» Cecilia de Torres Ltd

Abstraction in Action Elias Crespin https://abstractioninaction.com/artists/elias-crespin/

Selected Biographical Information

Prizes / Fellowships

2004: “Artist’s Choice Award”, Artbots, Saints Michael and John’s Church, Dublin, Ireland.
2005: “Premio Armando Reverón”, 61 Salón Arturo Michelena, Ateneo de Valencia, Valencia, Venezuela.

Solo Exhibitions

2015: “Geometric choreographies”, Das Kleine Museum, Weissenstadt, Germany.
2014: “Elias Crespin”, Galerie Denise René, Paris, France.
2014: “Elias Crespin”, Temps suspendu, Galerie de la Marine, Nice, France.
2012: “Et Op! Elias Crespin”, Musée en Herbe, Paris, France.
2012: “Elias Crespin. Parallels”, Cecilia de Torres Ltd., New York, NY, USA.
2011: “Visionary Collection Vol. 14. Elias Crespin Electrokinetics”, Haus Konstruktiv, Zurich, Switzerland.
2010: “Hiperficies”, Ars Longa, Paris, France.
2006: “Electrocinéticas”, Canal Centro de Producción Cultural, Caracas, Venezuela.

Group Exhibitions

2015: “Selección = Relación”, Espacio Monitor, Caracas, Venezuela.
2015: “Mapping Festival”, Geneva, Switzerland.
2014: “Busan Biennale”, Busan, South Korea.
2014: “Structures de l’invisible”, Galerija Klovicevi dvori, Zagreb, Croatia / Foundation Vasarely, Aix-en-Provence, France.
2013: “Turbulences II”, Villa Empain – Fondation Boghossian, Brussels, Belgium.
2013: “Intersecting Modernities. Latin American Art from the Brillembourg Capriles Collection”, MFAH, Houston, TX, USA.
2013: “Dynamo”, Grand Palais, Paris, France.
2013: “Des gestes de la pensée”, La Verrière Fondation d’entreprise Hermès, Brussels, Belgium.
2012: “Turbulences“, Espace culturel Louis Vuitton, Paris, France.
2012: “Hommage à Denise René”, Galerie Denise René, Paris, France.
2011: “Cosmopolitan Routes”, MFAH, Houston, TX, USA.
2009: “North Looks South”, MFAH, Houston, TX, USA.
2006: “Life Forms”, Kinetica Museum, London, UK.
2004: “Ingravidez”, Ateneo de Cabudare, Cabudare, Venezuela.
2004: “Mutaciones en el espacio”, Museo del Estado Miranda, Los Teques, Venezuela.

Publications

Elias Crespin. Parallels, Cecilia de Torres Ltd., New York, NY, USA, 2012.
Elias Crespin. Hiperficies, Ars Longa, Paris, Francia, 2010.
Virginie Chuimer-Layen, “Elias Crespin et la poésie de la cinétique”, in La Gazette de Drouot, 6, Febrero 15, 2013.
Amélie Adamo, “Elias Crespin. Sculpteur d’algorithme”, in Art Absolument, 49, Septiembre-Octubre 2012.
Victoria Verlichak, “Geometric Choreographies”, in Art Nexus, 78, 2012.

Collections

Colleción Ella Fontanals – Cisneros, Miami, FL, USA.
El Museo del Barrio, New York, NY, USA.
Museo de Arte Latinoamericano, Buenos Aires, Argentina.
Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
The Museum of Fine Arts, Houston, TX, USA.

Links

: Elías Crespín, “Malla Electrocinética i”, 2012, Stainless steel, leads, nylon, motors, computer, electronic interface, 50 x 50 cm. Private Collection, Paris. Photo credit: Pascal Maillard. Image courtesy of the artist.

: Elías Crespín, “10 Cuadrosi”, 2007. Cisneros Fontanals Art Foundation, Miami, FL. Photo credit: Pascal Maillard. Image courtesy of the artist.

: Elías Crespín, “Tetralineados Circular Azul”, 2009, Plexigalss, nylon, motors, computer, electronic interface, 20 x 80 x 80 cm. Private Collection, Houston TX, USA. Image courtesy of the artist.

: Elías Crespín, “Tetralineados Rojo”, 2009, Plexigalss, nylon, motors, computer, electronic interface, 20 x 20 x 155 cm. Private Collection, Buenos Aires, Argentina. Image courtesy of the artist.

: Elías Crespín, “Angulados Beta”, 2009, Stainless steel, nylon, motors, computer, electronic interface, 100 x 42 cm. Private Collection. Image courtesy of the artist.

: Elías Crespín, “Hiperficie”, 2010, Steel, bronze, nylon, motors, computer, electronic interface, 210 x 195 cm. The Brillembourg Capriles Collection of Latin American Art, Miami, FL, USA. Image courtesy of the artist and Museum Haus Konstruktiv, Zurich

: Elías Crespín, “TriNet”, 2011, Stainless steel, nylon, motors, computer, electronic interface, 100 x 42 cm. Private Collection. Image courtesy of the artist.

: Elías Crespín, “Cubo Electrocinético”, 2011, Aluminum, leads, nylon, motors, computer, electronic interface, 50 x 50 x 50 cm. Private Collection, Paris, France. Photo credit: Pascal Maillard. Image courtesy of the artist.

: Elías Crespín, “4Net”, 2011, Steel, brass, nylon, motors, computer, electronic interface, 247 x 247 cm. Private Collection. Photo credit: Pascal Maillard. Image courtesy of the artist.

: Elías Crespín, “Circuconcéntricos Inoxidable”, 2012, Stainless steel, nylon, motors, computer, electronic interface, Diameter 100 cm. Private Collection. Photo credit: Pascal Maillard. Image courtesy of the artist.

: Elías Crespín, “Plano Flexionante 2”, 2012, Stainless steel, nylon, motors, computer, electronic interface, 592 x 24 cm. Private Collection, Hong Kong. Image courtesy of the artist and Cecilia de Torres Ltd., New York.

: Elías Crespín, “Plano Flexionante Circular”, 2012, Stainless steel, aluminum, brass, nylon, motors, computer, electronic interface, Diameter 300 cm. Private Collection. Photo credit: Pascal Maillard. Image courtesy of the artist.

: Elías Crespín, “Circuconcéntricos Transparente”, 2013, Plexiglass, nylon, motors, computer, electronic interface, Diameter 100 cm. Private Collection. Photo credit: Pascal Maillard. Image courtesy of the artist.

: Elías Crespín, “16 cubos”, 2013, Stainless steel, nickel, nylon, motors, computer, electronic interface, 50 x 50 x 10 cm. Private Collection. Photo credit: Pascal Maillard. Image courtesy of the artist.

: Elías Crespín, “Plano Flexionante Circular Rojo”, 2013, Plexiglass, nylon, motors, computer, electronic interface, Diameter 100 cm. Private Collection, Paris, France. Photo credit: Pascal Maillard. Image courtesy of the artist.

Artists

November 8, 2013 Eduardo Costa https://abstractioninaction.com/artists/eduardo-costa/

My “volumetric paintings” are created by adding layers over layers of acrylic paint with brush and spatula. Volume is obtained with no materiality other than acrylic pigment and the eventual thickener.

My pieces include representational and abstract examples. In representational paintings –fruits, people– I work not only the surface of subjects but also the internal space.

A volumetric painting of a watermelon is green in the surface, white and red inside. A head portrait is as true to the internal organs, muscles, bones–which will be invisible– as to the visible features shown in flat painting or in sculpture.

The geometric abstractions are usually monochromes painted the same color through and through. The knowledge of all the color we do not see completes conceptually the visual perception of the work. When a viewer knows he or she is seeing a volumetric, pure monochrome, he will integrate into the resulting perception an element of imagination: A mass of the same color he is sampling with his eyes.

I am hoping my volumetric paintings will change art teaching. Currently acrylic paint is taught as if it was oil based. There is at least one basic difference; utilizing the appropriate techniques, acrylic paint can be employed to build volumes.

Traducido del inglés

Mis “pinturas volumétricas” son creadas al añadir capas sobre capas de pintura acrílica con pincel y espátula. Se obtiene volumen sin otra materialidad que el pigmento acrílico y el aglutinante.

Mis piezas incluyen ejemplos representacionales y abstractos. En las pinturas representacionales (frutas, gente), no trabajo sólo con la superficie de los temas sino también de sus espacios interiores.

Las abstracciones geométricas son a menudo monocromos pintados con el mismo color de principio a fin. La comprensión de todo el color que no vemos completa la visión perceptual de la obra. Cuando un espectador sabe que él o ella está viendo un monocromo puro y volumétrico, integrará a la percepción final un elemento de la imaginación: una masa del mismo color que está siendo percibido con sus ojos.

Espero que mis pinturas volumétricas cambien la manera en la que se enseña el arte. Hoy en día se enseña a pintar con acrílico como si fuese óleo. Existe por lo menos una diferencia; utilizando técnicas adecuadas, la pintura acrílica puede ser utilizada para crear volúmenes.

Selected Biographical Information

Education / Training

1958-1965: Profesor en Letras (Master equivalent), Facultad de Filosofía y Letras, Universidad de Buenos Aires. Buenos Aires, Argentina.

Prizes / Fellowships

1972 & 1973: Universidad de Buenos Aires, Argentina.
Pollock-Krasner Foundation, USA.

Solo Exhibitions

2004: “La Lección de Anatomía”, Museo Nacional de Bellas Artes, Buenos Aires, Argentina.
2003: “El Salto de la Imaginación”, Galería Ruth Benzacar, Buenos Aires, Argentina.
2002: “The Biology of Painting”, The Artist Network, NYC, USA.
2001: “Eduardo Costa: The Geometric Works”, Cecilia de Torres Gallery, NYC, USA.
1998: “La Pintura Dura, Pura”, ICI, Buenos Aires, Argentina.

Group Exhibitions

2013: “Fussiform Gyrus”, Lisson Gallery, London, UK.
2012-2013: “Pop, realismo y Politica”, PROA, Buenos Aires, Argentina; GAMEC, Bergamo, Italia; MAM Rio de Janeiro, Brazil.
2011: “Ver Sacrum. The Death of the Audience”, Vienna Secession, Vienna.
2009: “7º bienal do Mercosul: Grito e Escuta”, Porto Alegre, Brazil.
2009: “An (Unrully) History of the Readymade”, Jumex Foundation, Mexico City, Mexico.

Publications

Ver Sacrum: The Death of the Audience, Vienna Secession and CAC Brétigny, Pierre, Bal-blanc, 2011.
Deborah Cullen, A Part and Apart: Contextualising Asco, in Asco, Elite of the Obscure, Hatje Cantz, with LACMA and Williams College.
Miguel A. Lopez, How Do We Know What Latin American Conceptualism Looks Like? Afterall magazine, Nº 23, 2010.
William Oliver, The Death of the Audience, The Art Newspaper, 9/09.
Brigitte Huck, The Death of the Audience, Art Forum, 10/09.

Collections

MOMA, NY, USA.
Metropolitan Museum of Art, NY, USA.
Museum de Arte Moderna, Rio de Janeiro, Brazil
Museo de Bellas Artes, Buenos Aires, Argentina.
Museo de Arte Moderno, Buenos Aires, Argentina.
Coleccion Jumex, Mexico City, Mexico.
Colección Banco Mercantil, Caracas, Venezuela / New York, USA.
Colección Patricia Cisneros, Caracas, Venezuela / New York, USA.
Colección Sayago & Pardon, California, USA.
Bernard Chappard, Caracas, Venezuela.

: Eduardo Costa, “Expanded black & red Bichrome (front and back)”, 2006-2007, Series: Expanded Paintings. Paint Becomes Volumetric, Acrylic paint on and exceeding canvas, 19 ¾ x 17 ¼ in. (50 x 44 cm). Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Inclusive White Painting”, 2008-2009, Series: Inclusive Paintings, Acrylic paint on and around canvas on board, 15 ¾ x 15 ¾ x 1 in. (40 x 40 x 2 cm). Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Inclusive Black Painting”, 2007-2008, Series: Inclusive Paintings, Acrylic paint on and around canvas on board, 50cm x 40cm x 2cm. Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “White Monochrome Separated from the Wall by Solid Acrylic Paint Bars”, 2008-2010, Series: Expanded Paintings. Paint Becomes Partly Volumetric, Acrylic on canvas, volumetric front and back bars, 17 ½ x 26 ½ x 4 in. (44,5 x 67,5 x 10 cm). Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Black Matte & Glossy Painting”, 2009-2010, Series: Partly Volumetric, Solid acrylic paint, 24 ½ x 18 x 1 ¼ in. (62 x 46 x 3 cm). Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Accidental Intersection of a Red Cylinder and a Fluid plane”, 2008, Series: Partly Expanded Paintings, Acrylic paint on canvas, 24 x 18 ½ x 8 in. (61 x 47 x 20 cm). Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Soft Orange Painting”, 2008-2009, Series: Patrly Volumetric Paintings, Acrylic paint on canvas, flat 25 ½ x 24 x 1 in. (65 x 61 x 2,5 cm). (In transit). Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “White Monochrome Separated from the Wall by a Volumetric Sphere”, 2012-2013, Series: Partly Expanded, Acrylic on and over canvas, 22 x 24 x 6 inches. Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Rollable Violet Painting”, 2010-2011, Series: Partly Volumetric, Acrylic paint on canvas, velcro, flat, 25 ¼ x 25 ¾ x 1 in. (64 x 65 x 2 cm).Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Grey wedge with a Silver Skin”, 2008-2009, Series: Volumetric Paintings, Solid acrylic paint, 22 x 2 ½ x 11 in. (56 x 6,5 x 28 cm). (In Transit). Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Painting of Green Triangle”, 2009-2010, Series: Volumetric Paintings, Acrylic paint, 13 x 28 x 4 ¾ in. (33 x 71 x 12 cm). Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Three Models for Drawing”, 2010-2011, Series: Volumetric Paintings, Solid acrylic paint, 12 x 25 ½ x 8 ¾ in. (30 x 65 x 22 cm). Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Painting of a Scott Burton Side Table (a pair)”, 1995-1997, Series: Useable Volumetric Paintings, Solid Acrylic Paint, 26 x 16 x 16 in. each (66 x 40,5 x 40,5 cm). Private Collection Miami. Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Interaction of an All Paint Triangle with Perimetrally Cut Out Triangle”, 2011-2012, Series: Paint-filled Images, Acrylic paint filling in the cut out canvas triangles, 35 ½ x 27 ½ in. (90 x 70 cm). Photo credit: Albano García for Estudio Eduardo Costa

: Eduardo Costa, “Interaction of an All Paint Triangle with Perimetrally Cut Out Triangle (back)”, 2011-2012, Series: Paint-filled Images, Acrylic paint filling in the cut out canvas triangles, 35 ½ x 27 ½ in. (90 x 70 cm). Photo credit: Albano García for Estudio Eduardo Costa

Artists

October 5, 2013 Marta Chilindrón https://abstractioninaction.com/artists/marta-chilindron/

My focus has always been on questioning the accuracy of our perception, our interpretation of reality. I have tried to capture the state of flux of everything. Participation of the viewer is important because it brings the person into the sculpture; the public is the performer and the viewer, and that dual involvement is an important element of my work. I explore the ideas of sequencing, beginning and end, making objects that are simple networks with no definite shape and that exist between the second and third dimension with infinite possible configurations.

Traducido del inglés

Mi enfoque siempre ha sido el cuestionar la precisión de nuestra percepción, de nuestra interpretación de la realidad. He intentado capturar el estado de flujo de todas las cosas. La participación del espectador es importante porque trae a la persona dentro de la escultura; el público es el que realiza el performance y el espectador, y esa participación binaria es un elemento importante de mi obra. Exploro ideas de secuencia, principio y fin, realizando objetos que son redes simples sin forma definida y que existen entre la segunda y tercera dimensión, con configuraciones posibles infinitas.

Selected Biographical Information

Education / Training

1980: BFA, State University of New York at Old Westbury.
1977-8: Summer Internship, Camnitzer-Porter Studio.

Prizes / Fellowships

2013: Pollck-Krasner Foundation Grant, New York, USA.
2003: Civitella Ranieri Artist Residency, Umbria, Italy.
2001: Anonymous Was A Woman Award, New York, USA.
2000: Joan Mitchell Foundation Inc, Award, New York, USA.
1986: Pollock-Krasner Foundation Grant, New York, USA.
1983-5: PS-1 National Studio Program Artist Residency, New York, USA.

Solo Exhibitions

2013: “Integral Geometries”, Special Project Room, MoLAA, Long Beach, CA, USA.
2011: “Constructions”, Cecilia de Torres Ltd. New York City, USA.
2010: “New Paradigms”, Alejandra von Hartz, Miami, USA.
2008: “Marta Chilindron”, Galeria Laura Marsiaj, Rio de Janeiro, Brazil.
2006: “Sculpture in Four Dimensions”, Amelie Wallace, SUNY, New York City, USA.
2006: “Marta Chilindron”, VCUQ Gallery, Doha, Qatar.
2004: “New Work”, Cecilia de Torres, Ltd, New York City, USA.
2001: “Sculptures”, Dot Galerie, Geneva, Swizterland.
1999: “Cinema Kinesis, Contemporanea”, El Museo del Barrio, New York City, USA.
1997: “Dimensions”, Cecila de Torres, Ltd, New York City, USA.
1994: “Talking Paintings & Dreams”, IBEU, Rio de Janeiro, Brazil.

Group Exhibitions

2014: “New Territories: Design and Art from Latin America”, Museum of Art and Design, New York City, USA.
2013: “Group Show”, Cecilia de Torres Ltd. New York City, USA.
2012: “LA to LA, Selections from Sayago & Pardon Collection”, LA Art Core, Los Angeles, USA.
2012: “Group Exhibition”, Sicardi Gallery, Houston, Texas, USA.
2011: “Tridimensional”, Alejandra von Hartz Gallery, Miami, USA.
2010: “Fokus Lodz Biennale 2010”, Lodz, Poland.
2010: “The Constructive Elan”, Alejandra von Hartz Gallery, Miami, USA.
2006: “Sites of Latin American Abstraction”, CIFO (Cisneros Fontanal Foundation), Miami, Florida, USA.
2005: “The Art of Point of Contact”, Everson Museum of Art, Syracuse, New York, USA.
2004: “Up & Coming, Invited artist”, ARCO 04, Madrid, Spain.
2001: “Five Easy Pieces”, Dot Galerie, Basel, Swizterland.
2000: “Square Root”, Cecilia de Torres, Ltd., New York City, USA.
1997: “Studio Camnitzer”, Museo Nacional del Grabado, Buenos Aires, Argentina.
1992: “The Art Mall”, The New Museum, New York City, USA.
1992: “500 Años”, Centro Recoleta, Buenos Aires, Argentina.
1985: “PS-1 Artists”, The Clocktower Gallery, New York City, USA.

Publications

2012: Beta Sichel, “Constructions,” Arte al Dia International, #139.
2012: Tatiana Flores, “Marta Chilindron at Cecilia de Torres,” ArtNexus, Vol. 11 #84.
2012: Robert C. Morgan, “Sculpture in New York,” World Sculpture News, Vol. 18 #1
2011: Constructions exhibition catalogue, essays by Eleanor Heartney and Richard Vine.
2010: Goschka Gawlik, “Kunst News, Focus Lodz Biennale 2010”, 2-10-10, art magazine, Vienna, Austria.
2001: Richard Vine, “Report from Rio de la Plata,” Art in America, Oct.
1997: Jonathan Goodman, “Marta Chilindron at Cecilia de Torres,” Art in America, Sept.
1996: Ana Tiscornia, “Perverting the Specific Object,” Atlantica Int. Revista de las Artes, #15.
1993: Monica Amor, “Contemporary Art of Argentina, Brazil & Colombia,” Art Nexus, 6-8/93.
1992: Berta Sichel, “Touched by Light,” Art Nexus.

Collections

Jack S. Blanton Museum, Austin, Texas, USA.
Cisneros Fontanal Art Foundation, Miami, Florida, USA.
Sayago & Pardon Collection, Los Angeles, California, USA.
El Museo del Barrio, New York, New York, USA.
Fonds d’art contemporain de la ville de Genève, Switzerland.
Banco do Spiritu Santo, Portugal.

Additional Links

: Marta Chilindrón, “Cube 48”, 2006, Blue twin-wall polycarbonate, plastic hinges and screws, 48 x 48 x 48 in. when closed. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Cube 48”(alternate view), 2006, Blue twin-wall polycarbonate, plastic hinges and screws, 48 x 48 x 48 in. when closed. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Pyramid 48”, 2006, Green twin-wall polycarbonate, plastic hinges and screws, 48 x 48 x 48 in. when closed. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Pyramid 48”(alternate view), 2006, Green twin-wall polycarbonate, plastic hinges and screws, 48 x 48 x 48 in. when closed. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Hexagon 3030”, 2007, 3/8 clear 3030 plexi, plastic hinges and screws, 3/8 x 44 x 44 in. when completely open. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Hexagon 3030” (alternate view), 2007, 3/8 clear 3030 plexi, plastic hinges and screws, 3/8 x 44 x 44 in. when completely open. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Sphere 12”, 2009, Fluorescent blue plexi, plastic hinges, 12 x 12 x 12 in. when closed. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Sphere 12” (being shaped by artist), 2009, Fluorescent blue plexi, plastic hinges, 12 x 12 x 12 in. when closed. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Spiral”, 2010, Fluorescent blue plexi, plastic hinges and screws, 83 in. diameter when completely flat. Photo credit: Alejandra von Hartz Gallery.

: Marta Chilindrón, “Orange Pyramid”, 2010, Fluorescent orange plexi, plastic hinges and screws, 18 x 18 x 18 in. when closed. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Twenty-Seven Triangles”, 2010, Clear 3030 and DP9 frosted plexi, plastic hinges and screws, 16 x 18 x 12 in. when completely closed. Photo credit: Alejandra von Hartz Gallery.

: Marta Chilindrón, “Ring”, 2013, Radiant plexi, plastic hinges and screws, 30 in. diameter when flat. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Mobius”, 2013, Fluorescent pink, fluorescent green and blue plexi, plastic hinges and screws, 36 x 80 x 80 in. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Hex Spiral”, 2013, Fluorescent yellow plexi, plastic hinges and screws, 48 x 110 x 90 in. Photo credit: Arturo Sanchez.

: Marta Chilindrón, “Hex Spiral” (alternate view with artist), 2013, Fluorescent yellow plexi, plastic hinges and screws, 48 x 110 x 90 in. Photo credit: Arturo Sanchez.

Artists

October 4, 2013