Lucas Radicella visits La Fabrica, an alternative cultural space in San Telmo that has grown out of the rubble of an abandoned factory.

Patricia di Filippo talks to artist César A. Fioravanti about his lifelong affair with light and form, his distrust of elitism in art, and the need to recover childhood’s playfulness in all aspects of life.

Each week, the Indy features and promotes one project on crowdfunding website Ideame, with the aim of helping the creators finance and achieve their dreams. This week: Uno de Oro.

The city of La Plata, capital of Buenos Aires province, recently hosted the first Zig Zag Graffiti Meeting, bringing together street artists from all over Latin America. Hugh Davies reports.

Taylor Dolven visits a new interactive exhibition by artist Bernardo Timerman, who displays his unique collection of accordion instruments made out of everyday and discarded objects in the Ricardo Rojas cultural centre.

A recently-refurbished factory in La Boca is the new home to Argentina’s national, philharmonic, and symphonic orchestras. Melanie Henderson checks out the Usina del Arte.

Mariel Matze says the abstract collection in the newly-opened Contemporary Art Museum of Buenos Aires (MACBA) acquires meaning in the interplay between audience and art.

Lottie Fisher steps into the annual Casa FOA exhibition, where local designers and architects transform a building that is falling into disrepair into a beautiful cultural and artistic space. This year: a run-down ex-Alpargata factory in La Boca.

As an artist from the United States, Tranqui Yanqui has swept Buenos Aireswith his techinicolour pancho-pancho. He has spent five years in the city and has found it full of inspiration, a place that he felt he could be a character he wanted to creatively explore.

For most of us, the words ‘pop art’ usually conjure up graffitied images of Ché Guevara and enormous coke cans. Fundación PROA’s new exhibition of Argentine and Brazilian pop art bears all the familiar hallmarks of the movement but relocates the focus to the southern cone, where familiar bold fonts and cartoon images meet a carnal, visceral movement rooted in the wounds of dictatorship and repression.