The works of Anne Weyant (1995) invite us to immerse ourselves in scenes where young women are the protagonists of complex situations. These representations, far from being conventional, acquire an intriguing nuance, where awkwardness is transformed into an endearing trait thanks to the artist's surprising pictorial skill.

The unspoken laws of touring art exhibitions dictate that you should start on the left and walk clockwise through the entire gallery, then move on to the next. Currently, visitors walk past the works on the right, the left, and, if they're not interested in what they see, through the center of the gallery. Sometimes a work is so compelling that we skip over the rest of the exhibition, focusing only on what caught our attention.

Lamp, by Carrie Bencardino (2025)

Technique: oil on canvas

Carrie Bencardino (Buenos Aires, 1993) is exhibiting for the first time at the MALBA Museum in Buenos Aires. Just like researcher and artist Lucas Disalvo, the work that caught all my attention, and the one I went to see up close, ignoring the rest, was Lamp. Let's try to put into words why this "lamp" caught our eye.

In my case, it was the use of color and texture. I see velvet and the incongruity of that material reminds me of surrealist artists. I see green, the color of nature in all its splendor. Is it perhaps a message from an activist for the care of the planet? (The more electricity we consume, the fewer natural resources we have). I see an object from the early 20th or 19th century, and there I agree with Lucas Disalvo, who related this painting, by its color and shape, to the absinthe or wormwood consumed by the decadentists. Why? Because of the green color and the lack of clarity in the workmanship, just like the blurred vision of the drinker, a certain dullness.

Ultimately, the painting conveys something that transcends the canvas and sends messages to whoever sees it. Bravo, Carrie!

One of Modernism's contributions to Art History was abstraction: the moment when artists discovered the "non-figurative" as a form of expression. To achieve this, they relied strictly on visual elements, such as lines, points, color, planes, and textures. Furthermore, these works lacked a theme or subject matter.