About the Artist
Mi obra aborda aspectos relacionados con estereotipos culturales y de género, la insularidad, los contrastes sociales y la estética popular en espacios urbanos y rurales, así como nociones preconcebidas que operan en el imaginario universal sobre la región del Caribe.
Trabajo desde el campo de la interdisciplinariedad, basándome en ideas e investigaciones sobre mi entorno socio-cultural y como estas se relacionan con la historia del arte occidental, el internet, y la globalización.
Me interesa cuestionar la permanencia de categorías obsoletas y las fronteras innecesarias, no solo en el proceso de creación, si no también en la dimensión social de la obra que proviene principalmente de la descontextualización y recontextualización de materiales, objetos y experiencias que uso en mi práctica artística.
Desarrollo varios cuerpos de obra de forma simultánea a través de procedimientos conceptuales como la apropiación de obras de arte y de imágenes de obras de arte, así como también imágenes de consumo masivo, en el carácter de levedad que le otorgan a estas las nuevas formas de circulación en plataformas de tecnología digital, paralelo a desmitificación de la autoría.
A través de la mezcla de recursos y disciplinas como el collage, el video, la acción, la impresión en soportes no convencionales, y la exhibición de proyectos -mucho de ellos efímeros- fuera de los espacios institucionales, mi trabajo examina lo cotidiano y lo histórico usando diversos lenguajes del quehacer artístico actual.
Selected Biographical Information
Education / Training
- 1987-1992: Licenciatura, Instituto Superior de Arte (ISA), Havana, Cuba.
Prizes / Fellowships
- 2004: Concurso Eduardo León Jimenes, Centro León, Santiago de los Caballeros, Dominican Republic.
- 1998: Cintas Fellowship, Cintas Foundation, Miami, United States.
- 1996: South Florida Cultural Consortium Visual And Media Art Fellowship, South Florida Cultural Consortium, Miami, United States.
Solo Exhibitions
- 2015: “Maleza. Multiple Bodies Of Work”, Centro Cultural de España Santo Domingo (CCESD), Santo Domingo, Dominican Republic.
- 2015: “Doble Doble, Framed And Framed”, Lynch Tham, New York, United States.
- 2012: “After Some Twisted Lines”, David Castillo Gallery, Miami Beach, United States.
- 2008: “The World Outside”, Bronx Museum of the Arts, New York, United States.
- 2007: “A Heap of Paradise”, David Castillo Gallery, Miami, United States.
- 2000: “Quisqueya Henríquez. Sala 7 Proyecto de Arte Contemporáneo”, Museo Rufino Tamayo, Mexico City, Mexico.
- 1997: “Xsite”, Contemporary Museum, Baltimore, United States.
Group Exhibitions
- 2016: “Prompt”, McColl Center for Visual Arts+Innovation, Charlotte, NC, United States.
- 2016: “Resonance/Dissonance. Works from De la Cruz Collection”, Patricia & Phillip Frost Art Museum, Miami, Fl , United States.
- 2015: “High And Local Villa Consuelo”, Sindicato, Santo Domingo, Dominican Republic.
- 2015: “Global Positioning System “, Perez Art Museum of Miami (PAMM), Miami, Fl, United States.
- 2014: “Beyond The Super Square”, Bronx Museum of the Art, Bronx, New York, United States.
- 2014: “Image Search”, Perez Art Museum of Miami 9PAMM), Miami, FL, United States.
- 2013: “El Ojo En El Tiempo. Obras de la Colección Adrastus”, Museo de Arte Carrillo Gil, Mexico City, Mexico.
- 2012: “Converge”, McColl Center for Visual Arts, Charlotte, NC, United States.
- 2008: “Geografías (In)visibles. Patricia Phelps de Cisneros Collection”, Centro León, Santiago de los Caballeros, Dominican Republic.
- 2007: “Infinite Island: Contemporary Caribbean Art”, Brooklyn Museum, New York, United States.
- 2005: “Intertextualidad”, Artist Space, New York, United States.
- 2002: “Inter.Play”, The Moore Space, Miami, United States.
- 2002: “No Place. Kuba”, Ifa Galerie, Bonn, Germany.
- 2001: “Tutto Normale”, Villa Medici, Roma, Italia.
- 2001: “Políticas De La Diferencia. Arte Latinoamericano de fin de siglo”, La Generalitat Valenciana (Travelled), Valencia y Buenos Aires, España y Argentina.
- 1998: “Locus”, Mattress Factory, Pittsburgh, United States.
Publications
- Somerstein, Rachel, “25 Trendsetters”, Art News, September 2007, 122-123.
- Genocchio, Benjamin, “Enthusiasm for Rubbish That Avoids Clichés”, New York Times, Oct. 28. 2007.
- Ken Johnson, “Minding the Gap Between Rarefied and Local Art Culture”, New York Times, Oct. 26. 2007.
- Villanueva, Isabela, “Tasting the Caribbean: The Art of Quisqueya Henriquez”, Review 74, May 2007, 106-110.
Collections
- Bronx Museum of the Arts, New York, United States.
- Perez Art Museum of Miami (PAMM), Miami, United States.
- Museo del Barrio, New York, United States.
- Patricia and Phillip Frost Art Museum, Miami, United States.
- Colección Patricia Phelps de Cisneros, New York, United States.
- De la Cruz Collection, Miami, United States.
- RISD Museum, Providence, United States.
- Allen Memorial Art Museum (AMAM), Oberlin, United States
- Quisqueya Henríquez, “LCB306”, 2016, Series: Formal Informal, Tubos metálicos niquelados, tiras engomadas, Variable dimensions. Photo credit: Sindicato.
- Quisqueya Henríquez, “Lyubov Popova/Carmen Herrera”, 2014, Collage y fotografía digital montada en Dibond. Marco dentro de otro marco, 91.44 x 160.02 x 5.08 cm. Photo credit: David Castillo Gallery.
- Quisqueya Henríquez, “Sangre Congelada”, 2001, Series: Burlas, Fotografía digital, impresión fotográfica., 101.6 x 101.6 cm. Photo credit: Sindicato.
- Quisqueya Henríquez, “The Caribbean Orange ( Obras anaranjadas en la colección del MOMA)”, 2015, Collage digital impreso sobre papel de algodón Hahnemuhle , 27.94 x 35.56 cm. Photo credit: Sindicato.
- Quisqueya Henríquez, “50 Libras”, 2016, Series: Formal Informal, Hierro macizo y tiras engomadas, Variable dimensions.
- Quisqueya Henríquez, “After Sherrie Levine After Rodchenko”, 2016, pintura esmalte sobre mesas plásticas, 182.88 x 274.32 x 121.92 cm. Photo credit: Sindicato.
- Quisqueya Henríquez, “Comportamiento Moderno (Pieza Arco)”, 2007, Concreto y madera de cedro, Variable dimensions. Photo credit: David Castillo Gallery.
- Quisqueya Henríquez, “Dorothea Rockburne/Auguste Macke”, 2015, Collage y fotografía digital montada en Dibond. Marco dentro de otro marco, 92.71 x 139.7 x 5.08 cm. Photo credit: David Castillo Gallery.
- Quisqueya Henríquez, “Dos Copias Malas”, 2015, Fieltro, Madera y participación del público, Variable dimensions. Photo credit: Sindicato.
- Quisqueya Henríquez, “Formas Geométricas”, 2007-2015, Series: Formal Informal, Hierro macizo y tiras engomadas, Variable dimensions. Photo credit: Sindicato.
- Quisqueya Henríquez, “Helado de Agua de Mar Caribe”, 2002, Series: Burlas, Fotografía digital, impresión fotográfica., 76.2 x 76.2 cm. RISD Museum. Photo credit: David Castillo Gallery.
- Quisqueya Henríquez, “LC2 Low On High”, 2015, Series: Formal Informal, Metal. tiras de goma, Variable dimensions. Photo credit: Sindicato.
- Quisqueya Henríquez, “Ropa Congelada”, 2001, Series: Burlas, Fotografía digital, impresión fotográfica., 142.24 x 238.76 cm. Site-specific project. Location: Museo Del Barrio, Nueva York, Estados Unidos. Photo credit: David Castillo Gallery.
- Quisqueya Henríquez, “United By Colors”, 2015, Collages con impresiones Offset, plexiglas tintado, 101.6 x 393.7 cm. Private. Photo credit: Sindicato.
- Quisqueya Henríquez, “We Can See In Total Darkness”, 2015, MDF, lienzo, pintura acrílica, asiento de vinil encontrado, 111.76 cm x 116.84 cm x 7.62 cm cm. Photo credit: Tiziano de Stefano/ Sindicato.
- Cintas Foundation, New York/Miami, United States.
- Fredy Alzate, “Esfera pública”, 2015, Epoxy resin, stainless steel, polyurethane, 300 x 500 x 400 cm. Site-specific project. Location: Centro Urbano, Medellin, Colombia. METRO Medellin, Colombia. Photo credit: Rodrigo Diaz.
- Fredy Alzate, “Enclave”, 2006, Series: Arquitecturas leves, Wood, canvas, plastic, Variable dimensions. Photo credit: Carlos Ortega.
- Fredy Alzate, “Adosado”, 2006, Series: Arquitecturas leves, Wood, zinc, Variable dimensions. Photo credit: Rodrigo Diaz.
- Fredy Alzate, “especies de espacios”, 2006, Series: arquitecturas leves, Tire, wood, metal, 25 x 40 x 55 cm. Photo credit: Cortesía del artista.
- Fredy Alzate, “Praxis”, 2013, Wood, polyurethane paint, metal, Variable dimensions. Site-specific project. Location: Maison des arts Georges Pompidou, Saint-Cirq-Lapopie, France. Photo credit: Maison des arts Georges Pompidou.
- Fredy Alzate , “Traza”, 2013, Plastic tube: 30 cm (diameter) x 1400 cm, Variable dimensions. Site-specific project. Location: Maison des arts Georges Pompidou, Saint-Cirq-Lapopie, France. Photo credit: Maison des arts Georges Pompidou.
- Fredy Alzate, “Quinta Fachada”, 2013, Zinc, metal, epoxy resin, fiberglass, found objects, 230 x 300 x 650 cm. Site-specific project. Location: Museo de Arquitectura, Leopoldo Rother, Bogotá, Colombia. Photo credit: IDEARTES Bogotá.
- Fredy Alzate, “Lugares en fuga”, 2012, Brick, cement, metal, Variable dimensions. Site-specific project. Location: ARTBO Arte cámara, Bogotá, Colombia. Photo credit: Cortesía del artista.
- Fredy Alzate, “Lugares en Fuga II”, 2014, Brick, concrete, metal, 115 x 120 x 120 cm. Saatchi Gallery. Photo credit: Cortesía del artista.
- Fredy Alzate, “Geografias Deshechas”, 2013, 1200 recycled tires, amplified sound, 550 x 550 x 500 cm. Site-specific project. Location: Jardin Botanico, Medellin, Colombia. Photo credit: Periodico ARTERIA, Colombia.
- Fredy Alzate, “Remanentes”, 2015, Recycled wood assembly, Variable dimensions. Site-specific project. Location: Museo de Arte Moderno, Medellin, Colombia. Photo credit: MAMM.
- Fredy Alzate, “Horror vacui”, 2015, 3200 asbestos cement pieces, Variable dimensions. Site-specific project. Location: Galeria de la Oficina, Medellin, Colombia. Photo credit: Carlos Tobon.
- Fredy Alzate, “Scarabaeus laticollis (escarabajo pelotero)”, 2015, Recycled tires, documentation of intervention, 230 x 250 x 250 cm. Photo credit: Carlos Tobon.
- Fredy Alzate, “scarabaeus laticollis (escarabajo pelotero)”, 2015, Recycled tires, Variable dimensions. Site-specific project. Location: Barrio la Honda, Medellin, Colombia. Photo credit: Rodrigo Diaz.
Selected Biographical Information
Education / Training
- 1984-1989: B.Sc. in Physical Chemistry, Concordia University, Montréal, Canada.
Prizes / Fellowships
- 2012-2013: Joyce Award, The Joyce Foundation, Chicago, Ill, United States.
Solo Exhibitions
- 2016: “Surface Tension, Electronic Superhighway show”, Whitechapel Gallery, London, United Kingdom.
- 2013: “Quinta fachada”, VII Premio Luis Caballero, Museo Leopoldo Rother, Bogotá.
- 2013: Aluvión. Sala U, Universidad Nacional de Colombia, Medellín.
Group Exhibitions
- 2015: “Encan Esse Auction”, Musée des Beaux-Arts, Montreal, Quebec, Canada.
Publications
- RLH, Keynote Presentation (Mexico City: MUAC Museum), 1-3.
Collections
- 21C Museum, Louisville, Kentucky, United States.
Para mi la abstracción esta en todos lados y en todos los niveles. Nuestra mente o nuestro conocimiento sólo percibe algunos tipos de abstracción, pero si ahondamos en éste tema, lo pensamos y observamos, nuestra vida esta rodeada de abstracción.
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For me, abstraction is everywhere and at every level. Our mind or knowledge can just perceive some types of abstraction, but if we go deeper into the subject, think about it and observe it, our everyday life is surrounded by abstraction.
- Claudia Fernández, “La Belleza Oculta”, 2000, Color photographs of several house facades in Mexico, Variable dimensions.
- Claudia Fernández, “La Belleza Oculta”, 2000, Color photographs of several house facades in Mexico, Variable dimensions.
- Claudia Fernández, “La Belleza Oculta”, 2000, Photographs of house facades in Mexico, Variable dimensions.
- Claudia Fernández, “La Belleza Oculta”, 2000, Photographs of house facades in Mexico, Variable dimensions.
- Claudia Fernández, “La Belleza Oculta”, 2000, Photographs of house facades in Mexico, Variable dimensions.
- Claudia Fernández, “La Belleza Oculta”, 2000, Color photographs of several house facades in Mexico, Variable dimensions.
- Claudia Fernández, “God’s Eye”, 2013, Cosmic Tree (2013) is a “god’s eye” that has been altered in its scale and color palette. Accompanying this “god’s eye” there is an overlapping stone structure, embedded in the museum’s courtyard. The stones from which it is made come from country fields of the state of Morelos, stones that urbanites not often see in their daily transit through the city, Variable dimensions.
- Claudia Fernández, “Árbol Cósmico”, 2013, Cosmic Tree (2013) is a “god’s eye” that has been altered in its scale and color palette. Accompanying this “god’s eye” there is an overlapping stone structure, embedded in the museum’s courtyard. The stones from which it is made come from country fields of the state of Morelos, stones that urbanites not often see in their daily transit through the city, Variable dimensions.
- Claudia Fernández, “Árbol Cósmico”, 2013, Cosmic Tree (2013) is a “god’s eye” that has been altered in its scale and color palette. Accompanying this “god’s eye” there is an overlapping stone structure, embedded in the museum’s courtyard. The stones from which it is made come from country fields of the state of Morelos, stones that urbanites not often see in their daily transit through the city, Variable dimensions.
- Claudia Fernández, “Omnibus”, 2002, Digital color photographs, Variable dimensions.
- Claudia Fernández, “Omnibus”, 2002, Digital color photographs, Variable dimensions.
- Claudia Fernández, “La Belleza Oculta”, 2002, Photographs of several house facades in Mexico, Variable dimensions.
Selected Biographical Information
Education / Training
- 1989: Escuela Nacional de Artes Plásticas San Carlos, Mexico City, Mexico.
Prizes / Fellowships
- 1997-1998: Premio de Adquisición en Instalación, VIII Bienal de Arte Femsa, Monterrey, Nuevo León, Mexico.
- 1991-1992: Premio del Instituto de Ciencias de Guadalajara, Instituto de Ciencias de Guadalajara, Guadalajara, Jalisco , Mexico.
Solo Exhibitions
- 2014: “Cactli-Cacle“, Museo de Arte de Zapopan, Guadalajara, Jalisco, Mexico.
- 2013: “Árbol Cósmico“, Museo Experimental El Eco, Mexico City, Mexico.
- 1997: “Aqui Afuera“, Museo de Monterrey, Monterrey, Nuevo León, Mexico.
- 1997: “El Alimento“, Museo del Palacio de Bellas Artes, Mexico City, Mexico.
Group Exhibitions
- 2015: “Biennial of the Americas”, Biennial of the Americas, Denver, Colorado, United States.
- 2015: “Proyecto Meteoro/Escuelas de Oficios“, Museo Tamayo, Ciudad de México, Mexico.
- 2015: “La misteriosa desaparición de Arthur Cravan”, Cabaret Voltaire, Zurich, Switzerland.
- 2015: “Nevermore, Halloween Parade”, Bronx Museum for the Arts, New York, United States.
- 2007: “Hecho en México”, ICA Boston & Hammer Museum, Los Angeles, Boston, USA.
- 2005: “Eco: Arte Contemporáneo Mexicano”, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain.
- 2002: “Zebra Crossing“, Haus der Kulturen der Welt, Berlin, Germany.
- 2002: “El Aire es Azul “, Casa Museo Luis Barragán, Mexico City, Mexico.
Publications
- Cuauhtémoc Medina; Olivier Debroise, La Era de la Discrepancia / Age of Discrepancies (Mexico City: UNIVERSIDAD NACIONAL AUTONOMA DE MEXICO), 504.
- Salón Internacional de Pintura, Cinco Continentes y una Ciudad / Five continents and one city: The Tercer Salón Internacional de Pintura [3rd International Painting Salon] (Mexico City: Howard Karno Books Inc).
- Maria Lind, “Abstract Possible: The Tamayo Manifestation“, Rufino 3, Spring – Summer 2011, 12-19.
- “Del Angström al Infinito“, Luna Córnea, 2001, 155-159.
Collections
- Daros, Zürich, Switzerland.
- Colección Jumex, Mexico City, Mexico.
- Colección FEMSA, Monterrey, Nuevo León, Mexico.
- Colección Museo Universitario de Arte Contemporáneo, Mexico City, Mexico.
- Laercio Redondo, “Ponto cego (Blind spot)”, 2013. Installation with sound, wooden structure, mirror, and glass hatch to reveal underground passage. Dimensions: Variable, Site-specific. Photo credit: Sergio Araujo.
- Laercio Redondo, “Debret Room, general view”, 2013. 3 different works exhibited together; 1. Printed landscape: 77 stools with silkscreen on plywood, 77 books recommended by collaborators in the project; a venue for the seminar “Rio de Janeiro – Past and Present”. 2. Sale – faulty memory game: 9 double–sided silkscreen on plywood. 3. Be sad if you are able and you will see: Silkscreen on plywood, confetti made daily from the local newspaper. Dimensions: Variable. Photo credit: Sergio Araujo.
- Laercio Redondo, “Paisagem impressa” (Printed landscape), 2013. Edition of 3. 77 stools with silkscreen on plywood, 77 books recommended by collaborators in the project; a venue for the seminar “Rio de Janeiro – Past and Present”. Dimensions: 231cm X 363cm. Photo credit: Sergio Araujo
- Laercio Redondo, “Venda – jogo da memória falha” (Sale – faulty memory game), 2013, Edition of 2. 9 double-sided silkscreen on plywood. Dimensions: Variable. Photo credit: Sergio Araujo
- Laercio Redondo, “Carmen Miranda – Uma ópera da imagem (Carmen Miranda – An opera of the image)”, detail, 2010, Sound Sculpture, 8 mobiles with various materials. In collaboration with Marcia Sá Cavalcante Schuback (text), Variable dimensions. Photo credit: Sergio Araujo
- Laercio Redondo, “Carmen Miranda – Uma ópera da imagem (Carmen Miranda – An opera of the image), general view, 2010. Sound Sculpture, 8 mobiles with various materials. In collaboration with Marcia Sá Cavalcante Schuback (text). Dimensions: Variable. Photo credit: Sergio Araujo
- Laercio Redondo, “Title: Fachada (Façade)”, 2014. Series of wooden displays with silkscreen on plywood and glass, 100cm x 60cm x 2 (diptych), Photo credit: Mario Grisolli
- Laercio Redondo, “Esses tempos (MEC/D.N.E. 1937–1957) (These times [MEC/D.N.E.1937–1957])”, 2014, Silkscreen on plywood, approx. 245cm X 190cm. Photo credit: Mario Grisolli
- Laercio Redondo, “Le Corbusier 1936”, 2014, Edition of 10. Cast bronze, approx. 4cm X 180cm. Photo credit: Sergio Araujo
- Laercio Redondo, “Lembrança de Brasília (Memory from Brasília)”, 2012, Edition of 3, Silkscreen on plywood, 100cm X 70cm X 2 (diptych). Photo credit: Birger Lipinski
- Laercio Redondo, Lembrança de Brasília (Memory from Brasília), general view, 2012. Silkscreen on plywood, wall drawing & 2 videos. Dimensions variable. Photo credit: Marcelo Abdo Centeio
- Laercio Redondo, “A casa de vidro (The glass house)”, general view, 2008. Edition of 5. Description of technique: Installation with 2 videos (each 10 min. 25 sec. loop), Music: Goh Lee Kwang. In collaboration with Laura Erber (text), Dimensions variable, Photo credit: Birger Lipinski
- Laercio Redondo, “Desvios (Detour), general view”, 2015, Edition of 5, Installation with video (1 hour loop), wooden display, fern, fluorescent light and 2 textile curtains. In collaboration with Soraya Guimarães Hoepfner (text) and Birger Lipinski (curtains), variable dimensions. Photo credit: Birger Lipinski
- Laercio Redondo, “Desvios (Detour)”, detail curtain, 2015. Edition of 5. Textile curtain, approx. 4m x 10m. Photo credit: Sergio Araujo
- Laercio Redondo, “Desvios – Prelúdio (Detour -Prelude)”, 2015. Edition of 3. Silkscreen on plywood, 187cm X 216cm.
About the Artist
My artistic research and work engage extensively with collective memory and its erasure in society.
The works are often based on the interpretation of specific events in relation to the city, architecture and historical representation in relation to the present, searching for new meanings to forgotten aspects of a conflictive lexicon in whose internal movement the writing of history is disputed.
My interest is to create installations and multimedia works that emerge from a deep research into cultural dynamics, that takes Brazilian architecture and its practitioners as central figures of my research.
Important architectonic icons like Casa França Brasil, The Gustavo Capanema Palace also known architecturally as the Ministry of Education and Health Building or the figures as Athos Bulcão, Lina Bo Bardi, and Lota de Macedo Soares or Carmen Miranda are many times the starting point to develop my research.
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Mi investigación artística y obra están involucrados extensivamente con la memoria colectiva y su borramiento en la sociedad.
Las obras a menudo están basadas en la interpretación de eventos específicos en relación a la ciudad, la arquitectura y la representación histórica en relación al presente, buscando nuevos significados para los aspectos olvidados de un léxico conflictivo, en cuyo movimiento interno la escritura de la historia está en disputa.
Mi interés es el de crear instalaciones y obras multimedia que surgen de una investigación profunda sobre las dinámicas culturales, que toman a la arquitectura brasileña y sus practicantes como figuras centrales de mi investigación.
Importantes iconos arquitectónicos como Casa França Brazil, El Gustavo Capanema Palace también conocido arquitectónicamente como el edificio del Ministerio de Educación y Salud; o las figuras como Athos Bulcão, Lina Bo Bardi, y Lota de Macedo Soares, or Carmen Miranda, son muchas veces los puntos de partida para desarrollar mi investigación.
Selected Biographical Information
Education / Training
- 1999-2001: Master degree, Konstfack , Stockholm, Sweden.
Prizes / Fellowships
- 2011: Residence Botkyrka, project in collaboration with Birger Lipinski, Residence Botkyrka, Stockholm , Sweden.
- 2011: Konstnärsnämnden, 2 years Grant, Konstnärsnämnden, Stockholm, Sweden.
- 2008: IASPIS, Residency Program, IASPIS, Stockholm, Sweden.
- 2007: Batiscafo Residency Program, Batiscafo Residency Program, Havana, Cuba.
- 2005: Konstnärsnämnden, 1 year Grant, Konstnärsnämnden, Stockholm, Sweden.
- 2004-2005: Akademie Schloss Solitude, Residency Program, Akademie Schloss Solitude, Stuttgart, Germany.
- 2002: I mostra Rioarte Contemporânea , Museu de Arte Moderna, Rio de Janeiro, Brazil.
- 2002: II Prêmio Sergio Motta, Instituto Sergio Motta, São Paulo, Brazil.
Solo Exhibitions
- 2016: “Past Projects for the Future”, Dallas Contemporary, Dallas, USA.
- 2016: “Restauro / Restoration”, Ana Mas Projects, Barcelona, Spain.
- 2015: “O que acaba todos os dias”, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- 2014: “Fachada/ Façade”, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
- 2013: “Contos sem Reis – Tales with no Kings”, Casa França Brasil, Rio de Janeiro, Brazil.
- “Lembrança de Brasilia / Memory from Brasilia”, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
- 2005: “Listen to me”, Kunsthalle Göppingen, Göppingen, Germany.
Group Exhibitions
- 2016: “Depois do Futuro“, EAV Parque Lage, Rio de Janeiro, Brazil.
- 2015: “The Devil is in the details“, Ka.Be Contemporary, Miami, USA.
- 2015: “Tarsila e Mulheres Modernas no Rio“, Museu de Arte do Rio, Rio de Janeiro, Brazil.
- 2014: “Do Valongo à Favela“, Museu de Arte do Rio, Rio de Janeiro, Brazil.
- 2014: “Idea di Frattura – Opinione Latina / 2“, Galleria Francesca Minini, Milan, Italy.
- 2014: “Josephine Baker and Le Corbusier in Rio – a Transatlantic Affair“, Museu de Arte do Rio, Rio de Janeiro, Brazil.
- 2014: “Dispositivos para um mundo (im)possível“, Galeria Nara Roesler – Roesler Hotel #25, , São Paulo, Brazil.
- 2014: “Brasil:Arte/Música / Brazil:Art/Music“, Zacheta Project Room, Warsaw, Poland.
- 2013: “Amor e ódio à Lygia Clark / Love and hate to Lygia Clark”, Zacheta National Gallery of Art, Warsaw, Poland.
- 2013: “Prêmio Pipa – Finalist“, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- 2013: “Visão do Paraíso: Pensamento Selvagem“, ARTRIO, Rio de Janeiro, Brazil.
- 2013: “The right to the city“, Stedelijk Museum Bureau Amsterdam, Amsterdam, Holland.
- 2013: “The Insides are on the Outside”, SESC Pompéia, São Paulo, Brazil.
- 2013: “MAC 50: Doações Recentes 1“, Museu de Arte Contemporânea da Universidade de São Paulo, São Paulo, Brazil.
- 2012: “Esquemas para una Oda Tropical – An exhibition /a poem /a library / a landscape“, Galeria Silvia Cintra + Box 4, Rio de Janeiro, Brazil.
- 2012: “Novas Aquisições 2010 – 2012 – Coleção Gilberto Chateaubriand, Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- 2011: “Bananas is my Business: The South American way“, Museu Carmen Miranda, Rio de Janeiro, Brazil.
- 2010: “Um so Mehr“, Kunsthalle Göppingen, Göppingen, Germany.
- 2006: “Geração da Virada“, Instituto Tomie Ohtake, São Paulo, Brazil.
Publications
- Laercio Redondo, Intimacies – Proximidades (Berlin: The Green Box), 120.
- Laercio Redondo, I need You (Göppingen: Kunsthalle Göppingen), 60.
- Tobi Maier, “O que acaba todos os dias / What Ends Every Day”, Artforum, New York, USA, April 2016, 257.
- Paula Alzugaray, “Feminismo em campo expandido“, Select Magazine, Brazil, 05/02/2016.
- Luisa Duarte, “Lendo os sons do silêncio“, Jornal O Globo, Brazil, 04.JAN.2016.
- Kaira M. Cabañas, “Laercio Redondo – Casa França Brasil“, Artforum, New York, USA, Summer 2013, 381.
- Paula Alzugaray, “Visão oblíqua do Rio“, Revista Istoé Independente, Edição 2263, 28.03.13.
- Fernanda Lopes, “Uma história que não anda em linha reta”, Select Magazine, Brazil, 24/04/2013.
Collections
- Andrea & José Olympio Pereira Collection, São Paulo, Brazil.
- Gilberto Chateaubriant Collection, Rio de Janeiro, Brazil.
- Itaú Cultural Collection, São Paulo, Brazil.
- Kunsthalle Göppingen, Göppingen, Germany.
- Museu de Arte Contemporânea da USP São Paulo, São Paulo, Brazil.
- Museu de Arte Moderna do Rio de Janeiro, Rio de Janeiro, Brazil.
- Pinacoteca de São Paulo, São Paulo, Brazil.
- Rafael Lozano-Hemmer, “Nineteen Eighty-Four”, 2014. Photo by: Antimodular Research. Courtesy of the artist.
- Rafael Lozano-Hemmer, “The Company of Colours, Shadow Box 9”, 2009. Location: Trackers, La Gaïté Lyrique, Paris, France, 2011. Photo by: Maxime Dufour. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Tape Recorders, Subsculpture 12”, 2011. Location: Recorders, Museum of Contemporary Art, Sydney, Australia. Photo by: Antimodular Research. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Articulated Intersect”, 2011. Location: MONA Museum of Old and New Art, Hobart, Tasmania, Australia, 2014. Photo by: MONA / Rémi Chauvin. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Levels of Nothingness, Performers 1”, 2009. Location: Guggenheim Museum, New York City, New York, United States. Photo by: Kristopher McKay. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Make Out, Shadow Box 8”, 2008. Location: Detectores, Fundación Telefónica, Buenos Aires, Argentina, 2012. Photo by: Pablo Lasansky, Fundación Telefónica. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Make Out, Shadow Box 8”, 2008. Location: Detectores, Fundación Telefónica, Buenos Aires, Argentina, 2012. Photo by: Pablo Lasansky, Fundación Telefónica. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Method Random 1”, 2014. Image generated with a seed of 5970917 using an LCG algorithm with a=22695477, c=1, and m=2^32. Photo by: Antimodular Research. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Reporters with Borders, Shadow Box 6”, 2007. Photo by: Antimodular Research. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Performance Review UBS”, 2013. Location: Armory Show, New York City, NY, United States, 2013. C-Print 120 x 188 cm. Photo by: Antimodular Research. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Pulse Corniche”, 2015. Commissioned by: Guggenheim Abu Dhabi. Location: Abu Dhabi, United Arab Emirates. Photo by: Antimodular Research. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Pulse Corniche”, 2015. Commissioned by: Guggenheim Abu Dhabi. Location: Abu Dhabi, United Arab Emirates. Photo by: Antimodular Research. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Pulse Spiral”, 2008. Location: Haunch of Venison Gallery, New York City, New York, United States, 2009. Photo by: Haunch of Venison Gallery. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Semioptics for Spinoza”, 2013. Location: New York City, United States, 2013. Semioptics for Spinoza at the Armory Show 2013. Photo by: Antimodular Research. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Solar Equation, Relational Architecture 16”, 2013. Location: Lumiere Festival, Durham, United Kingdom. Photo by: Antimodular Research. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Sphere Packing”, 2014. Photo by: Antimodular Research. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Sphere Packing”, 2014. Richard Wagner – Glazed porcelain 3D print, 110 channels of sound, 13 cm diameter, 3 Kg aproximately. Photo by: Antimodular Research. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Voice Tunnel, Relational Architecture 21”, 2013. Commissioned by: Park Avenue Tunnel, NYC DOT “Summer Streets”. Location: Park Avenue Tunnel, New York City, NY, United States. Photo by: NYC Department of Transportation. Courtesy of the artist.
- Rafael Lozano-Hemmer, “Voice Tunnel, Relational Architecture 21”, 2013. Commissioned by: Park Avenue Tunnel, NYC DOT “Summer Streets”. Location: New York City, United States. Photo by: James Ewing. Courtesy of the artist.
I’m an electronic-based artist. My work, often large scale, is made up of interactive installations in public space and usually deploys new technologies and physical interfaces. Using robotics, projections, sound, internet and mobile phones, sensors and other devices, I make examples of kinetic sculpture, responsive environments, video installations and photography which require the viewer to reconsider their conceptions of art, networks, language, code and meaning through human interactions and production of the ephemeral.
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Soy un artista electrónico, mi obra generalmente de gran escala, se conforma por instalaciones interactivas en espacios públicos, normalmente usando nuevas tecnologías e interfaces físicas. Por medio de la robótica, proyecciones, sonido, Internet y teléfonos móviles, sensores y otros dispositivos, creo ejemplos de escultura cinética, entornos interactivos, instalaciones de vídeo y fotografía que obligan a reconsiderar el concepto unidireccional del arte. Exploro y experimento con lo análogo y digital, con conceptos como el de red, lengua, código y significado a través de la presencia humana y de lo efímero.
Selected Biographical Information
Education / Training
- 1984-1989: B.Sc. in Physical Chemistry, Concordia University, Montréal, Canada.
Prizes / Fellowships
- 2012-2013: Joyce Award, The Joyce Foundation, Chicago, Ill, United States.
Solo Exhibitions
- 2016: “Surface Tension, Electronic Superhighway show”, Whitechapel Gallery, London, United Kingdom.
Group Exhibitions
- 2015: “Encan Esse Auction”, Musée des Beaux-Arts, Montreal, Quebec, Canada.
Publications
- RLH, Keynote Presentation (Mexico City: MUAC Museum), 1-3.
Collections
- 21C Museum, Louisville, Kentucky, United States.
- Alexander Canonico, “Uma coisa de cada vez (One thing at a time) #2”, 2016. Rubber, cable tie and wood 33 x 23cm. Photo credit: Everton Ballardin.
- Alexander Canonico, “Consequência (consequence)”, 2016. Rubber, screws, washers and wood 45 x 35 cm. Photo credit: Everton Ballardin.
- Alexander Canonico, “Untitled”, 2015. Acrylic frame, wall plug, 20,6 x 13,9cm. Photo credit:Ding Musa.
- Alexander Canonico, “Untitled”, 2013. Paper, thread, fishing weights and steel wire, 25,5 x 10,5cm. Photo credit: Ding Musa.
- Alexander Canonico, “19 x 13”, 2016. Silk thread, fishing weights and nails, 19 x 13cm. Photo credit: Ding Musa.
- Alexander Canonico, “Paisagem (landscape)”, 2016. Melamine board, surcingle, leather bolts and screws, 90 x 80cm Photo credit: Everton Ballardin.
- Alexander Canonico, “Linha (line)”, 2016. Steel bars, polystyrene floats and heat shrink sleeves, dimensions variable. Photo credit:Everton Ballardin
- Alexander Canonico, “Shadow (Sombra)”, 2015. Enamelled steel, PVA, sand, rubber and snooker ball, 7 x 30 x 30cm. Photo credit:Everton Ballardin
- Alexander Canonico, “Heat (Calor)”, 2015. Polyurethane dowel and heat shrink sleeve, 30 x 15 x 10cm. Photo credit: Everton Ballardin.
- Alexander Canonico, “Jóia”, 2016. Engraved white hardboard, 50 x 50cm. Photo credit: Everton Ballardin.
- Alexander Canonico, “Untitled”, 2015. Acrylic box, paper and varnish, 50 x 50 cm. Photo credit: Edouard Fraipont.
- Alexander Canonico, “Untitled”, 2015. Acrylic, rubber, wall plugs, fine surface filler, 60 x 43 cm. Photo credit: Edouard Fraipont.
- Alexander Canonico, “Untitled”, 2015. Glass, wood, formica, fishing line and found washer, 30 x 40 cm. Photo credit: Edouard Fraipont.
- Alexander Canonico, “Untitled”, 2015. Steel wire, thread and fishing weight, 10 x 7 cm. Photo credit: Ana Beatriz Elorza.
- Alexander Canonico, “Untitled”, 2015. Green mineral felt, snooker ball and silicone. 150 x 230 cm. Photo credit: Ana Beatriz Elorza.
About the Artist
My practice is influenced by the aesthetics and logic of architectural drawing and the legacy of geometric abstraction. However, instead of merely exploring the formal aspects associated to these disciplines, I am interested in investing my work with more playful, unstable or destabilising elements that disrupt the rigorous principles underlying traditional architecture and abstraction.
Over the past 5 years, I have been developing a series of wall-based sculptures/ drawings where three-dimensional elements (depth, shadow and movement) are used as a drawing tool, often incorporating elements from the surrounding space into the composition.
I had my first solo show in August 2015 at Galeria Marilia Razuk in São Paulo. The show was titled “Aonde”, which translates as “To where/ Where to”, implying the movement to or the search for a place. The works had in common a certain flexibility of boundaries and an interest in the space that contains or is contained by each piece.
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Selected Biographical Information
Education / Training
- 1995-1999: Architecture, Faculdade de Belas Artes de São Paulo, São Paulo, Brazil.
Solo Exhibitions
- 2015: “Aonde (To where/ Where to)”, Galeria Marilia Razuk, São Paulo, Brazil.
Group Exhibitions
- 2016: “Projeto Piaui”, Jacarandá, Rio de Janeiro, Brazil.
- 2016: “In Between”, Bergamin & Gomide, São Paulo, Brazil.
- 2016: “Projeto Piauí”, Pivô, São Paulo, Brazil.
- 2013: “Brutalidade Jardim”, Galeria Marilia Razuk, Sao Paulo, Brazil.
Publications
- Claire Wrathall, “One To Watch”, Christie’s Magazine, september 2016, 52/ 53.
Collections
- Andrea e José Olympio Pereira, São Paulo, Brazil.
- Martin Cordiano, “Common Places”, 2015. Installation. Plywood, Skirting Boards, Plaster Balls. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Desniveles” detail, 2016. Installation, Wood, Roof tiles. Dimensions variable. Photo Credit: Gustavo Lowry.
- Martin Cordiano, “Desniveles”, 2016, Wood, Roof tiles, Variable dimensions. Photo credit: Courtesy WALDEN Gallery and Gustavo Lowry.
- Martin Cordiano, “Common Places” detail, 2015. Installation. Plywood, Skirting Boards, Plaster Balls. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “One Bedroom, Flat”, 2012. Installation. Wood, Recycled wood. Dimensions variable. Photo Credit: Courtesy of Walden Gallery.
- Martin Cordiano, “Greywashing” detail, 2013. Installation. Household Paint, Trestle legs Table. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Greywashing”, 2013. Installation. Household Paint, Trestle legs Table. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Borrowed Space” detail, 2015. Intervention. Endorsement Ink Stamp. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Borrowed Space”, 2015. Intervention. Endorsement Ink Stamp. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Living Colours”, 2015. Installation. Household Paint. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Desniveles” , 2016. Installation, Wood, Roof tiles. Dimensions variable. Photo Credit: Gustavo Lowry.
- Martin Cordiano, “Untitled ( Rubble)”, 2013. Sculpture. Rubble, carrier bag, fruit box. Dimensions variable. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “One Roof, Many Roofs”, 2010. Sculpture. Wood. Dimensions 200 cm 85cm x 60cm. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Segments”, 2013. Sculpture. Household Paint, wood. Dimensions 150 cm x 104 cm x 80 cm. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Remittances”, 2010 / On-going. Object. Brick, wood. Dimensions 21cm x 11cm x 8cm. Photo Credit: Courtesy of the artist.
- Martin Cordiano, “Drift”, 2013. Installation. Household Paint. Dimensions 490cm x 300 cm x 50 cm. Photo Credit: Courtesy of the artist.
About the Artist
As a visual artist I aim to make constructions that offer an insight into the relationship with others and with the space that surrounds us; as well as to explore routine and the way we inhabit space. My practice is an exploration of the contradiction between the dynamic world we live in and the rigid structures of the building environment and architecture that contains it. As a result, art is used as lens to think and rethink this language, trying actively to renegotiate meaning through asking questions differently. Laying down the platform to engage in conversation to try to renegotiate these agreements.
Eminently simple yet complex in its implications, my work stands as a paradigm for a practice of making, which is beyond either art or architecture.
I experiment on and in the real world. Pulling apart the structures of our everyday life, playing with the materials out of which we construct our surroundings and our implements, and opening up new spaces within a world we thought we had defined. What remains inherent throughout my practice is the sense of experimentation and investigation that operates as an extension of our ability to be at home in the world, to remake our reality, and to question our existence through what we make.
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Como artista visual me propongo realizar construcciones que ofrecen una mirada sobre la relación con otros y con el espacio que nos rodea; como también de explorar la rutina y la forma como habitamos el espacio. Mi practica es una exploración de las contradicciones entre el mundo dinámico en el cual vivimos y las estructuras rígidas del paisaje construido y de la arquitectura que la contiene. Como resultado, el arte es empleado como un lente para pensar y repensar este lenguaje, de tratar activamente de renegociar el sentido, al preguntar de otras formas. Construir una plataforma para propiciar conversaciones e intentar renegociar estos acuerdos.
Eminentemente simple pero a la vez complejas estas implicaciones, mi obra se plantea como un paradigma para la practica del hacer, que va mas allá del arte y de la arquitectura.
Yo experimento sobre y dentro del mundo real. Yo desarmo las estructuras del día a día, jugando con los materiales con los cuales construimos nuestros entornos y nuestros implementos, y así abrir nuevos espacios dentro del mundo que pensamos habíamos definido. Lo que se mantiene inherente a lo largo de mi práctica es el sentido de experimentación e investigación que opera como extensión de nuestra habilidad de sentirnos en casa en el mundo, de rehacer nuestra realidad, y de interrogar nuestra existencia a través de lo que hacemos.
Selected Biographical Information
Education / Training
- 2011-2013: MA Fine Arts, Central Saint Martins College of Art and Design, University of the Arts, London, United Kingdom.
Prizes / Fellowships
- 2013: Bursary Awards 2013, Royal British Society of Sculptures, London, United Kingdom.
- 2012: Red Mansion Art Prize, Red Mansion Fundation, London, United Kingdom.
- 2011: Residency, MAC/VAL Residency. Musée d’Art Contemporain du Val-de-Marne, Paris, France.Lumen” en el barco Ms Bleichen.
Solo Exhibitions
- 2016: “Espacio de Uso“, Walden Gallery, Buenos Aires, Argentina.
- 2015: “Common Places”, Galerie Knoerle & Baettig, Winthertur, Switzerland .
- 2013: “Provisional for Life“, MPA Gallery, London, United Kingdom.
Group Exhibitions
- 2016: “Playhouse”, Open House, Argentine Ambassador’s Residency, London, United Kingdom.
- 2015: “My Buenos Aires“, La Maison Rouge, Paris, France.
- 2015: “Space intervention”, Obrera centro, DF, Mexico.
- 2014: “On Site”, TAP Temporary Arts Project, South End-on-Sea, UK.
- 2013: “Mom am I a Barberian”, 13th Istanbul Biennial, Istambul, Turkey.
- 2013: “Bursary Awards”, Royal British Society of Sculptors, London, United Kingdom.
- 2013: “Maps of the Present Past”, The Invisible line, London, United Kingdom.
- 2013: “Red Mansion Prize. “, Red Mansion Fundation, London, United Kingdom.
- 2013: “Future Maps 12”, Lethaby Gallery, London, United Kingdom.
- 2012: “Biens communs”, MAMCO, Musée d’art moderne et contemporain, Geneve, Switzerland .
- 2011: “Dominio”, MAC-VAL. Musée d’Art Contemporain du Val-de-Marne., Paris, France.
Collections
- MAMCO, Musée d’art moderne et contemporain, Geneve, Switzerland.
- Andrea Ostera, “S.T. (repliegue 4)”, 2015/2016, Series: Repliegues, papel fotográfico blanco y negro, plegado, velado y estabilizado, 17.7 x 18.7 cm. Photo credit: artista.
- Andrea Ostera, “S.T. (repliegue 13)”, 2015/2016, Series: Repliegues, Papel fotográfico blanco y negro, plegado, velado y estabilizado, 23.5 x 21.5 cm. Photo credit: artista
- Andrea Ostera , “S.T. (inmersión 1)”, 2015/2016, Series: Inmersiones, Papel fotográfico blanco y negro, velado, revelado parcialmente y estabiizado, 20 x 25.3 cm. Photo credit: artista.
- Andrea Ostera, “S.T. (inmersión 4) y S.T. (inmersión 8)”, 2015/2016, Series: Inmersiones, Papel fotográfico blanco y negro, velado y revelado parcialmente y estabiizado, 20 x 25 cm. Photo credit: artista.
- Andrea Ostera, “S.T.”, 2015/2017, Series: Capturas de Pantalla, Impresión de contacto sobre papel fotográfico blanco y negro a partir de la luz de un teléfono celular, 25 x 25 cm. Photo credit: artista.
- Andrea Ostera, “S.T. y S.T. y S.T.”, 2015/2016, Series: Capturas de Pantalla, Impresión de contacto sobre papel fotográfico blanco y negro a partir de la luz de un teléfono celular, 25 x 25 cm. Photo credit: artista.
- Andrea Ostera, “S.T. (Fran)”, 2015/2016, Series: Joy, Impresión sobre plata en gelatina, 25 x 25 cm. Photo credit: a.
- Andrea Ostera, “S.T. (Río Luján) – S.T. (Coaquaddus) – S.T. (Retrato de Fran) “, 2015/2016, Series: Joy, Impresión sobre plata en gelatina, 25 x 25 cm. Photo credit: artista.
- Andrea Ostera, “S.T. (Iceberg)”, 2010, Series: +5, Impresión sobre plata en gelatina, Variable dimensions. Photo credit: artista.
- Andrea Ostera, “S.T. (Niña)”, 2010, Series: +5, Impresión sobre plata en gelatina, Variable dimensions. Photo credit: artista.
- Andrea Ostera, “30 años, 3 miradas. Vista de Instalación”, 2013, Impresión sobre plata en gelatina, Variable dimensions. Photo credit: artista.
- Andrea Ostera, “Objeto c (Paraguay y San Juan)”, 2010/2011, Series: Artefactos, Impresión sobre plata en gelatina, Variable dimensions. Photo credit: artista.
- Andrea Ostera, “Objeto d (Paraguay y San Luis) – Objeto a (Córdoba 1600)”, 2010/2011, Series: Artefactos, Impresión sobre plata en gelatina, Variable dimensions. Photo credit: artista.
- Andrea Ostera, “S.T. (bicicletero) – S.T. (banquito) – S.T. (caballete) – S.T. (silla 3) – S.T. (canterito) – S.T. (buzón)”, 2001/2005, Series: El cíclope, Fotografía color, Variable dimensions. Photo credit: artista.
- Andrea Ostera, “22 vistas de la casa, de noche”, 1997, Polaroid, 55 x 54 cm. Museo Municipal de Bellas Artes Juan B. Castagnino, Rosario. Photo credit: artista.
About the Artist
My work is traversed by two conceptual axis. On the one hand, by the exploration of the conditions and limits of photography. The matter relating to physics and chemistry in the materials sensitive to light; the quotes about the history of the photographic representation; the tricks of the monocular device; and, more recently, the migration of images from the photographic paper to the screen. I have developed much of my work around these components.
On the other hand, I have dealt with issues of representation and translation between one medium and another. The mediation, an invariably imperfect operation, has been a field of play and manipulation in my work. The appearance of daily objects in my work, is simply a pretext for my work. The use of banal objects respond to the need of making with what is available, the material “at hand”, easy to find, and ready to be used. The home, the neighborhood, are the stages where the work takes place: the objects, necessary actors, inevitable accomplices, are the condition of possibility of these images.
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Dos ejes conceptuales atraviesan mi obra. Por un lado, la exploración de las condiciones y los límites de la fotografía. Las cuestiones de física y química en los materiales sensibles a luz, las citas a la historia de la representación fotográfica, las trampas del aparato monocular y, más recientemente, la migración de las imágenes desde el papel fotográfico a la pantalla, componen una trama sobre la que se ha desarrollado gran parte de mi trabajo.
Por el otro, la experimentación con cuestiones de representación y traducción entre un medio y otro. La mediación, esa operación siempre imperfecta, ha sido en mi obra un terreno de juego y manipulación. La aparición de objetos cotidianos en mi trabajo no es más que un pretexto para mi obra. La utilización de objetos banales responde a la necesidad de un hacer con lo disponible: material “a mano”, fácil de conseguir y listo para ser usado. La casa, el vecindario son el escenario donde sucede la obra; los objetos, actores necesarios, cómplices inevitables, condición de posibilidad de estas imágenes.
Selected Biographical Information
Education / Training
- 1999-2001: MFA – Maestría en Bellas Artes, Universidad de Nueva York, Nueva York, Estados Unidos.
- 1997-1998: Certificado. Estética en el Arte Contemporánea – Seminario con Lucas Fragasso. Programa de Becas Para Artistas Jóvenes, Buenos Aires, Argentina.
- 1995: Certificado. Seminario de Crítica e Historia de la Fotografía con Juan Travnik, Estudio Juan Travnik, Buenos Aires, Argentina.
- 1992-1993: Certificado – Estudios Generales en Fotografía, Centro Internacional de Fotografía (ICP), Nueva York, Estados Unidos.
- 1986-1991: Licenciatura en Análisis Político, Facultad de Ciencia Política y Relaciones Internacionales, Universidad Nacional de Rosario, Rosario, Argentina.
Prizes / Fellowships
- 2002: Diploma al Mérito, Fundación Kónex, Buenos Aires, Argentina.
- 2000: Premio Leonardo – Sección Arte Digital, Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
- 1999: Mención – Premio Prodaltec de Arte Digital, Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
- 1999-2001: Beca Fulbright – Fondo Nacional de las Artes, Fundación Fulbright – Fondo Nacional de las Artes, Nueva York, Estados Unidos.
- 1997: Premio Braque – Primera Mención, Fundación Banco Patricios, Buenos Aires, Argentina.
- 1997: Programa de Becas para Artistas Jóvenes – Beca Kuitca, Secretaría de Cultura del Gobierno de la Ciudad de Buenos Aires, ICI, PROA y Centro Cultural Borges, Buenos Aires, Argentina.
- 1997: Subsidio a la Creación, Fundación Antorchas, Buenos Aires, Argentina.
- 1997: Subsidio a la Creación, Fondo Nacional de las Artes, Buenos Aires, Argentina.
- 1995: Beca para estudios de perfeccionamiento , Subsecretaría de Cultura de la Provincia de Santa Fe, Rosario, Argentina.
Solo Exhibitions
- 2016: “Capturas de pantalla“, Mal de Archivo – Espacio de Arte, Rosario, Argentina.
- 2016: “+room“, Museo de Arte Contemporáneo de Rosario, Rosario, Argentina.
- 2015: “Ostera en Oliva”, Librería Oliva, Rosario, Argentina.
- 2006: “Fin de fiesta”, Ex P.A.C.I.O – Cultura Pasajera, Rosario, Argentina.
- 2004: “Andrea Ostera”, Galería de la Facultad de Arquitectura, Diseño y Urbanismo de la Univerdad de Buenos Aires (UBA), Buenos Aires, Argentina.
- 1998: “Fotogramas”, Fotogalería del Teatro Municipal Gral. San Martín, Buenos Aires, Argentina.
- 1998: “Conciso, sucinto, preciso “, Centro Cultural Bernardino Rivadavia, Rosario, Argentina.
- 1996: “The dream evening”, Encuentros Internacionales de Fotografía, Arles, Francia.
Group Exhibitions
- 2016: “Presentación”, Diego Obligado Galería de Arte, Rosario, Argentina.
- 2014: “In fraganti”, Galería Arte x Arte, Buenos Aires, Argentina.
- 2013: “Premio Petrobrás”, BA-Photo, Buenos Aires, Argentina.
- 2013: “Fundar. 30 años. 3 miradas“, Museo de Bellas Artes J. B. Castagnino, Rosario, Argentina.
- 2012: “Pinta bien. Arte de Santa FE”, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2012: “Allí, allá, desde Argentina”, Plataforma Bogotá, Bogotá, Colombia.
- 2011: “About Change”, Main Complex – Banco Mundial, Washington, Estados Unidos.
- 2010: “La naturaleza de las mujeres”, Fundación Osde, Rosario, Argentina.
- 2010: “Fotografía en la Argentina (1840-20110)”, Galería Arte x Arte, Buenos Aires, Argentina.
- 2009: “Modos de ver en la noche”, Centro Cultural Parque de España, Rosario, Argentina.
- 2009: “Experimentaciones. Dos muestras, dos contextos”, Espacio Cultural Embajada de Brasil, Buenos Aires, Argentina.
- 2008: “Ver en la oscuridad”, Fundación Klem, Buenos Aires, Argentina.
- 2008: “La mirada ubicua”, Fundación Osde, Buenos Aires, Argentina.
- 2007: “Bajo la lluvia ajena”, Museo de la Memoria, Rosario, Argentina.
- 2007: “Los pintores amigos”, Museo del Diario La Capital, Rosario, Argentina.
Publications
- Beatriz Vignoli, “Como fotografiar el tiempo”, Página 12 – Suplemento Rosario 12, 9 de agosto de 2016.
- Andrea Ostera, “Fragmentos de un cuerpo invisible”, Luna Córnea, 2001, 49-51.
- Eva Gristeni, “Hacia el siglo XXI: destellos de insubordinación”, Lápiz, Enero 2000, 115-122.
Collections
- Museo de Arte Moderno de Buenos Aires, Buenos Aires, Argentina.
- Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
- Museo de Bellas Artes J. B. Castagnino, Rosario, Argentina.
- Museo de Arte Contemporáneo, Bahía Blanca, Argentina.
Links
December 5, 2016 Magali Lara https://abstractioninaction.com/artists/magali-lara/- Magali Lara, “C / A + T =”, 2005, Series: Alzheimer, Grabado en metal, 22.1 x 16.4 cm. Image courtesy of the artist.
- Magali Lara, “Mar picado / Marina al amanecer”, 2005, Óleo sobre tela, 146 x 175 x c/u cm. Image courtesy of the artist.
- Magali Lara, ” Glaciares”, 2008 / 2009, Series: Glaciares, Animación digital, (8 min.,13 sec.), Variable dimensions. Image courtesy of the artist.
- Magali Lara, “Problemas de lenguaje VIII 7”, 2012, Series: Melancolía, Tinta sobre papel, 28 x 21.5 cm. Image courtesy of the artist
- Magali Lara, “tres oh”, 2012, Series: Melancolía, Acuarela sobre papel, 20.8 x 29.2 cm. Image courtesy of the artist.
- Magali Lara, “Después de la lluvia “, 2009, Series: Akaso, Óleo sobre lino, 244 x 366 x 13 c / u cm. Image courtesy of the artist.
- Magali Lara, “Glaciares”, 2009, Series: Glaciares, Animación digital, (8 min., 13 sec.), Variable dimensions. Site-specific project. Location: Sala de Arte Público Siqueiros. SAPS Tres Picos No.29 Polanco, México DF, México. Image courtesy of the artist
- Magali Lara, “No me acuerdo”, 2008, Series: Alzheimer, Animación digital, (2’18), Variable dimensions. Magali Lara. Photo credit: Magali Lara.
- Magali Lara, “Principio de incertidumbre”, Agosto 2007, Series: Alzheimer, Dibujo en sitio / Gráfito y carbón, Variable dimensions. Site-specific project. Location: Centro de las Artes de Monterrey, Fórum Universal de las Culturas, Monterrey, México. Photo credit: Luis Ordoñez.
- Magali Lara, “Principio de incertidumbre”, Agosto 2007, Series: Alzheimer, Dibujo en sitio / Gráfito y carbón, Variable dimensions. Site-specific project. Location: Centro de las Artes de Monterrey, Fórum Universal de las Culturas, Monterrey, México. Photo credit: Luis Ordoñez.
- Magali Lara, “Lo que ya sabia V”, 2015, Series: Intemperie, Impresión digital en tela sobre bastidor, 150 x 95 x 5 cm.
About the Artist
My work is found in an intersection. Text and image coexist in different ways. As Siamese twins, that have developed different personalities but that, in the end, share a vital nucleus.
This is the way I understand as artists we come close to animation because it constitutes a fertile terrain to construct other ways of narrating. Firstly, because of the ease of the programs that are available today, that offer relatively simple ways of solving technical problems. Secondly, because animation, as comics in its moment, also allows to create sequences from a different place to cinema. It is as if drawing supports an exploration about subjectivity, and becoming fictional, it could excavate within memory with more freedom.
Many young artists are interested in exploring, like me, the narrative possibilities of animation. The basic difference between us, aside from the generational, is that even though we share the passion for comics, I’m interested in the evocation more than in the description of existential situations. They, instead, feed themselves from a rich world that stems from manga, pornography, and commercial caricatures, moving away from the pictorial tradition.
The image in movement is a risky bet and it is related to temporality.
Sound experimentation, the inclusion of chance, the voice in the music sheet, sometimes as a gesture, and others as narration, feed many of my preoccupations, and open a panorama with many combinations. At the same time, present day animation allows me to understand that to employ figuration or abstraction imply different ways of constructing stories. Figuration is closer to caricature and satire, or to a first person narrative. The visual abstract, sometimes used as a secondary element, appears more like an effect.
I feel closer to animation that uses a more abstract language, as in the movies of Norman McLaren. To want to tell not from the feminine body, but from the experience of the body that has seen, that knows that you do not tell all, and that sound makes the possible appear. Insinuation is sometimes more intense than the declaration.
—
Mi trabajo se sitúa en la intersección. Texto e imagen conviven de diferentes maneras. Como hermanas siamesas que han desarrollado distintas personalidades pero que, al final, comparten un núcleo vital.
Así entiendo que muchos artistas nos aproximamos a la animación porque constituye un terreno fértil para construir otros modos de narrar. Primero, por la facilidad de los programas ahora disponibles, que ofrecen maneras relativamente sencillas de resolver problemas técnicos. Y en segundo lugar porque la animación, como el cómic en su momento, también permite hacer secuencias desde un lugar distinto del cine. Como si el dibujo apoyara una exploración sobre la subjetividad y, al hacerse ficticia, pudiera escarbar en la memoria con mayor libertad.
Muchos artistas jóvenes están interesados en explorar, como yo, sus posibilidades narrativas en la animación. La diferencia básica entre nosotros, aparte de la generacional, es que aunque compartimos la afición por los cómics, estoy interesada en una evocación más que en una descripción de situaciones existenciales. Ellos, en cambio, se nutren de un mundo riquísimo que viene tanto del manga, la pornografía, como de caricaturas comerciales, apartándose de la tradición pictórica tradicional.
La imagen en movimiento es una apuesta arriesgada y ligada a la temporalidad.
La experimentación sonora, la inclusión del azar y la voz en la partitura, a veces como gesto y otras como narración, alimentan muchas de mis inquietudes y abren un panorama de muchas combinaciones. Al mismo tiempo, la animación actual me permite entender que usar la figuración o la abstracción implica maneras diferentes de construir relatos. La figuración está más cercana a la caricatura y a la sátira, o a una narrativa en primera persona. Lo abstracto visual, a veces usado como elemento secundario, aparece más como efecto.
La animación que usa un lenguaje más abstracto, como las películas de Norman McLaren, me resulta más cercana. Querer contar no ya desde un cuerpo femenino, sino desde la experiencia del cuerpo que ha visto, que sabe que no lo dices todo, que el sonido hace aparecer lo posible. La insinuación a veces es más intensa que una declaración.
Selected Biographical Information
Education / Training
- 2013-2011: Doctorado en Teoría Crítica, 17, Instituto de Estudios Críticos, D.F. , México.
- 2011-2009: Maestro en Artes, Universidad Autónoma del Estado de Morelos, Morelos, México.
- 1980-1977: Lic. Artes Visuales, San Carlos, UNAM, D.F., México.
Prizes / Fellowships
- 2016-2014: Sistema Nacional de Creadores, FONCA, D.F. , México.
- 2013: Premio Libro de Artista con el libro: Que hurte en ti lo que me pertenece, Feria Internacional de Libro de Artista LÍA, Guadalajara, México.
- 2010-2008: Sistema Nacional de Creadores, FONCA, D.F., México.
- 2007-2005: Sistema Nacional de Creadores, FONCA, D.F., México.
- 2004-2002: Sistema Nacional de Creadores, FONCA, D.F., México.
- 2000: Residencia en The Banff Centre for the Arts, Banff Programa de Fomento a proyectos y coinversiones culturales del FONCA , Alberta, Canada.
- 1999: Residencia en Boréal Art/Nature, La Minerva, Québec, Canadá.
- 1999-1997: Sistema Nacional de Creadores, FONCA, D.F., México.
- 1996-1994: Sistema Nacional de Creadores, FONCA, D.F., México.
- 1986: Mención honorífica, V Bienal Iberoamericana de Arte, Instituto Cultural Domecq y el INBA, D.F., México.
Solo Exhibitions
- 2015: “Intemperie“, Museo Nacional de la Estampa, D.F. , México.
- 2014: “BATIENTE 0.5, la Mirada oblicua“, Casa del Lago, UNAM, D.F. , México.
- 2012: “ANIMACIONES-MAGALI LARA”, Museo Amparo, Puebla, México.
- 2011: “Titubeos”, Galería de Arte Mexicano, D.F., México.
- 2011: “escribir y dibujar”, Bodega Quetzalli Galería, Oaxaca, México.
- 2010: “Glaciares”, Visual Arts Center, Austin, Texas.
- 2009: “Glaciares”, Sala de Arte Público Siqueiros, DF., México.
- 2009: “Afonías”, Galería principal de la Facultad de Artes de la Universidad Autónoma del Estado de México, Toluca, Edo. de México.
- 2008: “Entre líneas”, Organizada por la Universidad Anahuac en la sede de 17 Instituto de Estudios Críticos, DF, México.
- 2007: “* Magali Lara gestos y trazos”, Galerie Rothe, Frankfurt, Alemania.
- 2007: “Como Sí”, Galería de libros Conejoblanco, DF, México.
- 2007: “Alzheimer”, (Intervención), Galería Ateneo Porfirio Barba Jacob, Medellín, Colombia.
- 2007: “Alzheimer”, Galería del Centro Morelense de las Artes, Cuernavaca, Morelos, México.
- 2006: “Alzheimer (Intervención)”, Museo de la Secretaría de Hacienda y Crédito Público, Antiguo Palacio del Arzobispado, DF, México.
- 2006: “Pero no me lo digas”, Museo de Arte de Zapopan, Zapopan, Jal ., México.
- 2006: “Tigre”, Galería Nina Menocal, DF, México.
- 2006: “La Misma Habitación”, Galería del Teatro Peón Contreras, Mérida, Yucatán, México.
- 2006: “La Misma Habitación”, Museo de Arte Contemporáneo de Oaxaca, Oaxaca, México.
- 2005: “Abstracto”, Galerie Ruta Correa, Freiburg, Alemania.
- 2005: “Abstracto”, Embajada de México en Berlín, Berlín, Alemania.
- 2005: “Mi Versión de los Hechos”, Museo Universitario de Ciencias y Arte, DF, México.
Group Exhibitions
- 2015: “Después del Edén”, SAPS, La Tallera, Cuernavaca, Mor. , México.
- 2014: “Desplazamientos en un sitio lejano”, 14 Galería Metropolitana, UAM, DF, México.
- 2014: “Materia Abyecta, resonancias y obstrucciones en torno a Rodolfo Nieto”, Museo de Arte Carrillo Gil, DF, México.
- 2014: “El juego y el juguete”, Centro de las Artes de San Agustín Etla, Oaxaca, México.
- 2014: “Silencio, rumor, grito”, Museo de Arte Moderno, DF, México.
- 2014: “Estudio del trazo”, Museo de Arte Moderno, DF, México.
- 2013: “Obras son amores, arte-vida-México 1964-1992”, Museo de Arte Moderno, DF, México.
- 2013: “Políticas del espacio”, La Calera, Oaxaca, México.
- 2013: “Favor de no tocar”, Fería Internacional de Libro de artista, Guadalajara, Jalisco, México.
- 2013: “Edición de invierno”, Galería Emma Molina, Monterrey NL, México.
- 2012: “GENÉRICACOLECCIÓNMACG”, Museo de Arte Carillo Gil, DF, México.
- 2012: “Hacer un dibujando, obras en pequeño formato”, Galería Domicilio Conocido, DF, México.
- 2011: “Bajo los párpados”, Biblioteca Lerdo de Tejada, DF, México.
- 2011: “NEOMEXICANISMOS?”, Museo de Arte Moderno, DF, México.
- 2011: “AKASO”, Museo Universitario del Chopo, DF, México.
- 2011: “Exposición de libros de artista”, Feria del libro y de la rosa, Librería del Museo Universitario de Arte Contemporáneo, DF, México.
- 2011: “Un posible día”, colaboración, Javier Torres Maldonado, Ensemble 2E2M, Extension de création musicale, París, Francia.
- 2011: “Destello”, Fundación Colección Jumex, DF, México.
- 2011: “Circunstancias”, indagaciones femeninas en el arte, Museo de la Ciudad, Cuernavaca, Morelos, México.
- 2011: “Proceso 730”, Museo de la Ciudad Cuernavaca, Morelos, México.
- 2011: “La maquina visual”, La historia de las exposiciones del MAM a través de su colección, Museo de Arte Moderno, DF, México.
- 2010: “Marea de Nudos”, Instituto Cultural de León, Guanajuato, México.
- 2010: “AKASO”, Museo del Centro Cultural Musas, Hermosillo, Sonora. , México.
- 2010: “Afectos diversos/Géneros en flujo”, Museo Universitario del Chopo, DF, México.
- 2010: “¿Tienes miedo?”, Galería Centro Morelense de las Artes, Cuernavaca, México.
- 2009: “Ruta Crítica (y alguna otra desviación)”, Galería de la Torre UAEM, Cuernavaca, Morelos, México.
- 2009: “IX Bienal Monterrey FEMSA”, FEMSA, Monterrey, Nuevo León, México.
- 2009: “Encuentros Gráficos”, Centro Cultural Ollin Yoliztli, Galería Tonalli, DF, México.
- 2009: “Paréntesis”, 17 años de trabajo, Museo de Arte Contemporáneo de Oaxaca, , México.
- 2009: “Pintura animada”, El Cubo, Tijuana, México.
- 2008: “V Bienal de Estandartes”, Centro Cultural de Tijuana, Tijuana, BC, México.
- 2008: “Arte y Naturaleza: El Poder de lo Pequeño”, organizada por el Museo de Mujeres Artistas Mexicanas en la Biblioteca Henestrosa, Oaxaca, México.
- 2008: “La era de la discrepancia. Arte y cultura visual de México 1968-1997”, Museo de Arte Latinoamericano de Buenos Aires, Buenos Aires, Argentina.
- 2008: “ZOÓTROPO 7 proyectos de animación en video”, Museo de Arte Moderno, DF, México.
- 2008: “Mujeres: Sin Cuenta”, Instituto Cultural de México en San Antonio, Texas, EUA.
- 2008: “Historia de mujeres”, Artistas en México del siglo XX, Museo de Arte Contemporáneo de Monterrey, Monterrey, Nuevo León, México.
- 2008: “La colección: la tradición de las rupturas”, Museo de Arte Contemporáneo, DF, México.
- 2007: “Principio de Incertidumbre”, Centro de las Artes de Monterrey Fórum Universal de las Culturas, Monterrey , México.
- 2007: “Alarca”, Talavera Contemporánea, Museo Franz Mayer, DF, México.
- 2007: “MACO”, Feria México de Arte Contemporáneo, Galería Emma Molina, DF, México.
- 2007: “La era de la discrepancia. Arte y cultura visual de México 1968-1997, “, Museo Universitario de Ciencias y Arte, MUCA Campus, DF, México.
- 2007: “Solos Juntos”, Galería La Refaccionaria, DF, México.
- 2007: “* Arco 07”, Galería Emma Molina, Madrid, España.
- 2006: “Generación de los 70’s un Momento de Reflexión”, Academia de San Carlos, DF, México.
- 2005: “Wunderkammer Ii: Paisajes”, Galería Nina Menocal, DF, México.
- 2005: “MACO”, Galería Nina Menocal, DF, México.
- 2005: “Archipiélagos Gráficos”, Galería Metropolitana, DF, México.
Publications
- 2013: “El magnetismo y sus metáforas”. Eduardo Villar. Diario Clarin, 28/3/13.
- 2013: “Magnetico”, por Philippe Cyroulnik, marzo de 2013. Catalogo.
- 2013: “Excelentes muestras de Zech y Toto Blake en Recoleta”, Diario Ambito Financiero.
Collections
- Museo Universitario de Arte Contemporáneo, , México, DF.
- Museo de Ciencias y Arte de la Universidad Nacional Autónoma de México, México, DF.
- Museo de Arte Contemporáneo de Oaxaca, Oaxaca, México.
- Museo de la Secretaría de Hacienda y Crédito Público, México DF.
- Museo de Arte Carrillo Gil, México, DF.
- Museo José Luis Cuevas, México, DF.
- Colección de Jacques y Natasha Gelman, Cuernavaca, México.
- Stedelijk Museum voor Actuele Kunst.Gent S.M.A.K, Gante, Bélgica.
- Museum of Modern Art,Nueva York, NY, Estados Unidos.
- Museum Of Latin American Art, Long Beach California, EUA.
- Galería de Arte Mexicano, México, DF.
- Galería OMR, México, DF.
- Fundación Televisa, México, DF.
- Fundación Miguel Alemán, México, DF.
- Banco Nacional de México, México, DF.
- Seguros América, México, DF.
- IAGO, Oaxaca, México.
- MUNAE, México, DF.
- Mercedes Elena González, “Untitled”,1976, India ink, watercolor, and colored pencil on paper, 50.5 x 38.1 cm.
- Mercedes Elena González, “Mitosis”, 1976-1977, Graphite on paper, 18.4 x 28.6 cm. Photo credit: Arturo Sánchez.
- Mercedes Elena González, “Integral “, 2011, India ink on digital impression , 21.5 x 28 cm. Photo credit: Arturo Sánchez.
- Mercedes Elena González, “September 1955”, 2013, Graphite and Chinese ink on paper, 41 x 34 cm. Photo credit: Arturo Sánchez.
- Mercedes Elena González, “September 1955”, 2014, Acrylic on canvas, 22.9 x 22.9 cm. Photo credit: Arturo Sánchez.
- Mercedes Elena González, “September 1955”, 2014, Graphite and gouache on ten color samples, 7.6 x 10.2 cm. Photo credit: Arturo Sánchez.
- Mercedes Elena González, “September 1955”, 2014, Paint samples, inkjet prints, graphite and gouache on paper, 12.8 x 170 cm. Photo credit: Arturo Sánchez .
- Mercedes Elena González, “September 1955”, 2014, Acrylic and India ink on canvas (diptych), 21 x 15.2 cm. Photo credit: Arturo Sánchez.
- Mercedes Elena González, “Study for September 1995”, 2014, Graphite, gouache, colored pencil and watercolor on paper, 11 x 17.5 cm. Photo credit: Arturo Sánchez.
About the Artist
September 1955
“Melancholy is the happiness of being sad”
Victor Hugo
“Melancholy is the sadness that has acquired lightness”
Italo Calvino
When I stumbled upon the Venezuelan magazine “Integral” (architecture and art) at the library, I became obsessed with the aesthetic of their covers, especially the September 1955 issues, designed by González Bogen.
Its patterns, color and smell transported me to a country, where, despite the evident progress of the arts, was experiencing a cruel dictatorship. Artists and architects were dreaming with a perfect modern world, a utopian island where it was impossible to wake up. These were the times of my earliest infancy. After came the nightmares and everything came tumbling down.
I amplify this image, I reduce it, refute it, trace it, deconstruct it. Its contours delineate new maps of unexplored territories, streaked by ‘black’, ink over the skin of my work. I rethink colors, creating layers of time and air, obsessive interlaces of a Lilliput like world. Between lights and shadows, I propose a new view at this historical time. A sort of melancholic geometry.
The drawings are in Chinese ink, gouache, graphite and watercolor on paper and on wall color samples.
2012-14
_
Septiembre 1955
“La melancolía es la felicidad de estar triste”
Victor Hugo
“La melancolía es la tristeza que ha adquirido ligereza”
Italo Calvino
Cuando me tropecé en la biblioteca con las revistas venezolanas “Integral” (arquitectura y arte) me obsesioné con la estética de sus portadas, especialmente la de Septiembre de 1955 diseñada por GonzálezBogen.
Su patrón, color y olor me transportó a un país en que, a pesar del evidente progreso en las artes, se vivía en una cruel dictadura. Artistas y arquitectos soñaban con el perfecto mundo moderno, la isla Utopía en donde era imposible despertar. Eran los tiempos de mi más temprana infancia. Luego vinieron las pesadillas y todo se derrumbó.
Esta imagen la amplío, reduzco, rebato, calco, deconstruyo. Sus contornos delinean nuevos mapas de territorios inexplorados, surcados por “lo negro”, la tinta sobre la piel de mi obra. Replanteo colores, creando capas de tiempo y aire, entrelazados obsesivos de un mundo liliputiense. Entre luces y sombras planteó una nueva mirada a ese tiempo histórico. Una suerte de geometría melancólica.
Los dibujos son en tinta china, gouache, grafito y acuarela sobre papel y sobre mostrarios de colores de pared.
2012-2014.
Selected Biographical Information
Education / Training
- 1976-1980: School of the Museum of Fine Arts, Boston, USA.
- 1974-1976: Taller Teresa Azara, Caracas, Venezuela.
Prizes / Fellowships
- 2002: Premio Armando Reverón, Salón Michelena, Valencia, Venezuela.
- 2001: Gran Premio Salón Nacional de Arte Aragua, Salón Aragua, Aragua, Venezuela.
- 1976: Bolsa de Trabajo Conac, Mexico.
Solo Exhibitions
- 2009: “Pelikan”, Faría Fabregas Galería, Caracas, Venezuela.
- 2008: “Obra Recente”, Galería Valu Oria, São Paulo, Brazil.
- 2006: “Bichus Invasion “, Signature Art Gallery, Miami, USA.
- 2006: “Bichus”, Galería 39, Caracas, Venezuela.
- 2002: “Neurohilados “, Galería Valu Oria, Caracas, Venezuela.
- 2001: “Entretejimientos “, Sala Alternativa, Caracas, Venezuela.
- 1996: “Ascensión”, The Venezuela Center Gallery, New York , USA.
- 1994: “Diario de la luna”, Sala Alternativa, Caracas, USA.
- 1992: “Pinturas y dibujos”, Sala Alternativa, Caracas, Venezuela.
- 1982: “Dibujos”, La Librería, Sala Mendoza, Caracas, Venezuela.
- 1977: “Dibujos “, La Librería, Sala Mendoza, Caracas, Venezuela.
Group Exhibitions
- 2014: “September 1955”, Henrique Faria Fine Art, New York , USA.
- 2011: “Ciudad Volátil”, Centro Cultural Chacao, Caracas, Venezuela.
- 2011: “Geometrías Alteradas”, Galería Faría + Fábregas , Caracas, Venezuela.
- 2007: “Interconexiones”, Galería La Cuadra, Caracas, Venezuela.
- 2006: “9 Propuestas Estéticas”, Galería Universitaria UCV, Caracas, Venezuela.
- 2005: “13 Instrumentos de Dibujo”, Fundación Corp Group, Caracas, Venezuela.
- 2004: “Figuración-Fabulación”, Museo de Bellas Artes, Caracas, Venezuela.
- 2004: Centro de Arte Lya Bermúdez, Maracaibo, Venezuela.
- 2003: “Muestra 2”, Sala Alternativa , Ciudad de México, México.
- 2003: “Arte Hoje y Pequeños Formatos”, Galería Valu Oria, São Paulo, Brazil.
- 2002: “Bienal Barro de América”, Museo de Arte Contemporáneo de Caracas, Caracas, Venezuela.
- 2002: “Ars Feminae”, Instituto de Cultura Mexicano, Washington DC., USA.
- 2002: Salón Michelena, Valencia, Venezuela
- 2001: “Arte y Hoje y Pequeños Formatos “, Galería Valu Oria, São Paulo, Brazil.
- 2001: Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela.
- 2001: Sala Marta Traba Memorial de América Latina, São Paulo, Brazil.
- 2001: Salón Michelena, Valencia, Venezuela.
- 2001: Salón Aragua, Maracay, Venezuela.
- 2000: Salón Aragua, Maracay, Venezuela.
- 1999: Salón Aragua, Maracay, Venezuela.
- 1998: Museo de Arte Contermporáneo Sofía Imber, Caracas, Venezuela.
- 1997: Salón Aragua, Maracay, Venezuela.
- 1995: Museo de Arte Contemporáneo Sofía Imber, Caracas, USA.
- 1995: “La mujer venezolana en las artes”, Wang Fu Gallery, Beijing, China.
- 1995: “Festival Internacional de La Pinturee”, Cagnes-sur-Mer, France.
- 1995: Salón Michelena, Valencia, Venezuela.
- 1995: Salón Aragua, Maracay, Venezuela.
- 1994: Salón Michelena, Valencia, Venezuela.
- 1993: Salón Aragua, Maracay, Venezuela.
- 1992: Salón Michelena, Valencia, Venezuela.
- 1991: Salón Michelena, Valencia, Venezuela.
- 1988: Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela.
- 1983: Salón Michelena, Valencia, Venezuela.
- 1982: Salón Michelena, Valencia, Venezuela.
- 1981: “La Generación Intermedia”, Museo Omar Rayo, Roldanillo, Colombia.
- 1981: “Salón Nacional de Jóvenes Artistas”, Museo de Arte Contemporáneo Sofía Imber, Caracas, Venezuela.
- 1979: “Once Tipos”, Sala Mendoza, Caracas, Venezuela.
- 1977: Salón Michelena, Valencia, Venezuela.
- 1974: Salón Michelena, Valencia, Venezuela.
Collections
- Banco Mercantil, Caracas, Venezuela.
- Private Collection, London, UK.
- Private Collection, Sao Paulo, Brasil.
- CIFO, Miami, Florida.
- Museo de Arte Contemporaneo de Caracas, Caracas, Venezuela.
September 27, 2016 Vargas-Suarez Universal https://abstractioninaction.com/artists/vargas-suarez-universal/
- Vargas Suarez Universal, “Эльдорадо (El Dorado) “, 2013, in-situ acrylic secco wall drawings, oil enamel on thermal blankets on canvas , 10.1 meters x 18.2 meters cm. Site-specific project. Location: “on painting” group exhibition at Centro Atlantico de Arte Moderno, Las Palmas de Gran Canarias, Spain.
- Vargas Suarez Universal, “Space Station: Friendship “, 2007 , in-situ ink and acrylic wall drawings, 3.5 meters x 12.1 meters x 3.04 meters cm. Site-specific project. Location: Winzavod Contemporary Art Center, Moscow, USA.
- Vargas Suarez Universal, “Космос Кодекс (Cosmos Codex) “, 2013, in-situ wall drawings, mixed mediums, 4 meters x 12 meters x 8 meters cm. Site-specific project. Location: Moderna galerija (Museum of Modern Art), Ljubljana, Slovenia.
- Vargas Suarez Universal, “Космос Кодекс (Cosmos Codex) “, 2013, in-situ wall drawings, mixed mediums, 4 meters x 12 meters x 8 meters cm. Site-specific project. Location: Moderna galerija (Museum of Modern Art), Ljubljana, Slovenia.
- Vargas Suarez Universal, “Космос Кодекс (Cosmos Codex) “, 2013, in-situ wall drawings, mixed mediums , 4 meters x 12 meters x 8 meters cm. Site-specific project. Location: Moderna galerija (Museum of Modern Art), Ljubljana, Slovenia.
- Vargas Suarez Universal, “Космос Кодекс (Cosmos Codex) “, 2013, in-situ wall drawings, mixed mediums , 4 meters x 12 meters x 8 meters cm.
- Vargas-Suarez Universal, “Assembly Complex”, 2015, Wall drawing mural, 5.1 meters x 29 meters cm. Site-specific project. Location: American University of Central Asia, Bishkek, Kyrgyz Republic.
- Vargas Suarez Universal, “Cosmos Codex”, 2014, Installation of paintings, Variable dimensions.
- Vargas Suarez Universal, “Cosmos Codex”, 2014, Mixed mediums, Variable dimensions. Site-specific project. Location: MACLA, San Jose, CA, USA.
- Vargas Suarez Universal, “Cosmos Codex”, 2014, Mixed mediums, Variable dimensions. Site-specific project. Location: MACLA, San Jose, CA, USA.
- Vargas-Suarez Universal, “Cosmos Codex”, 2014, multi-media installation, Variable dimensions. Site-specific project. Location: MACLA, San Jose, CA, USA.
- Vargas Suarez Universal, “Cosmos Codex”, 2014, Mixed mediums, Variable dimensions. Site-specific project. Location: MACLA, San Jose, CA, USA.
- Vargas-Suarez Universal, “Interkosmos Vectors”, 2015, Vinyl wall drawings antennas, 5 meters x 8 meters cm. Site-specific project. Location: EDS Galeria at Zona MACO, Mexico D.F., Mexico.
- Vargas-Suarez Universal, “Interkosmos Weave”, 2015, Acrylic on Moroccan tapestry , 5,25 meters x 4,3 meters cm.
- Vargas Suarez Universal, “Mapping and Seeing the Next Green Sphere “, 2008, mixed media installation, 4 meters x 10 meters cm. Site-specific project. Location: “Walls and Gateways” group exhibition, Existentie vzw, ACEC, Ghent, Belgium.
- Vargas Suarez Universal, “Mapping and Seeing the Next Green Sphere “, 2008, mixed media installation , 4 meters x 10 meters cm. Site-specific project. Location: “Walls and Gateways” group exhibition, Existentie vzw, ACEC, Ghent, Belgium.
- Vargas Suarez Universal, “Outcrop: Distributary Flow “, 2012, coffee wall drawings, coffee beans, coffee skins, coffee bags, thermal blankets, Variable dimensions. Site-specific project. Location: Trienal Poli/gráfica de San Juan, Latinoamérica y el Caribe: El Panal/The Hive, Antiguo Arsenal de la Marina Española, San Juan, Puerto Rico, USA.
- Vargas Suarez Universal, “Outcrop: Distributary Flow “, 2012, coffee wall drawings, coffee beans, coffee skins, coffee bags, thermal blankets , Variable dimensions. Site-specific project. Location: Trienal Poli/gráfica de San Juan, Latinoamérica y el Caribe: El Panal/The Hive, Antiguo Arsenal de la Marina Española, San Juan, Puerto Rico, USA.
- Vargas Suarez Universal, “Search for Life: Aliens, Water and Surveillance “, 2008, Rio Grande mud, iron oxide, oil enamel, vaccumized aluminum thermal blankets, shovel and wall , 4.2 meters x 12.1 meters cm. Site-specific project. Location: “Claiming Space: Mexican Americans in U.S. Cities” exhibition, Rubin Center for the Visual Arts, The University of Texas at El Paso (UTEP) , El Paso, TX, USA.
- Vargas Suarez Universal, “Space Station: Siena “, 2003, in-situ acrylic frescoe wall drawings , 6 meters x 24.3 meters cm. Site-specific project. Location: Palazzo delle Papesse Centro Arte Contemporanea, Siena, Italy.
- Vargas Suarez Universal, “Space Station: Tenochtitlan “, 2005, acrylic paint and spices wall drawings , 3 meters x 32 meters cm. Site-specific project. Location: Museo de Arte Carrillo Gil, Mexico City, Mexico.
- Vargas Suarez Universal, “Space Station: Tenochtitlan “, 2005 , in-situ acrylic paint and spices wall drawings, 3 meters x 32 meters cm. Site-specific project. Location: Museo de Arte Carrillo Gil, Mexico City, Mexico.
- Vargas-Suarez Universal, “Starcycle”, 2014, Acrylic on wall, 8.2 meters x 24.6 meters cm. Site-specific project. Location: Museum of Contemporary Art Santa Barbara at Hotel Indigo, Santa Barbara, CA, USA.
- Vargas Suarez Universal, “Stardust “, 2002, in-situ acrylic enamel and blood/Jagermeister wall drawings, 3.3 meters x 14 meters cm. Site-specific project. Location: Thomas Erben Gallery, New York, USA.
- Vargas Suarez Universal, “Thermal Vectors Array: Sets & Panels”, 2015, Mixed media installation , 3 meters x 5 meters cm. Site-specific project. Location: Galeria Okyo at Art Lima, Lima, Peru.
- Vargas Suarez Universal, “Vector Composition No. 1 “, 2013, acrylic, enamel and tape in-situ wall drawings , Variable dimensions. Site-specific project. Location: The Miller Theater at Columbia University. Organized by the Wallach Art Gallery, Columbia Universtiy, New York, USA.
- Vargas Suarez Universal, “Vector Composition No. 1 “, 2013, acrylic, enamel and tape in-situ wall drawings , Variable dimensions. Site-specific project. Location: The Miller Theater at Columbia University. Organized by the Wallach Art Gallery, Columbia Universtiy, New York, USA.
- Vargas Suarez Universal, “Vector Composition No. 1 “, 2013, acrylic, enamel and tape in-situ wall drawings , Variable dimensions. Site-specific project. Location: The Miller Theater at Columbia University. Organized by the Wallach Art Gallery, Columbia Universtiy, New York, USA.
- Vargas Suarez Universal, “Vector Composition No. 1 “, 2013, acrylic, enamel and tape in-situ wall drawings , Variable dimensions. Site-specific project. Location: The Miller Theater at Columbia University. Organized by the Wallach Art Gallery, Columbia Universtiy, New York, USA.
- Vargas Suarez Universal, “Vector Composition No. 1”, 2013, acrylic, enamel and tape in-situ wall drawings , Variable dimensions. Site-specific project. Location: The Miller Theater at Columbia University. Organized by the Wallach Art Gallery, Columbia Universtiy, New York, USA.
- Vargas-Suarez Universal, “Vectorscape”, 2015, oil, oil enamel, and acrylic enamel on wood , 3,04 meters x 6,09 meters cm.
- Vargas Suarez Universal, “Эльдорадо (El Dorado) “, 2013, in-situ acrylic secco wall drawings, oil enamel on thermal blankets on canvas , 10.3 meters x 18.2 meters cm. Site-specific project. Location: “on painting” group exhibition at Centro Atlantico de Arte Moderno, Las Palmas de Gran Canarias, Spain.
- Vargas Suarez Universal, “Outcrop: Distributary Flow”, 2012, coffee wall drawings, coffee beans, coffee skins, coffee bags, thermal blankets, Variable dimensions. Site-specific project. Location: Trienal Poli/gráfica de San Juan, Latinoamérica y el Caribe: El Panal/The Hive, Antiguo Arsenal de la Marina Española, San Juan, Puerto Rico, USA.
I source scientific visualization to explore and create artworks directly informed by geometries and architectures from the spaceflight programs operated by the U.S., Russia, Japan and the E.U. The visual data mined results in site-specific murals, works on paper, oil paintings, sound art pieces and multi- media installations. Images and information from Mars remote sensing, aerospace architecture, earth observation, and materials sciences are amongst many of the constantly flowing and evolving real-time sources used in the studio and post-studio processes. Post-studio research has been conducted in Arecibo Telescope, Puerto Rico, NASA Ames Research Center, Mountain View, CA., JSC (NASA), Houston, TX; KSC (NASA), Cape Canaveral, FL; Gagarin Cosmonaut Training Center (Roscosmos), Korolyov, Moscow Oblast, Russia and the Baikonur Cosmodrome, Baikonur, Kazakhstan. My research and concerns enable me to understand, analyze and speculate on our relationship with nature, with each other and with ourselves.
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Mis obras esta basadas en visualizacion científica para explorar y crear obras de arte informadas por geometrías y arquitecturas a partir de los programas de vuelos espaciales operados por los Estados Unidos, Rusia, Japón y la Comunidad Europea. La data visual extraida resulta en murales site-specific, obras en papel, pinturas al oleo, piezas de arte de sonido e instalaciones multimedia. Imágenes e información de detección remota desde Marte, arquitectura aerospacial, observaciones de la tierra, y ciencias materiales son entre las muchas fuentes que fluyen y evolucionan constantemente a tiempo real en el estudio y en los procesos post estudio. Investigación post estudio han sido llevada a cabo en Arecibo Telescope, Puerto Rico; NASA Ames Research Center, Mountain View, California; JSC (NASA), Houston, Texas; KSC (NASA), Cape Canaveral, Florida; Gagarin Cosmonaut Training Center (Roscosmos), Korolyov, Moscú Oblast, Rusia; y el Baikonur Cosmodrome, Baikonur, Kazajstán. Mi investigación y preocupaciones me permiten comprender, analizar y especular acerca de nuestra relación con la naturaleza, el uno al otro y con nosotros mismos.
Selected Biographical Information
Education / Training
- 1991-1996: The University of Texas at Austin, Austin, USA.
Prizes / Fellowships
- 2014: Artist Pension Trust, Artist Pension Trust, New York, United States.
- 2013: Member of Arts & Letters Council, The Mexican Museum, San Francisco, CA, USA.
- 2012: Public Art for Public Schools commission, Percent for Art & NYC Dept. of Cultural Affairs, New York, United States.
- 2008: Abbey Mural Painting Memorial Fellowship, The National Academy Museum and School, New York, United States.
- 2007: Workspace Residency, Dieu Donné Papermill, New York, United States.
- 1998: Artist in the Marketplace Program, Bronx Museum of the Arts, The Bronx, NY, United States.
- 1997: Young Artist Award, Bank of America/Mexic-Arte Museum, Austin, United States.
Solo Exhibitions
- 2015: “Interkosmos”, EDS Galeria, Mexico D.F., Mexico.
- 2014: “Cosmos Codex”, MACLA/Movimiento de Arte y Cultura Latino Americana, San Jose, CA. Organized in dialogue with NASA Ames Research Center, San Jose, CA, United States.
- 2013: “Vector Composition No. 1”, Miller Theater at Columbia University. Organized by the Miriam & Ira D.Wallach Art Gallery, Columbia University, New York, United States.
- 2013: “Vector Group Paintings (soundtrack collaboration with Stephen Barber)”, GE Galeria, VOLTA NY, New York, United States.
- 2012: “Astrospheres”, Galeria Okyo, Caracas, Venezuela.
- 2010: “Cosmodrome Vectors”, Think.21 Gallery, Brussels, Belgium.
- 2008: “Virus Americanus Maximus”, GE Galeria, Garza Garcia, Mexico.
- 2007: “Next Green Sphere”, g-module, Paris, France.
- 2006: “A New Kind of Science”, Karpio+Facchini Gallery, Miami, United States.
- 2005: “Space Station: Tenochtitlan”, Museo de Arte Carrillo Gil, Mexico D.F. , Mexico.
- 2004: “Event Horizon”, g-module, Paris, France.
- 2003: “American Virus”, Jersey City Museum, Jersey City, United States.
- 2003: “Proper Motion (Pictures)”, The Hudson River Museum of Westchester, Yonkers, NY, United States.
- 2002: “Stardust, new wall drawings”, Thomas Erben Gallery, New York, United States.
- 2002: “Space Stations and Blueprints”, g-module, Paris, France.
- 2002: “Vargas-Suarez Universal: Space Stations”, Lobby Gallery, Brooklyn Public Library. organized by d.u.m.b.o. arts center, Brooklyn, United States.
Group Exhibitions
- 2015: “God Save the Queen: Sobre Pintura en la Coleccion MUSAC “, Museo de Arte Contemporaneo de Castilla y Leon (MUSAC), Leon, Spain.
- 2015: “TOPOGRAFICA “, American University of Central Asia (AUCA), Bishkek, Kyrgyz Republic.
- 2015: “A False Horizon: Art from Latin America”, PEANA Projects, New York, United States.
- 2015: “In The Cloud”, Ethan Cohen Fine Arts, New York, United States.
- 2014: “The Vastness id Bearable”, Museum of Contemporary Art Santa Barbara, Santa Barbara, CA, United States.
- 2014: “Rojo Vivo: la pasión por coleccionar “, Fundacion Canaria para el Desarollo de la Pintura, Las Palmas de Gran Canaria, Spain.
- 2014: “By Invitation Only 3 curated by Renée Riccardo”, Kinz + Tillou Fine Art, Brooklyn, NY, United Sates.
- 2014: “Separation Anxiety”, Wallplay, New York, United States.
- 2014: “Convergencias Distantes/Distant Convergence “, EDS Galeria, Mexico D.F, Mexico.
- 2013: “Housewarming: Notions of Home from the Center of the Universe”, BRIC Arts Media House, Brooklyn, NY, USA.
- 2013: “30th Ljubljana Biennial of Graphic Arts “, Moderna galerija Ljubljana (Museum of Modern Art, Ljubljana) , Ljubljana, Slovenia.
- 2013: “‘ON PAINTING’ [Prácticas pictóricas actuales… más allá de la Pintura o más acá]”, CENTRO ATLÁNTICO DE ARTE MODERNO, Las Palmas de Gran Canaria, Spain.
- 2013: “Epures “, Le Sept.Cinq, Paris, France.
- 2012:“I N P L A I N V I E W A group exhibition”, Gallery Geranmayeh, Westport, CT, USA.
- 2012: “Colliding Complexities-Extreme Feats of the New Aesthetic”, Storefront Gallery, Brooklyn, NY, USA.
- 2012: “Vistas: A Sense of Place by Contemporary Latin American Artists”, University of Maryland University College (UMUC), Adelphi, MD, USA.
- 2012: “(Un)folding Patterns”, Dorsky Curatorial Programs, Long Island City, NY, USA.
- 2012: “TRIENAL POLI/GRÁFICA DE SAN JUAN: EL PANAL/THE HIVE”, Instituto de Cultura Puertorriqueña, Antiguo Arsenal de la Marina Española, San Juan, Puerto Rico, USA.
- 2011: “Campo de Asociaciones”, Centro Cultural Simón Bolivar, Guayaquil, Ecuador.
- 2011: “A line of souls and a few words from the holy”, Fortress to Solitude Gallery, Brooklyn, NY, USA.
- 2011: “Spirit of the Epoch: A Decade of Painting from the Ofelia Martin & Javier Nuñez Art Collection”, Museo Internacional de Arte Contemporáneo (MIAC-Lanzarote), Arrecife, Canary Islands, Spain.
- 2011: “Signs, Systems & the City in El Museo del Barrio’s Permanent Collection”, El Museo del Barrio, New York, USA.
- 2010: “Unraveling Abstraction”, Gallery Geranmayeh, Westport, CT, USA.
- 2009: “Brooklyn Utopias? “, Brooklyn Historical Society, Brooklyn, NY, USA.
- 2009: “Big Show: Love “, Jacob Karpio Galeria, San Jose, Costa Rica.
- 2009: “Baroque Reason”, Keith Talent Gallery, London, UK.
- 2008: “Workspace Program 2007-08”, Dieu Donne Papermill, Inc., New York, USA.
- 2008: “Wild”, Jacob Karpio Galeria, San Jose, Costa Rica.
- 2008: “Claiming Space: Mexican Americans in U.S. Cities”, Stanlee and Gerald Rubin Center for the Visual Arts at the University of Texas at El Paso (UTEP)., El Paso, Texas, USA.
- 2008: “S.O.S. 4.8 Sustainable Art Actions”, Centro de Congresos Victor Villegas, Murcia, Spain.
- 2008: “Walls and Gateways”, Existentie vzw, ACEC, Ghent, Belgium.
- 2008: “ggg.g-salon”, g-module, Paris, France.
- 2007: “Della Pittura Digitalis – Painting and the digital momentum”, Caprice Horn Galerie GmbH, Berlin, Germany.
- 2007: “Double-edged Abstraction”, g-module, Paris, France.
- 2007: “2nd Moscow Biennale of Contemporary Art: Special Projects: We Are Your Future”, Winzavod Contemporary Art Centre, Moscow, Russian Federation.
- 2007: “Mixed Signals “, Ronald Feldman Fine Arts, Inc., New York, USA.
Publications
- Ice Cream – 10 curators, 100 contemporary artists, 10 source artists (London: Phaidon), 316, 317, 318, 319.
- Rumos Itaú Cultural – Artes Visuais 2005-2006 (São Paulo: Itaú Cultural), 190.
- Gabinete de Desenhos – Obras do Acervo do MAM-SP (São Paulo: Museu de Arte de Arte Moderna de São Paulo), 50, 51.
- José Augusto Ribeiro, “Nicolás Robbio”, ArtNexus, Sept-Nov 2005, 157-158.
- Adriano Pedrosa, “Nicolás Robbio”, Artforum, Summer 2007, XLV, Nº10, 507-508.
- Celso Martins, “Arte por um fio”, E – a revista do Expresso (Portugal), Aug 29, 2015, 76.
- Dr. Kate Bonansinga, Curating at the Edge: Artists Respond to the US/Mexico Border (Austin: University of Texas Press), 92, 94, 99, 104, 105, 106.
- Selene Wendt, Paco Barragan, When a Painting Moves… Something Must be Rotten (Milano: Edizioni Charta, Stenersen Museum), 49, 50, 51, 52.
- Paco Barragan, Sustainabilities (Milano: Edizioni Charta), 12,15,16,19.
- Stellweg, diSONARE (Mexico D.F.: Batallas de la Era Comun S.A.P.I de C.V.), 14-26.
- Susan Jennings, THIS: A Collection of Artist’s Writings (New York: Right Brain Words), 75-80.
- Paco Barragan, “Dialogues for a New Millenium: Interview with Vargas–Suarez Universal“, Artpulse, No. 17 Vol. 5, 2013, 68-71.
- Susana Benko, “Los Lazos Comunicantes de Vargas–Suarez Universal“, Papel Literario, El Nacional, June 23, 2012.
- Blanca Gonzalez Rosas, “Arte: PS 1 Studio Visit”, Proceso, July 4, 2010, 70.
- Julieta Gonzalez, “Virus Americanus”, Revista ARCO, 2003, 54.
- Dr. Rocio Aranda-Alvarado, “Vargas–Suarez Universal“, Bomb, No. 90 Winter 2005, pp. 32-39.
- Benjamin Gennochio, “ART REVIEW; A View of Outer Space? No, It’s Just of Jersey City“, The New York Times, December 28, 2003.
- Pablo Helguera, “Solo Show Vargas Suárez–Universal “, ArtNexus, #48 Apr. Jun 2003.
- Adriana Herrera, “VARGAS–SUÁREZ UNIVERSAL: UNA NUEVA CLASE DE ARTE”, Nuevo Herald, El (Miami, FL), May 14, 2006 Section: SECTION: Artes y Letras, Galeria Edition: Final, 8D.
- Michael Wilson, “First take: Michael Wilson on Vargas–Suarez Universal“, Artforum, January 2003 XLI, No. 5, 127.
Collections
- American University of Central Asia, Bishkek, Kyrgyz Republic.
- Artist Pension Trust, New York, USA.
- Baltimore Museum of Art, Baltimore, MD, USA.
- The Brooklyn Museum, Brooklyn, NY, USA.
- Centro Atlantico de Arte Moderno (CAAM), Las Palmas de Gran Canarias, Spain.
- Comunidad Autonoma de la Region de Murcia (CARM), Murcia, Spain.
- DA2 (Domus Artium 2002), Salamanca, Spain.
- Dieu Donne Papermill, Inc., New York, USA.
- El Museo del Barrio, New York, USA.
- Fundación Canaria para el Desarrollo de la Pintura, Las Palmas de Gran Canaria, Spain.
- LibertyHealth Foundation, Jersey City Medical Center, Jersey City, USA.
- Jersey City Museum, Jersey City, NJ, USA.
- Mexic-Arte Museum, Austin, TX, USA.
- The Museum of Modern Art Library, New York, USA.
- Palazzo delle Papesse Centro Arte Contemporanea, Siena, Italy.
- Queens Museum of Art, Flushing Meadows, Corona Park, Queens, NY, USA.
- Rhode Island School of Design Museum of Art, Providence, RI, USA.
- Jordan Schnitzer Museum of Art, University of Oregon, Eugene, OR, USA.
- UBS Art Collection, New York, USA.
- Whitney Museum of American Art, New York, USA.
- Winzavod Contemporary Art Centre, Moscow, Russian Federation.
- Rodrigo Canala, “Emblema Rosa”, 2014-2015, Rotulador, bolígrafo, grafito, óleo, esmalte sintético, pasta gravillante, cartón piedra, madera prensada, marco de madera pintado, vidrio corriente, 80.5 x 65.5 x 5 cm. Photo credit: Tomás Rodríguez.
- Rodrigo Canala, “Arma #1 (matamoscas)”, 2007, Matamoscas, escarcha metálica, 42.5 x 10.5 cm.
- Rodrigo Canala, “Arma #2 (luma)”, 2007, Bastón de seguridad, escarcha metálica, 55.5 x 15 aprox. cm.
- Rodrigo Canala, “Autorretrato”, 2014-2015, Rotulador, bolígrafo, grafito, papel cuadriculado, cartulina metalizada, marco de madera, vidrio corriente, 36 x 29.7 x 3 cm. Photo credit: Tomás Rodríguez .
- Rodrigo Canala, “Bandera”, 2014-2015, Esmalte sintético, óleo, rotulador, madera prensada, marco de madera pintado, vidrio corriente, 63.5 x 43.7 x 4.5 cm. Photo credit: Tomás Rodríguez.
- Rodrigo Canala, “Corona #2 (radar)”, 2012, Defensa metálica, escarcha plateada, soporte de aluminio, madera aglomerada, motor y cable eléctricos, 113.5 x 25 x 25 cm. Photo credit: Sebastián Mejia.
- Rodrigo Canala, “Corona”, 2006, Defensa metálica, escarcha dorada, tornillos, concreto, 20 x 44 x 13 cm. CCU. Photo credit: Tomás Rodríguez.
- Rodrigo Canala, “Diamante hueco”, 2011, Spray sobre vidrio exterior, Variable dimensions. Site-specific project. Location: Galería Tajamar, Santiago, Chile. Photo credit: Sebastián Mejía.
- Rodrigo Canala, “El Patria”, 2006, Madera aglomerada, motores eléctricos, resina de poliéster, pintura, cable de acero, cable eléctrico (circuito variador de frecuencia), 200 x 570 x 200 cm. Colección Juan Yarur.
- Rodrigo Canala, “Escudo #2”, 2015, Fierro estructural, soldadura, esmalte sintético, tornillos, 100 x 70 x 9,5 cm. Privada colección. Santiago de Chile. Photo credit: Tomás Rodríguez .
- Rodrigo Canala, “Escudo, espejo, estandarte #2”, 2011-2012, Esmalte sintético, madera prensada, marco de madera pintado, vidrio corriente, 156 x 106 cm. MAVI. Photo credit: Tomás Rodríguez.
- Rodrigo Canala, “Paramento”, 2007, Madera aglomerada, terciopelo sintético, ampolletas incandescentes (circuito secuencial), portalámparas, tela de PVC, diversos objetos, cable eléctrico, 280 x 857 x 138 cm.
- Rodrigo Canala, “Señal”, 2011, Madera aglomerada, ampolletas incandescentes (circuito secuencial), portalámparas, pasta gravillante, pintura, bolígrafo, cable eléctrico, 237 x 117 x 117 cm. Museo de Artes Visuales (MAVI). Photo credit: Sebastián Mejía.
- Rodrigo Canala, “T.F.P.”, 2007, Polvo doméstico sobre muro, Variable dimensions.
- Rodrigo Canala, “Revelación”, 2014-2015, Rotulador, bolígrafo, grafito, papel milimetrado, cartulina metalizada, marco de madera, vidrio corriente. (Colaboración con Cristián Silva), 44.5 x 32.5 x 1 cm. Photo credit: Tomás Rodríguez.
- Rodrigo Canala, “Escudo #1”, 2015, Fierro estructural, soldadura, esmalte sintético, tornillos, 50 x 37.5 x 7.3 cm. Photo credit: Tomás Rodríguez.
About the Artist
En mi trabajo, por lo general volumétrico y otras veces gráfico, utilizo preferentemente materiales innobles, comunes o de bajo costo (madera aglomerada, escarcha metálica, polvo doméstico, luz artificial, pintura industrial). Éstos, a través de un tratamiento preciosista, obtienen una apariencia delicada e ilusoria. Muchas veces mis obras son acompañadas por aparatos eléctricos y electromecánicos, dotándolas de una condición móvil que acentúa dicho ilusionismo.
Basándome en una iconografía local popular (arquitectura pastiche, escenografía de televisión, estética de kermés o de pacotilla) y, por otra parte, en referencias artísticas como el arte óptico, cinético, abstracto y constructivista, recurro a diseños y patrones usualmente geométricos y decorativos (cercos, guirnaldas, rúbricas, destellos). Las obras muestran, finalmente, una parquedad y precariedad estructural, pero aún así cierta ostentación ornamental; están completa e irónicamente expuestas y, a su vez, son objeto de seducción y contemplación.
Mi trabajo, pienso, genera en el espectador una mezcla entre quietud y expectación, o lo que llamo “inercia óptica”. Se trata de una apariencia cautivante, hipnótica, “bella” y, a la vez, provocativa o amenazante, en la que se esconde en último término, una crítica paródica a una contingencia tendiente al espectáculo y a la exclusión, manifiesta no solo en el cotidiano y los mass media, sino también en el mismo arte.
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In my work, usually volumetric and sometimes graphic, I employ preferably ignoble, ordinary, or low cost materials, (chipboard, metallic chipping, domestic dust, artificial light, industrial paint). These, through an embellishing process, achieve a delicate and illusory appearance. Many times my works are accompanied by electric and electro mechanic equipment, which provide mobility, thus stressing the illusionary quality of the works.
Based on the one hand on local popular iconography (architecture, pastiche, television scenography, Kermés or trashy aesthetics) and on the other hand, it carries artistic references such as Op art, Kinetic art, abstract and constructivist art; I turn to designs and patterns which are usually geometric and decorative (wreaths, garlands, signs, glitter). The works show, finally a sparingness, a structural precariousness, though a certain ornamental ostentation. They are totally and ironically exposed, and at the same time, they are objects of seduction and contemplation.
My work, I think, generates in the spectator a combination of calm and expectation, or what I call “optical inertia.” It bears a captivating appearance, hypnotic, “beautiful”; and at the same time, provocative and threatening, in which what is hidden ultimately, is a parodic critique to a contingency which leans towards the spectacle and the exclusion, not only manifest in the daily, the mass media, but in art itself.
Selected Biographical Information
Education / Training
- 1998-1999: Magíster en Artes mención Artes Visuales, Universidad de Chile, Santiago, Chile.
- 1993-1996: Licenciado en Arte, Universidad Finis Terrae, Santiago, Chile.
Prizes / Fellowships
- 2012-2011: Beca Corporacion Arte+, Galería Patricia Ready, Santiago, Chile.
- 2009: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 2007: Premio 2º Lugar, 7º Concurso Artistas Siglo XXI, Pontificia Universidad Católica de Chile, Santiago, Chile.
- 2005: Premio 1º Lugar, 5º Concurso Artistas Siglo XXI, Pontificia Universidad Católica de Chile, Santiago, Chile.
- 2005: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 2004: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 2003: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 2001: Premio Mencion Especial, 23º Concurso Nacional Arte y Poesia, Universidad de Valparaíso, Valparaíso, Chile.
- 2000: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 1999: Beca FONDART (Fondo Nacional de Desarrollo Cultural y las Artes), Ministerio de Educación, Santiago, Chile.
- 1999: Beca Amigos del Arte, Corporación Amigos del Arte, Santiago, Chile.
Solo Exhibitions
- 2015: “Diseños”, Galería Patricia Ready, Santiago, Chile.
- 2013: “Circus”, Sala Puntángeles (Universidad de Playa Ancha), Valparaíso, Chile.
- 2012: “Deco”, Galería Patricia Ready, Santiago, Chile.
- 2011: “Diamante hueco”, Galería Tajamar, Santiago, Chile.
- 2011: “Señas, bordes, vacíos”, Galería YONO, Santiago, Chile.
- 2011: “Destellos negros”, Galería Centro, Santiago, Chile.
- 2007: “Suite-Patrón”, Galería Die Ecke, Santiago, Chile.
- 2004: “Edén”, Galería Artespacio, Santiago, Chile.
- 1999: “Ejercicio de contrapunto”, Club de Jazz de Santiago, Santiago, Chile.
Group Exhibitions
- 2015: “La misma”, Galería Die Ecke, Santiago, Chile.
- 2013: “Colección Juan Yarur: un relato personal”, Museo de Arte Contemporáneo, Santiago, Chile.
- 2011: “Indios verdes”, Museo Nacional de Bellas Artes, Santiago, Chile.
- 2011: “Traveling light: five artists from Chile”, Art Museum of the Americas, Washington, D.C., Estados Unidos.
- 2011: “La oscura vida radiante”, CeAC (Centro de Arte Contemporáneo), Santiago, Chile.
- 2010: “Contaminaciones contemporáneas”, Museu de Arte Contemporánea da Universidade de São Paulo, São Paulo, Brasil.
- 2009: “Material ligero: five artists from Santiago, Chile travelling light”, VCA Margaret Lawrence Gallery (The University of Melbourne), Melbourne, Australia.
- 2007: “Stgo/Bog/Stgo. Envío de arte contemporáneo chileno”, Galería Valenzuela Klenner , Bogotá, Colombia.
- 2007: “If I can make it here, I’ll make it anywhere (Proyecto Hoffmann’s House) “, White Box, Nueva York, Estados Unidos.
- 2006: “5a Bienal de artes visuales. Utopías de bolsillo”, Museo Nacional de Bellas Artes, Santiago, Chile.
- 2005: “Arte contemporáneo chileno. Desde el otro sitio/lugar”, National Museum of Contemporary Art, Seúl, Corea.
- 2004: “Falso”, Centro Cultural de España , Santiago , Chile.
- 2002: “Frutos del país”, Museo de Arte Contemporáneo, Santiago, Chile.
- 2002: “Sentido común”, Galería Balmaceda 1215, Santiago, Chile.
- 2000: “ESC.1:6”, Galería Animal, Santiago, Chile.
- 1998: “Material dispuesto”, Galería Posada del Corregidor, Santiago, Chile.
Links
June 15, 2016 Marcela Astorga https://abstractioninaction.com/artists/marcela-astorga/- Marcela Astorga, ” Santa Isabel 52 “, 2008, Series: plantas arquitectónicas de museos, Cerdas de caballo foamboard, 120 x 50 x 12 cm. Colección del artista. Photo credit: Bruno Dubner.
- Marcela Astorga, “11 West 53 Street “, 2008, Series: plantas arquitectónicas de museos, Cerdas de caballo foamboard, 50 x 120 x 12 cm. Colección privada. Photo credit: Marcelo Setton.
- Marcela Astorga, “S/T”, 2014, Fragmento de fachada, bronce con baño de plata, polietileno de baja densidad. 55 x 35 x 124 cm. aprox. Colección del artista. Photo credit: Bruno Dubner
- Marcela Astorga, “Óculo2”, 2009, Series: Ed De 5+ 1 p/a, toma directa digital, Impresión glicee, 100 x 66,65 cm. Photo credit: Jorge Martín.
- Marcela Astorga, “Óculo en mi casa 4”, 2010, Series: Ed De 5+ 1 p/a, toma directa digital, Impresión glicee, 100 x 120 cm. Colección del artista. Photo credit: Thomas Locke Hobbs.
- Marcela Astorga, “S/T “, 2014, luz proyectada sobre fachada, Variable dimensions. Site-specific project. Location: Iglesia, Buenos Aires, Argentina. Photo credit: Bruno Dubner.
- Marcela Astorga, “Arquitecturas 2 “, 2013, Series: Ed De 5+ 1 p/a , toma directa digital, Impresión giclee, 57,5 x 45,5 cm. Colección del artista. Photo credit: Marcela Astorga.
- Marcela Astorga, “Arquitecturas 1 “, 2013, Series: Ed De 5+1p/a , toma directa digital impresión giclee, 45,5 x 57,5 cm. Photo credit: Marcela Astorga.
- Marcela Astorga, “S/T”, 2008, Tela de algodón acero inoxidable, 70 x 200 x 63 cm. Colección del artista. Photo credit: Marcelo Setton.
- Marcela Astorga, “S/T “, 2013, Series: escombros, fragmento pared, acero inoxidable, 55 x 75 x 15 cm. Colección del artista. Photo credit: Gustavo Lowry.
- Marcela Astorga, “S/T “, 2013, Series: ed # 2 de 2, Acero inoxidable Cuero, 180 x 180 x 150 aprox. Photo credit: Gustavo Lowry.
- Marcela Astorga, “S/T “, 2012, Series: ed # 2 de 2, acero inoxidable cuero, 110 x 180 x 150 cm. aprox. Colección del artista. Photo credit: Gustavo Lowry.
- Marcela Astorga, “S/T”, 2008, Cuero vacuno ovino vidrio mdf, 205 x 87 x 47 cm. Colección del artista. Photo credit: Marcelo Setton.
- Marcela Astorga, “S/T “, 2007, cuero vacuno acero inoxidable, 78 x 65 x 14 cm. Colección del artista. Photo credit: Bruno Dubner.
- Marcela Astorga, “S/T “, 2014, Series: escombros, mármol cable de acero, Variable dimensions. Colección del artista. Photo credit: Bruno Dubner.
About the Artist
Trabajo en la realización de objetos, instalaciones, videos, fotografías, acciones etc. A través de estos medios investigo y experimento con la intención de generar nuevas imágenes, en las cuales se produzca un encuentro entre las ideas, formas y materiales y que éstas se fusionen y se pertenezcan.
Me motivan los lugares de contención, de pertenencia, de identificación, de protección, de construcción, y en ese sentido la PIEL es el concepto, el material, la representación, y la metáfora que me interesa.
Creo que es allí, en la piel como gran órgano sensor, donde está el registro de nuestra experiencia.
Ampliando su sentido, pienso que tenemos otras pieles: la ropa, la casa, la ciudad, el universo y, este imaginario forma parte de mi práctica artística.
Valoro el poder de las imágenes cuando contienen la fuerza para despertarnos y en mi trabajo intento que sean las protagonistas.
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I work in the production of objects, installations, videos, photography, actions, etc. Through these mediums I research and experiment with the objective to generate new images, where the encounter between ideas, forms and materials merge and permeate with each other.
I’m motivated by places of contention, belonging, identification, protection and construction. In this way the SKIN is the concept, the material, the representation, and the metaphor that interests me.
I believe that the skin is the great organ- sensor where experience is registered.
Broadening its meaning, I think that we have other skins such as our clothes, the house, the city, the universe, and that this imaginary is part of my artistic practice.
I value the power of images when these contain the strength to awaken us, and in my work I attempt for these to be the protagonists.
Selected Biographical Information
Education / Training
- 2001-2002: Beca de experimentación escénica, Fundación Antorchas, Buenos Aires, Argentina.
- 1986-1990: Taller Diana Dowek, Buenos Aires, Argentina.
- 1985: Universidad de Buenos Aires Facultad de arquitectura y diseño, Buenos Aires, Argentina.
Prizes / Fellowships
- 2015: 3 premio adquisición Concurso Nacional UADE, UADE Universidad Argentina de la empresa, Buenos Aires, Argentina.
- 2012: Residencia de artistas, URRA, Buenos Aires, Argentina.
- 2010: Beca a la Creación Artística, Fondo Nacional de las Artes, Buenos Aires, Argentina.
- 2005: Mención especial del jurado, Premio Cultural Chandon Museo Timoteo Navarro, Tucumán, Argentina.
- 2005: Invitada VIII Salón CANTV jóvenes con FIA, Caracas, Venezuela.
- 2002: Invitada. Madinina Workshop, Triangle arts trust, Martinica, Francia.
- 2001: Subsidio a la creación artística, Fundación Antorchas, Buenos Aires, Argentina.
- 2001: Mención Bienal Nacional de Bahía Blanca, Museo de Arte Contemporáneo, Bahía Blanca, Argentina.
- 1997: Invitada Premio Braque (Sin Título), Embajada de Francia y Fundación Banco Patricios, Buenos Aires, Argentina.
- 1996: Mención Concurso Mural Defensa de la Universidad Pública, Facultad de Arquitectura Diseño y Urbanismo Universidad de Buenos Aires, Buenos Aires, Argentina.
Solo Exhibitions
- 2014: “Margen Corrido”, Galería Zavaleta Lab Arte Contemporáneo, Buenos Aires, Argentina.
- 2012: “Fronteras Porosas”, Galería GC Arte contemporáneo, Buenos Aires, Argentina.
- 2012: “Óculo ceres Acción”, Buenos Aires, Argentina.
- 2011: “Óculo libra Acción”, Buenos Aires, Argentina.
- 2010: “Óculo en mi casa Acción”, Buenos Aires, Argentina.
- 2009: “Óculo Acción”, Demolición/Construcción colectivo de artistas Asesor Gerardo Mosquera, Córdoba, Argentina.
- 2008: “Marcela Astorga”, Galería Dabbah Torrejón, Buenos Aires, Argentina.
- 2007: “Territorio salvaje”, ED espacio de Arte y Diseño contemporáneo, Mendoza, Argentina.
- 2006: “Qué cazador”, Galería KBK arte contemporáneo, México DF, México.
- 2005: “Intervención”, Centro Cultural de España , Buenos Aires, Argentina.
- 2004: “Marcela Astorga”, Baltar contemporáneo, Mar del Plata, Argentina.
- 2002: “Cuestión de Piel”, Galería Luisa Pedrouzo, Buenos Aires, Argentina.
- 2000: “Sacando el cuero”, Juana de Arco Espacio de arte, Buenos Aires, Argentina.
- 1998: “Algo huele a podrido”, Espacio Giesso Reich, Buenos Aires, Argentina.
- 1997: “Navidad Criolla Instalación”, Centro Cultural Recoleta, Buenos Aires, Argentina.
Group Exhibitions
- 2015: “My Buenos Aires Curadoras Albertine de Galbert y Paula Aisemberg”, La maison Rouge, París, Francia.
- 2013: “Raw Material Prospectif Cinema Curadora Albertine de Galbert”, Centre Pompidou, París, Francia.
- 2012: “Revividos Curadora Victoria Verlichack”, Galería Praxis Internacional, Buenos Aires, Argentina.
- 2011: “How to philosophize with a hammer Curador Raúl Zamudio”, White Box , New York , USA.
- 2010: “Arte por los derechos Humanos CELS 30 años”, Casa del Fondo Nacional de las Artes, Buenos Aires, Argentina.
- 2010: “Macro incorporaciones 2010 La crisis como prospecto Curadora Nancy Rojas”, Museo Arte Contemporáneo de Rosario, Rosario, Argentina.
- 2010: “Contando pensamientos Curadora Mayssa Fattouh”, The Running Horse Contemporary Art Space, Beirut, Líbano.
- 2009: “Interstices Works from the Júmex Collection México Curadores Edelbert Köb y Victor Zamudio Taylor”, MUMOK Museum moderner kunst, Vienna, Austria.
- 2009: “VAD 2009 Festival Internacional de video y artes digitales”, Girona, España.
- 2009: “MIP2 Manifestación Internacional de Performance Con Demolición Construcción”, Belo Horizonte, Brasil.
- 2008: “Las entrañas del arte un relato material (S XVII XXI) Curadora Gabriela Siracusano”, Fundación Osde, Buenos Aires, Argentina.
- 2008: “GARDEN OF DELIGHTS curador Raúl Zamudio”, Yeosu Art Festival , Corea.
- 2008: “DOMUS Curador Jorge López Anaya”, Fundación Klemm , Buenos Aires, Argentina.
- 2007: “Fortunate Objects curadora Cecilia Fajardo Hill”, CIFO Cisneros Fontanals Art Foundation, Miami, USA.
- 2007: “An Archaeology Curadora Elizabeth Neilson”, Colección Zabludowicz Project Space, Londres, Inglaterra.
- 2005: “Relectura de la colección del MAMBA Museo de Arte Moderno de Buenos Aires”, Museo de Arte Moderno de Buenos Aires, Buenos Aires, Argentina.
- 2004: “FUTURIBLES Curador Gustavo Buntinx”, Feria ARCO, Madrid, España.
Publications
- Ana Martínez Quijano, “La belleza de la arquitectura y la atracción de las ruinas”, Ambito Financiero, Febrero 2015.
- Ana María Battistozzi , “La piel herida de la arquitectura”, Revista Ñ, Diciembre 2014.
- Fabián Lebenglik, “Antes de que llegue el derrumbe”, Página 12, Junio 2012.
- Victoria Verlichak , “Fronteras porosas”, Arte al día Internacional, Octubre 2012.
- Daniel Molina, “Mapas en la oscuridad”, ADN Cultural , 2008.
- María Teresa Constantín , “Cuestiones de memoria en el arte argentino contemporáneo”, Archivos del presente , 2009.
- Rosa Olivares, Marcela Astorga Espacio Habitado (Buenos Aires: zavaleta lab), 240.
- Fernando Farina Andrés Labaké , Poéticas Contemporáneas Itinerarios en las artes visuales en la Argentina de los 90 al 2010 (Buenos Aires: Fondo Nacional de las Artes y Fundación YPF ).
- Rosa Olivares, Marcela Astorga Espacio Habitado (Buenos Aires: zavaleta lab).
- Jorge López Anaya, Arte Argentino Cuatro siglos de historia 1600 2000 (Buenos Aires: Emece ).
- Mari Carmen Ramírez, Marcelo E Pacheco, Andrea Giunta, Cantos paralelos La parodia en el arte argentino contemporáneo (Austin: Jack S Blanton Museum of Art at the University of Texas at Austin and the Fondo Nacional de las Artes Argentina).
Collections
- Museo de Arte Moderno de Buenos Aires MAMBA, Buenos Aires, Argentina.
- Museo Castagnino MACRO Museo de Arte Contemporáneo, Rosario, Argentina.
- Fundación Júmex arte Contemporáneo de México, México Df, México.
- CIFO Cisneros Fontanals Arts Foundation, Miami, USA.
- The Zabludowicz Collection, Londres, Inglaterra.
- APT México City Artist Pension Trust, Nueva York, USA.
- UADE Universidad argentina de la empresa, Buenos Aires, Argentina.
- Colecciones privadas Argentina, Venezuela, México, Italia, Costa Rica, Estados Unidos y Holanda.
Links
- Margen Corrido: Marcela Astorga
- Oculo ceres-video instalación
- Cómo se diseñó el libro de arte de Marcela Astorga
June 8, 2016 Ana Maria Tavares https://abstractioninaction.com/artists/ana-maria-tavares/
Selected Biographical Information
Education / Training
- 1995-2000: PhD, Escola de Comunicações e Artes da Universidade de São Paulo, São Paulo, Brazil.
- 1984-1986: MFA, The School of The Art Institute of Chicago, Chicago, USA.
- 1978-1982: BFA, Fundação Armando Álvares Penteado, São Paulo, Brazil.
Prizes / Fellowships
- 2013-2014: Humanities Research Center – Autrey Visiting Scholar. Rice University, Rice University, Houston, USA.
- 2002-2003: John Simon Guggenheim Foundation Grant, John Simon Guggenheim Foundation, New York, USA.
- 1991: Prêmio of the City of Ribeirão Preto 16º SARP , Casa da Cultura Ribeirão Preto, Ribeirão Preto, Brazil.
- 1990: Prêmio Brasília de Artes Plásticas 1990, MAB Museu de Arte de Brasília, Brasília, Brazil.
- 1987: Prêmio Artista Revelação 1987 – APCA , Associação Paulista de Críticos de Arte, São Paulo, Brazil.
- 1984-1986: MFA Scholarship, FULLBRIGHT/CAPES/LASPAU.
- 2007: Ida Ely Rubin Artist-in-Residence, Massachusetts Institute of Technology, Boston, USA.
- 2007: Red de Residencias Artisticas Local Mestrado en Artes, Universidad Nacional de Bogotá – UNAL , Bogotá, Colombia.
Solo Exhibitions
- 2015: “Deviating Utopias from the Artifactual Series”, Galerie Stöckle Hauser, Stuttgart, Germany.
- 2015: “Cárceres a duas Vozes: Piranesi e Ana Maria Tavares”, Museu Lasar Segall, São Paulo, Brazil .
- 2015: “Deviating Utopias from the Artifactual Series”, Rools Royce Studio, Berlin, Germany.
- 2015: “Sinfonia Tropical para Loos”, Galeria Vermelho, São Paulo, Brazil.
- 2014: “Euryales Amazonica”, Sicardi Gallery, Houston, USA.
- 2014: “Atlântica Moderna: Purus e Negros”, Museu Vale, Vila Velha, Brazil.
- 2013: “Deviating Utopias”, Frist Center for the Visual Arts, Nashville, USA.
- 2013: “Natural-Natural: Paisagem e Artifício”, MAC – Museu de Arte Contemporânea do Centro Dragão do Mar de Arte e Cultura, Fortaleza, Brazil.
- 2013: “Tautorama”, Paço das Artes, São Paulo, Brazil.
- 2011: “Desviantes (da série Hieróglifos Sociais)”, Galeria Vermelho, São Paulo, Brazil.
- 2008: “Ana Maria Tavares”, The Shusev State Museum of Architecture, Moscow, Russia.
- 2008: “Crystal Waters”, Kröller Müller Museum, Arnhem, Holland.
- 2005: “Paisagem para Exit II”, Culturgest, Porto, Portugal.
- 2001: “Middelburg Airport Lounge with Parede Niemeyer”, De Vleeshal, Middelburg, Holland.
- 1998: “Relax’o’visions”, Museu Brasileiro da Escultura, São Paulo, Brazil.
- 1997: “Porto Pampulha”, Museu de Arte da Pampulha, Belo Horizonte, Brazil.
Group Exhibitions
- 2014: “Josephine Baker e Le Corbusier – Um Caso Transatlântico”, MAR Museu de Arte do Rio, Rio de Janeiro, Brazil.
- 2009: “After Utopia”, Centro per l’arte contemporanea Luigi Pecci, Prato, Italy.
- 2009: “Neo-Tropicália”, Yerba Buena Center for the Arts, San Francisco, USA.
- 2008: “Neo-Tropicália”, MOT – Museum of Contemporary Art Tokyo, Tokyo, Japan.
- 2008: “Blooming Now: Brasil-Japão, o seu lugar”, Toyota Municipal Museum of Art, Toyota, Japan.
- 2008: “Grandeur. Sonsbeek_10”, Sonsbeek Park, Arnhem, Holland.
- 2006: “Belief”, Singapore Bienalle 2006, Singapore, Singapore.
- 2005: “Farsites: Urban Crisis and Domestic Symptoms in Recent Contemporary Art”, The San Diego Museum of Art, San Diego, USA.
- 2004: “The Encounters in the 21st Century: Polyphony – Emerging Resonances”, 21st Century Museum of Contemporary Art, Kanazawa, Japan.
- 2003: “Conceptualisms: Zeitgenossische Tendenzen in Musik”, Kunst und Film, Akademie der Kunste, Berlin, Gemany.
- 2003: “Auf Eigene Gefahr/At your Own Risk”, Schirn Kunsthalle, Frankfurt, Germany.
- 2003: “The Straight or Croocked Way”, Royal College of Art, London, England.
- 2003: “Living Inside the Grid”, The New Museum of Contemporary Art, New York, USA.
- 2002: “Arte Cidade Zona Leste”, SESC Belenzinho, São Paulo, Brazil.
- 2001: “Ego Fugal”, VII Istambul Biennial, Istambul, Turkey.
- 2000: “Septima Bienal de La Habana: Una más acerca del otro”, Habana, Cuba.
- 1997: “XXVI Bienal de Arte de Pontevedra: O Espaço como Projeto – O Espaço como Realidade”, Pazo da Cultura, Pontevedra, Spain.
- 1994: “Bienal Brasil Século XX“, Fundação Bienal de São Paulo, Sao Paulo, Brazil.
Publications
- CHIARELLI, Tadeu, Arte Internacional Brasileira (São Paulo: Lemos Editorial), 311.
- TILROE, Anna, The Thinking Matter: Looking for a New Utopian Vision (Amsterdam: Querido Publishers).
- CREAM 3 – Contemporary Art in Culture. 10 Curators. 10 Contemporary Artists. 10 Source Artists (London: Phaidon Press Limited), 448.
- LAGNADO, Lisette, Carriers (São Paulo: Museu Brasileiro da Escultura).
- Fernando Pedro da Silva. Marília Andrés Ribeiro., Ana Maria Tavares (Belo Horizonte: C/arte), 96.
- CARVALHO, Bernardo, “Escultora seduz e castiga o olhar com boas intenções e perversão”, Folha de São Paulo , November 27, 1990.
- HERKENHOFF, Paulo , “Brazilian Contemporary Art: A Theorethical Construction”, Ultramodern: The Art of Contemporary Brazil. The National Museum for Women in The Arts , 1993.
- HINCHBERGER, Bill, “Ana Maria Tavares: Impractical Practices”, Art News, 1993.
- HIRSZMAN, Maria, “As Vertiginosas Esculturas de Ana Tavares no MuBe”, O Estado de São Paulo, October 17, 1998.
- ZAYA, Octavio, “Potafolio de Ana Maria Tavares para Atlántica”, Atlántica Revista de Arte y Pensamiento, Verano, 2000, Pages 94-109.
- GALLÁN, Fernando Martín , “Obras Referenciales”, Sublime. , March/April, 2002, Page 32-33.
- GROSSMANN, Martin, “Seducción y Crítica, Arte y Arquitectura en Brasil”, Revista Sublime / arte + cultura contemporânea , November/ December, 2002, Page 19-23.
- Andy Campbell, “Ana Maria Tavares”, Artforum, December 2005, .
- Julia Buenaventura, “Ana Maria Tavares”, ArtNews, 2011, 133-134.
Collections
- KMM – Kröller Müller Museum, Arnhem, Holland.
- FRAC Haute Normandie. Fonds Régional d’Art Contemporain, France.
- CULTURGEST – Fundação Caixa Geral de Depósitos, Lisboa, Portugal.
- MuHKA Museum van Hedendaagse Kunst Antwerpen, Brussels, Belgian.
- Fundação Arco, Madrid, Spain.
- Fundação Serralves, Porto, Portugal.
- MAC – Museu de Arte Contemporânea de São Paulo, São Paulo, Brazil.
- MAC – Museu de Arte Contemporânea de Niterói, Niterói, Brazil.
- Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
- MAM – Museu de Arte Moderna de São Paulo, São Paulo, Brazil.
- Ana Maria Tavares, “Sobre a Pureza Visual YEF-D (from the Artifactual Series)”, 2012, Stainless Steel, UV Print on dibond and anodized aluminum, 122 x 305 x 6.3 cm. Artist. Photo credit: Flavio Lamenha.
- Ana Maria Tavares, “Sobre a Pureza Visual (from the Artifactual Series)”, 2012, Stainless Steel, UV Print on dibond and anodized aluminum, 122 x 183 x 6.3 cm. Marc Tabourian. Photo credit: Flavio Lamenha.
- Ana Maria Tavares, “Noturno III (from crosswords series)”, 2004, Colored and engraved stainless steel and anodized aluminum, 162 x 486 x 7 cm. Fábio Cimino. Photo credit: João Musa.
- Ana Maria Tavares, “Sobre a Pureza Visual (from the Artifactual Series) // detail”, 2012, Stainless Steel, UV Print on dibond and anodized aluminum, 122 x 183 x 6.3 cm. Marc Tabourian. Photo credit: Flavio Lamenha.
- Ana Maria Tavares, “Insane facades (Screens from the Condominiums Series)”, 2013, Wood, methacrylate, polystyrene, polyester, leather and chromed steel, 2.22 x 5.60 x 4.85 cm. Artist. Photo credit: Bruno Schultze.
- Ana Maria Tavares, “Insane facades (Screens from the Condominium Series)”, 2013, Wood, methacrylate, polystyrene, polyester, leather and chromed steel, 2.22 x 5.60 x 4.85 cm. Artist. Photo credit: Bruno Schultze.
- Ana Maria Tavares, “Night Mantra Hem Triptych I (from the Forbidden Mantras Series)”, 2007, Colored and engraved stainless steel and anodized aluminum , 160 x 500 x 8 cm. João Tavares Pini. Photo credit: Flavio Lamenha.
- Ana Maria Tavares, “Sparta. Desviante Triple_Dia L (from Hieróglifos Sociais serie)”, 2011, Aluminum, colored and silver stainless steel, UV Print on dibond, electrostatic painting, 152 x 423 x 18 cm. MAC – Museu de Arte Contemporânea de Niterói. Photo credit: Flavio Lamenha.
- Ana Maria Tavares, “Alguns Pássaros (Those in Flight) // Tapete I a XX [center]”, 1991, Galvanized steel, velvet, wood and polyurethan ink // Stainless Steel, Variable dimensions. Site-specific project. Location: XXI Bienal de São Paulo, São Paulo, Brazil. various. Photo credit: Rômulo Fialdini.
- Ana Maria Tavares, “BB Universal Mantras Triptych I (from the BB Universal Mantras Series)”, 2007, Colored and engraved stainless steel tiles, aluminum frame, Lamb wool and silk rug, 160 x 500 x 8 cm. Artist. Photo credit: Flavio Lamenha.
- Ana Maria Tavares, “Bico de Diamante”, 1990, carbon steel, galvanized steel, metallic pigment, polyurethane and columns, Variable dimensions. Site-specific project. Location: Paço das Artes, São Paulo, Brazil. Pinacoteca do Estado de São Paulo. Photo credit: Rômulo Fialdini.
- Ana Maria Tavares, “On Contamination XD1 (from the Artifactual Series)”, 2012, Coloured Stainless Steel and anodized aluminum, 122 x 183 x 6.3 cm. Private Collection. Photo credit: Flavio Lamenha.
- Ana Maria Tavares, “Royal. Desviante Double_Noite Solo L (from Hieróglifos Sociais serie)”, 2011, Aluminum, colored and silver stainless steel, UV Print on dibond, electrostatic painting, 152 x 283 x 18 cm. Genny and Selmo Nissenbaum. Photo credit: Flavio Lamenha.
- Ana Maria Tavares, “Eden. Desviante Double_Dia Solo L (from Hieróglifos Sociais serie)”, 2011, Aluminum, colored and silver stainless steel, UV Print on dibond, electrostatic painting, 152 x 283 x 18 cm. Reinaldo Lin. Photo credit: Flavio Lamenha.
- Ana Maria Tavares, “On Contamination (from the Artifactual Series)”, 2012, Coloured Stainless Steel and anodized aluminum, 122 x 122 x 6.3 cm. Private Collection. Photo credit: Flavio Lamenha.
- Alejandro Dron, “Hei”, 2014, Steel , 180 cms x 150 cms x 90 cms.
- Alejandro Dron, “Magen”, 2014, Steel , 65 cms x 40 cms x 35 cms.
- Alejandro Dron, “Spark”, 2015, Steel / painted, 45 cms x 45 cms x 29 cms.
- Alejandro Dron, “Ray”, 2002, Graphite on Arches watercolor paper, 35 cms x 45 cms.
- Alejandro Dron, “Maquettes”, 2015, Hardboard maquettes, Variable dimensions.
- Alejandro Dron, “Eni”, 2015, Steel, 160 cms x 70 cms x 35 cms.
- Alejandro Dron, “Shin VII”, 2014, Steel, 30 cms x 40 cms x 80 cms.
- Alejandro Dron, “Estdos”, 2015, Steel, 140 cms x 70 cms x 45 cms.
- Alejandro Dron, “Treve”, 2014, Steel, 25 cms x 18 cms x 90 cms.
- Alejandro Dron, “Tet”, 2002, Steel / painted, 420 cms x 420 cms x 420 cms. Site-specific project. Location: Centro Cultural Recoleta, Buenos Aires, Argentina. Photo: Courtesy of the artist.
- Alejandro Dron, “Zayin”, 2004, Steel / painted, 420 cms x 210 cms x 90 cms.
- Alejandro Dron, “Aleph”, 2005, Steel/painted, 9′ x 4′ x 4′ cm. Image courtesy of the artist.
- Alejandro Dron, “Yud”, 2007, Steel/painted, 12′ x 12′ x 3′ cm. Photo: Arnee Osterby.
- Alejandro Dron, “Raca”, 2008, Steel/painted, 360 cms x 360 cms x 90 cms. Photo: Courtesy of the artist.
- Alejandro Dron, “Dalet”, 2014, Steel , 60 cms x 40 cms x 30 cms. Photo: Courtesy of the artist.
About the Artist
QUE PONGAS TU CUERPO, TU TIEMPO
Porque así vivo el arte, como una fuerza vital que se compromete con todo. Un fuego personal que da sentido al concepto hebraico de la realidad.
Me refiero al flujo temporal que derrite las imágenes congeladas, estáticas. Imagenes fijas que nada tienen que ver con el dios único, inefable, total, infinito, fluido, liminal de mis raices.
Para mi lo sustancial pasa de manera ‘diagonal’, como se ubica la mesuzah en el umbral de la puerta, esquivando el obstáculo, contemporizando extremos ortogonales y así creando una síntesis que ‘pase a través’, que fluya.
Se podría también decir que mis esculturas plegables y voladoras se parecen a letras hebreas, palabras, una sintaxis, una semiótica pero que no quedan ahí disciplinadas en la cabeza, sino que son totales por delimitar sus blancos de fondo y hacerlos uno con sus negros. Un ‘continum’ de letra/fondo real de infinitas posibilidades.
Mis obras intentan lo multifacético, lo multidireccional, lo multidimensional. Son eccentricas. No tienen posiciónes únicas. Están creadas para que yo las abra como a un libro. Si no para mi no valen, no tienen gracia. Las quiero totales e infinitas. Totales, absolutas y que comprendan a todas sus transformaciones. Cambios que apunten a mostrar la unidad invisible. No hay dos participantes que puedan ver o configurar lo mismo al mismo tiempo. Ni componerlas totalmente en un instante determinado. Mi tiempo ‘por etapas’ despliega lo invisible. La mitzva ‘azamra’ que me comanda a ‘ser feliz todo el tiempo’ me asiste a crear estos desplegables, y a leerlos también con mi cuerpo.
Soy un continuador de la obra de los artistas Agam y Kosice. Agam fue quien decidió concientemente darle una forma expresiva al concepto de realidad hebraico. Kosice por su obra articulable Royi, su aguas vitales controladas por la alegria genuina y sus ciudades hidro-espaciales de carácter mesiánico.
En el ultimo siglo vimos como la academia fue sobrepasada por la vanguardias. Como su refinamiento elitista sin vida fue suplantado por una fuerza cruda rejuvenecedora que tan bien nos hizo. Luego el ‘dada’ que nacio como rebeldía autentica contra la razón se volvió un comercio banal. Un dada preciosista.Y por otro lado el arte político-ideologico de izquierda.
Yo entiendo que el arte tiene su origen en lo religioso. Y es allí donde reside su carácter verdaderamente político, porque es movido por una fuerza activa, que es ‘visión’ mesiánica. Trabajar hoy para esta fuerza activa – en contra de lo sin sentido que quiere impedir – demanda una ingeniería sofisticada. Se trata de ‘volver al origen’ a contracorriente de la colosal redundancia. Estamos en una lucha por la supervivencia espiritual.
Quizás siempre ha sido así para todo verdadero artista.
Como lo intento por mi parte? Como hago para escuchar en medio de este ensordecedor ruido? Escuchando a mis amigos de ruta que alcanzaron saber algo de ese origen y me señalan que queda allí, alla adelante!
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THAT YOU PUT FORWARD YOUR BODY, YOUR TIME
Because this is the way I live art, as a vital force that is committed with everything. It is a personal fire that gives meaning to the Hebraic concept of reality. I refer here to the temporary flux that melts frozen and static images. Fixed images that have nothing to do with the unique God, ineffable, total, infinite, fluid, liminal of my roots.
For me the essential takes place in a ‘diagonal’ manner, as you place the mezuzah on the door threshold, avoiding the obstacle, temporizing the extremes orthogonal and thus creating a synthesis, that ‘goes through’, that flows.
We could also say that my foldable and flying sculptures look like Hebraic letters, words, that they are a syntax, a semiotic, that are not disciplined in the head, instead are totals to demarcate the white in the background, and create a unity with their blacks. This is a continuum of real letters/background of infinite possibilities.
My works attempt the multifaceted, the multidirectional, the multidimensional. They are eccentric. They don’t have unique positions. They are created so that I can open them like a book. Otherwise the have no worth, they have no grace. I want them total and infinite. They should be total, absolute, and that they understand all their transformations. Their changes should point to an invisible unit. There are no two participants that can see or configure the same at the same time. They cannot compose them totally in a determined instant. My time ‘in stages’ unfolds the invisible. The Mitzva ‘azamra’ that commands me to ‘be happy all the time’ assists me in creating these foldable works, and also to read them with my body.
I carry on the work of artists Agam and Kosice. Agam was who decided consciously to give an expressive form to the concept of the Hebraic reality. Kosice with his movable Royi, with his controlled vital waters through the genuine happiness and his hydro spatial cities of messianic character.
This last century we saw how the academy was overtaken by the Avant-gardes. We saw how their lifeless elitist refinement was replaced by a raw rejuvenating strength that did us good. Afterwards ‘Dada’ which was born as an authentic rebellion against reason, became a banal commerce; an affected Dada. We also find the political-ideological art of the left.
I understand that art has its origin in the religious. It is there where we find its true political character, because it is propelled by an active force, which is a messianic ‘vision’. To work today for this active force – against the nonsense which impedes- requires a sophisticated engineering. It is about ‘returning to the origin’, in countercurrent to the colossal redundancy. We are in a fight for the spiritual survival.
Perhaps it has always been this way for all true artists.
How do I attempt it on my side? How do I listen in the midst of the deafening noise? By listening to my friends of path, that have achieved to knowing something of this origin and signal me that it is found there, ahead!
Selected Biographical Information
Education / Training
- 1996-1998: Master in Computer Art MFA, School of Visual Arts NY, New York, USA.
Prizes / Fellowships
- 2016: Adolph and Esther Gottlieb Foundation Grant.
- 1996-1998: Beca Fulbright, Comision Fulbright y Fondo Nacional de las Artes Argentina, Buenos Aires, Argentina.
Solo Exhibitions
- 2015: “Aleph”, Mana Contemporary, Jersey City, USA.
- 2002: “Tet”, Centro Cultural Recoleta , Buenos Aires, Argentina.
- 1999: “Kinetic Sculptures”, Argentine Consulate of New York, New York, USA.
Group Exhibitions
- 2016: “Open Studios”, Mana Contemporary, Jersey City, USA.
- 2015: “International Sculpture Day”, Mana Contemporary, Jersey City, USA.
- 2014: “Open Studios”, Mana Contemporary, Jersey City, USA.
- 2008: “Continous Current”, School of Visual Arts, New York, USA.
- 2008: “Current 2008 / Sculpture”, Garrison Art Center, Garrison, NY, USA.
- 2007: “Bienal Kingston de Escultura”, Kingston, Kingston, NY, USA.
- 2006: “Madi Retrospectiva”, Fundacion Klemm, Buenos Aires, Argentina.
- 2004: “Esculturas en el Jardin”, Museo Larreta, Buenos Aires, Argentina.
- 1997: “Arte Madi Retrospectiva.”, Museo de Arte Contemporaneo Reina Sofia, Madrid, España.
- 1992: “Del Constructivismo a la Geometria Sensible. Curador Jorge Glusberg”, Harrods en el Arte, Buenos Aires, Argentina.
Publications
- Raul Santana, Huella del Ojo. Mirada al Arte Argentino (Buenos Aires: Asunto Impreso Ediciones), 370.
- Jorge Glusberg, Del Constructivismo a la Geometria Sensible (Buenos Aires: CAYC), 45.
- Gyula Kosice, Autobiografia (Buenos Aires: Asunto Impreso ediciones), 267.
- 2007: Benjamin Genocchio, “A Biennial That’s Multidirectional“, New York Times, Aug. 12, 2007.
Links
May 4, 2016 Pachi Giustinian https://abstractioninaction.com/artists/pachi-giustinian/
- Pachi Giustinian, “Untitled (study of a figure)”, 2015, Acrylic paint without structure, wood, and mixed media, Variable dimensions. Image courtesy of the artist.
- Pachi Giustinian, “Untitled (red pedestal)”, 2015, Acrylic paint without structure, wood, Variable dimensions. Image courtesy of Lowry.
- Pachi Giustinian, “Sin Título / Untitled”, 2014, Acrylic paint without structure, wood, mixed media. Variable dimensions. Image courtesy of the artist.
- Pachi Giustinian, “Sin Título / Untitled (Paint in space)”, 2014, Acrylic paint without any structure, wood, foam, Variable dimensions. Photo credit: Courtesy of the artist
- Pachi Giustinian, “Sin Título / Untitled (Paint in space)”, 2014, Acrylic paint without any structure, wood, foam., Variable dimensions. Photo credit: Courtesy of the artist
- Pachi Giustinian, “Untitled “, 2015, Acrylic paint without any structure, 135 x 100 cm. Photo credit: Courtesy of the artist
- Pachi Giustinian, “Sin Título / Untitled (red and cream)”, 2011, Acrylic paint, gauze, gel medium, Variable dimensions. Photo credit: Justin Broadbent.
- Pachi Giustinian, “Things in the air, view at Alejandra Von Hartz Gallery”, 2012, Acrylic paint, guaye, resin, Variable dimensions. Photo credit: Courtesy of the artist
- Pachi Giustinian, “Sin Título / Untitled”, 2015, Series: Atmosféricos, Acrylic on canvas, 110 x 180 cm. Colección privada. Photo credit: Ana Clara Soler
- Pachi Giustinian, “Sin Título / Untitled”, 2015, Series: Atmosféricos, Acrylic on canvas, 200 x 150 cm. Photo credit: Courtesy of the artist
- Pachi Giustinian, “Sin Título / Untitled (Azul, Naranja)”, 2015, Series: atmosféricos, acrylic on canvas, 190 x 140 cm. Photo credit: Courtesy of the artist
- Pachi Giustinian, “Sin Título / Untitled (momento #1)”, 2013, Series: Atmosféricos, Acrylic on canvas, 200 x 145 cm. Photo credit:Courtesy of the artist
- Pachi Giustinian, “Pedestals”, 2013, Wood, colored gelatin, light projected, Variable dimensions. Photo credit: Courtesy of the artist
Selected Biographical Information
Education/Training
- 2015: Programa de formación, Fondo Nacional de las Artes – Haroldo Conti, Caba, Argentina
- 2013: Programa de formación, PAC (Prácticas Artísticas Contemporáneas), Caba, Argentina.
- 2010-2011: Residency, Cannonball, Miami, USA.
- 2000-2005: BFA, UNA (Universidad Nacional de Arte), Buenos Aires, Argentina.
Prizes/Awards
- 2015: Fellowship Fondo Nacional de las Artes – Haroldo Conti, Haroldo Conti, Ciudad Autónoma de Buenos Aires, Argentina.
- 2014: Residency program El Ranchito, Matadero Madrid + AECID, Matadero Madrid, Madrid, Spain.
- 2013: International Fellowship Robert Sterling Clark Foundation, Vermont Studio Center, Johnson, Vermont, USA.
- 2009: 3 prize at Premio Estímulo del Banco Provincia de Buenos Aires, BAPRO, Ciudad Autónoma de Buenos Aires, Argentina.
- 2007: 1 Prize at Salón Provincial de Arte Joven, Pintura, Gobierno de la Provincia de Buenos Aires, La Plata, Argentina.
Solo Exhibitions
- 2012: “Things in the Air”, Alejandra Von Hartz Gallery, Miami, Florida, USA.
- 2010: “Watch the Stars and from them Learn”, Spinello Gallery, Miami, Florida, USA.
Group Exhibitions
- 2015: “La Fuerza Débil”, Fondo Nacional de las Artes, Ciudad Autónoma de Buenos Aires, Argentina.
- 2014: “New Dialogues“, Alejandra Von Hartz Gallery, Miami, Florida, USA.
- 2014: “Normal“, Matadero Madrid, Madrid, Spain.
- 2012: “Art Live Fair“, Miami, USA.
- 2010: “Littlest Sister ´10”, Spinello Gallery, Miami, Florida, USA.
Publications
- Consulado General de la República Argentina en Miami, Artistas Argentinos en Miami (Miami: Consulado General de la República Argentina en Miami), 211.
- Gachi Prieto, PAC 2013 (Prácticas artísticas contemporáneas) (Vicente Lopez : India Ediciones), 140.
Collections
- Fundación Williams, Caba, Argentina.
- Banco BAPRO, Caba, Argentina.
- Museo Provincial de Bellas Artes Emilio Petorutti, La Plata, Argentina.
- Nicolás Robbio, “Otro Frontera”, 2013, Wood, sieve and black paint, Variable dimensions. Private Collection.
- Nicolás Robbio, “Algunas cuestiones al trazar una linea”, 2013, sand and metal, Variable dimensions. Site-specific project. Location: Ruth Benzacar Galeria de Arte, Buenos Aires, Argentina.
- Nicolás Robbio, “Observações de uma realidade sincopada”, 2015, 11 aquariums, Variable dimensions. Courtesy of the artist.
- Nicolás Robbio, “Observações de uma realidade sincopada (detail)”, 2015, Aquarium (detail), Variable dimensions. Courtesy of the artist.
- Nicolás Robbio, “Manual”, 2014, 12 graphite drawings on paper and 2 objects of cedar wood, Variable dimensions. Courtesy of the artist. Photo credit: Edouard Fraipont.
- Nicolás Robbio, “Tonelada”, 2015, 1 ton of Sand and Lamp, Variable dimensions. Courtesy of the artist.
- Nicolás Robbio, “Untitled”, 2006, Vinyl adhesive and dry pen on glass, 14 x 46 cm. Private Collection, São Paulo. Photo credit: Ding Musa.
- Nicolás Robbio, “Untitled”, 2009, Cut paper and overhead projector, Variable dimensions. Courtesy of the artist.
- Nicolás Robbio, “Untitled”, 2015, Woods, sticks, iron, aluminum and brass, Variable dimensions. Courtesy of the artist.
- Nicolás Robbio, “Cheiram mal as palavras mortas”, 2014, Graphite on paper, wire, foam, internal structure of embedded cardboard box, wire mesh and wood, coins and model of Bauhaus chair in bronze, six wooden cubes with printed paper, Variable dimensions. Private Collection, São Paulo. Photo credit: Edouard Fraipont.
- Nicolás Robbio, “Cabeças cortadas”, 2015, Matches, Variable dimensions. Private Collection, São Paulo. Photo credit: Edouard Fraipont.
- Nicolás Robbio, “Faquir (Fakir)”, 2015, Basket and wood, Variable dimensions. Private Collection, São Paulo. Photo credit: Edouard Fraipont.
Selected Biographical Information
Prizes / Fellowships
- 2015: Prêmio Marcantonio Vilaça CNI SESI SENAI (5th edition), Prêmio Marcantonio Vilaça CNI SESI SENAI , São Paulo, Brazil.
- 2006: Paradoxos Rumos Itaú Cultural, Bethanien Kunsthaus, Berlin, Germany.
Solo Exhibitions
- 2015: “Observações de uma realidade sincopada”, Museu da Cidade, Lisboa, Portugal.
- 2014: “Medos Modernos“, Instituto Tomie Ohtake, São Paulo, Brazil.
- 2014: “Repetição da Ordem“, Galeria Vermelho, São Paulo, Brazil.
- 2013: “Every Body Knows“, Galerie Invaliden1, Berlin, Germany.
- 2012: “A força é limitada pela necessidade“, Galeria Vermelho, São Paulo, Brazil.
- 2011: “Bandeira em branco não é bandeira branca (A Blank Flag is not a White Flag)“, Galeria Vermelho, São Paulo, Brazil.
- 2010: “Se mueve pero no se hunde“, Galeria Vermelho, São Paulo, Brazil.
- 2010: “O Amanhã de ontem não é hoje fro Emissores Reunidos Project“, Fundação Serralves, Porto, Portugal.
Group Exhibitions
- 2015: “Singularidades/Anotações: Rumos Artes Visuais 1998 – 2013“, Paço Imperial, Rio de Janeiro, Brazil.
- 2015: “Aprendendo a Viver com a Sujeira”, Galeria Vermelho, São Paulo, Brazil.
- 2015: “Pontos Colaterais“, Arquipélago – Centro de Artes Contemporâneas, Açores, Portugal.
- 2014: “C-32 Sucursal“, MALBA, Buenos Aires, Argentina.
- 2013: “Blind Field“, Krannert Art Museum, Champaign, USA.
- 2012: “When Attitudes Became Form Become Attitudes“, CCA Wattis Institute for Contemporary Art, San Francisco, USA.
- 2012: “Sextanisqatsi: desordem habitável“, Museo de Arte Contemporáneo de Monterrey [MARCO], Monterrey, Mexico.
- 2011: “32º Panorama da arte Brasileira”, Museu de Arte Moderna (MAM), São Paulo, Brazil.
- 2010: “Para ser Construidos (To be built)“, Museu de Arte Contemporáneo de Castilla y León [MUSAC], Castilla y León, Spain.
- 2010: “The Travelling Show“, Fundación/Colección JUMEX, Mexico DF, Mexico.
Publications
- Ice Cream – 10 curators, 100 contemporary artists, 10 source artists (London: Phaidon), 316, 317, 318, 319.
- Rumos Itaú Cultural – Artes Visuais 2005-2006 (São Paulo: Itaú Cultural), 190.
- Gabinete de Desenhos – Obras do Acervo do MAM-SP (São Paulo: Museu de Arte de Arte Moderna de São Paulo), 50, 51.
- José Augusto Ribeiro, “Nicolás Robbio”, ArtNexus, Sept-Nov 2005, 157-158.
- Adriano Pedrosa, “Nicolás Robbio”, Artforum, Summer 2007, XLV, Nº10, 507-508.
- Celso Martins, “Arte por um fio”, E – a revista do Expresso (Portugal), Aug 29, 2015, 76.
Collections
- Museu de Arte Moderna de São Pauo (MAM SP), São Paulo, Brazil.
- Museo de Arte Latino Americano de Buenos Aires (MALBA), Buenos Aires, Argentina.
- Fundação Serralves, Porto, Portugal.
- Museo de Arte Contenporâneo de Castilla y León (MUSAC), Castilla y León, Spain.
- Firstsite, Colchester, UK.
- Pinacoteca do Estado de São Paulo, São Paulo, Brazil.
- Arquipélogo – Centro De Artes Contemporânea Dos Açores, Açores Island, Portugal.
- Ali González, “Moderno uno”, 1999, Plastic and steel bars, Variable dimensions. Private Collection.
- Ali González, “Regalo Interior”, 1998, Series: Regalo Interior, Paper and cardboard, Variable dimensions.
- Ali González, “Corte y movimiento”, 2001, Wood and fabric, Variable dimensions. Private Collection.
- Ali González, “Corte y movimiento”, 2001, Wood and fabric, Variable dimensions. Private Collection.
- Ali González, “Las chayotas, el ocumo y el ají de Orfeo no existen”, 2002, Wire, MDF, acrylic paint, Variable dimensions. Private Collection.
- Ali González, “Museofrenia, (Carapita Revoluchion)”, 2004, Series: Museofrenia, Wire, MDF, acrylic paint, Variable dimensions.
- Ali González, “Pliegues”, 2005, Series: Pliegues, Wire, MDF, acrylic paint, Variable dimensions.
- Ali González, “Los carros”, 2008, Building blocks and acrylic paint, Variable dimensions.
- Ali González, “Los carros”, 2008, Building blocks and acrylic paint, Variable dimensions.
- Ali González, “El rio”, 2008, Building blocks and acrylic paint, Variable dimensions. Private Collection.
- Ali González, “La tumba”, 2008, Building blocks and acrylic paint, Variable dimensions. Private Collection.
- Ali González, “Los Pasos”, 2008, Building blocks and acrylic paint, Variable dimensions. Private Collection.
- Ali González, “Los Saltos”, 2008, Building blocks and acrylic paint, Variable dimensions. Private Collection.
- Ali González, “Ventanitas”, 2014, Series: Ventanitas (gran formato), Building blocks and acrylic paint, Variable dimensions. Private Collection.
- Ali González, “Letra Fea 1”, 2015, Series: Letra Fea, Building blocks and acrylic paint, Variable dimensions. Private Collection.
Selected Biographical Information
Solo Exhibitions
- 2014: “Historia de la Fotografía”, Oficina N°1, Caracas, Venezuela.
- 2008: “Color Contracuratorial”, Periférico Caracas, Caracas, Venezuela.
- 2007: “El Rostro, Lugar de Nadie”, Gallery 415, San Fracisco, United States.
- 2006: “Desparpajos”, Galeria D´Museo, Caracas, Veneuzuela.
- 2003: “Punto Ali Dades”, Galería D´Museo, Caracas, Venezuela.
- 2001: “Usted El Espacio”, Galeria D´Museo, Caracas, Venezuela.
- 1999: “Instalaciones”, Sala Mendoza, Caracas, Venezuela.
- 1990: “Gran Museo de la Locura y la Legalidad”, Sala RG, Caracas, Venezuela.
Group Exhibitions
- 2015: “116”, Galería de Arte Florida, Caracas, Venezuela.
- 2014: “Panorámica Arte Emergente en Venezuela 2000/2012”, Sala TAC, Caracas, Venezuela.
- 2008: “Salón CANTV Jóvenes con FIA”, Centro Cultural BOD Corpbanca, Caracas, Venezuela.
- 2006: “Espacios Re-Dibujados”, Centro Cultural BOD Corpbanca, Caracas, Venezuela.
- 2005: “Jump Cuts”, Americas Society, New York, USA.
- 2004: “Arte Contemporáneo Venezolano 1990-2004 en la Colección Cisneros “, Museo de Arte Moderno Jesús Soto, Ciudad Bolivar, Venezuela.
- 2000: “La Llama”, Sala RG, Caracas, Venezuela.
- 2002: “Feria del Arte ARCO”, Galería D´Museo, Madrid, Spain.
- 1998: “Made in Mexico/Made in Venezuela”, Art Metropole, Canada.
Publications
- Erik Del Bufalo, El Rostro, Lugar de Nadie (Caracas: Galería D´Museo, Banco Mercantil), 51.
- Dulce Gómez, Francisco Villnueva, Arte Contemporáneo de Venezuela (Caracas: Dulce Gómez, Francisco Villnueva), 135.
Collections
- Galería de Arte nacional, Caracas, Venezuela.
- Museo de Bellas Artes, Caracas, Venezuela.
- Museo de Arte Contemporáneo de Caracas, Caracas, Venezuela.
- Museo del Barrio, New York, USA.
- Museo de Arte Latinoamericano MOLAA, Long Beach, California, USA.
- Colección Mercantil, Caracas, Venezuela.
- Colección Cisneros, Caracas, Venezuela.
- Giancarlo Scaglia, “Plumbum Orión”, 2015, Structure made from melted found lead bullets, debris found on the Isla del Frontón and oil on canvas, Variable dimensions. Photo credit: Revolver Galería.
- Giancarlo Scaglia, “Apuntes para Plumbum Orión”, 2015, Oil on paper, Variable dimensions. Photo credit: Revolver Galería.
- Giancarlo Scaglia, “Poética del resto (Stellar)”, 2015, Installation view Sala LMQG, Lima – Peru, Variable dimensions. Photo credit: Revolver Galería.
- Giancarlo Scaglia, “Paisaje 1”, 2015, 2 bronze tables, glass and debris from the Isla de el Fronton, 30 x 372 x 286 cm. Photo credit: Revolver Galería.
- Giancarlo Scaglia, “Paisaje 1”, 2015, detail, Variable dimensions. Photo credit: Revolver Galería.
- Giancarlo Scaglia, “Constelación”, 2015, Catalog of debris collected in the Isla de el Frontón, Variable dimensions. Photo credit: Revolver Galería.
- Giancarlo Scaglia, “Libreta de trabajo con dibujo de constelación de escombros”, 2015, Pad with drawing of constellation of debris, Variable dimensions. Photo credit: Revolver Galería.
- Giancarlo Scaglia, “Stellar Aéreo #8 y #8”, 2015, Diptych, Wall frottage on wall squad, etching ink on Japanese paper, 280 x 300 cm. Photo credit: Revolver Galería.
- Giancarlo Scaglia, “Stellar Aéreo #1 y #8232”, 2015, Wall frottage on wall squad, etching ink on Japanese paper, 280 x 300 cm. Photo credit: Revolver Galería.
- Giancarlo Scaglia, “Stellar #25 y #26”, 2015, Wall frottage on wall squad, etching ink on Japanese paper, 300 x 320 cm. Photo credit: Revolver Galería.
- Giancarlo Scaglia, “Stellar #3 (Comedor guardia Republicana)”, 2015, Wall frottage on wall squad, etching ink on Japanese paper, 320 x 980 cm. Photo credit: Revolver Galería.
Selected Biographical Information
Education / Training
- 2000-2004: Artista Visual, Escuela Superior de Bellas Artes Corriente Alterna, Lima, Peru.
Prizes / Fellowships
- 2011: Arcos Dorados Pintura Latinoamericana, Golden Arches, Buenos Aires, Argentina.
- 2008: Artista Emergente – premio en obra, Fundación Arte BA, Buenos Aires, Argentina.
- 2007: Pasaporte para un Artista, Alliance Francaise, Lima, Peru.
Solo Exhibitions
- 2015: “El Fronton y Stellar”, Corkin Gallery, Toronto, Canada.
- 2015: “Poéticas del resto – (STELLAR 1)”, Sala Luis Miró Quesada Garland, Lima, Peru.
- 2014: “Stellar”, Bendana | Pinel Art Contemporain, Paris, France.
- 2011: “Infierno en Chorrillos”, Galeria AFA, Santiago de Chile, Chile.
- 2011: “Nunca fuimos la Revolución”, Revolver Galeria, Lima, Peru.
- 2008: “Twenty C Boy”, Galeria Lucia de la Puente, Lima, Peru.
Group Exhibitions
- 2015: “Salón de arte contemporáneo 2015”, Palacete Sousa, Lima, Peru.
- 2015: “A las piedras vamos” project rooms, curadoria por Emiliano Valdez”, PARC (Peru arte contemporaneo), Lima, Peru.
- 2015: “U-TURN” project rooms, curadoria por Giacopo Crivelli Visconti”, ArteBA, Buenos Aires, Argentina.
- 2015: “Imágenes desplazadas / Imágenes en el espacio”, 4º Trienal Poli/Gráfica de San Juan: América Latina y El Caribe, San Juan, Costa Rica.
- 2015: “Mensajes de una nueva America”, Bienal de Mercosul, Porto Alegre, Brazil.
- 2013: “Silver”, Revolver Galería, Lima, Peru.
- 2013: “Bajo el sol de la muerte – Revolver 05”, Galeria Espacio Mínimo, Madrid, Spain.
- 2012: “41 Reasons We Still Need Superman”, Arts University Bournemouth, Poole, UK.
- 2012: “La quema del diablo”, Galeria Diablo Rosso/Proyectos Ultravioleta, Panama, Panama.
- 2012: “Revolver 04”, Galeria NUEVE OCHENTA, Bogota, Colombia.
- 2012: “Arte al paso” – muestra itinerante de la colección contemporánea del Museo de Arte de Lima MALI)”, Pinacoteca de Sao Paulo, São Paulo, Brazil .
- 2011: “Bruma – Revolver 03”, Twenty Hoxton Proyect, London, UK.
- 2011: “Difracción – Revolver 02”, Arroniz Arte Contemporáneo, Ciudad de México, Mexico.
- 2011: “Materia Prima”, Atelier Subterranea, Bienal de Mercosul, Porto Alegre, Brazil.
- 2009: “El fin del principio- Revolver 01”, Galeria Patricia Ready, Santiago de Chile, Chile.
- 2008: “Mali Contemporáneo” (Casa Wiesse, Lima), Museo de Arte Contemporaneo MALI, Lima, Peru.
Collections
- Museo de Arte de Lima MALI, Lima, Peru.
Links
December 15, 2015 Ronny Quevedo https://abstractioninaction.com/artists/ronny-quevedo/- Ronny Quevedo, “Ulama Ule Ole at Carol Jazaar Gallery”, 2013, Series: The History of Rules and Measures, Mixed Media, Variable dimensions.
- Ronny Quevedo, “The History of Rules and Measures #3”, 2013, Series: The History of Rules and Measures, Enamel, gold leaf, copy paper and contact paper on paper removed from drywall, 122 x 244 cm.
- Ronny Quevedo, “Cabeza Magica”, 2012, Contact paper, enamel, gold leaf, silver leaf and pattern paper on paper, 127 x 96.5 cm. Photo credit: Argenis Apolinario.
- Ronny Quevedo, “El Gran Crack”, 2012, Shoe polish, contact paper, graphite, gold leaf and nail polish on paper, 127 x 96.5 cm. Photo credit: Argenis Apolinario.
- Ronny Quevedo, “Installation at McKinney Avenue Contemporary, Dallas, TX”, 2014, Mixed Media, Variable dimensions.
- Ronny Quevedo, “Ule Oop”, 2012, contact paper and enamel on paper, 127 x 96.5 cm. Private Collection. Photo credit: Argenis Apolinario.
- Ronny Quevedo, “Home Field Advantage #1”, 2015, Series: Home Field Advantage, Contact paper, vinyl and graphite on paper, 127 x 106.5 cm. Photo credit: Argenis Apolinario.
- Ronny Quevedo, “Wiphala in the Paint”, 2014, Contact paper, enamel, screen print, gold leaf, silver leaf on paper, 96.5 x 96.5 cm. Photo credit: Argenis Apolinario.
- Ronny Quevedo, “Wiphala in the Paint”, 2014, Contact paper, enamel, screen print, gold leaf, silver leaf on paper, 96.5 x 96.5 cm. Photo credit: Argenis Apolinario.
- Ronny Quevedo, “Wiphala in the Paint (detail)”, 2014, Contact paper, enamel, screen print, gold leaf, silver leaf on paper, 96.5 x 96.5 cm. Photo credit: Argenis Apolinario.
- Ronny Quevedo, “Installation of be(tunes) at Museum Fine Arts, Houston”, 2011-Present, Series: be(tunes), Shoe polish on paper, Variable dimensions. Photo credit: Argenis Apolinario.
- Ronny Quevedo, “Selection from be(tunes)”, 2011-Present, Series: be(tunes), Contact paper and shoe polish on paper, 38 x 28 cm. Photo credit: Argenis Apolinario.
Selected Biographical Information
Education / Training
- 2010-2012: MFA, Yale University, New Haven, USA.
- 1999-2003: BFA, Cooper Union, New York, USA.
Prizes / Fellowships
- 2013-2014: Eliza Long Prize, Museum Fine Arts, Houston, Houston, USA.
- 2012: 2012 New American Painting, New American Painting, USA.
- 2011: Bronx Recognizes Its Own, Bronx Arts Council, Bronx, USA.
Solo Exhibitions
- 2015: “Home Field Advantage“, Casita Maria Center for Arts and Education, Bronx, USA.
- 2013: “Ulama, Ule, Olé”, Carol Jazzar Gallery, Miami, USA.
Group Exhibitions
- 2015: “Open Sessions 6“, The Drawing Center, New York, USA.
- 2015: “Specter Field“, Lawndale Arts Center, Houston, USA.
- 2015: “Lineas de la Mano“, Sicardi Gallery, Houston, USA.
- 2015: “Name It by Trying to Name It“, The Drawing Center, New York, USA.
Publications
- Andy Campbell, “Critics’ Picks“, Art Forum, 2015.
- André Komatsu, “Disseminação Concreta”, 2006, clothes worn by the artist and stones, Variable dimensions. Lodeveans Collection, London, UK.. Photo credit: Ding Musa.
- André Komatsu, “AK-47”, 2008, Bricks, cement, paint, 400 x 350 x 120 cm. Private Collection São Paulo, Brazil. Photo credit: Courtesy of the artist.
- André Komatsu, “Untitled (Tumor)”, 2010, Bricks, cement, latex paint, 315 x 315 x 25 cm. Private Collection São Paulo, Brazil. Photo credit: Courtesy of the artist.
- André Komatsu, “Concreto periódico #1”, 2009, Watercolor, 125 x 183 cm. Private Collection Rio de Janeiro, Brazil. Photo credit: Courtesy of the artist.
- André Komatsu, “Untitled 3 “, 2011, Series: Acabamentos, Inkjet on paper , 85 x 122,5 x 7 cm. Lodeveans Collection, London, UK.. Photo credit: Courtesy of the artist.
- André Komatsu, “Untitled (Hammer)”, 2011, Hammer, Variable dimensions. Private Collections, São Paulo, Brazil; London, UK. Photo credit: Courtesy of the artist.
- André Komatsu, “O Estado das coisas 1 (3 poderes)”, 2011, Conncrete, bricks, cement, iron, hydraulic jack, and latex paint, 450 x 635 x 30 cm. Site-specific project. Location: Bienal do Mercosul, Porto Alegre, Brazil. Artist. Photo credit: Courtesy of the artist.
- André Komatsu, “Construção de valores”, 2012, Industrial fans and photocopies, Variable dimensions. Photo credit: Courtesy of the artist.
- André Komatsu, “Indivíduo qualquer”, 2013, Fans and paper on wall, Variable dimensions. Photo credit: Courtesy of the artist.
- André Komatsu, “Febre do ouro”, 2014, Iron cages and incandescent lamps, 300 x 700 x 14000 cm. Galleria Continua. Photo credit: Photo Ela Bialkowska, OKNO STUDIO.
- André Komatsu, “Educação básica 1”, 2015, 3 plastic bags and nails, Variable dimensions. Photo credit: Courtesy of the artist.
- André Komatsu, “Status quo”, 2015, Mixed midias, Variable dimensions. Site-specific project. Location: Pavillion of Brazil – Giardini, Venice, Italy. Photo credit: Courtesy of the artist.
- André Komatsu, “Movimento invisível”, 2015, Clay bricks, concrete, plaster, epoxi glue, acrilic matte paint, Variable dimensions. Site-specific project. Location: Museum of Contemporary Art Denver, Denver, USA. Photo credit: Courtesy of the artist.
- André Komatsu, “Fantasma # 2”, 2015, Steel bracket, galvanized steel fence, electric wire, transformer and lamp, 160 x 158 x 22 cm. Private Collection, Miami, USA. Photo credit: Edouard Fraipont.
- André Komatsu, “Base hierárquica (Chile)”, 2015, Glasses and bricks, 31 x 28 x 29 cm. Photo credit: Courtesy of the artist.
Selected Biographical Information
Education / Training
- 1998-2001: Visual Arts, Fundação Armando Álvares Penteado, São Paulo, Brazil.
Prizes / Fellowships
- 2011: Prêmio CNI-SESI Marcantonio Vilaça para Artes Plásticas, Prêmio CNI-SESI Marcantonio Vilaça para Artes Plásticas, São Paulo, Brazil.
- 2011: ARCO 2011 – Illy SustainArt Award, ARCO, Madrid, Spain.
- 2010: El Ranchito, Matadero, Madrid, Spain.
- 2009: Bronx Museu (residence programm), Bronx Museum, New York, USA.
- 2005: Prêmio Bolsa Pampulha, Museu de Arte da Pampulha, Belo Horizonte, Brazil.
Solo Exhibitions
- 2015: “White Noise“, Palazzo Pamphilj – Galleria Cândido Portinari, Rome, Italy.
- 2014: “Insustentável Paraíso“, Galeria Vermelho, São Paulo, Brazil.
- 2014: “André Komatsu“, Galleria Continua, San Gimigniano, Italy.
- 2010: “Acaso por intenção“, Galeria Vermelho, São Paulo, Brazil.
- 2010: “Concreto/Periódico“, Natalie Seroussi, Paris, France.
- 2009: “Soma Neutra”, Galeria Vermelho, São Paulo, Brazil.
- 2007: “Quando ramos são subtraídos“, Galeria Vermelho, São Paulo, Brazil.
Group Exhibitions
- 2015: “Singularidades/Anotações: Rumos Artes Visuais 1998 – 2013“, Paço Imperial, Rio de Janeiro, Brazil.
- 2015: “Follia Continua!“, Le CENTQUATRE, Paris, France.
- 2015: “Now? NOW! Biennial of the Americas“, Museum of Contemporary Art Denver, Denver, USA.
- 2015: “Aprendendo a Viver com a Sujeira“, Galeria Vermelho, São Paulo, Brazil.
- 2015: “So much that it doesn’t fit here – 56th Venice Biennale“, La BIennale de Venezia, Venice, Italy.
- 2015: “O Museu que há de vir”, Fórum Eugénio de Almeida, Évora, Portugal.
- 2014: “Do Valongo à Favela”, Museu de Arte do Rio (MAR), Rio de Janeiro, Brazil.
- 2014: “Beyond the Superquare“, Bronx Museum, New York, USA.
- 2013: “Future Generation Art Prize @Venice“, Pallazzo Contarini Polignac, Venice, Italy.
- 2013: “Prêmio CNI/SESI Marcantonio Vilaça para Artes Plásticas“, Palácio das Artes, Belo Horizonte, Brazil.
- 2013: “El Arte Contemporaneo de la X Bienal Monterrey FEMSA“, Antiguo Colegio de San Ildefonso, Mexico City, Mexico.
- 2013: “Blind Field“, Krannert Art Museum, Champaign, USA.
- 2013: “Future Generation Art Prize 2012 [21 Shortlisted Artists]“, Pinchukartcentre , Kiev, Ukraine.
- 2012: “Trienal Poli/Gráfica de San Juan: América Latina y el Caribe“, Instituto de Cultura Puertorriquena , San Juan, Porto Rico.
- 2012: “Sextanisqatsi: desordem habitável“, Museo de Arte Contemporáneo de Monterrey , Monterrey , Mexico.
- 2011: “An Other Place“, Galerie Lelong, New York, USA.
- 2011: “Contra a Parede“, Galeria Vermelho, São Paulo, Brazil.
- 2011: “The Peripatetic School: Itinerant Drawing from Latin America“, Middlesbrough Institute of Modern Art [MIMA], Middlesbrough , UK.
- 2011: “The Peripatetic School: itinerant drawing from Latin America“, Drawing Room, London, UK.
- 2011: “8ª Bienal do Mercosul: Ensaios de Geopoéticas“, Bienal do Mercosul, Porto Alegre, Brazil.
- 2010: “To be built“, Museu de Arte Contemporáneo de Castilla y Léon [MUSAC], Castilla y Léon, Spain.
- 2009: “After Utopia”, Centro per la Arte Contemporanea LuigiCentro Pecci, Prato, Italy.
- 2009: “When Lives Become Form: Creative Power from Brasil”, Hiroshima City Museum of Contemporary Art, Hiroshima , Japan.
Publications
- Eurograficas, Dardo Magazine (Santiago de Compostela: Dardo), D192.
- Antonio Sergio Bessa, Brazilian Art in the Museuns of New York City (Brasilia), 188-189.
Collections
- Pinacoteca do Estado de São Paulo, Sâo Paulo, Brazil.
- Middlesbrough Institute of Modern Art (MIMA), Middlesbrough, UK.
- Bronx Museum, New York, USA.
- CA2M Centro de Arte Dos de Mayo, Madrid, Spain.
- Museu de Arte Moderna do Rio de Janeiro (MAM RJ), Rio de Janeiro, Brazil.
- Museum of Modern Art [MOMA], New York City, USA.
- TATE Modern, London, UK.
- Fundação Serralves, Porto, Portugal.
- Clemencia Labin, “Cosidos 1-6”, 2014, Series: Cosidos, Fabrics sewn with sewing machine on watercolor paper and acrylic paint, 40 x 33 cm. Photo credit: Alan Ginsburg.
- Clemencia Labin, “Paloma”, 2011, Series: Megapulpas, Bikini lycra on wood frame, polyester cotton padding, 195 x 145 x 50 cm. Warehouse, Martin Margulies. Photo credit: Clemencia Labin.
- Clemencia Labin, “Ties Performance “, 2010, Series: Performances, http://clemencialabin.com/bilder/exhe/performance/ties.mov, Variable dimensions.
- Clemencia Labin, “Laberinto”, 2013, Series: Piñatas y Truncas, Tubular shapes sewn and stuffed with various polyester cotton fabrics, Variable dimensions. Photo credit: artist.
- Clemencia Labin, “Voragine”, 2015, Series: Pulpas, Bikini lycra on wood frame, polyester cotton padding, acrylic paint, 170 x 132 x 14 cm. Photo credit: Hector Labin.
- Clemencia Labin, ” Banda Naranja”, 2014, Series: Cuadros vivos, Wooden dishes made with bikini tights, cardboard and cotton dresses with arabesques and orange stripe of three meters, Variable dimensions. Photo credit: Alan Ginsberg.
- Clemencia Labin, “Paisaje nublado”, 2013, Series: pulpas, Three-piece bikini made of lycra and fabric on wooden cubes and coat rack, Variable dimensions. Photo credit: Alan Ginsburg.
- Clemencia Labin, “Convergencia”, 2014, Series: Pulpas, 64 organic forms filled with polyester cotton on wooden shelf. Shelf with white cloth crochet and 4 dishes and 2 baskets filled with polyester and cotton pieces, Variable dimensions. Photo credit: Alan Ginsburg.
- Clemencia Labin, “Guayacan”, 2012, Series: columnas, Wall painting with oil bar. Stitched sculpture filled with cotton and polyester, 250 x 250 x 300 cm. Photo credit: Clemencia Labin.
- Clemencia Labin, “Porcelana”, 2010, Series: Pulpas, Bikini lycra on wood frame, polyester cotton padding, acrylic paint, 100 x 80 x 25 cm. Photo credit: Clemencia Labin.
- Clemencia Labin, “Cubo negro”, 2009, Series: Megapulpacubos, Bikini lycra on wood frame, polyester cotton padding, acrylic paint, 70 x 60 x 50 cm. Javier and Ofelia Nuñez Gonzalez, Lanzarote. Photo credit: Clemencia Labin.
- Clemencia Labin, “Lionza”, 2009, Series: Escenarios, Fabric plásticos, tapes of crepe adhesivas and black oil bar on wall. Variable dimensions. Photo credit: Jens Rathmann.
- Clemencia Labin, “nubes negras”, 2008, Series: Escenarios, Fabric plásticos, tapes of crepe adhesivas and black oil bar on wall. Variable dimensions. Photo credit: jens Rathmann.
- Clemencia Labin, “Tres Marias con lili”, 2015, Series: Pulpas, Bikini lycra on wood frame, polyester cotton padding, acrylic paint, Variable dimensions. Site-specific project. Location: Galerie Grewenig /Nissen, Heidelberg, Germany. Photo credit: Ingo Grewenig.
- Clemencia Labin, “transito veneciano “, 2011, Series: performances, http://clemencialabin.com/bilder/film/performancekl.mov, (6.02), Variable dimensions. Site-specific project. Venezuelan Pavilion, Venice, Italy. Photo credit: Istvan Imreh.
- Clemencia Labin, “Cosido simple”, 2015, Series: Cosidos, Various shapes and textures of cloth sewn by hand. Acrylic paint, 190 x 300 cm. Photo credit: Clemencia Labin.
Selected Biographical Information
Education / Training
- 1985-1990: Diplom Künstlerin, Kunst Akademie, Hamburg, Germany.
- 1970-1974: B.A., M.B.A., Columbia University, New York City, U.S.A.
Prizes / Fellowships
- 2013: Orden San Sebastian, Orden San Sebastian, Maracaibo, Venezuela.
- 2012: Premio AICA, Asociación Internacional de criticos de Arte, Caracas, Venezuela.
- 2010: Orden Ciudad de Maracaibo, Maracaibo, Venezuela.
- 2009: Premio Braulio Salazar, Ateneo de Valencia, Valencia, Venezuela.
- 2003: Hansa Preis, Hansa Preis, Hamburg, Germany.
Solo Exhibitions
- 2015: “Confeti”, Galeria Grewenig/Nissen, Heidelberg, Germany.
- 2015: “Pulpa Chic”, Museo de Arte de Coro, Coro, Venezuela.
- 2014: “2014”, Pulpa Chic, Museo de Arte de Valencia, Venezuela.
- 2012: “Whitegold”, New World Museum, Houston, U.S.A.
- 2012: “Mantuana”, Diana Lowenstein Fine Arts, Wynwood, Miami, U.S.A.
- 2012: “La pinta”, Museo de Arte Contemporáneo, Maracay, Venezuela.
- 2012: “Tangible”, Galería D’MUSEO, Caracas, Caracas, Venezuela.
- 2009: “doping PulpaWynwood”, Diana Lowenstein Fine Arts, Miami, USA.
- 2009: “Lionza Capuchina”, Museo Carmelo Fernandez, San Felipe, Venezuela.
- 2008: “El Vergel de Clemencia Labin”, Centro de Arte Lía Bermúdez, Maracaibo, Venezuela.
Group Exhibitions
- 2015: “God save the Queen”, MUSAC, Museo de Arte contemporáneo de Castilla y León, Leon, Spain.
- 2015: “4409.72Miles 9125 Days”, Diana Lowenstein Fine Arts, Miami, USA.
- 2015: “Proposiciones Abstractas”, Galeria D’Museo, Caracas, Venezuela.
- 2015: “Colectiva 07-15”, Spazio Zero Galería, Caracas, Venezuela.
- 2014: “1a. Bienal Cartagena de Indias”, Museo Naval, Cartagena, Colombia.
- 2013: “Linien”, Villa Bosch, Kunstverein Radolfzell am Bodensee, Radolfzell, Germany.
- 2013: “Premio Arte”, Arsenale, Venecia, Italy.
- 2013: “on Painting”, Centro Atlántico de Arte Moderno de las Palmas (CAAM), Gran Canaria, Spain.
- 2011: “transito Veneciano”, 54.Venice Biennale, Venezuelan Pavilion, Venice, Italy.
- 2011: “altered nature”, Center for visual Art, Denver, U.S.A.
Publications
- HfBK, “Beruhmt Berüchtigt”, 100 Jahre Lerchanfeld, 2013.
- ART, das Kunstmagazin, “Kunst ist keine Frage des Ortes”, ART, das Kunstmagazin, 2011.
- “Clemencia Labin liebt Farbe und Mode“, Rhein Neckar Zeitung, 12.06.2015, 1.
- Fernando Castro R. Exhibition New World Museum, Houston, „Clemencia Labin works for the 21st Century ways of life“, Arte al dia Internacional, 2013, 4.
- Amalia Caputo. Exhibition Diana Lowenstein Fine Arts, Miami, “Clemencia Labin “Mantuana”“, Arte al dia International , 2012, 2.
- “Clemencia Labin’s collective art project at the54th Biennale von Venezia“, Arte al dia International , 2011, 2.
- Eva Eusterhus, “Wattebilder, die aus dem Rahmen fallen“, Die Welt, 25.08.2012, page 42, 1.
- Catharine D. Ansporn, “it is a whole new World. Labin at the 2011 Venice Biennale“, Papercity Magazin, 2012, 1.
- Sara Maria Manzo, “Kunst ist keine Frage des Ortes“, ART, das Kunst Magazin , Hamburg,June 2011, 4.
Collections
- MUSAC, Museo de Arte contemporaneo de Castilla y León, Castilla y León, Spain.
- Warehouse, Martin Margulies Collection, Miami, USA.
- Banco Mercantil Collection, Caracas, Venezuela.
- Museo Alejandro Otero Collection, Caracas, Venezuela.
- Galeria de Arte Nacional, Caracas, Venezuela.
- Patricia Phelps de Cisneros Collection, Caracas, Venezuela.
- Museo de Arte de Valencia Collection, Valencia, Venezuela.
Links
December 1, 2015 Inés Raiteri https://abstractioninaction.com/artists/ines-raiteri/- Ines Raiteri, “Visión Dual”, 1º de julio-2 de agosto 2015 Sala 9, Pintura sobre muro, Variable dimensions. Site-specific project. Location: Centro Cultural Recoleta Sala 9, Ciudad Autónoma de Buenos Aires, Argentina. Photo credit: Gabriela Schevach.
- Ines Raiteri, “Visión Dual”, 1º de julio-2 de agosto 2015 Sala 9, Pintura sobre muro, Variable dimensions. Site-specific project. Location: Centro Cultural Recoleta Sala 9, Ciudad Autónoma de Buenos Aires, Argentina. Photo credit: Gabriela Schevach.
- Ines Raiteri, “Visión Dual”, 1º de julio-2 de agosto 2015 Sala 9, Pintura sobre muro, Variable dimensions. Site-specific project. Location: Centro Cultural Recoleta Sala 9, Ciudad Autónoma de Buenos Aires, Argentina. Photo credit: Gabriela Schevach.
- Ines Raiteri, “S/T”, 13-06 -17-07-2013, Painting on wall, 400 cm x 1000 cm cm. Site-specific project. Location: Centro Cultural Ricardo Rojas, Ciudad Autónoma de Buenos Aires, Argentina. Photo credit: Silvana Muscio.
- Ines Raiteri, “Parodiando Arquitectura”, Octubre 2015, Printing on canvas, 150 cm x 700 cm cm. Site-specific project. Location: Circuito Cultural Florida, Ciudad Autonoma de Buenos Aires, Argentina.
- Ines Raiteri, “Parodiando Arquitectura”, Octubre 2015, Printing on canvas, 150 cm x 700 cm cm. Site-specific project. Location: Circuito Cultural Florida, Ciudad Autonoma de Buenos Aires, Argentina.
- Ines Raiteri, “Parodiando Arquitectura”, Octubre 2015, Printing on canvas, 150 cm x 700 cm cm. Site-specific project. Location: Circuito Cultural Florida, Ciudad Autonoma de Buenos Aires, Argentina.
- Inés Raiteri, “Ayer también te vi”, 23/07 – 25/08/12, Painting on wall, Variable dimensions. Site-specific project. Location: Galería Praxis International Art, Ciudad Autónoma de Buenos Aires, Argentina.
- Inés Raiteri, “Ayer también te vi”, 23/07 – 25/08/12, Painting on wall, Variable dimensions. Site-specific project. Location: Galería Praxis International Art, Ciudad Autónoma de Buenos Aires, Argentina.
- Inés Raiteri, “Ayer también te vi”, 23/07 – 25/08/12, Painting on wall, Variable dimensions. Site-specific project. Location: Galería Praxis International Art, Ciudad Autónoma de Buenos Aires, Argentina.
- Inés Raiteri, “Ayer también te vi”, 23/07 – 25/08/12, Painting on wall, Variable dimensions. Site-specific project. Location: Galería Praxis International Art, Ciudad Autónoma de Buenos Aires, Argentina.
- Ines Raiteri, “Ines Raiteri Obras recientes”, Diciembre 2003, Paitings on canvas and wall, Variable dimensions. Site-specific project. Location: Mopt, Mar del Plata, Argentina.
- Ines Raiteri, “Ines Raiteri Obras recientes”, Diciembre 2003, Paitings on canvas and wall, Variable dimensions. Site-specific project. Location: Mopt, Mar del Plata, Argentina.
- Ines Raiteri, “Ines Raiteri Obras recientes”, Diciembre 2003, Paitings on canvas and wall, Variable dimensions. Site-specific project. Location: Mopt, Mar del Plata, Argentina.
- Ines Raiteri, “Ines Raiteri Obras recientes”, Diciembre 2003, Paitings on canvas and wall, Variable dimensions. Site-specific project. Location: Mopt, Mar del Plata, Argentina.
- Ines Raiteri, “Contigo”, 2014, Silk thread on fabric, Variable dimensions.
- Ines Raiteri, “Alrededor”, 2014, Silk thread on panama, Variable dimensions.
Selected Biographical Information
Education / Training
- 2002-2005: Licenciada en Educación, Universidad de Quilmes, Quilmes, Argentina.
- 1996-2002: Clinica de Arte with Sergio Bazan.
Prizes / Fellowships
- 2003-2005: Programa de Talleres para las Artes Visuales Centro Cultural Rojas-UBA Beca Kuitca, Centro Cultural Ricardo Rojas-Universidad de Buenos Aires, Ciudad de Buenos Aires, Argentina.
- 1999-2002: Beca Antorchas de perfeccionamiento en artes visuales, Fundación Antorchas, Ciudad de Buenos Aires, Argentina.
Solo Exhibitions
- 2015: “Visión Dual”, Centro Cultural Recoleta, Buenos Aires, Argentina.
- 2012: “Ayer también te vi“, Praxis International Art, Buenos Aires, Argentina.
- 2010: “Raiteri en Mundo Dios”, Mundo Dios, Mar del Plata, Argentina.
- 2007: “Alternativas de Espacio“, Praxis International Art, Buenos Aires, Argentina.
- 2003: “Obras Recientes“, Motp Arte Contemporáneo, Mar del Plata, Argentina.
Group Exhibitions
- 2015: “Parodiando Arquitectura. Florida Circuito Cultural“, Florida Circuito Cultural, Ciudad Autónoma de Buenos Aires, Argentina.
- 2015: “El teatro de la Pintura. Artistas Argentinos en diálogo con la obra de Sonia Delaunay“, Museo de Arte Moderno de Buenos Aires, Ciudad Autónoma de Buenos Aires, Argentina.
- 2014: “Variaciones Raiteri-De Volder“, Galería mock, Ciudad Autónoma de Buenos Aires, Argentina.
- 2013: “PintorAs“, Galería Magda Belotti, Madrid, Spain.
- 2013: “Wallpaper“, Centro Cultural Ricardo Rojas, Ciudad de Buenos Aires, Argentina.
- 2012: “Geométricos hoy, caminos en expansión“, Museo Emilio Caraffa, Cordoba, Argentina.
- 2011: “SynchroNY-City”, Consulado Argentino, NY, USA.
- 2011: “Colorforms“, Praxis art International, Miami, USA.
- 2010: “Colorforms”, Praxis Art International, NY, USA.
- 2009: “Logica Provisoria”, Centro Cultural de España en Buenos Aires, Ciudad Autónoma de Buenos Aires, Argentina.
- 2007: “Bienal De Arte Geométrico“, Museo de Arte Construido, Ciudad Autónoma de Buenos Aires, Argentina.
- 2006: “La Geometría Fuerte”, Centro Cultural Recoleta, Ciudad Autónoma de Buenos Aires, Argentina.
- 2006: “Ejercicios en conjunto Joglar- Raiteri”, Estudio Abierto. Palacios de Correos, Ciudad Autónoma de Buenos Aires, Argentina.
- 2006: “LX Salón Nacional De Rosario”, Museo Municipal de Bellas Artes Juan B. Castagnino, Rosario, Argentina.
- 2005: “Bienal Nacional de Arte Bahía Blanca”, Museo de Arte Contemporáneo, Bahia Blanca, Argentina.
- 2004: “Cultural Chandon”, Museo Emilio Caraffa, Córdoba, Argentina.
- 2003: “Etchegoyen-Raiteri-Roveda. Espacio Ojo al País”, Centro Cultural Borges, Ciudad Autónoma de Buenos Aires, Argentina.
- 2002: “Merluza”, Mario Brodersohn Jacques Martínez Arte Contemporáneo, Ciudad Autónoma de Buenos Aires, Argentina.
- 2002: “13B“, Museo Provincial de Bellas Artes René Brusau, Posadas, Argentina.
- 2001: “13B“, Centro Cultural Posadas, Misiones, Argentina.
- 1999: “Bienal Nacional de Arte Bahía Blanca”, Museo de Arte Contemporáneo, Bahía Blanca, Argentina.
Publications
- Ana Martinez Quijano, Registros Contemporáneos (Ciudad Autónoma de Buenos Aires: ASEA), 27 -28.
- Mercedes Casanegra, “Abstraccion geometrica en la Argentina Panorama desde 1915 hasta hoy”, Barzon, Noviembre 2007, 276 y 282.
- MARIA EUGENIA SPINELLI VERONICA FLOM y BARBARA GOLUBICKI CARMEN FERREYRA CANDELARIA MURO JUANITA BLEE, “PintorAs“, Fanzine, 2012, 25.
- Daniel Gigena, “Belleza por mano propia Beto de Volder e Inés Raiteri presentan en Mock versiones de sus ya consolidadas obras y tensan el espacio circundante con bucles escultóricos y puntadas hábiles“, La Nación, 25/4/2014, 26.
- Daniel Gigena, “Nuevos Paisajes Utópicos“, La Nación, 26/7/2015.
- Mercedes Perez Bergliafa, “El arte cambia el paisaje de Florida“, Revista Ñ N 632, 5-11-2015, 26-27.
Collections
- Museo de Arte Contemporaneo de Buenos Aires, Buenos Aires, Argentina.
Links
- Bola de nieve
- Ines Raiteri “Ayer también ti vi” Site specific – Praxis
- Ines Raiteri Ayer tambien ti vi Site specific – Praxis
- Curso Arte y Ciencia ISES
- Inauguraciones del 1 de julio de 2015 en el CCR
- SynchroNY-City
- Las mujeres entraron al arte por la ventana
- Fiorito
- Diario de Cultura
- Rodolfo Edwards, “Crack”, 2015, Series: Mirrors of memory, Acrylic on canvas, 200 x 6 x 300 cm.
- Rodolfo Edwards, “Speed progression”, 2015, Series: Mirrors of memory, Acrylic on canvas, 160 x 5 x 200 cm.
- Rodolfo Edwards, “Deep inclination”, 2015, Series: Mirrors of memory, Acrylic on canvas, 175 x 5 x 175 cm.
- Rodolfo Edwards, “Past Future Past”, 2015, Series: Mirrors of memory, Acrylic on canvas, 200 x 300 x 5 cm.
- Rodolfo Edwards, “Ascension”, 2014, Series: Object vs Landscape, Photograph and Acrylic paint on canvas, 160 x 200 x 5 cm.
- Rodolfo Edwards, “Arch”, 2014, Series: Object vs Landscape, Photograph and acrylic painting on canvas, 160 x 200 x 5 cm.
- Rodolfo Edwards, “The Observer”, 2014, Series: Object vs Landscape, Photograph and acrylic painting on canvas, 160 x 200 x 5 cm.
- Rodolfo Edwards, “Polygone”, 2015, Series: Mirrors of memory, Acrylic on canvas, 125 x 125 x 3 cm.
- Rodolfo Edwards, “Polygone 2”, 2015, Series: Mirrors of memory, Acrylic on canvas, 125 x 125 x 3 cm.
- Rodolfo Edwards, “Polygone 3”, 2015, Series: Mirrors of memory, Acrylic on canvas, 125 x 125 x 3 cm.
Selected Biographical Information
Education / Training
- 2010-2014: Fine Arts. International program, The Arts Student League of New York, New Yor., USA.
- 2001-2007: Architect and Urbanism, Pontificia Universidad Católica de Valparaíso, Valparaíso, Chile.
Prizes / Fellowships
- 2014: Lloyd Sherwood Grant, The Arts Student League of New York, New York, USA.
- 2012: The Red Dot Award, Phyllis Harriman Mason Gallery, New York, USA.
Solo Exhibitions
- 2015: “Wanderlust”, Galería Mundo Sur, Santiago, Chile.
- 2013: “Continuum”, Gallery Space at Wagner NYU, New York, USA.
- 2011: “Impossible Maps”, Galería Trece, Santiago, Chile.
- 2010: “Panorámica”, Galería Modigliani, Mendoza, Argentina.
- 2009: “Producción Urbana”, Sala Juan Egenau, Santiago, Chile.
Group Exhibitions
- 2013: “Contradistinction”, Reverol & Co. Contemporary Art Gallery, New Rochelle, NY, USA.
- 2013: “Cosmobilities”, Rowen University Gallery, New Jersey, USA.
- 2013: “Re-Imagining Past Possessions”, TransFORM Gallery, Westchester, NY, USA.
- 2013: “Dyptich Tryptich and Multiples”, cWOW Gallery, Newark, New Jersey, USA.
- 2012: “3rd Bronx Latin American Art Biennial, illusory Correlation”, Edgar Allan Poe visitor center Gallery, Bronx, New York, USA.
- 2012: “Dialogo 365: Carpe Diem”, City Hall, Philadelphia, USA.
Publications
- Maria Jesus Carvallo, “Deconstrucción”, Revista ED, 27-05-2013, 04.
Collections
- Permanent Collection of The Arts Student League of New York, New York, USA.
- Aníbal Vallejo, “Contenedor – Contenido”, 2015, Synthetic polymer on rope, Variable dimensions. Photo credit: Mónica González.
- Aníbal Vallejo, “Sin Título (Mapa)”, 2015, Mixed media. 30 pieces, all have different sizes, Variable dimensions. Photo credit: Aníbal Vallejo.
- Aníbal Vallejo, “Progresión”, 2015, Laser cut on canvas, 300 x 120 x 50 cm. Photo credit: Mónica González.
- Aníbal Vallejo, “Progresión”, (Detail), 2015, Laser cut on canvas, 300 x 120 x 50 cm. Photo credit: Mónica González.
- Aníbal Vallejo, “Sin Título (Dibujo, 2015)”, 2015, Synthetic polymer on rope, Variable dimensions. Photo credit: Mónica González.
- Aníbal Vallejo, “Sin Título (Dibujo, 2015)”, (Detail), 2015, Synthetic polymer on rope, Variable dimensions. Photo credit: Mónica González.
- Aníbal Vallejo, “Plano”, 2015, Manual embroidery on canvas, 80 x 100 x 4 cm. Photo credit: Carlos Tobón.
- Aníbal Vallejo, “Ritmo (Díptico)”, 2014, Manual embroidery on canvas, 2 pieces150 x 120 cm each, 150 x 100 x 4 cm. Photo credit: Carlos Tobón.
- Aníbal Vallejo, “Ritmo (Díptico)”, 2014, Manual embroidery on canvas, 2 pieces150 x 120 cm each, 150 x 100 x 4 cm. Photo credit: Carlos Tobón.
- Aníbal Vallejo, “Sin Título”, 2015, Manual embroidery on canvas, 40 x 50 x 3 cm. Photo credit: Mónica González.
- Aníbal Vallejo, “Sin Título”, 2014, Acrylic and rope on canvas, 80 x 100 x 4 cm. Photo credit: Carlos Tobón.
- Aníbal Vallejo, “Sin Título”, 2014, Acrylic and graphite on canvas. 2 pieces 150 x 100 x 4 cm each. Photo credit: Carlos Tobón.
- Aníbal Vallejo, “Trama”, 2014, Manual embroidery and acrylic on canvas, 180 x 120 x 4 cm. Private collection. Photo credit: Carlos Tobón.
- Aníbal Vallejo, “Unrepeatable Pattern”, 2014, Manual embroidery on canvas, 180 x 120 x 4 cm. Photo credit: Carlos Tobón.
- Aníbal Vallejo, “Objeto”, 2015, Synthetic polymer and gesso on wood, 29,5 x 29,5 x 19,5 cm. Private collection. Photo credit: Aníbal Vallejo.
Selected Biographical Information
Education / Training
- 1996-2000: No., Universidad de Antioquia / Facultad de Artes Plásticas, Medellín, Colombia.
- 1998-2000: No., Colegiatura Colombiana de Diseño / Diseño de Moda, Medellín, Colombia.
Solo Exhibitions
- 2015: “Progresión / Gradación”, Museo de Arte de Pereira MAP, Pereira, Colombia.
- 2015: “Progresión“, Lokkus Arte Contemporáneo, Medellín, Colombia.
- 2013: “Paisaje sin lugar“, Galería Duque Arango, Medellín, Colombia.
- 2012: “Hobnobbing at the Garden of Earthly Delights“, Black Square Gallery, Miami, USA.
- 2009: “De bichos y modas entre telas“, Galería de la oficina, Medellín, Colombia.
- 2008: “Is the glass half empty or half full?”, Museo El Castillo, Medellín, Colombia.
Group Exhibitions
- 2015: “Qué es el presente?”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
- 2014: “Línea Blanda”, Galería Sextante, Bogotá, Colombia.
- 2014: “Reserva expuesta”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
- 2013: “Sans lieu ni tête / Sin lugar ni cabeza”, Mark Hachem Galerie, Paris, France.
- 2013: “La gente en la colección del museo”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
- 2013: “Latinamerican Art Showcase”, ION Art Gallery, Singapore, Singapore.
- 2011: “Dream Catcher II“, Black Square Gallery, Miami, USA.
- 2011: “Colombia en Mérida”, Museo de Arte Contemporáneo de Yucatán MACAY, Mérida, Mexico.
- 2010: “Dorado”, Fondo Internacional de las Artes FIART, Madrid, Spain.
- 2009: “Casa de Citas”, Museo de Antioquia, Medellín, Colombia.
- 2009: “Corte 50”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
- 2008: “Nuevas Adquisiciones”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
- 2008: “Imagina+A Umbral Gráfico Colombiano”, Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
- 2006: “Summer Group Show”, Biagiotti Progetto Arte, Florence, Italy.
- 2005: “Spring Group Show”, Earl McGrath Gallery, Los Angeles, USA.
- 2005: “Small Treasures”, Biagiotti Progetto Arte, Florence, Italy.
- 2004: “Summer Group Show”, Earl McGrath Gallery, New York, USA.
Collections
- Related Group, Miami, USA.
- Museo de Arte Moderno de Medellín MAMM, Medellín, Colombia.
- Museo de Antioquia, Medellín, Colombia.
Links
November 10, 2015 Fernando Prieto https://abstractioninaction.com/artists/fernando-prieto/Lo que vemos es el reflejo de lo que no.
Pienso en mi obra como una investigación en curso sobre cómo somos afectados por fenómenos constantes y sutiles en un nivel sensorial, afectivo, material y mental. Me interesa la relación existente entre lo que consideramos concreto y abstracto, entre la experiencia física directa y lo que esta produce en nuestro interior.
Me interesa construir espacios donde los fenómenos físicos puedan ser una metáfora de cómo un individuo puede percibirse y organizarse dentro de su cuerpo, espacios abiertos donde poder sentir y pensar nuestras reacciones ante lo otro.
Mi trabajo parte de una preocupación sobre los efectos de la violencia social en los individuos con la muestra Onda Expansiva en el 2012. Desde ahí se desarrolla hacia un plano más general, para pensar no solo la violencia y sus efectos sino para intentar ver desde dónde y cómo vivimos el fenómeno de la experiencia: Cómo somos afectados por la viviencia del contacto entre lo interior y lo exterior.
Hace un par de años que estoy inmerso en experiencias de meditación. En la actualidad la pienso como el método central de mi investigación artística. Es a partir de la experiencia de la meditación que mis nociones de la realidad se han expandido y nuevas preguntas han emergido y nutrido la creación de mi obra. Me interesa la intuición como una forma de conocimiento que escapa de nuestra construcción linguística del pensamiento y como el canal principal por el cual la gente se relacione con mi trabajo.
Mi obra intenta crear formas con las cuales mirar y mirarnos, formas para encontrar experiencias nuevas con lo ya conocido, formas para comprender.
—
What we see is the reflection of what is not.
I think that my work as an ongoing investigation about how we are affected by constant and subtle phenomena at the sensorial, affective, material and mental levels. I’m interested in the relationship that exists between what we consider concrete and abstract; between the direct physical experience and the one produced internally.
I’m interested in constructing spaces where the physical phenomena can be a metaphor about how an individual can perceive himself and organize within the body; as well as open spaces where we can feel and think our reactions in front of the other.
My work departs from a preoccupation about the effects of social violence on individuals as seen in the exhibition Onda Expansiva (Expansive Wave) in 2012. Since then my work is moving towards a more general arena, to think not only about violence and its effects, but to attempt to see from where and how we experience the phenomena of experience: How are we affected by experiencing the contact between the internal and the external.
For the past couple of years I have been immersed in experiences of meditation. At present I think of it as a method that is central to my artistic research. Stemming from my experiences of meditation my notions of reality have expanded, and new questions have emerged and enriched the creation of my work.
My work attempts to create ways through which we can see and see ourselves; ways to find new experiences with what we already know; ways of understanding.
Selected Biographical Information
Education / Training
- 2002-2007: Bachillerato en Artes Plásticas, ENPEG. La Esmeralda, Mexico City, Mexico.
- 1999-2001: Universidad Católica del Perú, Lima , Peru.
Prizes / Fellowships
- 2014: Finalista Concurso de Artistas Jóvenes Miraflores, Municipalidad de Miraflores, Lima, Peru.
- 2013: Mención honrosa Pasaporte para un Artísta , Alianza Francesa, Lima , Peru.
Solo Exhibitions
- 2015: “Al Interior de un Límite “, Gallery 770, Lima, Peru.
- 2012: “Onda Expansiva”, Gallery El Ojo Ajeno, Lima, Peru.
Group Exhibitions
- 2013: “Muestra Pasaporte para un Artísta”, Centro Cultural CCPUC, Lima, Peru.
- 2013: “Ojo Ajeno, colectiva artístas de la galería”, Galería El Ojo Ajeno, Lima, Peru.
- 2012: “Structura”, SUM. Arcadia – Mediática, Lima, Peru.
Links
- Fernando Prieto, “American Standard, detail”, 2012, Dust over wood table covered with glass and found objects, 90 x 80 x 120 cm. Courtesy of the artist.
- Fernando Prieto, “American Standard”, 2012, Dust over wood table covered with glass and found objects, 90 x 80 x 120 cm. Courtesy of the artist.
- Fernando Prieto, “Tríptico S/T (Three drawing series Untitled)”, 2012, China Ink on paper, 70 x 50 cm. Courtesy of the artist. Photo credit: Edi Hirose.
- Fernando Prieto, “Ceder y Contener (Give Way and Contain)”, 2014, Immerse paper in China Ink, 29.7 x 175 cm. Courtesy of the artist.
- Fernando Prieto, “Ceder y Contener, detalle. (Give Way and Contain, detail)”, 2014, Immerse paper in China Ink, 29.7 x 175 cm. Courtesy of the artist.
- Fernando Prieto, “Ladrillos N.1 y N.2 (Bricks N.1 y N.2)”, 2012, Bricks and yarn, Variable dimensions. Private collections. Photo credit: Edi Hirose.
- Fernando Prieto, “Políptico Onda Expansiva N.1 (Three drawings series Shock Wave N.1)”, 2012, China ink on paper, 70 x 50 cm. Private collection. Photo credit: Edi Hirose.
- Fernando Prieto, “Concreto N.2 (Concrete N.2)”, 2013, Bricks and glass, Variable dimensions. Courtesy of the artist.
- Fernando Prieto, “Al Interior de un Límite. Detalles (At the Inside of a Limit. Details)”, 2015, Intervention. Displacement of the wall paint, Variable dimensions. Site-specific project. Location: Gallery 770, Lima, Peru. Photo credit: Juan Pablo Murrugara.
- Fernando Prieto, “Al Interior de un Límite (At the Inside of a Limit)”, 2015, Intervention. Displacement of the wall paint, Variable dimensions. Site-specific project. Location: Gallery 770, Lima, Peru. Photo credit: Juan Pablo Murrugara.
- Fernando Prieto, “Al Interior de un Límite (At the Inside of a Limit)”, 2015, Intervention. Displacement of the wall paint, Variable dimensions. Site-specific project. Location: Gallery 770, Lima, Peru. Photo credit: Juan Pablo Murrugara.
- Fernando Prieto, “Polvo (Dust)”, 2012, Dust over wood table covered with glass, 90 x 80 x 120 cm. Courtesy of the artist. Photo credit: Edi Hirose.
- Fernando Prieto, “Fósforos (Matches) and detail.”, 2012, Matches and wood, Variable dimensions. Courtesy of the artist.
- Fernando Prieto, “Concreto N.1 (Concrete N.1)”, 2013, Glass and concrete., 18 x 100 x 200 cm. Courtesy of the artist.
- Fernando Prieto, “Construir Cayendo (Constructing while falling)”, 2014, Adhesive tape attached to the wall. The piece develops over time, Variable dimensions. Courtesy of the artist.
- Oscar Abraham Pabon, “Estetización de un punto móvil”, 2010, Installation with intervened plane and assembly with parts of synthetic fabric umbrella, Variable dimensions.
- Oscar Abraham Pabon, “Ciudad de Sión (Ornato)”, 2009, Intervention in public spaces / A4 size white paper and spray paintend stencils over corrugated sheets of zinc, Variable dimensions.
- Oscar Abraham Pabon, “Puddle Jumpers (Salta Charcos)”, 2010, Interventions in public spaces / reinforced concrete, Variable dimensions. Colección Patricia Phelps de Cisneros (CPPC).
- Oscar Abraham Pabon, “How to be a table while remaining a sculpture?”, 2013, Wooden table intervened, Variable dimensions.
- Oscar Abraham Pabon, “XYZ”, 2013, Sectioned carpet, Variable dimensions.
- Oscar Abraham Pabon, “Automatic writing”, 2013, Chinese ink on toilet paper, Variable dimensions.
- Oscar Abraham Pabon, “Automatic writing”, 2013, Chinese ink on toilet paper, Variable dimensions.
- Oscar Abraham Pabon, “Automatic writing”, 2013, Chinese ink on toilet paper, Variable dimensions.
- Oscar Abraham Pabon, “Expanded sculpture”, 2013, sectioned carpet, Variable dimensions. Rijksakademie van Beeldende Kunsten.
- Oscar Abraham Pabon, “Expanded sculpture”, 2013, sectioned carpet, Variable dimensions. Rijksakademie van Beeldende Kunsten.
- Oscar Abraham Pabon, “Sculptural tradition I”, 2013, 1 Metal sculpture 1 Carpet and 1 Photograph, Variable dimensions.
- Oscar Abraham Pabon, “Sculptural tradition I”, 2013, 1 Metal sculpture 1 Carpet and 1 Photograph, Variable dimensions.
- Oscar Abraham Pabon, “The Origin of the circle II”, 2014, sectioned carpet, Variable dimensions.
- Oscar Abraham Pabon, “Latin American sculptural tradition”, 2015, sectioned carpet, Variable dimensions.
- Oscar Abraham Pabon, “horizontal sculpture”, 2011, Reinforced concrete, Variable dimensions. Site-specific project. Location: Alcaldía de Baruta, parque terrazas del Avila , Caracas, Venezuela.
- Oscar Abraham Pabon, “Floating Sculpture”, 2015, Wood, plastic sheeting and floats, Variable dimensions. Site-specific project. Location: Stichting Pieter Janszoon Saenredam, barendrecht – Rotterdam, Nederland. Stichting Pieter Janszoon Saenredam.
Selected Biographical Information
Education / Training
- 2013-2015: Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands.
- 2006-2011: Taller de Arte contemporáneo de Caracas TAC con Antonio Lazo y Zeinab Bulhossen, Caracas, Venezuela.
- 2003-2008: Arquitecto, Universidad Experimental del Tachira UNET, San Cristobal, Tachira.
Prizes / Fellowships
- 2015: Production grant, Mondriaan Fonds , Amsterdam, The Netherlands.
- 2014: Art in the City, Selected Project, Kyiv Sculpture Project Prize (KSP), Kyiv, Ukraine.
- 2013: Scholarship Cees e Inge de Bruin-Heijn, Amsterdam, The Netherlands.
- 2011: Training scholarship, Patricia Phelps de Cisneros foundation CPPC, Buenos Aires, Argentina.
- 2011: Residencia artistica, CIA Centro de Investigaciones artisticas, Buenos Aires, Argentina.
- 2011: Residencia artistic, Terra Una, Serra da Mantiqueira, Liberdade, Brazil.
- 2011: Residencia artistica, ALA artista en Latinoamerica, Valparaiso, Chile.
- 2010: Third Prize, salón Super Cable, jóvenes con FIA, Caracas, Venezuela.
- 2010: Residencia artística , KIOSKO, Santa Cruz de la Sierra, Bolivia.
- 2008: Sculpture Award, International Competition, Alameda Sol de Oriente, Cali, Colombia.
- 2007: Honorable Mention, VII Salon Nacional de fotografia Seguros Catatumbo, Maracaibo, Venezuela.
- 2007: Honorable Mention, Salon Naciona de arte visuales de la ciudad de Coro, Coro, Venezuela.
- 2007: Premio de Fotografía , Salon Binacional de artes Visuales CONFANORTE, Pamplona, Colombia.
Solo Exhibitions
- 2015: “Typical modernity”, Martin van Zomeren gallery, Amsterdam, The Netherlands.
- 2015: “Soloproject“, Swab, Barcelona, Spain.
- 2015: “Sculpture and repetition“, Bergarde gallery, Rotterdam, The Netherlands.
- 2015: “Interior Francés“, Oficina # 1, Caracas, Venezuela.
- 2014: “XYZ“, Martin van Zomeren, Amsterdam, The Netherlands.
- 2012: “Proyecto / Escultura“, Oficina#1, Caracas, Venezuela.
- 2011: “La imagen de los tiempos“, Al Borde, Maracaibo, Venezuela.
- 2011: “De la herencia a lo heredado“, Oficina # 1, Caracas, Venezuela.
- 2010: “S/t“, Kiosko, Santa Cruz de la Sierra, Bolivia.
- 2005: “Geometría sensible”, galeria Demetrio Silva, San Carlos, estado Cojedes, Venezuela.
- 2004: “Síntesis II”, galería Manuel Osorio Velasco, San cristobal, Venezuela.
- 2004: “Síntesis I”, Galería de arte el punto, San Juan de Colon, Venezuela.
- 2003: “Inquisiciones geométrica y color”, Sala de espacios visuales UNET, San Cristobal, Venezuela.
Group Exhibitions
- 2015: “TRÓPICOS“, Oficina # 1, Caracas, Venezuela.
- 2015: “Velada remix“, Hamburg, Germany.
- 2015: “REALIDADES INSTANTÁNEAS“, Sala Trasnocho Arte Contacto (TAC), Caracas, Venezuela.
- 2015: “ARTBO, International Contemporary Art”, nube gallery, Bogota, Colombia.
- 2015: “INTERVENCIONES TRIDIMENSIONALES“, Hacienda La Trinidad, parque cultural, Caracas, Venezuela.
- 2015: “Amsterdam Art Fair”, Martin van Zomeren, Amsterdam, The Netherlands.
- 2015: “ARTROTTERDAM, International Contemporary Art Fair”, Martin van Zomeren, Rotterdam, The Netherlands.
- 2014: “Open Studio“, Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands.
- 2014: “ARTISSIMA, International Contemporary Art Fair”, Martin van Zomeren, Turín, Italia.
- 2014: “ARTBO, International Contemporary Art Fair “, Oficina#1, Bogotá, Colombia.
- 2014: “Panorámica. Arte Emergente en Venezuela. 2000-2012“, Sala Trasnocho Arte Contacto (TAC), Caracas, Venezuela.
- 2014: “A.O.”, Martin van Zomeren, Amsterdam, The Netherlands.
- 2014: “ESCALA“, Oficina # 1, Caracas, Venezuela.
- 2014: “JustMad, International Contemporary Art Fair, COAM, “, nube gallery, Madrid, Spain.
- 2013: “Open Studio“, Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands.
- 2013: “The Right to the City“, Stedelijk Museum Bureau, Amsterdam, The Netherlands.
Publications
- Oscar Abraham Pabon, In the beginning was the Word (Amsterdam), 80.
- Oscar Abraham Pabon, New Modern Sculpture (Amsterdam), 50.
- Oscar, De la Herencia a lo Heredado (Caracas), 30.
- Felix Suazo, Panorámica, Arte Emergente en Venezuela 2000/2012 (Caracas: Telefónica Fundación), 80.
- Rosana Pabon, “Artista y arquitecto venezolano inauguró esculturas flotantes en Holanda“, entre rayas – revista de arquitectura, 18 sep 2015.
Collections
- Stichting Pieter Janszoon Saenredam, Rotterdam, The Netherlands.
- Cees e Inge de Bruin-Heijn, Amsterdam, The Netherlands.
- Patricia Phelps de Cisneros foundation CPPC, New York, USA.
- Rijksakademie van beeldende kunsten, Amsterdam, The Netherlands.
- Colección Ella Fontanals-Cisneros CIFO, Miami, USA.
Links
October 9, 2015 Vicente Antonorsi https://abstractioninaction.com/artists/vicente-antonorsi/- Vicente Antonorsi, “Piedras”, 2005, Plywood, Variable dimensions, Site-specific project, Caracas, Venezuela, Private collection, Photo credit: Charlie Riera.
- Vicente Antonorsi, “Cubo”, 2006, Plywood, 70 x 70 x 70 cm, Caracas, Venezuela, Private collection. Photo credit:Charlie Riera.
- Vicente Antonorsi, “Dinteles”, 2009, Plywood, 238 x 150 x 21 cm, Caracas, Venezuela, Private colllection. Photo credit:Charlie Riera.
- Vicente Antonorsi, “Amasijo”, 2006, Cedar wood, MDF and ropes, 170 cm diameter, Caracas, Venezuela, Private collection. Photo credit: Charlie Riera.
- Vicente Antonorsi, “Columna de 4 Rebanadas de cubo”, 2010, Rusted iron, 200 x 50 x 25 cm, Caracas, Venezuela, Private collection. Photo credit: Charlie Riera.
- Vicente Antonorsi, “Dos paralelepipedos”, 2009, Rusted iron, 192 x 79 x 70 cm, Caracas, Venezuela, Private collection. Photo credit: Gabriel Díaz.
- Vicente Antonorsi, “Paralelepipedo plano I y II”, 2009, Rusted iron, 158 x 59 x 10 cm, Caracas, Venezuela, Private collection. Photo credit: Gabriel Díaz.
- Vicente Antonorsi, “Tres rebanadas de cubo”, 2011, Rusted iron, 129 x 377 x 43 cm, Caracas, Venezuela, PDVSA Collection. Photo credit: Tirone García.
- Vicente Antonorsi, “Dos paralelepipedos en granito”, 2011, Black and white granite, 240 x 70 x 30 cm each, Caracas, Venezuela, Private collection. Photo credit: Tirone García.
- Vicente Antonorsi, “Dos rebanadas de cubo”, 2011, Black and white granite, 70 x 70 x 20 cm each, Caracas, Venezuela, Private collection. Photo credit: Tirone García.
- Vicente Antonorsi, “Mural de Bloques”, 2010, Concrete, 30 x 30 x 5 cm each, Caracas, Venezuela, Private collection. Photo credit: Tirone García.
- Vicente Antonorsi, “Pirámides agudas”, 2013, Golden stone (travertine), 103 x 60 x 30 cm each, Caracas, Venezuela, Private collection. Photo credit: Claudio Annino.
- Vicente Antonorsi, “Vigas”, 2015, Iron with acro-vinyl paint paint, Variable dimensions, Caracas, Venezuela, Photo credit: Claudio Annino.
- Vicente Antonorsi, “Calado desplazado magnífico”, 2015, Interlocking plywood, 150 x 150 x 23 cm, Caracas, Venezuela, Photo credit: Claudio Annino.
Selected Biographical Information
Education / Training
- 1970-1978: Arquitecto, Universidad de Los Andes, Bogotá, Colombia.
- 1973-1974: Diseñador Gráfico, Universidad Jorge Tadeo Lozano, Bogotá, Colombia.
- 1972-1973: Diseñador Textil, Facultad de Bellas Artes, Universidad de Los Andes, Bogotá, Colombia.
Prizes / Fellowships
- 2005: 3er. Premio. VIII Bienal Nacional de Esculturas Francisco Narváez, Museo de Arte Contemporáneo Francisco Narváez, Porlamar, Venezuela.
Solo Exhibitions
- 2013: “Esculturas“, Espacio 5, Valencia, Venezuela.
- 2012: “Vicente Antonorsi“, Galería La Cuadra, Caracas, Venezuela.
- 2010: “Esculturas recientes“, Galería La Cuadra, Caracas, Venezuela.
- 2007: “Acumulaciones, diálogos visuales – exposición dual“, Sala TAC, Trasnocho Arte Contacto, Caracas, Venezuela.
- 2005: “Estructuras recientes“, Alternativa, Elvira Neri Galería de Arte, Caracas, Venezuela.
Group Exhibitions
- 2009: “Visión constructiva“, Galería GBG Arts, Caracas, Venezuela.
- 2009: “Circuito en 3 Dimensiones“, La Galería de Arte de la Dirección de Cultura, Universidad Simón Bolívar, Caracas, Venezuela.
- 2005: “Itinerario 3D“, Espacios abierto Trasnocho Cultural, Caracas, Venezuela.
Publications
- GBG Arts, Pixeles 2005 – 2009 (Caracas : Gabriela Benaim Ginnari – José Luis García R.), 30 y 31.
- Lucia Pizzani, “A Garden for Beatrix”, 2014-2015, Ceramic sculptures (stoneware and glazings) on pigment ink prints, Variable dimensions. Site-specific project. Location: Cecilia Brunson Projects (CBP), London, United Kingdom. Colección Juan Yarur. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “A Garden for Beatrix (Detail)”, 2014-2015, Ceramic sculpture (stoneware and glazings) on pigment ink prints, Variable dimensions. Site-specific project. Location: Cecilia Brunson Projects (CBP), London, United Kingdom. Colección Juan Yarur. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “A Garden for Beatrix (Detail)”, 2014-2015, Ceramic sculpture (stoneware and glazings) on pigment ink prints, Variable dimensions. Site-specific project. Location: Cecilia Brunson Projects (CBP), London, United Kingdom. Colección Juan Yarur. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “Sagrario Series”, 2015, Series: Sagrario, Collodion wet plate photography on aluminium, 24 x 18 cm. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “Sagrario #1”, 2015, Series: Sagrario, Collodion wet plate photography, 24 x 18 cm. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Unidentified Women A & B “, 2015, Video, sound piece with printed papers and folders, Variable dimensions. Photo credit: Patrick Dodds. Courtesy of CBP.
- Lucia Pizzani, “Unidentified Women A “, 2015, Sigle channel video without sound, (2’25”), Variable dimensions. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Textiles #1”, 2013, Series: Textiles, Wax print fabric, 160 x 40 x 60 cm. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Exhibition view of The Worshipper of the Image”, 2014, Ceramic sculptures (stoneware and glazings) and Photography (Collodion wet plates printed edition), Variable dimensions. Photo credit: Oskar Proctor. Courtesy of Beers Contemporary.
- Lucia Pizzani, “Duo. Impronta Series”, 2013, Series: Impronta, Collodion wet plate photography on aluminium, 13 x 9 cm. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Capullo A9”, 2013, Series: Capullos, Ceramic. Stoneware and glazings, 17 x 17 x 14 cm. Photo credit: Oskar Proctor. Courtesy of Beers Contemporary.
- Lucia Pizzani, “Capullo Series on view at Mariposario exhibition at Oficina#1”, 2013, Series: Capullo, Ceramic sculptures (stoneware and glazings) , Variable dimensions. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Catleya Lips and Siliceous Series. Exhibition view of Orchis”, 2012, Catleya Lips: Acrilyc laser cuts. Siliceous Series: stoneware and glazings, Variable dimensions. Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Siliceous #1”, 2011, Series: Siliceous, Ceramic sculpture (stoneware and glazings), Variable dimensions. Colección Patricia Phelps de Cisneros (CPPC). Photo credit: Courtesy of the artist.
- Lucia Pizzani, “Anala Series”, 2011, Pigment ink print on cotton paper, 60 x 40 cm. Photo credit: Courtesy of the artist.
My work revolves around issues of gender, the body, and a lifelong interest in nature. This combination also draws from my various studies in Visual Communication, Conservation Biology and Fine Arts. In recent years I have been developing a visual approach that uses photography, performance, installation, sculpture and video. Through these processes I tackle issues that concerned the Surrealists and the body art of the seventies, while maintaining a contemporary approach through my research-based practice. I seek stories that often come from literary and artistic references in significant periods both in Europe and South America. Ultimately I mix a wide range of aesthetics, cultures and historical figures in my work.
Traducido del inglés
Mi trabajo gira en torno a las cuestiones de género, el cuerpo, y un interés de por vida hacia la naturaleza. Esta combinación se basa también en mis diversos estudios en Comunicación Visual, Biología de la Conservación y Bellas Artes. En los últimos años, he desarrollado un enfoque visual a través de la fotografía, performance, instalación, escultura y video. A través de estos procesos, abordo cuestiones que preocupaban a los Surrealistas y al arte del cuerpo en los años setenta, manteniendo un enfoque contemporáneo a través de mi práctica basada en la investigación. Busco historias que a menudo provienen de referencias literarias y artísticas en períodos significativos tanto en Europa y América del Sur. En última instancia, mezclo en mi trabajo una amplia gama de la estética, las culturas y figuras históricas.
Selected Biographical Information
Education / Training
- 2008-2009: Masters in Fine Arts, Chelsea College of Arts and Design, London, United Kigndom.
- 2001-2002: Certificate in Conservation Biology, CERC Columbia University, New York, USA.
- 1993-1998: BA in Visual Communications, Universidad Católica Andres Bello, Caracas, Venezuela.
Prizes / Fellowships
- 2014: Hotshoe Photofusion Award 2014, Photofusion, London, United Kingdom.
- 2013: Special Mention Region 0 Video Art Festival, KJCC-NYU, New York, USA.
- 2013: Emerging Artist Award , AICA-Venezuela Association of International Art Critics, Venezuelan chapter, Caracas, Venezuela.
- 2013: XII Premio Eugenio Mendoza, Fundación Sala Mendoza, Caracas, Venezuela.
- 2006: Second Prize IX Salon CANTV de Jóvenes Artistas FIA , Feria Iberoamericana de Arte (FIA), Caracas, Venezuela.
Solo Exhibitions
- 2015: “A Garden for Beatrix“, Cecilia Brunson Projects, London, United Kingdom.
- 2014: “The Worshipper of the Image“, Beers Contemporary, London, United Kingdom.
- 2014: “El Adorador de la Imagen”, Sala Mendoza, Caracas, Venezuela.
- 2013: “Mariposario“, Oficina#1, Caracas, Venezuela.
- 2011: “Orchis”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2009: “Vessel”, Galería Fernando Zubillaga, Caracas, Venezuela.
- 2007: “Absent Portraits”, HACS (Miami) & La Carnicería (Caracas), Miami & Caracas, USA & Venezuela.
- 2003: “Vestigios”, Sala Mendoza. La Librería, Caracas, Venezuela.
Group Exhibitions
- 2014: “Solo Project with Oficina#1”, Pinta London curated by Kiki Mazzucchelli & Catherine Petitgas, London, United Kingdom.
- 2013: “Region 0 Video Art Festival“, Museo de Arte Contemporáneo de Vigo (MACRO), Vigo, Spain.
- 2013: “Solo Project curated by Octavio Zaya”, Pinta Video at Pinta NY, New York, USA.
- 2013: “Region 0“, The Latino Video Art Festival of NY, King Juan Carlos I Center at NYU, New York, USA.
- 2013: “Masquerade – Be Another”, Stephen Lawrence Gallery, London, United Kingdom.
- 2013: “XII Premio Eugenio Mendoza”, Sala Mendoza, Caracas, Venezuela.
- 2012: “Deseo y transgresión curated by Jesus Torrivilla”, Periferico Caracas. II Taller de curaduría – Centro de Arte Los Galpones, Caracas, Venezuela.
- 2011: “Friendship of the people”, Simon Oldfield Gallery, London, United Kingdom.
- 2011: “The Winter Show”, Maddox Arts, London, United Kingdom.
- 2010: “Guest Artist”, Bienal Internacional de Arte Contemporáneo ULA, Merida, Venezuela.
- 2010: “Curated Series of Moving Images”, Art Reach, Nottingham, United Kingdom.
- 2010: “ITINERANTE/PASSERBY/ZEITLICH”
, GBG Arts, Caracas, Venezuela. - 2009: “Beyond Appearances”, Lehman College Art Gallery, Bronx, NY, USA.
- 2008: “MOLAA Collects Photo-Based Art”, Museum of Latin American Art MOLAA, Long Beach, USA.
- 2008: “Lasts days of summer”, Alejandra Von Hartz Gallery, Miami, USA.
- 2008: “64th Salon Arturo Michelena”, Arturo Michelena Museum, Valencia, Venezuela.
- 2007: “Tipos Moviles-Bogota”, Universidad de los Andes, Project Space, Bogotá, Colombia.
- 2007: “YO, Contemporary Self-portraits”, Solar Gallery, East Hampton, NY, USA.
- 2006: “Queens Bienalle. Queens International 06: Everything all at once”, Queens Museum, Queens, NY, USA.
- 2006: “Identidades”, Galería El Museo, Bogotá, Colombia.
- 2006: “I Bienal del Agua “, Museo Jacobo Borges, Caracas, Venezuela.
- 2005: “Traveling Tales curated by Camila Marambio”, Aratori Warairapa Art Museum, Masterton, New Zeland.
- 2003: “L Factor”, Exit Art, New York, USA.
Publications
- Felix Suazo, Panorámica: Arte Emergente en Venezuela 2000-2012 (Caracas: Fundación Telefónica).
- Nicola Homer, “Lucía Pizzani: Interview“, Studio International, 24/07/2014.
- Apóstol, Alexander y González, Lorena, “El arte venezolano en las instituciones de fin de siglo“, El País, 14 Marzo 2013.
- Miranda Gavin, “Lucía Pizzani: A Garden for Beatrix“, Hotshoe Magazine Blog, 02/06/2015.
- Vasi Hirdo, “Corporeal Metamorphoses“, Ceramics Now, , 56, 57.
- Celeste Olalquiaga, “Lucía Pizzani: la adoradora de mariposas“, Artishock, 17/03/2014.
- Gabriela Salgado, “Lucía Pizzani: Beers Contemporary“, ArtNexus, 101.
Collections
- Colección Patricia Phelps de Cisneros (CPPC), Caracas – NY, Venezuela – USA.
- Essex Collection for Art from Latin America (ESCALA), Essex, United Kingdom.
- Colección Juan Yarur, Santiago de Chile, Chile.
- Museum of Latin American Art MOLAA, Long Beach, USA.
- Colección Banco Mercantil, Caracas, Venezuela.
- Esvin Alarcón Lam, “Recomposition No. 2 “, 2013, Series: Recompositions, Painted and found zinc corrugated sheet assembled on wood canvas, conserved with acryloid, 126 x 138 x 4 cm. Private. Photo credit: Diego Sagastume.
- Esvin Alarcón Lam, “(Found object) Recomposition No. 1”, 2013, Series: Recompositions, Painted and found zinc corrugated sheet assembled on wood canvas, conserved with acryloid, 143.5 x 138 x 4 cm. Private collection. Photo credit: Marko Bradich.
- Esvin Alarcón Lam, “Asymmetry No. 3 “, 2015 , Series: Asymmetries, Found metal shutter assemblage. Both, wall and the metal surface are intervened with a layer of gray oil-based paint, 117 x 106 x 4.5 cm. Private collection. Photo credit: Artist.
- Esvin Alarcón Lam, “Asymmetry No. 4 “, 2015, Series: Asymmetries, Found metal shutter fragment assemblage. Both, wall and metal shutter are intervened with a layer of oil-based gray paint, 115 x 86 x 4 cm. Private collection. Photo credit: Artist.
- Esvin Alarcón Lam, “Geometric Relief No. 1”, 2014, Series: Reconstructions, found urban bus fragment / iron sheet assemblage on wood, automotive paint, and acryloid, 108 x 171 x 5 cm. Private collection. Photo credit: Artist.
- Esvin Alarcón Lam, “Relief No. 1”, 2014, Series: Reconstructions, Urban bus interior panel fragment/ iron sheet assemblage on wood, automotive paint and acryloid, 96.5 x 110 x 4 cm. Sayago & Pardon. Photo credit: Sebastian Lojo.
- Esvin Alarcón Lam, “Displacement No. 2 “, 2014, Series: Reconstructions, Found rusty urban bus fragments assemblage on wall, automotive paint, and acryloid, 296 x 182 x 4 cm. Private collection. Photo credit: Beatriz Meseguer.