fd52da8dfc831700c2175726f2345ff3ab61a554a0416f17e2/_P2A2132.jpg.jpg" /&#62;
&#60;img width="1500" height="1000" width_o="1500" height_o="1000" data-src="https://freight.cargo.site/t/original/i/159733c5a1ab6cccf8f23576108604ce577a68a5e96dd707741036da056c67c9/_P2A2169.jpg.jpg" data-mid="244220621" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/159733c5a1ab6cccf8f23576108604ce577a68a5e96dd707741036da056c67c9/_P2A2169.jpg.jpg" /&#62; &#38;nbsp; &#38;nbsp;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/00fba49d104008609fc72ac7a936957da88674272e7b2bcf0e75a28e0dc076fb/_P2A2269.jpg" data-mid="244220625" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/00fba49d104008609fc72ac7a936957da88674272e7b2bcf0e75a28e0dc076fb/_P2A2269.jpg" /&#62;
&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/02ce2cc3fae4520489c20489d2bab0a891bb7f409052af6a92e9933035b74cd4/_P2A2303.jpg" data-mid="244220628" border="0"  src="https://freight.cargo.site/w/1000/i/02ce2cc3fae4520489c20489d2bab0a891bb7f409052af6a92e9933035b74cd4/_P2A2303.jpg" /&#62;Photos: Raphael Salazar

In Anatomies of Perception, Adán Vallecillo proposes a reflection on the act of seeing, understood as a complex, organic, and relational process. The exhibition is articulated around the notion of tissue, conceived not only as a material structure but as a way of organizing sensorial experience and knowledge. From this standpoint, perception ceases to function as a passive record of reality and instead reveals itself as a dynamic field of meaning-making.Here, color operates as a critical tool rather than a formal attribute. Its presence activates perceptual shifts that destabilize the visible, questioning the certainties of the gaze and expanding its interpretive possibilities. In this movement, chromatic experience unfolds both on a physical and an epistemological plane, where seeing implies selecting, relating, and differentiating. Thus, abstraction expands as a practice shaped by material, historical, and sensorial contexts, in which intuition and thought operate simultaneously.
En Anatomías de la Percepción, Adán Vallecillo propone una reflexión sobre el acto de ver, entendido como un proceso complejo, orgánico y relacional. La exposición se articula en torno a la noción de tejido, concebido no solo como estructura material, sino como una forma de organización de la experiencia sensible y del conocimiento. Desde este lugar, la percepción deja de ser un registro pasivo de la realidad para revelarse como un campo dinámico de construcción de sentido.El color opera aquí como una herramienta crítica más que como un atributo formal. Su presencia activa juegos perceptivos que desestabilizan lo visible, cuestionando las certezas de la mirada y ampliando sus posibilidades interpretativas. En este desplazamiento, la experiencia cromática se sitúa tanto en el plano físico como en el epistemológico, donde ver implica seleccionar, relacionar y diferenciar. Así, la abstracción se expande como una práctica atravesada por contextos materiales, históricos y sensibles, en la que intuición y pensamiento operan de manera simultánea.
</description>
		
	</item>
		
		
	<item>
		<title>Dejarse Mover</title>
				
		<link>https://www.diablorosso.com/Dejarse-Mover</link>

		<pubDate>Tue, 16 Dec 2025 20:50:25 +0000</pubDate>

		<dc:creator>DiabloRosso</dc:creator>

		<guid isPermaLink="true">https://www.diablorosso.com/Dejarse-Mover</guid>

		<description>DEJARSE MOVERUna exposición a beneficio del Programa Enlaces
	
	group exhibitiondic 13, 2025 - ene 11, 2026

&#60;img width="3360" height="2240" width_o="3360" height_o="2240" data-src="https://freight.cargo.site/t/original/i/1673b5639731f1d3a140699ff2b74374ff34feea4a3835ce36e423d856a3743d/_P2A9401.jpg" data-mid="241871728" border="0"  src="https://freight.cargo.site/w/1000/i/1673b5639731f1d3a140699ff2b74374ff34feea4a3835ce36e423d856a3743d/_P2A9401.jpg" /&#62;
&#60;img width="3360" height="2240" width_o="3360" height_o="2240" data-src="https://freight.cargo.site/t/original/i/62576505dca0f8a8dd51ba2b91f5795bd9252a5e3cc2cf445a74a5c8fdbc8f33/_P2A9458.jpg" data-mid="241871771" border="0"  src="https://freight.cargo.site/w/1000/i/62576505dca0f8a8dd51ba2b91f5795bd9252a5e3cc2cf445a74a5c8fdbc8f33/_P2A9458.jpg" /&#62;
&#60;img width="3360" height="2240" width_o="3360" height_o="2240" data-src="https://freight.cargo.site/t/original/i/76a11d6e3847618b705fd2ae629a5b595052f1cff47c7857e54b518345a85d05/_P2A9405.jpg" data-mid="241871730" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/76a11d6e3847618b705fd2ae629a5b595052f1cff47c7857e54b518345a85d05/_P2A9405.jpg" /&#62;&#60;img width="3360" height="2240" width_o="3360" height_o="2240" data-src="https://freight.cargo.site/t/original/i/ef41d48d2f0f535b23f7d797cbb506e66a5b9a394024dc0cc3de0fd559022eb6/_P2A9415.jpg" data-mid="241871734" border="0" data-scale="51" src="https://freight.cargo.site/w/1000/i/ef41d48d2f0f535b23f7d797cbb506e66a5b9a394024dc0cc3de0fd559022eb6/_P2A9415.jpg" /&#62;
&#60;img width="3360" height="2240" width_o="3360" height_o="2240" data-src="https://freight.cargo.site/t/original/i/bc1b21720325476d06258f8899a4d6a0db3e55d8a1afc95bb5a5e124c11b37be/_P2A9495.jpg" data-mid="241872007" border="0"  src="https://freight.cargo.site/w/1000/i/bc1b21720325476d06258f8899a4d6a0db3e55d8a1afc95bb5a5e124c11b37be/_P2A9495.jpg" /&#62;
&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/9da0bb11157bd0d15a735d378fcb80b5b99add7fad49f2486b2d0c05bdd41dfa/_P2A9730.jpg" data-mid="241871998" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/9da0bb11157bd0d15a735d378fcb80b5b99add7fad49f2486b2d0c05bdd41dfa/_P2A9730.jpg" /&#62;&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/3748313423b9a0d03c317d5012aed1495b020e1b3b051bfa52a8227bc3c085e0/_P2A9725.jpg" data-mid="241871891" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/3748313423b9a0d03c317d5012aed1495b020e1b3b051bfa52a8227bc3c085e0/_P2A9725.jpg" /&#62;


&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/f3962bee8d1842e7c8d04742a40c225f382c2bde515398fd06a5165d47912dae/_P2A9751.jpg" data-mid="241872015" border="0"  src="https://freight.cargo.site/w/1000/i/f3962bee8d1842e7c8d04742a40c225f382c2bde515398fd06a5165d47912dae/_P2A9751.jpg" /&#62;&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/6d73d8739a94d2e0e4306ec530852670e2da61e90ba8fcf446a31ef5d2288ecc/_P2A9752.jpg" data-mid="241872019" border="0"  src="https://freight.cargo.site/w/1000/i/6d73d8739a94d2e0e4306ec530852670e2da61e90ba8fcf446a31ef5d2288ecc/_P2A9752.jpg" /&#62;&#60;img width="1920" height="1280" width_o="1920" height_o="1280" data-src="https://freight.cargo.site/t/original/i/708573d40ea8f4133b8611a4eeaedb6600e463cef382b605116c3bb1d512dd9e/_P2A9757.jpg" data-mid="241872021" border="0"  src="https://freight.cargo.site/w/1000/i/708573d40ea8f4133b8611a4eeaedb6600e463cef382b605116c3bb1d512dd9e/_P2A9757.jpg" /&#62;
Photos: Raphael Salazar

Over the past fifteen years, the Enlaces Program has carried out patient, sustained, and necessary work: accompanying children and adolescents as they find, through dance, education, and psychosocial support, a path toward personal affirmation and the construction of a possible future. To mark this anniversary, the exhibition brings together five artists whose works reflect on identity, territory, time, and transformation. Fabrizio Arrieta approaches the construction of identity through fragmented bodies that evoke uncertainty and self-searching; while Ana Elena Garuz rewrites vintage postcards to examine the urban environment in which the program unfolds, introducing visual interruptions that open new possibilities of interpretation. Moving from territory to the symbolic,&#38;nbsp;Omar Velázquez&#38;nbsp;presents birds in fleeting, psychologically charged landscapes that invite contemplation on impermanence and the duality of existence.
Time as process becomes central in the articulated drawings of Mateo López, where figures seem to rehearse choreographies that speak of detours, learning, and internal construction. The hand-crocheted works of Wells Chandler&#38;nbsp;celebrate multiplicity and queer affirmation with a vibrant energy that resonates with the adolescent vitality of Enlaces’s young participants. The exhibition concludes with the premiere of a video by&#38;nbsp;Cine Animal, commemorating&#38;nbsp;the program’s first fifteen years and bearing witness to the continuity and scope of its work. In this sense, the exhibition does more than bring together distinct artistic languages and perspectives: it activates a circle of reciprocity. Each work contributes to the mission that sustains Enlaces and to the young people who find within it an open path toward the future.

A lo largo de quince años, el Programa Enlaces ha sostenido un trabajo paciente, profundo y necesario: acompañar a niños y adolescentes para que encuentren, en la danza, la educación y el apoyo psicosocial, un camino hacia la afirmación personal y la construcción de un futuro posible. Con motivo de su aniversario, esta exposición reúne a cinco artistas cuyas obras reflexionan sobre identidad, territorio, tiempo y transformación. Fabrizio Arrieta aborda la construcción de la identidad a través de cuerpos fragmentados que evocan incertidumbre y búsqueda personal; mientras que&#38;nbsp;Ana Elena Garuz reescribe postales antiguas para examinar el entorno urbano donde el programa se desarrolla, introduciendo interrupciones visuales que abren nuevas posibilidades de lectura. En ese tránsito del territorio a lo simbólico,&#38;nbsp;Omar Velázquez&#38;nbsp;presenta aves en paisajes efímeros cargados de tensión psicológica, invitando a contemplar la impermanencia y la dualidad de la existencia.

El tiempo como proceso se vuelve central en los dibujos articulados de Mateo López, donde las figuras parecen ensayar coreografías que hablan de desvíos, aprendizajes y construcciones internas. Las piezas tejidas de&#38;nbsp;Wells Chandler celebran la multiplicidad y la afirmación queer con una energía vibrante que resuena con la vitalidad adolescente de los jóvenes de Enlaces. La muestra culmina con el estreno de un video realizado por Cine Animal, que conmemora los primeros quince años del programa y testimonia la continuidad y el alcance de su labor. En ese sentido, esta exposición no solo reúne lenguajes y miradas: activa un círculo de reciprocidad. Cada obra aquí reunida aporta, de manera silenciosa pero decisiva, a la misión que sostiene a Enlaces y a quienes encuentran en él un camino abierto hacia el futuro.
</description>
		
	</item>
		
		
	<item>
		<title>JUAN PABLO GARZA &#38; CHRISTIAN VINCK Patio Ondulado</title>
				
		<link>https://www.diablorosso.com/JUAN-PABLO-GARZA-CHRISTIAN-VINCK-Patio-Ondulado</link>

		<pubDate>Tue, 07 Oct 2025 18:36:53 +0000</pubDate>

		<dc:creator>DiabloRosso</dc:creator>

		<guid isPermaLink="true">https://www.diablorosso.com/JUAN-PABLO-GARZA-CHRISTIAN-VINCK-Patio-Ondulado</guid>

		<description>PATIO ONDULADOJuan Pablo Garza &#38;amp; Christian Vinck
	
	group exhibitionsep 27 - nov 23 / 2025


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&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/824f1f728ecda298b5e164213cfa0e235abbdf73e97cf80b68e3d884e4e1ed84/_P2A6775.jpg" data-mid="239120454" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/824f1f728ecda298b5e164213cfa0e235abbdf73e97cf80b68e3d884e4e1ed84/_P2A6775.jpg" /&#62; &#38;nbsp;&#38;nbsp;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/be037c923ff4e9e84af55e068b3dc6eb249136e8d676c220f242710b852a5929/_P2A6778.jpg" data-mid="239120456" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/be037c923ff4e9e84af55e068b3dc6eb249136e8d676c220f242710b852a5929/_P2A6778.jpg" /&#62;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/0ab9c267fe6cffe941220b1ad54d6a9d05efc056b22c01c3d424b265eed07f13/_P2A6782.jpg" data-mid="239120467" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/0ab9c267fe6cffe941220b1ad54d6a9d05efc056b22c01c3d424b265eed07f13/_P2A6782.jpg" /&#62;

&#38;nbsp;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/2e34115d5b9f3c1cd3fa9aa479bc0fca85f0e0ad47e0c3d8d52a844f56eb3987/_P2A7005.jpg" data-mid="239120469" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/2e34115d5b9f3c1cd3fa9aa479bc0fca85f0e0ad47e0c3d8d52a844f56eb3987/_P2A7005.jpg" /&#62;&#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/43977e81ae3c184508f857e0f732bbc37aa1c48acccdfd00f6dcc37a48d306cd/_P2A7043.jpg" data-mid="239120497" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/43977e81ae3c184508f857e0f732bbc37aa1c48acccdfd00f6dcc37a48d306cd/_P2A7043.jpg" /&#62;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/b810bca124003e12c858d6dcea7293862d9193cc936ef948e5b3157bbb0a107d/_P2A7014.jpg" data-mid="239120496" border="0"  src="https://freight.cargo.site/w/1000/i/b810bca124003e12c858d6dcea7293862d9193cc936ef948e5b3157bbb0a107d/_P2A7014.jpg" /&#62;
&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/777f34cb3759ea2b1d0d5d64c1e6754d923364df0a3593f62d0e9c99fa3cfa5c/_P2A6966.jpg" data-mid="239120514" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/777f34cb3759ea2b1d0d5d64c1e6754d923364df0a3593f62d0e9c99fa3cfa5c/_P2A6966.jpg" /&#62; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/a8e5c4c846239d05aeab6779c8a2396a6e441e3ff8c22c9ab60e7a2111518fac/_P2A6825.jpg" data-mid="239120513" border="0" data-scale="48" src="https://freight.cargo.site/w/1000/i/a8e5c4c846239d05aeab6779c8a2396a6e441e3ff8c22c9ab60e7a2111518fac/_P2A6825.jpg" /&#62;
&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/ce4ac709b06b0cb4450f61e33fc2d74cf621e1c6cedef092a1fcb7f1d45ac6fa/_P2A7019.jpg" data-mid="239120516" border="0"  src="https://freight.cargo.site/w/1000/i/ce4ac709b06b0cb4450f61e33fc2d74cf621e1c6cedef092a1fcb7f1d45ac6fa/_P2A7019.jpg" /&#62;Photos: Raphael Salazar

	
						The relationship between Christian Vinck and Juan Pablo Garza originates in Maracaibo, Venezuela, during their adolescence in the 1990s. The neighborhood, the walks, the affections, the experimentation, and the exchange of references laid the foundations for a friendship that has endured for over thirty years. This process was not exclusive to the two of them; it extended to a group of friends who also participated in those exchanges of information and exploration—many of whom eventually became connected to art in one way or another.

Maracaibo, the capital of Zulia, has forged a distinctive identity shaped by its foundational geographic isolation, its port history, and its role in the oil economy—factors that have fostered in its inhabitants a strong regional pride and a unique way of understanding the world.

This backdrop serves as the starting point for Patio Ondulado, an exhibition conceived as an exercise in affective memory and a space of symbolic production around diaspora, painting, assemblage, and shared histories. In this way, the exhibition articulates an ongoing dialogue between both artists’ practices, developed in constant tension between the local and the transnational, the intimate and the collective, the concrete and the imagined. Rather than merely juxtaposing works, it proposes a relational framework in which the visual language itself becomes a medium of exchange—thus alluding to Venezuela, the everyday, the accidental, the fragile, and the ambiguous.

In this territory—traversed by humor and tenderness—artistic practice functions as an act of complicity and resistance, where affectivity operates as a driving force, activating a space of encounters, resonances, and small collisions. Within it, to collaborate, to alter, to play with heights, to invent codes, or to sustain inside jokes becomes a natural part of exchange.

Far from constructing a merely nostalgic narrative, the exhibition unfolds as a kind of visual essay, where Garza’s and Vinck’s practices are understood as ways of feeling belonging, embracing loss, and affirming cultural continuity. The visual territory that emerges—undulating, as its title suggests—invites an expanded temporality and bears witness to an exercise grounded in the dynamics of memory and exile. This exercise, organized from the fragmentary, opens the possibility of inhabiting time through another kind of sensitivity.
- Noelia Portela


La relación entre Christian Vinck y Juan Pablo Garza se origina en Maracaibo, Venezuela,
durante su adolescencia en los años noventa. El barrio, el caminar, los afectos, la
experimentación y el intercambio de referencias, sentaron las bases de una amistad que ha
perdurado por más de treinta años. Este proceso no fue exclusivo entre ambos: sino se
extiende a un grupo de amigos y amigas que participaron a esos cruces de información y
exploración, muchos de los cuales terminaron vinculados al arte de una u otra manera.

						
Maracaibo, la capital del Zulia, ha forjado una identidad propia marcada por su fundacional
aislamiento geográfico, su historia portuaria y su papel en la economía petrolera, generando
en sus habitantes un fuerte orgullo regional y una manera particular de entender el mundo.

						
Este trasfondo constituye el punto de partida de Patio Ondulado, exposición concebid como un ejercicio de memoria afectiva y un espacio de producción simbólica en torno a la
diáspora, la pintura, el ensamblaje y estas historias compartidas. De esta manera la muestra
articula un diálogo sostenido entre las prácticas de ambos artistas, desarrolladas en constante
tensión entre lo local y lo transnacional, lo íntimo, lo colectivo, lo concreto y lo imaginado. 
Y que
no se limita a yuxtaponer obras, sino que propone un entramado relacional en el que el
lenguaje plástico se convierte en materia de intercambio, aludiendo así a Venezuela, lo
cotidiano, lo accidental, lo frágil y lo ambiguo. En este territorio, atravesado por humor y
ternura, la práctica artística funciona como un gesto de complicidad y resistencia, donde la
afectividad se asume como motor, activando un espacio de encuentros, resonancias y
pequeños choques, en el que colaborar, alterar, jugar con alturas, inventar códigos o sostener
chistes internos, deviene parte natural del intercambio.

						
Lejos de configurar únicamente un relato nostálgico, la muestra plantea una suerte de
ensayo visual donde las prácticas de Garza y Vinck se entienden como modos de sentir la
pertenencia, asumir la pérdida y afirmar la continuidad cultural. El territorio visual que
emerge, ondulante como su propio título sugiere, invitan a una temporalidad extendida y a
ser testigos de un ejercicio a partir de las dinámicas de la memoria y el exilio, ejercicio, que
se organiza desde lo fragmentario, abriendo así la posibilidad de habitar el tiempo desde
otra sensibilidad.

						
- Noelia Portela</description>
		
	</item>
		
		
	<item>
		<title>La Historia Ficticia de un Amor Verdadero</title>
				
		<link>https://www.diablorosso.com/La-Historia-Ficticia-de-un-Amor-Verdadero</link>

		<pubDate>Fri, 01 Aug 2025 18:35:26 +0000</pubDate>

		<dc:creator>DiabloRosso</dc:creator>

		<guid isPermaLink="true">https://www.diablorosso.com/La-Historia-Ficticia-de-un-Amor-Verdadero</guid>

		<description>La Historia Ficticia de un Amor VerdaderoFabrizio Arrieta, Javier Calvo &#38;amp; Olman Torres&#38;nbsp;
	
	group exhibitionjul 26 - sep 7 / 2025


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&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/2c21792b17c5cb3267d133639785180f753e72e3edce95938195f29bbfb7b9fc/_P2A3001.jpg" data-mid="236552613" border="0"  src="https://freight.cargo.site/w/1000/i/2c21792b17c5cb3267d133639785180f753e72e3edce95938195f29bbfb7b9fc/_P2A3001.jpg" /&#62; &#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/0b6a74eac0d9f18b73544d5a45916692f1489e96f858f8c4e56488ce8c8b5b7d/_P2A2821.jpg" data-mid="236552616" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/0b6a74eac0d9f18b73544d5a45916692f1489e96f858f8c4e56488ce8c8b5b7d/_P2A2821.jpg" /&#62;&#38;nbsp; &#38;nbsp;&#38;nbsp;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/809597d8a5d7ec22c38f1aca57ca7d1dad303f1d3b1623b324f4042d58a809d7/_P2A2777.jpg" data-mid="236552622" border="0" data-scale="49" src="https://freight.cargo.site/w/1000/i/809597d8a5d7ec22c38f1aca57ca7d1dad303f1d3b1623b324f4042d58a809d7/_P2A2777.jpg" /&#62; 
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&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/f8d98184d984466eed522d07f4335b044c28b14be9ca110aef7c004b68fd26c5/_P2A2974.jpg" data-mid="236552641" border="0"  src="https://freight.cargo.site/w/1000/i/f8d98184d984466eed522d07f4335b044c28b14be9ca110aef7c004b68fd26c5/_P2A2974.jpg" /&#62;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/882387bb6ea8020b613712139c162348e88fb8d9cfa413be4eb64fbb6e9d88cf/_P2A2965.jpg" data-mid="236552638" border="0"  src="https://freight.cargo.site/w/1000/i/882387bb6ea8020b613712139c162348e88fb8d9cfa413be4eb64fbb6e9d88cf/_P2A2965.jpg" /&#62;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/50fd072240a2434cd513a6f71675784f2ae3f77a455b6bdc601de12ad0464834/_P2A2869.jpg" data-mid="236552648" border="0" data-scale="32" src="https://freight.cargo.site/w/1000/i/50fd072240a2434cd513a6f71675784f2ae3f77a455b6bdc601de12ad0464834/_P2A2869.jpg" /&#62;&#38;nbsp; &#38;nbsp;&#38;nbsp;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/bbf2e90bb87fce57d4d812ed046103e9a3ca98aefd4dd56ef8f9a12ade32e551/_P2A2875.jpg" data-mid="236552709" border="0" data-scale="32" src="https://freight.cargo.site/w/1000/i/bbf2e90bb87fce57d4d812ed046103e9a3ca98aefd4dd56ef8f9a12ade32e551/_P2A2875.jpg" /&#62;&#38;nbsp;&#38;nbsp; &#38;nbsp;&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/17677136852755d51858efde323abad4ddebbd05010a90d610124d7538b16ce9/_P2A2905.jpg" data-mid="236552713" border="0" data-scale="32" src="https://freight.cargo.site/w/1000/i/17677136852755d51858efde323abad4ddebbd05010a90d610124d7538b16ce9/_P2A2905.jpg" /&#62;
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&#60;img width="2560" height="1707" width_o="2560" height_o="1707" data-src="https://freight.cargo.site/t/original/i/2c940f40efe809693b01ace672b6e7b519ad37521d1f16208b4df9cf0b1fbeec/_P2A2926.jpg" data-mid="236552738" border="0"  src="https://freight.cargo.site/w/1000/i/2c940f40efe809693b01ace672b6e7b519ad37521d1f16208b4df9cf0b1fbeec/_P2A2926.jpg" /&#62;
Photos: Raphael Salazar


This exhibition doesn’t stem from a concept, but from a bond. From the insistence on
inhabiting art not merely as object, but as relation. The works gathered here were not
brought together by theme, but held by an invisible thread. Friendship is the excuse.
That shared memory — made of conversations, agreements, longings — is what shapes
this curatorship as a way of being-together.

						This vision of friendship as an affective force in motion resonates with Sara Ahmed’s notion
of the “affective economy.” Emotions, she argues, are not internal properties of individuals,
nor simple feelings, but relational intensities that move between bodies, objects, and
contexts. “Emotions move, circulate; they do not reside in subjects or objects, but are
produced through their movement” (The Cultural Politics of Emotion, 2004, p. 10).From this perspective, friendship is not an essence, but an affective choreography — one
that orients, situates, and transforms.

					
						In this gesture lies a sensitive politics: the act of trusting in affect as a legitimate mode of
artistic production. What we feel is not inside, but between. This is why, rather than
represent friendship, this exhibition embodies it. The artworks themselves can be read
through this emotional lens — yet fiction and a true kind of love are also present here. Since
its origins, art has been inseparable from fiction. Plato’s cave, where shadows on the wall
are mistaken for reality, foretells a suspicion that has haunted Western art history: is art a
mirror of the world, or the creation of a world of its own?

						Throughout the centuries, fiction in art has oscillated between mimesis and allegory,
between visual illusion and conceptual metaphor. Art has never simply mirrored the world;
it has always proposed possible worlds — a way to structure experience through invention.

						With modernity and the rupture of mimetic canons, fiction in art was no longer subordinate
to representation. The avant-gardes of the 20th century employed fiction as a tool to Philosopher Jean Baudrillard, in his theory of the simulacrum, notes that in the age of mass media and digital reproduction, images no longer refer to reality but to other images,
creating a loop in which representation becomes entirely detached from its referent. Art
thus operates within a regime of hyperreality: no longer imitating the world, but producing
autonomousrealities — fictions more real than the real. This becomes especially palpable in
Fabrizio Arrieta’s practice and his method of composition: the gesture of destroying in order
to rebuild. His works are built on images from fashion editorials, mass media, and
advertisements, which he distorts, conceals, or deconstructs using graphic interventions to
form his own compositions. These anonymous, altered figures evoke the void of
personalities shaped by consumerism. The same applies to his portraits, which reveal fluid
and unstable identities — identities rooted in the complexity of individuality and the
influence of media culture.

						In this field, fiction is not deception; it is a mode of enunciation. As Gilles Deleuze writes,
the simulacrum is not a degraded copy, but a “productive appearance” that challenges the hierarchies between original and copy, truth and falsehood. The artwork, as simulacrum,
does not represent reality: it multiplies it, twists it, destabilizes it.

						Fiction, then, is not the negation of art history, but its counter-archive — a space where
meaning is produced not through accumulation of facts, but through the friction of images,
the tension between what was and what could have been. In contemporary art, the
simulacrum is no longer suspect: it is critical potential.

						Olman Torres, in turn, approaches the language of celebrity and the myth of the “rockstar
artist” with irony, deconstructing its codes and revealing its fragility. In his photographs,
artifice is unapologetically exposed: bodies that pose but do not belong, gestures that hint
at everyday life and existence. The masculinity portrayed here is not powerful, but deeply
performative. There is something of the mask, the stage set — and the vulnerability behind
both.

					
From distinct poetics, the works in this exhibition trace a sensitive map of the fissures
running through contemporary masculinity. At a time when the male loneliness epidemic is
recognized as one of the silent symptoms of our era, this exhibition offers a truce — a brief
pause in the narrative that demands men carry themselves alone. Olman, Fabrizio, and
Javier gave themselves the space to dialogue from friendship, from affection. Friendship as
a curatorial form becomes an affective ontology, an ethics of relation, an aesthetic of
being-with-others.- Cristina Ramirez

Esta exposición no parte de un concepto, sino de un vínculo. De la insistencia en habitar el
arte no solo como obra, sino como relación. Las piezas aquí reunidas fueron pensadas para
estar juntas, pero sostenidas por un tejido invisible. La amistad es la excusa. Esa memoria
compartida —hecha de conversaciones, de acuerdos, de anhelos— es la que configura la
curaduría como una forma de estar juntxs.

						
Esta visión de la amistad como afecto en tránsito se conecta con la noción de “economía
afectiva” desarrollada por Sara Ahmed, quien argumenta que las emociones no son
atributos individuales ni meros sentimientos interiores, sino intensidades relacionales
que se mueven entre cuerpos, objetos y contextos. “Las emociones se mueven, circulan;
no permanecen en sujetos u objetos individuales, sino que se acumulan en las relaciones”
(The Cultural Politics of Emotion, 2004, p. 10). Desde esta perspectiva, la amistad no es
una esencia, sino una coreografía afectiva que orienta, sitúa y transforma.

						
En este gesto se instala una política sensible: la de confiar en los afectos como formas
legítimas de producción artística. Lo que sentimos no está dentro, sino entre. Por eso,
más que representar la amistad, esta exposición la encarna. La obra en sí misma se puede
abordar desde ese factor emocional, pero aquí también está presente la ficción y un amor verdadero: desde sus orígenes, el arte ha sido inseparable de la ficción. La caverna de
Platón, en la que las sombras proyectadas sobre la pared son tomadas por la realidad
misma, anticipa una sospecha que ha atravesado la historia del arte occidental:¿es el arte una imitación del mundo, o la creación de un mundo en sí mismo?

						
A lo largo de los siglos, la ficción en el arte ha oscilado entre lo mimético y lo alegórico,
entre la ilusión visual y la metáfora conceptual. El arte no ha sido simplemente un espejo
del mundo, sino un espacio para proponer mundos posibles: una forma de organizar la
experiencia desde la invención.

						
Con la modernidad y la ruptura de los cánones miméticos, la ficción en el arte dejó de estar
subordinada a la representación. Las vanguardias del siglo XX usaron lo ficticio como una
herramienta para sabotear el sentido, desafiar el lenguaje y fracturar la autoridad de la
realidad hegemónica. En este contexto, la ficción se vuelve una estrategia crítica: una
manera de cuestionar los discursos de verdad, de problematizar la historia, y de reimaginar
la relación entre imagen y poder.

	
En Contrapeso, Javier Calvo intenta elevar su propio cuerpo mediante un sistema de
poleas, se expone con crudeza la lógica del esfuerzo individual que rige tanto la economía
capitalista como los imaginarios de la masculinidad. La acción —visiblemente agotadora—
se convierte en metáfora de una ideología que impone ascender sin ayuda, sostenerse
solo, nunca caer. Este gesto imposible no solo cuestiona el mito del artista autosuficiente y
visionario, sino también las narrativas de género que asocian el cuerpo masculino con
fortaleza, autonomía y éxito. En la cuerda que tira de sí mismo, el artista arrastra no solo su
peso físico, sino también el simbólico: la carga histórica de una masculinidad sostenida
sobre la negación del cansancio, la fragilidad y la necesidad de los otros. Contrapeso es
una reflexión visual sobre el fracaso como forma de resistencia, y sobre el agotamiento
como forma de crítica. Hay también en las piezas de Calvo un diálogo directo con la obra de
Fabrizio Arrieta, a través de los Fontana: el simulacro.

						
El filósofo Jean Baudrillard, en su teoría del simulacro, advierte que en la era de los medios
de masas y la reproducción digital, la imagen ya no remite a una realidad, sino a otras
imágenes, en un bucle donde la representación se emancipa por completo de su referente.
El arte, entonces, se mueve en un régimen de hiperrealidad: ya no imita al mundo, sino que
produce realidades autónomas, ficciones que parecen más reales que lo real. Esta
afirmación cobra sentido en el trabajo de Fabrizio Arrieta y su método usual de composición: el gesto de destruir para reconstruir. Para su solución formal, Arrieta utiliza
como base imágenes de editoriales de moda y alta costura, medios de consumo masivo o
anuncios publicitarios, que distorsiona, oculta o deconstruye con otros elementos gráficos
para convertirlas en sus propias composiciones. Estas figuras anónimas y distorsionadas
sugieren el vacío de las personalidades moldeadas por el consumismo. Lo mismo ocurre
con los retratos, que revelan una identidad fluida e inestable, enraizada en la complejidad
de la individualidad y la influencia de los medios de comunicación.

						
En ese terreno, lo ficticio no es un engaño: es una forma de enunciación. Como dice Gilles
Deleuze, el simulacro no es una copia degradada, sino una "aparición productiva" que
desafía las jerarquías entre original y copia, entre verdadero y falso. La obra de arte, en
tanto simulacro, no representa lo real: lo multiplica, lo torsiona, lo vuelve inestable.

						
Así, lo ficticio no es la negación de la historia del arte, sino su contraarchivo. Un espacio
donde se produce sentido no por acumulación de datos, sino por fricción de imágenes,
por el roce entre lo que fue y lo que podría haber sido. En el arte contemporáneo, el
simulacro ya no es sospechoso: es potencia crítica.

	
						Por su parte, Olman Torres se adentra con ironía en los lenguajes de la celebridad, del culto
a la imagen del “rockstar artista”, para descomponer sus códigos y revelar su fragilidad.&#38;nbsp;
En sus fotografías, el artificio se expone sin pudor: cuerpos que posan pero no pertenecen,
gestos y rastros de la cotidianidad, de la existencia. La masculinidad que aparece aquí no es poderosa, sino profundamente performativa. Hay algo de máscara, de puesta en
escena.

						
Desde distintas poéticas, las obras reunidas en esta muestra trazan un mapa sensible de
las fisuras que atraviesan la masculinidad contemporánea. En un momento en que se habla
de male loneliness epidemic como uno de los síntomas de nuestro tiempo, esta exposición
ofrece una tregua, una pausa mínima en la narrativa que impone al hombre la obligación de
sostenerse solo. Olman, Fabrizio y Javier se dieron la oportunidad de dialogar a partir de su
amistad, de sus afectos. La amistad como forma de exposición es una ontología afectiva,
una ética de la relación, una estética del estar con otrxs.- Cristina Ramirez


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		<title>ANA ELENA GARUZ Greetings from Panamá</title>
				
		<link>https://www.diablorosso.com/ANA-ELENA-GARUZ-Greetings-from-Panama</link>

		<pubDate>Tue, 20 May 2025 20:25:51 +0000</pubDate>

		<dc:creator>DiabloRosso</dc:creator>

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		<description>ANA ELENA GARUZGreetings from Panama
	
	solo exhibitionmay 17 - jul 12 / 2025

 &#38;nbsp;
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Photos: Raphael Salazar


						We live immersed in an incessant flow of images. Every press photograph, digital image,
or flash across our screens instantly becomes a reference to reality. But what happens
when we pause and retrieve an image from its usual circulation? This simple act of
selection reveals new interpretations of the world: the anecdotal acquires symbolic value,
the trivial becomes insightful. By isolating and rearranging these fragments, unexpected
connections arise, inviting us to reconsider how we look, what we remember, and what we choose to preserve.

						In Greetings from Panamá, Ana Elena Garuz presents a new body of work based on vintage tourist postcards from Panama —images originally intended to superficially depict
a country— altered through mixed-media interventions using minimal gestures, precise
cuts, and subtle layers. This new series engages in dialogue with paintings, drawings, and a sculpture, all sharing a common sensibility toward the fragmentary and poetic
reconfiguration of the everyday. Thus, the exhibition proposes an affective visual
archaeology in which the intimacy of collage coexists with abstract geometries and
sculptural compositions, providing a necessary pause amid contemporary visual overload,
and revealing, 
in each rescued detail, a new way of understanding and inhabiting the world.


Vivimos inmersos en un flujo incesante de imágenes. Cada fotografía de prensa, imagen
digital o destello en nuestras pantallas se convierte de inmediato en referente de lo real.
Pero, ¿qué ocurre cuando detenemos la mirada y rescatamos una imagen de su circulación
habitual? Este acto sencillo de selección abre nuevas lecturas del mundo: lo anecdótico
adquiere valor simbólico, lo trivial se vuelve revelador. Al aislar y reorganizar estos
fragmentos surgen conexiones inesperadas que invitan a repensar cómo miramos, qué
recordamos y qué elegimos conservar.

						
En Greetings from Panamá, Ana Elena Garuz presenta una nueva serie de obras que parte
de antiguas postales turísticas de Panamá —imágenes concebidas originalmente para
mostrar superficialmente un país— intervenidas con técnicas mixtas mediante gestos
mínimos, cortes precisos y capas sutiles. Esta serie dialoga con pinturas, dibujos y una
escultura, compartiendo una misma sensibilidad hacia lo fragmentario y la reconfiguración
poética de lo cotidiano. La exposición propone así una arqueología visual afectiva en la que
la intimidad del collage convive con geometrías abstractas y composiciones escultóricas,
ofreciendo una pausa frente al exceso visual contemporáneo y revelando, en cada detalle
rescatado, otra manera de entender y habitar el mundo.

					
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