Artist: Richard Garet

Screen Memory
April 28, 2016 – June 11, 2016
Galerie Burster
Berlin, Germany

Richard Garet’s artistic approach is characterized by an interdisciplinary interweaving of various media such as sound, moving image, expanded photography and multimedia performance. By activating sensorial, physical and psychological stimuli, his works draw the observer’s attention to the processes of perception and time.

Garet’s work was featured in the first sound art exhibition by the Museum of Modern Art of New York, MoMA; soundings: a contemporary score in 2013, with Garet being selected to join the show as one of the sixteen most innovative artists working with sound as a medium today. Recognizing his work solely in the genre of sound art however will certainly not satisfy to describe his oeuvre on the whole.

In screen memory, his very first solo show at galerie burster – and his first solo show in Europe – Garet‘s selected body of work extracts his interest in experimenting with mixing media and material, shifting borders back and forth within various media and beyond, hovering between digital and analogue – in order to create an aesthetic, sonic, above all immersive perceptual experience.

With installative choreographies such as seen in untitled series painting semiotics or with digital-print series such as activated void, Garet refers to his background in visual art – he studied painting in New York in the nineties – but remaining true to his artistic approach he consequently transfers his pictorial experience into a digital context: The layering buildup and the relationship to malleability and materiality find themselves now translated into various ‚new‘ media such as sound, video art and installation to name a few.

• Happenings

Artist: Edgar Guzmanruiz

Chiaroscuro
May 16 – June 13, 2015
Galerie Weisser Elefant
Berlin, Germany

Für diese Ausstellung fotografiert der aus Kolumbien stammende Edgar Guzmanruiz Personen, die nur von einem Computer-Bildschirm beleuchtet werden, ebenso Stilleben im Licht von iPods. Mit ihren Hell-Dunkel-Effekten sind die Bilder von geradezu barocker Farbigkeit und Stimmung. Und auf diese kommt es dem Künstler vor allem an, als Kontrast zu den modernen Lichtquellen und deren Funktion als Dauerreferenz einer nächsten Generation Ego.

Das Zentrum der Ausstellung bildet ein „Teich“, in dem sich Narziss spiegelt und in sein eigenes Bild verliebt. So von Leidenschaft verzehrt, stirbt er und verwandelt sich in die Blume, die seinen Namen trägt. Damit führt Guzmanruiz immerhin eine Tradition fort, die seit der Renaissance von Künstlern wie Tintoretto, Caravaggio, Poussin und Olaf Nicolai geprägt wurde.

Letzterem kommt die Arbeit insofern nahe, als man sich selbst im künstlichen Teich spiegeln kann, doch besteht dieser aktualisiert aus Flachbildschirmen. Damit thematisiert er die Erkenntnis ganz direkt, dass wir uns verdoppeln in dem Augenblick, in dem wir uns verlieren. Eine Beobachtung neben dem Fotografieren der Porträts erweist, dass jüngere Menschen nicht mehr so lange still sitzen können, bis ein Bild von ihnen erstellt ist. Obwohl sie sich selbst betrachten, sind sie nur an flüchtigen Effekten interessiert.

Dies führt uns – über den Mythos von Narziss hinaus – zu Aktaion, der auf der Jagd nach Wild der Diana begegnet, badend in einem Weiher, und nackt. Zur Strafe für den Frevel verwandelt diese ihn in einen Hirsch. Und der wird sodann gerissen, ausgerechnet von Aktaions eigenen Hunden. Das Schicksal wendet sich gegen den, der es fordert ohne Konsequenzen zu bedenken. In Giodarno Bruno’s Buch der „Heroischen Leidenschaften“ sind die letzten Gedanken des Helden: „So spanne hoch ich die Gedanken jetzt / Zum Ziel. Allein sie wenden sich zurücke / Und reißen mich mit scharfem Biss in Stücke“.

Die Hunde des Aktaion können wir verstehen als die Geister, die man zur Hilfe rief und die doch ins Verderben führen: „und ohne Hoffnung kehrt ihr mir zurück“. – Wobei wir oben auch für den „scharfen Biss“ etwas willkürlich „Blick“ einsetzen könnten. Denn dies ist das Thema dieser Ausstellung: der Blick, der von sich selbst abgewendet überhaupt wieder etwas wie Hoffnung oder zumindest Ausblick eröffnen kann. Alle Technik, die unser Leben erleichtern soll, bleibt nur so weit sinnvoll, als sie humanen Zwecken, ja sagen wir es: Idealen dient.

Ralf Bartholomäus

• Happenings

Artists: Omar Barquet, Pablo Rasgado, Omar Rodríguez-Graham, Javier Areán, Veronica Bapé, Miguel Angel Cordera, Taka Fernandez, Agustín González, Jacqueline Lozano, Javier Pérez, Eric Pérez, Patricl Petterson.

Pararrayos
Curated by Christian Barragán
May 27 – July 2, 2015
Embajada de México en Alemania
Berlin, Germany

Group show with contemporary Mexican painters.

• Happenings

Artist: Miguel Rothschild

Book presentation
May 1, 2015
Kuckei + Kuckei Gallery
Belin, Germany

On this occasion, the artist will present his new book, which is published by Hatje Cantz Verlag and show some of his work along with it.

• Happenings

Artists: Carla Arocha & Stéphane Schraenen.

Trace
May 1 – June 27, 2015
Galerie Isabella Czarnowska
Berlin, Germany

The title “Trace” already conveys an impression of the character of the exhibition and the atmosphere it will create. The artists will moreover venture beyond the physical boundaries of the space and open it up for new and unknown dimensions. As a result, the exhibition will exert a seductive lure and provide aesthetic pleasure by receiving and integrating each of the forms on view. At the same time, it will arouse suspicion and a feeling of uncertainty about what else will appear. The line between the utilitarian function of the architectonic space and a fictional, non-utilitarian one is very fine, and sometimes it is hard to tell where one ends and the other begins.

In the installation Frieze II, the wall looks as if it was being deliberately peeled away to expose an unknown source of light. Room II raises questions about the condition of historical memories and their contemporary character. A marble floor structure running across entire gallery seems to allude to the foundations of another building. Perhaps the form refers to a building of the past, now existing as no more than a trace? Or why not think of it as an announcement of possible future events?

The Cabinet, Credenza and Bedside Table form a series of objects distributed throughout the gallery. Each of them features the finest palisander veneer. If at first sight they look like elegant pieces of furniture, on closer inspection we discover that the objects are non-functional. What is more, they have been perforated with perfectly round holes which lead the gaze right through to the other side. This singular gesture not only opens the objects up to new dimensions, but also emphasizes their non-functional character all the more strongly. A literal act of perforation, well known from everyday situations, means nothing more than the end of validity, and turns the furniture into useless objects but beautiful sculptures.

Earlier works by Carla Arocha & Stéphane Schraenen were presented in the exhibition “Caraota Von Moules” with Arturo Herrera at Künstlerhaus Bethanien, Berlin (2012); in their solo exhibition “Persiana” at the Cultuurcentrum Mechelen, Mechelen, Belgium (2014); in “Landscape” in the Sala Juarez of the LARVA Laboratorio de Artes Veriedades, Guadalajara, Mexico, and in the show “In A Rhythmic Fashion” at Glyphotheque, Croatian Academy of Sciences and Arts, Zagreb, Croatia (both 2015).

A catalogue entitled “What Now?” was published by the DISTANZ Verlag in conjunction with the first exhibition by Carla Arocha & Stéphane Schraenen at the Galerie Isabella Czarnowska in 2013. The catalogue is available at the gallery as well as in bookstores worldwide.

• Happenings

Artist: Danilo Dueñas

The painting fallen, and the collapse of Rome
March 18 – April 25, 2015
Galerie Thomas Schulte
Berlin, Germany

“The painting fallen, and the collapse of Rome“ is Dueñas’ second one person show with the gallery after succeeding impressively with his installation in the gallery’s Corner Space in 2012.

• Happenings

Artists: Alis / Filliol, A Kassen, Matt Bryans, Nicolas Lamas, Maximilian Schubert, Santiago Taccetti and Klaus Weber.

About Sculpture #4
November 28, 2014 – January 10, 2015
Galerie Rolando Anselmi
Berlin, Germany

The project has evolved throughout the year, with four group exhibitions exploring contemporary sculpture. The artistic relevance of this medium is examined through the work of 25 international artists, born between the 60s and the 80s. The artists included in the exhibitions, ranging from established to emerging, are invited to present one piece, trying to expand and go beyond conventional debates and notions of sculpture. Their works reflect a multi-layered and contradictory image of common media definitions through the implementation of different strategies of investigation and aesthetic parameters. In this occasion we are excited to host works by Nicolas Lamas, Maximilian Schubert, Klaus Weber, A Kassen, Santiago Taccetti, Matt Bryans, Alis/Filliol. The shows aim to build a narrative in space, investigating the relationship between space and material in an effort to exhibit a heterogeneous spectrum of possibilities.

The work of Nicolas Lamas is based on a processing reflection about space, time, culture and science. Lamas formalizes his questioning using various media, playing on codes and undermining constructed perceptions and systems that govern our daily life. His work Partial View, consisting of a rock and a scanner, highlights the meeting of two heterogeneous elements, exposing the relationship between actual weight and the virtual weight of a scanned image and the impossibility of understanding an object if one only considers the surface of things. Through this, he attempts to somehow underline relativity, malleability, and the level of indeterminacy in all of which we attempt to comprehend, searching for an objective and definite truth.

In Maximilian Schubert’s wall sculptures, titled Format, lenghts of brass and copper converge at minute hinges, folding the rectangular structure into opposing angles that appear to contract and expand. These works appear paused in space, their motion arrested in one of many possible iterations. Through his works Schubert investigates and questions the concept of representation. The works are reduced to pure form, neither involving direct reference nor attempting to activate particular predetermined associations.

The two large-scale white paintings Untitled (Einstatzbereich Innen – Außen) by Santiago Taccetti, can deceive the viewer, who is forced to walk close to the canvas before realizing that no actual paint is visible. The unpredictable reaction of different material permeates Taccetti’s work, which investigates the relationship between sculpture and painting. In this occasion, the artist experimented with different kinds of household paint and used a variety of instruments to press and imprint the material into the reverse of the canvas, creating a beautiful pattern and texture on the surface of the work while the thick layers of paint remain hidden on the reverse.

Alis/filliol presents The Family (La Coperta), part of a series of sculptures started by the artists this year. The artist duo develops its research using disparate materials, mixing natural elements and industrial products, wax, plaster, mechanical grease, wood, plasticine, polystyrene. The continuous experimentation gives birth to figures with grotesque connotations, provoking a deep sense of alienation and uncertainty.

Artist group A Kassen work with performative installation and sculpture. They examine and experiment with the borders between art and non-art, as well as self invented systems that change the functions of things within a given space. In this sense, they form a critique of the institution and draw attention to how we act and navigate in a certain context. For this occasion A Kassen presents a site-specific installation, composed by small fragments of a statue. The pieces are part of a little angel’s statue once belonged to the Lauritz de Thurah’s Baroque Garden at Gl. Holtegaard in Denmark. The statue was destroyed by the artists, turned into pieces and placed for two years into the ground in front of its original place. After being removed from the garden, they are now neatly displayed on the gallery’s floor in a provocative process of re- contextualisation.

Metal items fill the floor of the second exhibition room. This is Matt Bryans’ installation, Gravermaskintenner, composed by 18 digging machine teeth sourced by the artist in Norway. The machine teeth are worn out until they have no purpose anymore and are left behind to be recycled as metal or forever discarded, depending on the fluctuating global prices of iron and steel. The pieces are consumed, revealing on the surface every single impact and dent caused by their former use. The artist has carefully collected them, refined, sanded and oiled, making them appear like some mystical objects with a completely different meaning and function.

Klaus Weber’s works call our deepest belief systems into question. With recurring motifs of death, animism and ritualism, his works provide an ironic counterpoint to the shared understanding – social, natural, scientific – that underpins our society. Weber’s Witch Ladder is an over-sized version of those used in witchcraft that allows demons to enter a place through the ceiling. Composed of feathers taken from birds bred in captivity and affixed on either side of a rope, it performs a counter-energy by troubling the conditions of reception within the functionalist rationality of the exhibition space. Weber appropriates the magical device undermining the consolidated hierarchical knowledge between producers and receivers and illustrates how our past beliefs still reverberate in the present.

Image: Nicolas Lamas, 2014, Partial view, stone, scanner, variable dimensions

• Happenings

Artist: Pablo Rasgado

Afterlife
November 14, 2014 – January 25, 2015
Arratia Beer
Berlin, Germany

For his new series, Pablo Rasgado has delved into the depths of catalogues raisonnés, into the Bibliothèque Kandinsky at the Centre Pompidou and other archives in an attempt to recover lost images. One may argue that every research is an endeavour to retrieve or discover something that is lost or at least unknown. In Rasgado’s case however the objects he pursued had to remain lost in order to be singled out and reclaimed. Rasgado was searching for the blind spots of art history: The images that his serendipitous investigation has disclosed were those that have gone missing, that have been misplaced, destroyed, forgotten, or stolen at some point in their biography, whose provenance expired into the status “present whereabouts unknown.”

Rasgado set himself the task of repainting these works in their actual size and as close to the original as possible. However the new images mimic not their originals but rather their surrogates, the photographs, in regard to the amount of detail and most importantly their colour palette: most of the re-painted works adopt the greyscale of the photographs taken at some point over the last century and transform the reproduction into an oil grisaille.

Accordingly the paintings chosen by Rasgado necessitate two predicaments: that they are nowhere to be found, and that at some point before their loss they were photographically recorded. Rasgado collides the media and genres of painting and photography and with them their many complex evocations of the absent, of their status as emanation or representation of something that they are not. He also collides two distinct chronologies: The paintings date back to the 1440s up to the 1960s, but their photographic records follow a different and independent timeline, as well as a very distinct phenomenological status.

Image: courtesy of the artist and Arratia Beer

• Happenings

Artist: Edgar Guzmanruiz

Myth Germania: Vision and Crime
September 17 – November 30, 2014
Berliner Unterwelten e.V.
Berlin, Germany

Die Ausstellung beleuchtet Architektur und Städtebau im Berlin der NS-Zeit, analysiert die ideologischen Zielsetzungen und dokumentiert die mit der „Neugestaltung“ aufs engste verbundene Verfolgung jüdischer Berliner. Darüber hinaus werden Legenden und Klischees rund um die „Welthauptstadt Germania“ dekonstruiert.

• Happenings

“Where is the time I have left in this space?”

Over recent years my artistic path has predominantly followed sculptural research. The researches focus on time and concomitant duration as decisive agents, elaborating and extending my ideas across a wide variety of materials. I experiment with both organic and/or industrially rendered materials, these include such materials as plastic, iron, glass, wood, copper, steel, cotton, plants, and rubber among others. Similarly, the active-positive and entropic role of water plays a significant part in my art practice. The works render imminent (and, perhaps immanent) the action of time as it forms a mnemonic record on matter in space.

As can be seen in the enclosed photos of my work, there is the presence of a poetic language which recalls interactions between internal organic fluid forms, incorporating chance and speculation and experiencing the abstraction that results from their experience with the material.  Nevertheless, no artistic activity is free from the artist’s subjective intention, regardless of purely physical and material conditions. Such assemblings combine materials that create new properties through these combinations, emphasizing on many occasions a vocabulary of physical terms like balance, density, materiality, capillarity, etc. These works, in which the physical characteristics are not virtual, symbolic or representational but where they literally exist, are nonetheless subjective emotional assemblages.

My aim is to continue the project, extend its development, while at the same time perfect some of the aesthetic and visual questions that arise from my experimental works. In short to move ahead in the sense of working with space in its continuity and extension anxiety, but simultaneously always making use of the various material confrontations that emerge. Within this aesthetic frame the paradox of disruption and temporal suspension play their part, evoke a sense of moveable perception, while also confronting contemporary mankind’s feelings as to the uncertain, unstable and fickle situation in which we live.

Traducido del inglés

“¿Dónde está el tiempo que tengo en este espacio?”

En los últimos años mi carrera artística ha seguido predominantemente una línea de investigación sobre la escultura. Las investigaciones se enfocan en el tiempo y la duración concurrente como agentes decisivos, elaborando y expandiendo mis ideas por una amplia variedad de materiales. Experimento con materiales orgánicos y/o hechos de manera industrial, los cuales incluyen materiales como plástico,  hierro, vidrio, madera, cobre, acero, algodón, plantas y caucho, entre otros. De igual forma, el rol entrópico y activo-positivo del agua juega un papel importante en mi práctica. Las obras representan la inminente (y quizá inmanente) acción del tiempo mientras que forma un récord nemónico de la materia en el espacio.

Como puede ser visto en las fotos de mi obra, existe la presencia de un lenguaje poético que evoca interacciones entre formas orgánicas fluidas internas, incorporando el azar y la especulación y la abstracción que resulta de experiencia con el material. No obstante, ninguna actividad artística es libre de la intención subjetiva del artista, sin importar las condiciones puramente físicas o materiales. Tales combinaciones mezclan materiales que crean nuevas propiedades por medio de estas combinaciones, enfatizando en ocasiones un vocabulario de términos físicos tales como balance, densidad, materialidad, capilaridad, etc. Estas obras en las que las características físicas no son virtuales, simbólicas o representacionales, sino que existen literalmente en ellas, son no obstante ensamblajes emocionales y subjetivos.

Mi intención es continuar el proyecto, extender su desarrollo mientras que perfecciono la estética y cuestionamientos visuales que originan de mis obras experimentales. En breve, seguir adelante en el sentido de trabajar con el espacio en su ansiedad continua y extensa, pero siempre usando las confrontaciones materiales que puedan surgir simultáneamente. Dentro de este marco estético la paradoja de la interrupción y suspensión temporal juegan su rol, evocan un sentido de percepción movible mientras que confrontan sentimientos humanos contemporáneos de la situación incierta, inestable y frágil en la que vivimos.

Selected Biographical Information

Education

Prizes / Fellowships

Solo Exhibitions

Group Exhibitions

Publications

Collections

• Artists

Translated from Spanish

In recent years, I have focused on the modern tendency of trying to simplify the complexity of the world with the aim to control that which escapes the limits of our understanding.

We tend to categorize, organize, and administer reality as if it was a set of and independent phenomena, creating a system that we take as natural.

My work stems from the alteration of the order in which information is presented. In some cases this modification uncovers some meanings that used to remain hidden under the imposition of a logic that assumes itself as the “correct one.” In others, by schematizing the information previously schematized, both synthesis systems cancel each other out and return mere forms and colors lacking any functionality.

Through my work, I hope to make evident that the regularity of the world obeys a set of rules that as such, they could have been different. In other words. I hope to point out that all logic of functionality, whatever it is, could be different and thus not necessary in itself.

En los últimos años, me he enfocado en la tendencia moderna a intentar simplificar la complejidad del mundo con miras a controlar aquello que escapa los límites de nuestro entendimiento.

Tendemos a categorizar, organizar y administrar la realidad como si se tratase de un conjunto de fenómenos aislados e independientes, creando un sistema que tomamos como natural.

Mi trabajo parte de la alteración del orden en el que la información es presentada. En algunos casos esta modificación libera ciertos significados que permanecían ocultos bajo la imposición de una lógica que se asume como “la correcta”. En otros, al esquematizar la información previamente esquematizada, ambos sistemas de síntesis se anulan entre sí, devolviéndonos meras formas y colores desprovistos de cualquier sentido funcional.

A través de mi obra, pretendo dar cuenta de que la regularidad del mundo obedece a un conjunto de reglas que, como tales, podrían haber sido distintas. En otras palabras, intento señalar que toda lógica de funcionamiento, sea como sea, podría ser diferente y, por lo tanto, no es necesaria en sí misma.

Selected Biographical Information

Education / Training

Collections

• Artists

“In general, all I want is to find my own way of doing politics.”

Traducido del inglés

“En general, lo único que quiero es encontrar mi propia manera de hacer política”.

Selected Biographical Information

Education / Training

• 2002-2004: Film production house La Alcachofa Films, Mexico City, Mexico .
• 2003: Licenciatura en Artes Plásticas (BFA), Universidad de las Américas Puebla, Mexico, Mexico.
• 1998: Instituto Gaudí, Photography Department, Lima, Peru.
• 1995-1997: Facultad de Artes (Fine Arts Department), Pontificia Universidad Católica del Perú, Lima , Peru
• 1993-1994: , Facultad de Letras (Humanities Studies Department) Pontificia Universidad Católica del Perú, Lima, Peru.

Prizes / Fellowships

• 2007: Grant by Fundacion Jumex for video project “Cancion de Cuna”, finally intitled “Incorporación, desprendimiento”,  Fundacion Jumex, Mexico City, Mexico.
• 2006: Grant by Re: New Media, a division of The Rockefeller Foundation, for project “Marathon”, The Rockefeller Foundation, New York, USA.
• 2005: Honorific mention, 15th Festival de Arte Electronica VideoBrasil, Sao Paulo, Brazil.
• 2005: First Prize, Experimental Shortfilm category, Bienal de Cortometraje Cuadro 2005, Mexico City, Mexico.
• 1999: Concurso Arte Joven. First Prize with I.R., specific site project for public space in Lima, Peru, Municipalidad de Miraflores, Lima, Peru.

Solo Exhibitions

• 2014: “Interruptions on decrees and stages”, Mori Museum, Tokyo, Japan.
• 2013: “Ciudadano Paranormal”, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain.
• 2012: “Visitas”, Museo Experimental El Eco, Mexico City, Mexico.
• 2012: “Escorpião e/ou Fotocopias de 1999”, Galeria Leme, Sao Paulo, Brazil.
• 2012: “Art pieces / Tonotono”, Arratia Beer, Berlin, Germany.
• 2012: “Territorial” (in collab. with Rafael Polar)”, Museu de Arte Moderna de Sao Paulo, Sao Paulo, Brazil.
• 2010: “Cone Flow”, Modern Art Museum of Fort Worth, Fort Worth, Texas, USA.
• 2009: “Runway Dance”, Maribel Lopez Gallery, Berlin , Germany.
• 2009: “Quorum Power”, Museo Carrillo Gil, Mexico City, Mexico.
• 2009: “No matter what happens to you, we will keep growing”, Y Gallery, Queens, New York, USA.
• 2008: “Incorporación, desprendimiento”, Galeria OMR, Mexico City, Mexico.
• 2008: “Maratón”, Galeria Leme, Sao Paulo, Brazil .
• 2006: “Sinapsis insurrección”, Sala de Arte Público Siqueiros, Mexico City, Mexico.
• 2006: “Sinapsis 1”, Galeria OMR, Mexico City, Mexico .
• 2006: “Prehistoria. Animations and drawings”, The Agency Contemporary, London, UK.
• 2006: “Prehistoria, Escenario” Subzone2″, Galerie Adler, Frankfurt, Germany.
• 2005: “Conmemoración”, Museo Carrillo Gil, Mexico City, Mexico .
• 2005: “Simplesmente Elas Exalam” (with Juan Pablo Macías)”, Galeria Leme, Sao Paulo, Brazil.
• 2005: “Prehistoria” (one night/one work show)”, ÍNDICE ESPACIO, Mexico City, Mexico.

Group Exhibitions

• 2013: “Biopic”, Maria Stenfords gallery, London, UK.
• 2013: “Así van las cosas. Fischli & Weiss + Videos”, Malba, Buenos Aires, Brazil.
• 2012: “Pop Politics. Activismos a 33 Revoluciones”, CA2M, Madrid, Spain.
• 2012: “Remesas: flujos simbólicos/movilidades de capital”, Fundación Telefónica, Lima, Peru.
• 2011: “Biennale de Lyon“, Lyon, France .
• 2010: “Bienal de Sao Paulo“, Sao Paulo, Brazil.
• 2010: “Bienal de las Américas“, Denver, USA.
• 2009: “Yo uso perfume para ocupar más espacio”, Museo Carrillo Gil, Mexico City, Mexico.
• 2008: “Panorama da Arte Brasileira”, Museu de Arte Moderna, Sao Paulo, Brazil.
• 2008: “Berlin Zoótropo. 7 proyectos de animación”, Museo de Arte Moderno, Mexico City, Mexico.
• 2007: “En perfecto desorden”, Museo Nacional Reina Sofia, Madrid, Spain.
• 2006: “VideoZone 3”, The Center for Contemporary Art, Tel Aviv, Israel.
• 2006: “Eastern Alliance 3 Teledivision Show”, Muzeul National de Arta Contemporana, Bucarest, Romania

Collections

• Mali, Peru
• Malba, Argentina
• Lacma, USA
• Museum of Fine Artes, Houston TX, USA
• JPMorgan Chase Arte Collection, USA

• Artists

On painting

A wall, the painting, the floor, the ceiling, the mist in the room.

The organ, the flute, the hemlock.

The truth, the specter, the real.

What is it that lives?, said the hare to the tortoise, is it the hemlock or the rose? The rose said, it is me, I shall always live, whilst the room shall grow and the sound shall ring in our ears. But my life shall never cease. Please testify to this never-ending truth and you too, shall live as me.

Traducido del inglés

Sobre la pintura

Un muro, la pintura, el piso, el techo, la neblina en la habitación.

El órgano, la flauta, la cicuta.

La verdad, el espectro, lo real.

¿Qué es lo que vive?, dijo la liebre a la tortuga, ¿es la cicuta o la rosa? La rosa dijo,

soy yo, siempre viviré, mientras que la habitación crezca y el sonido repique en nuestros oídos. Pero mi vida nunca terminará. Favor de testificar a esta verdad sinfín y tú también vivirás como yo.

Selected Biographical Information

Education / Training

• Derecho, Universidad de los Andes, Bogotá, Colombia.

Prizes / Fellowships

• 2011: DAAD Berliner Kunstler programm, Berlin, Germany.
• 2003: Finalista Premio Luis Caballero, Planetario Distrital, Bogotá, Colombia.
• 1999: Premio Johnnie Walker en las Artes, Biblioteca Luis Angel Arango, Bogotá, Colombia.
• 1993: Primer Premio, VI Salón Regional, Corferias, Bogotá, Colombia.
• 1993: Beca Nacional de Creación, Colcultura, Corferias, Bogotá, Colombia.

Solo Exhibitions

• 2012: “A door repeated and tha wardrobe fell”, Thomas Schulte Galerie, Berlín, Germany.
• 2011: “At Actium and a tribute to John McCracken”, DAAD Galerie, Berlin, Germany.
• 2008-2009: “El Salón de actos, “La tormenta de Constable”,”Plataformas verdaderas”, “Poblaciones”, Colegio de la Sagrada Familia, 41 Salón Nacional, Cali, Colombia.
• 2008: “Dentro del espacio expositivo”, Periférico Caracas, Caracas, Venezuela.
• 2003: “Local (tllaqpc)”, Premio Luis Caballero, Galería Santa Fe, Bogotá, Colombia.
• 2003: “Local (BOG-CCS)”, Museo de Arte Contemporáneo de Caracas Sofía Imber, Caracas, Venezuela.
• 2001: “Sin las palabras circundantes”, Museo de Arte Moderno, Bogotá, Colombia.
• 2001: “Sin las palabras circundantes”, Museo de Arte de la Universidad Nacional, Bogotá, Colombia.
• 1993: “Enchape”, Museo de Arte de la Universidad Nacional, Bogotá, Colombia.

Group Exhibitions

• 2013: “Latin American Art at Hunter, From the Colección Patricia Phelps de Cisneros”, Hunter College, New York, USA.
• 2013: “A door repeated and the wardrobe fell”, abc art berlin contemporary, Berlin, Germany.
• 2011: “Beuys y mas allá – el enseñar como arte,” Versión Colombia, Biblioteca Luis Angel Arango, Bogotá, Colombia.
• 2008: “Correspondences, Contemporary Art from the Colección Patricia Phelps de Cisneros”, Wheaton College, Norton Massachusetts, USA.
• 2008: “Geografias (in)visibles, Arte Contemporáneo Latinoamericano en la Colección Patricia Phelps de Cisneros”, Centro León, Dominican Republican.
• 2006: “Parallel Economies”, Wertz Contemporary, Atlanta, USA.
• 2005: “Cuerpo Plural, Abstraccionismos en la colección Maccsi”, Museo de Arte Contemporáneo de Caracas Sofía Imber, Caracas, Venezuela.
• 2005: “Diálogos, Colección Cisneros”, Museo de Arte Moderno de Bogotá, Colombia.
• 1995: “Mesótica- the america non representativa”, Museo de Arte y Diseño Contemporáneo, San José de Costa Rica.
• 1995: “Transatlántica- the america-europa non representativa”, Museo Alejandro Otero, Caracas, Venezuela.

Publications

• 2013: Turme aus Alten Turen by Katrin Schirner.
• 2011: So malerisch kann Schrott sein, by Julia Gwendolyn Schneider, in: taz.die tageszeitung, Berlin.
• 2011: Kunst ist alles andere als Schrott, by Markus Woeller, in: sounds like me. com, Berlin.
• 2011: Schaut auf dieses Land, by Sebastian Frenzel, in: Monopol Magazin, Berlin.
• 2011: Boceto, Trampa e Instalación, by Sylvia Suárez, in: Beuys y más allá, Biblioteca Luis Angel Arango, Bogotá.
• 2009: Urgent, Various venues, Cali, Colombia, by Jens Hoffmann, in: Frieze.
• 2008: Moebius Strips por Gean Moreno, in: Art Nexus issue 73.
• 2006: Hey, something is happening out there! Natalia Gutiérrez, in: Arte al Día, Bogotá, 2006.
• 2006: Velocidades por Eugenio Espinoza, in: Art Nexus issue 61, Miami, 2006.
• 2005: Ilegibilidad por Eduardo Serrano, Alianza Colombo- Francesa, Bogotá.
• 2003: Local (BOG-CCS), El lugar del pensamiento por Carmen María Jaramillo, Museo de Arte Contemporáneo Sofía Imber, Caracas.
• 2003: Duración por María Iovino, Universidad Eafit, Medellín.
• 2002: Instalador by Jaime Cerón, Fundación Incertidumbre, octubre, Bogotá.
• 2001: Sin las palabras circundantes by María Iovino, Museo de Arte de la Universidad Nacional, Bogotá.
• 2011: Sin las palabras circundantes (Cronología), by María Iovino, Museo de Arte Moderno de Bogotá.
• 1998: A través del Espejo por Carmen María Jaramillo, Museo de Arte Moderno de Bogotá.
• 1998: Soporte por Carmen María Jaramillo, Centro Cultural William Shakespeare, Bogotá.
• 1993: Enchape by José Hernán Aguilar, Museo de Arte de la Universidad Nacional, Bogotá.
• 1992: Todo simplificado by Eugenio Espinoza, Galería Sotavento, Caracas.
• 1991: Adulterado by José Hernán Aguilar, El Tiempo, Bogotá.

Collections

• Colección Sayago y Pardon, Los Angeles.
• Colección Marie-Josée Kravis, New York.
• Colección Patricia Phelps de Cisneros, Caracas- New York.
• Museo de Arte Contemporáneo de Caracas, Sofia Imber.
• Museo de Bellas Artes de Caracas.
• Museo de Arte de la Universidad Nacional, Bogotá.
• Museo de Arte Moderno de Bogotá.
• Museo de Arte Moderno de Rio de Janeiro.
• Museo de Arte Moderno La Tertulia, Cali.

• Artists

Selected Biographical Information

Education / Training

• 1982-87: Escuela Nacional de Bellas Artes in Buenos Aires, Argentina.
• 1991-94:  Hochschule der Künste Berlin, Graduates at the masterclass of Prof. Rebecca Horn.

Prizes / Fellowships

• 2010: Invited as guest at the artist residence Villa Aurora, Los Angeles, USA.
• 2008: Artist in residence at Civitella Ranieri Center, Italy. Grant from the Civitella Ranieri Foundation, New York, USA.
• 2008: Grant of the Stiftung Kunstfonds.
• 2007: Artist in residence at Künstlerhaus Schloss Wiepersdorf, grand from the Department for Economy, Research and Culture of the State of Brandenburg.
• 2005: Rosa de Luxe, Monument for Rosa Luxemburg, 2nd prize (with Maria Cecilia Barbetta), Senate for Science and Culture, Berlin.
• 2003: Grand from the Senate for Science and Culture, Berlin.
• 2001: Grand from the Kulturfond Foundation.

Solo Exhibitions

• 2012: “Happy Believers”, Galerie Kuckei + Kuckei, Berlin, Germany.
• 2012: “Images de la Mélancolie”, Bendana-Pinel Art Contemporain, Paris, France.
• 2012: “Felices los que creen sin haber visto”, Galería Ruth Benzacar, Buenos Aires, Argentina.
• 2010: “Als der Himmel Sterne sah”, Franke-von Oppen, Berlin, Germany.
• 2009: “The Messiah Fights Back”, Langage Plus, Montreal, Canada.
• 2009: “The Messiah Fights Back”, Kunstverein Hannover.
• 2008: “33 traurige Tragödien”, Kunstraum Potsdam.
• 2008: “Le ciel qui a vu des etoiles”, Bendana-Pinel Art Contemporain, Paris, France.
• 2008: “Con penas ni gloria”, Galería Ruth Benzacar, Buenos Aires, Argentina.
• 2008: “Miguel Rothschild plays Miguel Rothschild”, Two tragic movies, 5533, Istanbul.

Group Exhibitions

• 2013: “825 days”, Bendana-Pinel Art Contemporain, Paris, France.
• 2013: “Art & Entreprise#1”, Collection Géotec, Quetigny.
• 2012: “Paris Photo – one man show”, booth from Kuckei + Kuckei, Paris, France.
• 2012: “Religion und Riten”, DZ Bank Kunstsammlung, Frankfurt.
• 2012: “Dot.System. From Pointillism to Pixelation”, Wilhelm Hack Museum, Ludwigshafen.
• 2012: “Palabras, imágenes y otros textos”, Museo de Arte Moderno de Buenos Aires, Argentina.
• 2012: “Examples to follow! Expeditions in aesthetics and sustainability”, Premchand Roychand Gallery, Mumbai.
• 2011: “How German is it? 30 Artists Notion of Home”, Jüdisches Museum Berlin, Germany.
• 2011: “Art of the 90s in Malba Collection. Works 1989 -2010”, Malba – Fundación Costantini, Museo de Arte Latinoamericano de Buenos Aires, Argentina.
• 2011: “Examples to follow! Expeditions in aesthetics and sustainability”, Virginia Haus / Überseequartier / Hafencity, Hamburg.
• 2011: “Examples to follow! Expeditions in aesthetics and sustainability”, Schwankhalle and Wasserturm, Bremen.
• 2011: “Examples to follow! Expeditions in aesthetics and sustainability”, Bauhaus Dessau.
• 2011: “Examples to follow! Expeditions in aesthetics and sustainability”, Kunstverein Pfaffenhofen, Kunstverein Ingolstadt and Städtische Galerie Neuburg a.d. Donau.
• 2011: “Examples to follow! Expeditions in aesthetics and sustainability”, Westwendischer Kunstverein, Gartow.
• 2011: “Adquisiciones, donaciones y comodatos”, Malba – Fundación Costantini, Museo de Arte Latinoamericano de Buenos Aires, Argentina.
• 2010: “Transatlantic Impulses”, Akademie der Künste Hanseatenweg, Berlin, Germany.
• 2010: “Ich Wicht”, Kunstraum Potsdam.
• 2010: “Realidad y Utopía, 200 Years of Argentine Art, A Vision from the Present”, Akademie der Künste am Brandenburger Tor, Berlin, Germany.
• 2010: “Examples to follow! Expeditions in aesthetics and sustainability”, Uferhallen, Berlin, Germany.
• 2010: “Aasan”, Ekici, Rothschild. Projects, Fraunhofer-Institut, Potsdam.
• 2010: “Berlin Transfer”, Berlinische Galerie, State Museum of Modern Art, Photography and Architecture, Berlin, Germany.

Collections

• Berlinische Galerie, State Museum of Modern Art, Photography and Architecture, Berlin, Germany.
• State Museums of Berlin (Staatliche Museen zu Berlin), Book and Media Collection, Berlin, Germany.
• Malba, Museo de Arte Latinoamericano, Buenos Aires, Argentina.
• MAMBA, Museo de Arte Moderno, Buenos Aires, Argentina.
• DZ Bank Collection, Frankfurt am Mainz, Germany.
• CGAC, Centro Galego de Arte Contemporánea, Santiago de Compostela, Spain.
• Jüdisches Museum, Berlin, Germany.

• Artists