Three covers, one bridge: Bonart opens a dialogue between continents with the international number 1

Following the launch of a first issue as a trial, this new editorial phase is consolidated with a clear objective: to expand the magazine's critical outlook and artistic thinking beyond its local borders. The initiative has found the Bogotá Biennial as the ideal stage to present itself to the public, thus underscoring its commitment to dialogue with Latin America and, by extension, with the rest of the world.

The Bonart International edition is distinguished by a particularly significant gesture: three different covers that embody the spirit of cultural crossover pursued by the project. For Colombia, the artist chosen is Beatriz González, an essential figure for understanding the tensions between memory, politics, and representation in contemporary Latin American art. Spain and Portugal are represented by Maria Helena Vieira da Silva and her work Composition , an example of the visual power of lyrical abstraction and its ability to transcend geographies. Finally, Mexico is identified with César Martínez Silva's work The Idealized Body , a work that directly questions the social and symbolic constructions surrounding identity. Each cover, with its own conceptual and aesthetic weight, thus becomes a distinct gateway to a single collective narrative.

The purpose is clear: to build bridges between Spanish and Latin American artistic creation, generating a common space where diverse experiences and contexts do not confront each other, but rather dialogue. This is a transnational narrative that recognizes local particularities but integrates them into a broader constellation, capable of reflecting the global challenges of the present and the way art illuminates them.

The issue opens with the text "Constellations of Peace: Miró, LATAM, Egypt, and Vieira da Silva ," written by Ricard Planas Camps. This essay serves as a conceptual and editorial framework, inviting the reader to embark on a journey that connects temporalities, territories, and sensibilities. The journey culminates in an extensive monograph dedicated to Joan Miró, once again asserting the universal relevance of his artistic language. Miró's work appears here not as a static reference, but as a living force capable of engaging with the tensions, hopes, and contradictions of the contemporary world.

In this way, the international edition of Bonart not only constitutes a new chapter in the magazine's history, but also establishes itself as a space for cultural mediation: a determined commitment to positioning art as a tool for understanding between distant shores and, at the same time, as a testimony to the complexity of our times.

Bonart/Malart 202 is now available!

Fall/winter arrives with new developments: issue 202 of bonart/malart magazine is now available, confirming itself as an essential space for understanding and following contemporary art debates and practices. This edition consolidates the publication's trajectory with a vision that combines rigor, a critical perspective, and a desire for cultural dissemination, maintaining a balance between focusing on emerging artists and recognizing established figures who have shaped the history of art.

This new issue of bonart/malart offers a careful selection of articles, interviews, and reports that give voice to artists, institutions, and projects shaping the current scene. The magazine, true to its founding spirit, champions the importance of art as a tool for thought and social transformation, opening windows to reflections that go beyond the work itself and place the artistic act in constant dialogue with education, memory, and society.

Issue 202 features a cover by Santi Moix, with Haltech typography, introducing the monograph dedicated to Joan Miró. This exploration allows us to rediscover the power and relevance of Miró's legacy, connecting it with new perspectives and contexts. The volume also includes content dedicated to RCR Arquitectos, Tàpies, Cristina Iglesias at La Pedrera, as well as reflections on the intersection of art, education, and culture, placing the publication at the heart of a diverse and enriching debate.

Malart opens with The Shadow of Joan Crous, a series that serves as a guiding thread for exploring the most relevant exhibitions on the national scene. This section of the volume is enriched with texts analyzing exhibitions such as Cuixart, as well as a review of the events that celebrated the magazine's anniversary, thus consolidating its presence as a vibrant and active platform within the cultural sector.