"Orellana’s works are wonderfully inventive and, just as important, equally enjoyable as musical instruments and as visual objects," writes Jonathan Goodman.
Los organizadores de la bienal XIV de FEMSA en México hablaron sobre la importancia de que las artes se descentralizen en un mundo pospandémico.
Using instruments made from the materials indigenous to Guatemala, Joaquín Orellana "articulates a radically expansive and humane approach to avant-garde composition," writes Johanna Fateman.
The Spine of Music showcases Joaquín Orellana's “sculptural, Surrealist, and darkly sensuous” instruments, per a New York Times review.
"'The Spine of Music' offers a different, vaguely utopian model of peaceful no-rules anarchy, participation and silence," writes Martha Schwendener in The New York Times.
Los instrumentos musicales de Joaquín Orellana parecen de otro planeta, pero salieron de la extraordinaria imaginación del artista guatemalteco, escribe Helen Cook en EFE.
The exhibition Joaquín Orellana: The Spine of Music is on view at our gallery until April 24.
